Trivia: Dean Martin found phenomenal success in almost every entertainment venue and, although suffering a few down times during his career, always managed to come out on top. During the '50s, he and partner Jerry Lewis formed one of the most popular comic film duos in filmdom. After splitting with Lewis, he was associated with the Hollywood's ultra-cool "Rat Pack" and came to be known as the chief deputy to the "Chairman of the Board," Frank Sinatra. Although initially a comic actor, Martin also proved himself in such dramas as The Young Lions (1958), more than holding his own opposite Marlon Brando and Montgomery Clift. He was also never above poking sly fun at his image as a smooth womanizer in such outings as the Matt Helm spy spoofs of the '60s. As a singer, Martin was, by his own admission, not the greatest baritone on earth, and made no bones about having copied the styles of Bing Crosby and Perry Como. He couldn't even read music, and yet recorded more than 100 albums and 500 songs, racking up major hits such as "That's Amore," "Volare," and his signature tune "Everybody Loves Somebody." Elvis Presley was said to have been influenced by him, and patterned "Love Me Tender" after his style. For three decades, Martin was among the most popular nightclub acts in Las Vegas. Although a smooth comic, he never wrote his own material. On television, Martin had a highly-rated, near-decade-long series; it was there that he perfected his famous laid-back persona of the half-soused crooner suavely hitting on beautiful women with sexist remarks that would get anyone else slapped, and making snappy, if not somewhat slurred, remarks about fellow celebrities during his famous roasts. Martin attributed his long-term TV popularity to the fact that he never put on airs or pretended to be anyone else on-stage, but that's not necessarily true. Those closest to him categorized him as a great enigma; for, despite all his exterior fame and easy-going charm, Martin was a complex, introverted soul and a loner. Even his closest friend, Frank Sinatra, only saw Martin once or twice per year. His private passions were golf, going to restaurants, and watching television. He loathed parties -- even when hosting them -- and would sometimes sneak off to bed without telling a soul. He once said in a 1978 interview for Esquire magazine, that, although he loved performing, particularly in nightclubs, if he had to do it over again he would be a professional golfer or baseball player. The son of a Steubenville, OH, barber, Martin (born Dine Crochets) dropped out of school in the tenth grade and took a string of odd jobs ranging from steel mill worker to bootlegger; at the age of 15, he was a 135-pound boxer who billed himself as "Kid Crocetti." It was from his prize-fighting years that he got a broken nose (it was later fixed), a permanently split lip, and his beat-up hands. For a time, he was involved with gambling as a roulette stickman and black jack croupier. At the same time, he practiced his singing with local bands. Billing himself as "Dino Martini," he got his first break working for the Ernie McKay Orchestra. A hernia got Martin out of the Army during WW II, and, with wife and children in tow, he worked for several bands throughout the early '40s, scoring more on looks and personality than vocal ability until he developed his own smooth singing style. Failing to achieve a screen test at MGM, Martin appeared permanently destined for the nightclub circuit until he met fledgling comic Jerry Lewis at the Glass Hat Club in New York, where both men were performing. Martin and Lewis formed a fast friendship which led to their participating in each other's acts, and ultimately forming a music/comedy team. Martin and Lewis' official debut together occurred at Atlantic City's Club 500 on July 25, 1946, and club patrons throughout the East Coast were soon convulsed by the act, which consisted primarily of Lewis interrupting and heckling Martin while the he was trying to sing, and, ultimately, the two of them chasing each other around the stage and having as much fun as possible. A radio series commenced in 1949, the same year that Martin and Lewis were signed by Paramount producer Hal Wallis as comedy relief for the film My Friend Irma. Martin and Lewis was the hottest act in nightclubs, films, and television during the early '50s, but the pace and the pressure took its toll, and the act broke up in 1956, ten years to the day after the first official teaming. Lewis had no trouble maintaining his film popularity alone, but Martin, unfairly regarded by much of the public and the motion picture industry as something of a spare tire to his former partner, found the going rough, and his first solo-starring film (Ten Thousand Bedrooms [1957]) bombed. Never totally comfortable in films, Martin still wanted to be known as a real actor. So, though offered a fraction of his former salary to co-star in the war drama The Young Lions (1957), he eagerly agreed in order that he could be with and learn from Brando and Clift. The film turned out to be the cornerstone of Martin's spectacular comeback; by the mid-'60s, he was a top movie, recording, and nightclub attraction, even as Lewis' star began to eclipse. In 1965, Martin launched the weekly NBC comedy-variety series The Dean Martin Show, which exploited his public image as a lazy, carefree boozer, even though few entertainers worked as hard to make what they were doing look easy. It's also no secret that Martin was sipping apple juice, not booze, most of the time on-stage. He stole the lovable-drunk shtick from Phil Harris; and his convincing portrayals of heavy boozers in Some Came Running (1958) and Howard Hawk's Rio Bravo (1959) led to unsubstantiated claims of alcoholism. In the late '70s, Martin concentrated on club dates, recordings, and an occasional film, and even make an appearance on the Jerry Lewis MDA telethon in 1978. (Talk of a complete reconciliation and possible re-teaming of their old act, however, was dissipated when it was clear that, to paraphrase Lewis, the men may have loved each other, but didn't like each other). Martin's even-keel world began to crumble in 1987, when his son Dean Paul was killed in a plane crash. A much-touted tour with old pals Sammy Davis Jr. and Frank Sinatra in 1989 was abruptly canceled, and the public was led to believe it was due to a falling out with Sinatra; only intimates knew that Martin was a very sick man, who had never completely recovered from the loss of his son and who was suffering from an undisclosed illness. But Martin courageously kept his private life private, emerging briefly and rather jauntily for a public celebration of his 77th birthday with friends and family. Whatever his true state of health, he proved in this rare public appearance that he was still the inveterate showman. Martin died of respiratory failure on Christmas morning, 1995. He was 78.

