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: The son of actor Robert Keith (1896-1966), Brian Keith made his first film appearance in 1924's Pied Piper Malone, when he was well-below the age of consent. During the war years, Keith served in the Marines, winning a Navy Air Medal; after cessation of hostilities, he began his acting career in earnest. At first billing himself as Robert Keith Jr., he made his 1946 Broadway debut in Heyday, then enjoyed a longer run as Mannion in Mister Roberts (1948), which featured his father as "Doc." His film career proper began in 1952; for the rest of the decade, Keith played good guys, irascible sidekicks and cold-blooded heavies with equal aplomb. Beginning with Ten Who Dared (1959), Keith became an unofficial "regular" in Disney Films, his performances alternately subtle (The Parent Trap) and bombastic. Of his 1970s film efforts, Keith was seen to best advantage as Teddy Roosevelt in The Wind and the Lion (1975). In television since the medium was born, Keith has starred in several weekly series, including The Crusader (1955-56), The Little People (aka The Brian Keith Show, 1972-74) and Lew Archer (1975). His longest-running and perhaps best-known TV endeavors were Family Affair (1966-71), in which he played the uncharacteristically subdued "Uncle Bill" and the detective series Hardcastle & McCormick (1983-86). His most fascinating TV project was the 13-week The Westerner (1960), created by Sam Peckinpah, in which he played an illiterate cowpoke with an itchy trigger finger. Keith's personal favorite of all his roles is not to be found in his film or TV output; it is the title character in Hugh Leonard's stage play Da. Plagued by emphysema and lung cancer while apparently still reeling emotionally from the suicide of his daughter Daisy, 75-year-old Brian Keith was found dead of a gunshot wound by family members in his Malibu home. Police ruled the death a suicide. Just prior to his death, Keith had completed a supporting role in the TNT miniseries Rough Riders.

Trivia: British actress Honor Blackman began as a J. Arthur Rank contractee, where she was groomed for demure "English rose" types in films like Fame is the Spur (1947) and Quartet (1948). Honor would not realize major stardom until 1962, when she was cast as leather-clad karate expert Cathy Gale in the British TV adventure series The Avengers (until recently, U.S. audiences were permitted to see only the Avengers episodes featuring Ms. Blackman's successors, Diana Rigg and Linda Thorson). International stardom ensued when Honor was seen in another martial-arts gig as the gloriously yclept Pussy Galore in Goldfinger (1964). She has played a wide variety of roles since, with special emphasis on droll comedy. Honor Blackman's last picture was the 1978 remake of The Cat and the Canary, though she continues to appear in British television, most recently on the weekly series The Upper Hand (1990-93).

Trivia: An actress from childhood, London-born Carol White made her film bow in 1959 in the Carry On series. In her twenties, White cornered the market in sluttish working-class heroines, notably in the TV dramas Up the Junction and Cathy Come Home. She gained international film stardom as the promiscuous leading lady in Poor Cow (1967), and she continued appearing in worthwhile efforts like Daddy's Gone A-Hunting (1969). Her career went into decline in the late '60s and early '70s. Carol White died of a drug overdose at the age of 49.