Trivia: Perhaps no popular film artist in history inspired quite so many conflicting opinions and emotions as actor/comedian Jerry Lewis. Often reviled in his native United States but worshipped as a genius throughout much of Europe and especially France, Lewis took slapstick comedy to new realms of absurdity and outrageousness, his anarchic vision dividing audiences who found him infantile and witless from those who applauded the ambitions of his sight gags, his subversions of standard comedic patterns, and his films' acute criticisms of American values. Regardless of opinion, he was not only one of the biggest stars of the postwar era but also one of the most powerful, and as the writer, director, and producer of many of his features, he qualified as a comic auteur firmly in the tradition of Chaplin and Keaton.Born Joseph Levitch in Newark, NJ, on March 16, 1926, he was the son of borscht-belt comics, spending the majority of his childhood living with relatives but joining his parents each summer as they performed in the Catskills. From the age of five on, Lewis occasionally performed in his parents' act, and later quit high school in order to travel with his own comedy routine, which consisted primarily of mocking famous entertainers while their records were played off-stage. His early years as a performer were lean, and he often resorted to work as a soda jerk, a theater usher, an office clerk, or any one of a number of short-lived jobs. During the summers, he too made the rounds of the Catskills' borscht circuit, but otherwise enjoyed little success.In 1946, Lewis met another struggling performer, a handsome singer named Dean Martin. Later that year, while playing Atlantic City's 500 Club, another act abruptly quit the show, and Lewis suggested Martin to fill the void. Initially the two performed separately, but one night they threw out their routines and teamed on-stage, a Mutt-and-Jeff combo whose wildly improvisational comedy quickly made them a star attraction along the Boardwalk. Within months, Martin and Lewis' salaries rocketed from 350 to 5,000 dollars a week, and by the end of the 1940s, they were the most popular comedy duo in the nation. In 1949, they made their film debut in George Marshall's My Friend Irma, and their supporting work proved so popular with audiences that their roles were significantly expanded for the sequel, the following year's My Friend Irma Goes West. With 1951's At War With the Army, Martin and Lewis earned their first star billing. The picture established the basic formula of all of their subsequent movie work, with Martin the suave straight man forced to suffer the bizarre antics of the manic fool Lewis. Critics often loathed the duo, but audiences couldn't get enough. In all, they made 13 comedies for Paramount, among them 1952's Jumping Jacks, 1953's Scared Stiff, and 1955's Artists and Models, a superior effort directed by Frank Tashlin. For 1956's Hollywood or Bust, Tashlin was again in the director's seat, but the movie was the team's last; after Martin and Lewis' relationship soured to the point where they were no longer even speaking to one another, they announced their breakup following the conclusion of their July 25, 1956, performance at the Copacabana, which celebrated to the day the tenth anniversary of their first show.Working again as a solo performer, Lewis also served as producer on his first post-Martin star vehicle, 1957's The Delicate Delinquent. Reviews were good, and later that same year he starred in The Sad Sack. With 1958's Rock-a-Bye Baby, he teamed again with Tashlin, the first of six Lewis comedies the director helmed; they next united for The Geisha Boy. Under Norman Taurog, Lewis returned in 1959 with Don't Give up the Ship. At the time of its release, he signed an exclusive contract with Paramount for ten million dollars and 60 percent of his box-office profits, the biggest payday of its kind in Hollywood history; at its peak, his popularity was so great that he even starred in a DC Comics book. Lewis celebrated his success by making another feature for Taurog, 1960's Visit to a Small Planet, before returning to work under Tashlin for Cinderfella.With 1960's The Bellboy, Lewis made his directorial debut. Here his comic vision began to truly take flight, with only a bare-bones plot and virtually no dialogue to best serve his ambitious gags. He also directed and produced 1961's The Ladies' Man, a lavishly filmed, vicious satire on American femininity, followed by The Errand Boy, another collection of sight gags which earned favorable comparison to the work of Jacques Tati. Under Tashlin, Lewis next starred in 1962's It's Only Money. Returning to the director's chair, he filmed his masterpiece, The Nutty Professor, a comic retelling of the Dr. Jekyll and Mr. Hyde tale which, while dismissed by American critics, solidified his following among European filmgoers, especially the staff of the influential Cahiers du Cinema.In between 1963's Who's Minding the Store? and 1964's The Disorderly Orderly, both written and directed by Tashlin, Lewis also helmed The Patsy, his most ambitious work to date. In 1965's The Family Jewels, he not only wrote and directed, but also played seven different roles. The picture was among his first not to become a major box-office success. He subsequently traveled to France to star in John Rich's Boeing Boeing. There "Le Roi du Crazy" (as he was dubbed) was met by adoring fans and critics with a three-week film festival, as well as a complete retrospective at the Cinematheque Francais. However, the feature was Lewis' last for Paramount, who found his insistence upon complete artistic control to be at odds with the increasingly disappointing box-office showings of his films.In 1966, after landing at Columbia to direct and star in Three on a Couch, Lewis hosted his first Labor Day telethon to raise funds in support of the Muscular Dystrophy Association. The star-studded event quickly became an institution, annually bringing in millions upon millions in charitable contributions. Lewis next starred in the Gordon Douglas space comedy Way, Way Out, followed by 1967's The Big Mouth, which he directed and co-wrote. He next appeared in Jerry Paris' Don't Raise the Bridge, Lower the River and George Marshall's Hook, Line and Sinker, subsequently directing (but, for the first and only time, not starring) in 1969's One More Time. None of the movies found favor with audiences or critics, however, and after the failure of 1970's Which Way to the Front?, Lewis' career in Hollywood was in grave condition. While seeking funding for his next project, in 1971 he wrote a book, The Total Filmmaker. With financing from the Swedish-based Cinema and Film Enterprises, in 1972 Lewis mounted The Day the Clown Cried, a disturbing tale focusing on a famous clown forced by the Nazis to lead children to their deaths in the gas chambers. Widely speculated to be either a transcendent masterpiece or an obscene failure, the radical feature was never released, remaining trapped in legal limbo. Lewis spent the remainder of the decade out of film, appearing instead in the disastrous Broadway production Helzapoppin' as well as in concert and on the lecture circuit. Finally, in 1979 he wrote, directed, and starred in Hardly Working; though not released until two years later because of financial entanglements, the movie proved to be a major success, grossing over 50 million dollars in North America alone.In late 1982, Lewis was declared clinically dead after suffering a massive heart attack. He was miraculously revived, and the excessive lifestyle that led to his near-death experience became the subject of his 1983 feature Smorgasbord, which later premiered on HBO as Cracking Up before finally bowing in theaters in 1985. In the meantime, Lewis garnered some of the best reviews of his career for his work in Martin Scorsese's The King of Comedy, but his performance did not lead to work in other major Hollywood productions. As a result, he traveled to France, appearing in the 1984 comedies To Catch a Cop and Par Ou T'es Rentre? on T'a Pas Vue Sortir. The dismal Slapstick of Another Kind also arrived in 1984, with only small roles in the 1987 telefilm Fight for Life and Susan Seidelman's 1989 effort Cookie, as well as an extended supporting turn in the television series Wiseguy. By the 1990s, Lewis experienced something of a resurgence. Although he remained unable to secure directorial work, he did appear in the major studio films Mr. Saturday Night and Funny Bones. Additionally, he starred on Broadway in a successful revival of Damn Yankees and in 1996, The Nutty Professor was remade by Eddie Murphy.