Trivia: Born in Oklahoma of Cherokee-Irish stock, Ben Johnson virtually grew up in the saddle. A champion rodeo rider in his teens, Johnson headed to Hollywood in 1940 to work as a horse wrangler on Howard Hughes' The Outlaw. He went on to double for Wild Bill Elliot and other western stars, then in 1947 was hired as Henry Fonda's riding double in director John Ford's Fort Apache (1948). Ford sensed star potential in the young, athletic, slow-speaking Johnson, casting him in the speaking role of Trooper Tyree in both She Wore a Yellow Ribbon (1949) and Rio Grande (1950). In 1950, Ford co-starred Johnson with another of his protégés, Harry Carey Jr., in Wagonmaster (1950). Now regarded as a classic, Wagonmaster failed to register at the box office; perhaps as a result, full stardom would elude Johnson for over two decades. He returned periodically to the rodeo circuit, played film roles of widely varying sizes (his best during the 1950s was the pugnacious Chris in George Stevens' Shane [1953]), and continued to double for horse-shy stars. He also did plenty of television, including the recurring role of Sleeve on the 1966 western series The Monroes. A favorite of director Sam Peckinpah, Johnson was given considerable screen time in such Peckinpah gunfests as Major Dundee (1965) and The Wild Bunch (1969). It was Peter Bogdanovich, a western devotee from way back, who cast Johnson in his Oscar-winning role: the sturdy, integrity-driven movie house owner Sam the Lion in The Last Picture Show (1971). When not overseeing his huge horse-breeding ranch in Sylmar, California, Ben Johnson has continued playing unreconstructed rugged individualists in such films as My Heroes Have Always Been Cowboys (1991) and Radio Flyer (1992), in TV series like Dream West (1986, wherein Johnson was cast as frontier trailblazer Jim Bridger), and made-for-TV films along the lines of the Bonanza revivals of the 1990s.

Trivia: After serving in World War Two he began acting, training at the Dramatic Workshop of the American Theater Wing and at the Actors Studio. He performed off-Broadway and in live TV drama; in 1955 he appeared to much acclaim in Broadway's Bus Stop. He began appearing in films in 1958, going on to a sporadic but intermittently busy screen career; he often played cowpokes and "good ol' boys." Meanwhile, most of his work was done on TV. From 1956-63 he was married to actress Peggy Ann Garner. In 1990 he was found dead next to the body of his estranged wife; a police investigation suggested that he had killed his wife and then himself.

Trivia: British actor Don Knight played leading roles in a number of Hollywood films between the late '60s and early '80s. He began acting while attending University in 1958 and later worked on television. Knight was also an ordained minister and a dialectician.

Trivia: Blonde, loquacious American actress Joyce Van Patten was being sent out for modelling assignments at the age of eight months. Her stagestruck mother advertised Van Patten and older brother Dick as "the Van Patten Kids," ready and willing to step into any juvenile roles available. At age 5, Joyce made her Broadway debut in Love's Old Sweet Song, which also featured Dick. Joyce was nine years old when she won the Donaldson award for her performance in the stage drama Tomorrow the World. She interrupted her stage career for a brief marriage at age 16 (her equally brief second marriage was to actor Martin Balsam), then at 20 played her first adult role in the Broadway comedy Desk Set. Her first film assignment was an unbilled bit in the Manhattan-lensed Fourteen Hours (1951), and her first regular TV stint was on the CBS soap opera As the World Turns in the late '50s. Joyce has since been seen on a weekly basis in such TV series as The Danny Kaye Show (1963-66), The Good Guys (1968) (as Herb Edelman's good-natured wife), The Don Rickles Show (1972) (as Don's goodnatured wife) and The Mary Tyler Moore Hour (1979) (as Mary's personal secretary, yet again good-natured). Joyce Van Patten's films have included The Goddess (1958), I Love You Alice B. Toklas (1968), St. Elmo's Fire (1984), and a rare "bitchy" appearance as the antagonistic athletic coach in The Bad News Bears (1976).

Trivia: Had he been born a decade earlier, American actor Denver Pyle might well have joined the ranks of western-movie comedy sidekicks. Instead, Pyle, a Colorado farm boy, opted for studying law, working his way through school by playing drums in a dance band. Suddenly one day, Pyle became disenchanted with law and returned to his family farm, with nary an idea what he wanted to do with his life. Working in the oil fields of Oklahoma, he moved on to the shrimp boats of Galveston, Texas. A short stint as a page at NBC radio studios in 1940 didn't immediately lead to a showbiz career, as it has for so many others; instead, Pyle was inspired to perform by a mute oilfield coworker who was able to convey his thought with body language. Studying under such masters as Michael Chekhov and Maria Ouspenskaya, Pyle was able to achieve small movie and TV roles. He worked frequently on the western series of Roy Rogers and Gene Autry; not yet bearded and grizzled, Pyle was often seen as deputies, farmers and cattle rustlers. When his hair turned prematurely grey in his early '30s, Pyle graduated to banker, sheriff and judge roles in theatrical westerns -- though never of the comic variety. He also was a regular on two TV series, Code 3 (1956) and Tammy (1966). But his real breakthrough role didn't happen until 1967, when Pyle was cast as the taciturn sheriff in Bonnie and Clyde who is kidnapped and humilated by the robbers -- and then shows up at the end of the film to supervise the bloody machine-gun deaths of B&C. This virtually nonspeaking role won worldwide fame for Pyle, as well as verbal and physical assalts from the LA hippie community who regarded Bonnie and Clyde as folk heroes! From this point forward, Denver Pyle's billing, roles and salary were vastly improved -- and his screen image was softened and humanized by a full, bushy beard. Returning to TV, Pyle played the star's father on The Doris Day Show (1968-73); was Mad Jack, the costar/narrator of Life and Times of Grizzly Adams (1978-80); and best of all, spent six years (1979-85) as Uncle Jesse Duke on The Dukes of Hazzard. Looking stockier but otherwise unchanged, Denver Pyle was briefly seen in the 1994 hit Maverick, playing an elegantly dishonest cardshark who jauntily doffs his hat as he's dumped off of a riverboat. Pyle died of lung cancer at Burbank's Providence St. Joseph Medical Center at age 77.

Trivia: Prior to his career as an actor, many knew Merlin Olsen as a professional football player with the Los Angeles Rams in the 1960s and '70s. After retiring from the NFL in 1976, Olsen embarked on a successful career as an actor and on-air personality, joining the cast of the popular series Little House on the Prairie and Father Murphy. He would also act as pitchman for FTD and El Paseo Bank, in addition to hosting numerous Children's Miracle Network telethons. Olsen passed away in March 2010 at the age of 69.

Trivia: From his screen debut in 1965 onward, Robert Donner has revelled in spooky, oddball roles of the street evangelist/undertaker/obsessive lawman variety. Most often spotted in Westerns, he has appeared in El Dorado (1967), The Undefeated (1969), Chisum (1970), High Plains Drifter (1973), The Man Who Loved Cat Dancing (1973), and The Last Hard Men (1975). On TV, he was regularly featured as Yancy Tucker on The Waltons (1972-1979) and Mayor Chamberlain Brown in Legend (1995). Donner's crowning series-TV achievement was as the zoned-out Exidor, leader of an invisible cult called the Friends of Venus, on the popular sitcom Mork & Mindy (1978-1982). Robert Donner is married to producer/writer Jill Sherman.

Trivia: The son of actors Harry Carey and Olive Golden, Harry Carey Jr. never answered to "Harry" or "Junior"; to his friends, family and film buffs, he was always "Dobe" Carey. Raised on his father's California ranch, the younger Carey spent his first six adult years in the Navy. While it is commonly assumed that he made his film debut under the direction of his dad's longtime friend John Ford, Carey in fact was first seen in a fleeting bit in 1946's Rolling Home, directed by William Berke. It wasn't until his third film, Three Godfathers (dedicated to the memory of his father) that Carey worked with Ford. Honoring his promise to Harry Sr. that he'd "look after" Dobe, Ford saw to it that the younger Carey was given a starring assignment (along with another of the director's proteges, Ben Johnson), in Wagonmaster (1950). Though he handled this assignment nicely, exuding an appealing earnest boyishness, Carey wasn't quite ready for stardom so far as the Hollywood "higher-ups" were concerned, so he settled for supporting roles, mostly in westerns. John Ford continued to use Carey whenever possible; in 1955's The Long Gray Line, the actor has a few brief scenes as West Point undergraduate Dwight D. Eisenhower. Carey was also featured on the "Spin and Marty" segments of Walt Disney's daily TVer The Mickey Mouse Club (1955-59). In later years, Carey's weather-beaten face was seen in choice character assignments in films ranging from The Whales of August (1987) to Back to the Future III (1990); he was also hired by such John Ford aficionados as Peter Bogdanovich, who cast Carey as an old wrangler named Dobie (what else?) in Nickelodeon (1976), and as an ageing bike-gang member named Red in Mask (1985). In 1994, Harry Carey Jr. published his autobiography, Company of Heroes. Carey died of natural causes at age 91 in late December 2012.