Trivia: Alluring French leading lady Corinne Calvet began making films in her native country in 1945. She was brought to America by producer Hal Wallis, who cast her in the 1949 Casablanca derivation Rope of Sand. From 1950 through 1953, Calvet acted opposite such worthies as Danny Kaye, Dan Dailey, James Cagney, Alan Ladd, and Dean Martin and Jerry Lewis. Back in Europe in 1954, Calvet appeared in such international productions as Sins of Casanova (1954) and Napoleon (1955). Corinne Calvet continued making scattered appearances in American films into the 1980s, often in such fare as the Cherri Caffaro soft-core porn vehicle Too Hot to Handle (1976). In her autobiography Has Corinne Been a Good Girl? she claimed that her marriage to adventure star John Bromfield (one of five husbands) came about because Bromfield was ordered to marry her by his studio.

Trivia: Beefy, bulldog-visaged actor Robert Strauss was the son of a theatrical costume designer. Strauss tried his hand at a number of odd jobs before he, too, answered the call of the theater. His best-known Broadway role was the dimwitted, Betty Grable-loving Animal in Stalag 17, a role that he recreated for the 1953 film version, and was Oscar nominated for his efforts. Though he'd been seen onscreen as early as 1942, Strauss' film career didn't really take off until he garnered positive notices for Animal. He spent most of the 1950s at Paramount, working with everyone from William Holden to Jerry Lewis. In 1971, after several distinguished years in the business, Robert Strauss found himself the object of showbiz-column scrutiny when he agreed to co-star in the Danish "soft core" sex farce Dagmar's Hot Pants.

Trivia: Born William Anderson, this brawny, blond second lead had the looks of a Viking god. He worked as a band vocalist and trombone player, then gained a small amount of stage experience before debuting onscreen in a bit part (as a corpse) in Wanderer of the Wasteland (1935). Billed by Paramount as Glenn Erickson, he began his screen career as a leading man in Westerns. Because of his Nordic looks he was renamed Leif Erikson, which he later changed to Erickson. He played intelligent but unexciting second leads and supporting parts in many films. Erickson took four years off to serve in World War II and was twice wounded. He made few films after 1965 and retired from the screen after 1977. Also working on Broadway and in TV plays, he played the patriarch Big John Cannon in the TV series High Chaparral (1967-1971). From 1934 to 1942, he was married to actress Frances Farmer, with whom he co-starred in Ride a Crooked Mile (1938); later, he was briefly married to actress Margaret Hayes (aka Dana Dale).

Trivia: Character actor, onscreen from 1934; concurrently, for 33 years he was comedian Jack Benny's announcer and straight man on radio and TV.

Trivia: The youngest of the seven children of a Brooklyn contractor, Vince Edwards left vocational school when he won an athletic scholarship to Ohio State University. He subsequently gave up college to attend New York's American Academy of Dramatic Arts. After working as a chorus boy in the Broadway musical High Button Shoes, Edwards fell under the spell of the then-fashionable "Method" school of acting: "whoever had the dirtiest outfit was top man on Broadway," he would later comment. Edwards tended to be cast on the basis of his physique rather than his acting ability in such films as Mr. Universe (1951) and Hiawatha (1952). After ten years of film roles of varying quality, Edwards was starred in the television series Ben Casey (1961-66), rapidly developing a reputation as "TV's surly surgeon." Toward the end of the Casey run, Edwards began dabbling in directing, an activity that he has pursued ever since. Later projects involving Vince Edwards have included the brief 1970 TV series Matt Lincoln, an attempt to establish himself as a nightclub singer, and a voiceover stint for the TV cartoon daily The Centurions.