Trivia: Judi Meredith was not much more than a tabloid celebrity in the late '50s and early '60s; her onscreen career was improbable enough to almost qualify as a minor miracle. Born Judith Clare Boutin in Portland, OR, she was an athletic child and became a figure skater. She turned professional and became a star performer with the Ice Follies in her teens. Her career was cut short, though, by an accident in which her back was broken. Her doctors told her that she would never skate again, but she resumed her career after a period of recovery until she broke her kneecap, which finally did end her professional skating. She turned to acting in her late teens and was performing in stock when she was spotted by George Burns, who liked her outgoing personality and healthy, athletic look. He cast her in a recurring role late in the run of The George Burns and Gracie Allen Show, playing Bonnie Sue McAfee in 1957. From there it was on to Studio One in "The Left-Handed Welcome" and a boisterous guest performance in the John Payne Western series The Restless Gun; she also played herself in the short-lived series The George Burns Show (1958). Meredith began appearing in movies that year, in pictures such as the Western drama Wild Heritage and teen romance Summer Love. She quickly began moving into actor and celebrity circles, and at one time was linked romantically to Bobby Darin and Frank Sinatra. Meredith's biggest theatrical film role was as Princess Elaine in the fantasy-adventure film Jack the Giant Killer (1962). Her career arc was confined largely to television; however, Meredith's work included a string of appearances on the show Ben Casey, and she delivered a truly poignant performance in "Errant Knight," an episode of Bonanza featuring Dan Blocker and John Doucette. She was in her element as the whip-wielding Calamity Jane, working opposite Wild Bill Hickock (Robert Culp) in the made-for-TV film The Raiders (1963). She also had a role in William Castle's The Night Walker (1964), but two years later, she closed out the major part of her career in Curtis Harrington's Planet of Blood, made at American International Pictures. She was largely absent from the screen until 1971's Western comedy Something Big, and was last seen on television in an episode of Emergency two years later.

Trivia: Edward Faulkner is a general-purpose actor most notable for his appearances in 1960s John Wayne films. Born in 1932 in Lexington, Kentucky, Faulkner had an early fascination with stage magic and did some acting as a teen and during his college years. In 1958, following a stint in the U.S. Air Force, Faulkner decided to try professional acting. He was fortunate enough to become friends with Andrew V. McLaglen, the director son of Victor McLaglen, who saw the 6-foot-3 Faulkner, a skilled horseman, as a natural for Westerns. Faulkner became a familiar presence in the genre with small supporting roles in Have Gun - Will Travel and other series during the early 1960s.Faulkner entered feature films with the John Wayne vehicle McLintock! (1963), directed by McLaglen, playing a prominent supporting role as the rival/antagonist to Patrick Wayne's young hero. His muscular build and intense eyes made him a good "friendly enemy" in that picture, and he would often play middle-level authority figures as well as opponents to the hero in subsequent screen work. Faulkner's other John Wayne-film credits include The Green Berets, Hellfighters, The Undefeated, Rio Lobo, and Chisum.In addition to his work in Westerns, Faulkner appeared in such films as How To Murder Your Wife and the Elvis Presley vehicles Tickle Me and Sergeant Deadhead (all 1965). His television work includes episodes of The Odd Couple and Adam-12. Faulkner left the movie and television industries in the late 1970s.