Trivia: Trained as a dancer, Mary Treen spent the late '20s-early '30s as a leading lady in vaudeville, light opera, and musical comedy. After a handful of Vitaphone short subjects, Treen was signed to a Warner Bros. contract in 1934. She spent the bulk of her film career playing wisecracking clerks and telephone operators, or essaying "heroine's best friend" roles. Her movie assignment was the Tillie the Toiler-type role especially written for her in Paramount's I Love a Soldier (1944), though her many fans would probably nominate her performance as Cousin Tilly in the ubiquitous It's a Wonderful Life (1946). On television, Treen was a regular on the 1954 sitcom Willy, and later played Hilda the maid on The Joey Bishop Show (1962-1965). Mary Treen's final appearance before the cameras was in the 1983 made-for-TV movie Wait Till Your Mother Gets Home!

Trivia: As a child, American actress Betty Hutton, born Elizabeth Thornburg in 1921, sang on street corners to help support her family after her father died. She was singing with bands by the time she was 13, eventually becoming the vocalist for the Vincent Lopez orchestra. Because of her exuberance and energy, she became known as "The Blonde Bombshell." She debuted on Broadway in Two for the Show in 1940, then in 1941, signed a film contract with Paramount. Hutton debuted onscreen in The Fleet's In (1942), and for the next decade appeared in tailor-made comedic roles and occasional dramatic roles. She sabotaged her own career in 1952, however, when she demanded that her husband (choreographer Charles O'Curran) direct her films; the studio refused and she walked out on her contract, after which she appeared in only one more film. Over the next 15 years, she worked occasionally onstage and in nightclubs, and co-starred on Broadway in Fade In Fade Out in 1965. Her career going nowhere, she attempted suicide in 1972; a friendly priest helped her find work in a Catholic rectory, and eventually she enrolled in college and earned a Master's degree. She went on to teach acting at two New England colleges. Hutton died in Palm Springs, CA, in early March 2007, at age 86. Her sister is actress Marion Thornburg.

Trivia: Vaudeville, stock and Broadway actor Donald MacBride made his Hollywood debut in the 1938 Marx Brothers farce Room Service, reprising his stage role as explosive hotel manager Wagner ("Jumping Butterballs!!!") His previous film appearances had been lensed in his native New York, first at the Vitagraph studios in Flatbush, where he showed up in the Mr. and Mrs. Sidney Drew comedies of the 1910s. During the early talkie years, MacBride showed up in several one- and two-reelers, providing support to such Manhattan-based talent as Burns & Allen, Bob Hope and Shemp Howard. After Room Service, the bulldog-visaged MacBride was prominently cast in picture after picture, usually as a flustered detective. He was teamed with Alan Mowbray in a brace of 1940 RKO "B"s about a pair of shoestring theatrical producers, and was featured in four of Abbott and Costello's comedies. Among the actor's rare noncomic roles were the dying gangster boss in High Sierra (1941) and the dour insurance executive in The Killers (1946). MacBride's television work includes a season as dizzy Marie Wilson's long-suffering employer on the early-1950s TV sitcom My Friend Irma. Donald MacBride's last film role was as Tom Ewell's backslapping boss in the 1955 Billy Wilder comedy The Seven-Year Itch.

Trivia: It was once said of the versatile Louis Jean Heydt that he played everything except a woman. Born in New Jersey, the blonde, chiseled-featured Heydt attended Worcester Academy and Dartmouth College. He briefly served as a reporter on the New YorkWorld before opting for a stage career. Among his Broadway appearances was the lead in Preston Sturges' Strictly Dishonorable, establishing a long working relationship with Sturges that would extend to the latter's film productions The Great McGinty (1940) and The Great Moment (1942). Heydt's film characters often seemed destined to be killed off before the fourth reel, either because they were hiding something or because they'd just stumbled upon important information that could prove damaging to the villains. He was knocked off in the first three minutes of Charlie Chan at Treasure Island (1939) and was shot full of holes just before revealing an important plot point to Humphrey Bogart in The Big Sleep (1946) (this after an unforgettable interrogation scene in which Heydt is unable to look Bogart straight in the eye). Heydt's many other assignments include the hungry soldier in Gone with the Wind (1939), Mentor Graham in Abe Lincoln in Illinois (1940), a frustrated general practitioner in Tortilla Flat (1941), a squadron leader in Gung Ho (1943) and a loquacious rural family man in Come to the Stable (1949). Our Gang fans will recall Heydt as Bobby Blake's stepfather in the MGM "Gang" shorts Dad For a Day (1939) and All About Hash (1940). A ubiquitous TV actor, Louis Jean Heydt was seen on many anthology series, and as a semi-regular on the 1958 syndicated adventure weekly MacKenzie's Raiders.

Trivia: Ruby-lipped, brunette leading lady Elaine Stewart worked as an usherette, cashier and model before entering films in 1951. Signed to an MGM contract, Stewart was hard to ignore in such roles as the sluttish Lila in The Bad and the Beautiful (1952) and the garrulous socialite Jane Ashton in Brigadoon (1954). Usually consigned to secondary parts, she was afforded a leading role as a harem-togged princess in The Adventures of Hajji Baba (1954). Out of films by 1965, Elaine Stewart later showed up as a blackjack dealer on the TV game shows High Rollers (1975) and Las Vegas Gambit (1980), both of which were co-produced by her husband, Merrill Heater.

Trivia: A former actor and stand-up comedian, Danny Arnold was best known for writing and producing such high-quality television sitcoms as Bewitched and That Girl. Over his career, he won two Emmy's, one for My World and Welcome to It and one for the series for which he is most famous, Barney Miller. This latter show also won Arnold a Peabody Award. He was honored with the Paddy Chayefsky Award in 1985 by the Writer's Guild of America to celebrate his lifetime of achievement. A native of New York City, Arnold started out acting in summer stock and doing comedy in vaudeville, but began his career in Hollywood at Columbia Studios as a sound editor in 1944. He appeared in films as an actor opposite the hot young comic duo Dean Martin and Jerry Lewis. Arnold wrote the screenplay for a third Martin and Lewis vehicle, The Caddy (1953). In 1956, Arnold started writing for such television series as The Tennessee Ernie Ford Show and The Rosemary Clooney Show. He started contributing to television sitcoms in 1963. Though his subsequent work was popular with audiences, Arnold frequently butted heads with TV executives regarding issues of content and fair shooting schedules. While working on Barney Miller, Arnold became so sick of the constant network battles that he founded his own distribution company so he could syndicate shows as he wished, but with the cancellation of his subsequent series Joe Bash and Stat, his plans with Miller never came to fruition.

Trivia: American actor James Flavin was groomed as a leading man when he first arrived in Hollywood in 1932, but he balked at the glamour treatment and was demonstrably resistant to being buried under tons of makeup. Though Flavin would occasionally enjoy a leading role--notably in the 1932 serial The Airmail Mystery, co-starring Flavin's wife Lucille Browne--the actor would devote most of his film career to bit parts. If a film featured a cop, process server, Marine sergeant, circus roustabout, deckhand or political stooge, chances are Jimmy Flavin was playing the role. His distinctive sarcastic line delivery and chiselled Irish features made him instantly recognizable, even if he missed being listed in the cast credits. Larger roles came Flavin's way in King Kong (1933) as Second Mate Briggs; Nightmare Alley (1947), as the circus owner who hires Tyrone Power; and Abbott and Costello Meet the Killer, Boris Karloff (1949), as a long-suffering homicide detective. Since he worked with practically everyone, James Flavin was invaluable in later years as a source of on-set anecdotes for film historians; and because he evidently never stopped working, Flavin and his wife Lucille were able to spend their retirement years in comfort in their lavish, sprawling Hollywood homestead.

Trivia: In little more than a year's time and after appearing in only three feature films, James Byron Dean became one of the most admired screen stars of all time, achieving cult status and becoming an icon of American culture. The son of a dental technician, Dean was born in Marion, IN, an unprepossessing Midwestern burg that has since become a shrine to Dean aficionados. At five, Dean moved to Los Angeles with his family. Four years later, his mother died, and he was returned to the Midwest, to be cared for by relatives on their Fairmount, IN, farm. Upon graduation from high school, he returned to California and attended Santa Monica Junior College and U.C.L.A., later gravitating to acting, first with James Whitmore's workshop group, then in television commercials. His earliest existing film appearance was as one of Christ's apostles in "Hill Number One," a 1951 episode of the TV religious series Family Theatre. Working as a busboy between acting engagements in New York, he was given his first Broadway break in the short-lived The Jaguar. Dean soon began receiving uncredited bit parts in Hollywood films, the most prominent of which was his tongue-twisting turn as a soda emporium customer in Universal's Has Anybody Seen My Gal? (1952). Then it was back to New York, where he observed classes at the Actors' Studio. While making a few scattered live-TV appearances, Dean paid the bills by working as a "test pilot" on the audience-participation series Beat the Clock, walking through the various stunts in rehearsal to see if "normal" people could perform them during the telecast. Upon being cast in the Broadway play The Immoralist, he was compelled to give up his Beat the Clock job to another aspiring actor, Warren Oates.Creating a sensation as an Arab gigolo in The Immoralist, Dean came to the attention of director Elia Kazan, who'd previously brought the "Method" to the masses by casting Marlon Brando in A Streetcar Named Desire (1951) and Viva Zapata! (1952). Sensing an embryonic Brando in Dean, Kazan cast the sensitive young actor as Cal Trask in the 1955 film adaptation of Steinbeck's East of Eden. Playing a hell-raising teenager who yearned openly and unashamedly to be loved and accepted by his rigid and taciturn father (Raymond Massey), Dean "spoke" to the disenfranchised youth of the Eisenhower era far more eloquently than any previous actor. Dean carried his loner persona over into his next film, Rebel Without a Cause (1955). Even after four decades, this Nicholas Ray-directed film remains the quintessential misunderstood-teen flick. While Rebel was in production, East of Eden hit the theaters, stirring up the first signs of Dean's staggering popularity -- what would later become the "James Dean Cult." Knowing they had a gold mine on their hands, Warner Bros. instantly upped the budget of Rebel, scrapping the black-and-white footage that had already been shot and starting the whole project over in color and Cinemascope. Now committed to a seven-year contract at Warners, Dean was afforded third billing to Rock Hudson and Elizabeth Taylor in Giant, director George Stevens' epic cinemazation of Edna Ferber's best-seller. As Jett Rink, Dean once more played the brooding outsider, this time separated from his heart's desire by his lowly station in life. Even when cast in a villainous light, however, Dean remains the most fascinating presence in the film, especially in his brilliantly choreographed climactic drunk scene. Dean plays the cast-off loner in all three of his starring features, unable to draw attention to himself until forcing the issue. Off camera, Dean unfortunately possessed a fascination with fast cars. Upon completing Giant, he piled into his new 7,000 dollar Porsche and zoomed off to a racing event in Salinas. Traveling 115 miles an hour, Dean was killed in a head-on crash just outside Paso Robles, CA. The hysterical outpouring of grief that attended his death had not been witnessed by the motion picture community since the demise of Rudolph Valentino in 1926. The cult worship of James Dean assumed a variety of shapes, sizes, and degrees. Book upon book has been written about Dean's short life; original poster art from his films has been auctioned off at astronomical prices and two full-length biopics have been produced: the hastily cobbled together The James Dean Story (1957) and the made-for-TV James Dean (1976), the latter project based on the memoirs of Dean's roommate, James Bast, and starring Stephen McHattie. After Dean's death, two of the actor's scheduled post-Giant projects, the 1955 TV musical adaptation of Our Town and the 1956 Rocky Graziano biopic Somebody Up There Likes Me, were both re-cast with Paul Newman. It is quite possible that the James Dean mystique, which persists to the present day, might not have been as intense had he lived longer, but like so many others untimely ripped from our midst -- Jean Harlow, Marilyn Monroe, John Lennon -- James Dean has transcended mere idol status and entered the hallowed halls of Legend.

Trivia: Actress Mary Murphy's film career always seemed to be starting but never really progressing. In Hollywood from 1949, Murphy first gained critical attention for her performance opposite Marlon Brando in The Wild One (1954), but before the year was out she was going through the motions of a traditional ingénue in the Vincent Price shocker The Mad Magician (1954). The following year she was again showered with praise for her portrayal of Fredric March's daughter in The Desperate Hours (1955); once more, however, this personal triumph was followed by forgettable roles in the likes of The Maverick Queen (1956) and Live Fast Die Young (1958). At one point, she absented herself from the screen for seven years, returning only when a good part finally surfaced in Junior Bonner (1972). In 1961, Mary Murphy was a regular on the brief TV series The Investigators.

Trivia: In films from 1944, actor Marshall Reed played all sorts of roles in all sorts of westerns. Occasionally the lead (especially if the budget was beneath $80,000), Reed was more often a supporting player in films like Angel and the Badman (1947) and The Way West (1967). He was also active in serials, appearing in such chapter plays of the 1940s and 1950s as Federal Agents vs. Underworld Inc, The Invisible Monster Strikes, and Blackhawk. On television, Reed played Lt. Fred Asher on The Lineup (1954-58), and later became a TV documentary producer. Colorado-born Marshall Reed should not be confused with the British actor of the same name, nor the child performer who appeared as John Curtis Willard on the 1970s TV series The Waltons.

Trivia: Child actor Skip Homeier began acting on radio in his native Chicago, which in the early 1930s was a major network center. Billed as "Skippy," he was one of the kiddie regulars on Let's Pretend, and for a while played the son of the heroine on the long-running soap opera Portia Faces Life. He was also frequently tapped for stage work in both the Midwest and New York. It was Homeier's chilling portrayal of a preteen Nazi in the Broadway production Tomorrow the World that led to his film debut in the 1944 movie version of that play. Typecast as a troublesome teenager thereafter, Homeier was finally permitted a comparatively mature role in Lewis Milestone's The Halls of Montezuma (1950). He worked steadily in westerns and crime films thereafter, occasionally billed as G. V. Homeier. It was back to "Skip" for his 1960 TV series Dan Raven. Alternating between Skip and G. V. Homeier for the rest of his career, the actor went on to co-star as Dr. Hugh Jacoby in the weekly TVer The Interns (1970-71) and to play supporting roles in such films as The Greatest (1977) and the made-for-TV The Wild Wild West Revisited (1979). Homeier died in 2017, at age 86.

Trivia: Richard Emory was a character actor who appeared in a few films, primarily Westerns, during the 1950s. Born Emory Johnson, the son of silent film actress Ella Hall, he made his film debut in Bandit King of Texas (1949). In addition to his film credits, Emory also appeared in a few television action series such as Death Valley Days.

Trivia: A top athlete at Brown University, Don Haggerty performed military service and did stage work before his movie-acting debut in 1947. Free-lancing, Haggerty put in time at virtually every studio from Republic to MGM, playing roles of varying sizes in films like Sands of Iwo Jima (1949) The Asphalt Jungle (1951), Angels in the Outfield (1951) and The Narrow Margin (1952). Most often, he was cast as a big-city detective or rugged westerner. During the first (1955-56) season of TV's The Life and Legend of Wyatt Earp, Haggerty showed up semi-regularly as Marsh Murdock. Don Haggerty was the father of Grizzly Adams star Dan Haggerty.

Trivia: Brunette American actress Elaine Riley was signed by RKO Radio in 1942, where her first assignments included the studio's Leon Errol two-reel comedies. She went on to play minor roles in RKO's feature film product, showing up as hat check girls, waitresses, and chorus dancers. Larger parts came her way in the studio's Tim Holt Westerns, in which she was usually cast as a damsel in distress. After leaving RKO, Elaine Riley freelanced at Paramount, Monogram, and other studios until around 1956.