Trivia: The son of a brewery owner, steely-eyed American character actor Paul Fix went the vaudeville and stock-company route before settling in Hollywood in 1926. During the 1930s and 1940s he appeared prolifically in varied fleeting roles: a transvestite jewel thief in the Our Gang two-reeler Free Eats (1932), a lascivious zookeeper (appropriately named Heinie) in Zoo in Budapest (1933), a humorless gangster who puts Bob Hope "on the spot" in The Ghost Breakers (1940), and a bespectacled ex-convict who muscles his way into Berlin in Hitler: Dead or Alive (1943), among others. During this period, Fix was most closely associated with westerns, essaying many a villainous (or at least untrustworthy) role at various "B"-picture mills. In the mid-1930s, Fix befriended young John Wayne and helped coach the star-to-be in the whys and wherefores of effective screen acting. Fix ended up appearing in 27 films with "The Duke," among them Pittsburgh (1942), The Fighting Seabees (1943), Tall in the Saddle (1944), Back to Bataan (1945), Red River (1948) and The High and the Mighty (1954). Busy in TV during the 1950s, Fix often found himself softening his bad-guy image to portray crusty old gents with golden hearts-- characters not far removed from the real Fix, who by all reports was a 100% nice guy. His most familiar role was as the honest but often ineffectual sheriff Micah Torrance on the TV series The Rifleman. In the 1960s, Fix was frequently cast as sagacious backwoods judges and attorneys, as in To Kill a Mockingbird (1962).

Trivia: Big-framed character actor (and sometime leading man) David Huddleston worked in virtually every film and television genre there is, from Westerns to crime dramas to science fiction. Born in Vinton, Virginia, he attended the Fork Union Military Academy before entering the United States Air Force, where he received a commission as an officer. After returning to civilian life, Huddleston enrolled in the American Academy of Dramatic Arts. He made his television debut in 1961, at age 31, in an episode of the Western series Shotgun Slade. Two years later, the actor made his first big-screen appearance with a small role in All the Way Home (1963). A year later, he showed up in Black Like Me; and in 1968, Huddleston was back on the big screen in the thriller A Lovely Way to Die. He got considerably busier in the years that followed, mostly on television series such as Adam 12, Then Came Bronson, and Room 222, in roles of ever-increasing size. These were broken up by the occasional film job, of which the most notable at the time was the part of the comically helpful town dentist in Howard Hawks' Western Rio Lobo (1970), which gave Huddleston some extended (and humorous) screen-time alongside John Wayne. At the time, his feature-film work was weighted very heavily toward Westerns, while on television Huddleston played everything from service-station attendants to teachers to devious executives, primarily in crime shows. With his deep voice and prominent screen presence, plus a sense of humor that never seemed too far from his portrayals -- even of villains -- Huddleston was one of the busier character actors of the 1970s. Indeed, 1974 comprised a year of credits that any actor in the business could envy: John Wayne used Huddleston in McQ, one of the aging star's efforts to get away from Westerns, but Huddleston was back doing oaters in Billy Two Hats and aided Mel Brooks in parodying the genre in Blazing Saddles (all 1974). As comical as Huddleston could be, he could play sinister equally well, as he proved in Terence Young's The Klansman (1974) -- and that doesn't even count his television roles. By the end of the 1970s, he had graduated to a starring role in the series Hizzoner (1979), about a small-town mayor; and in the 1980s he had recurring roles in series such as The Wonder Years. Huddleston's big-screen breakthrough came with the title role in Santa Claus: The Movie (1985), and he became a ubiquitous figure on the small screen with a series of orange-juice commercials. His subsequent big-screen appearances included Frantic (1988) and The Big Lebowski (1998), playing the title character, and he continued working into the first decade of the 21st century. In 2004, Huddleston essayed one of the most interesting and challenging roles of his screen career, in the short film Reveille. Working without dialogue alongside James McEachin (with whom he'd previously worked in the series Tenafly), he helped tell the story of a sometimes comical, ultimately bittersweet rivalry between two veterans of different armed services. Huddleston died in 2016, at age 85.

Trivia: Born Robert Bradbury, he began appearing (at age 14) in semi-documentary nature shorts directed by his father, prolific silent director Robert North Bradbury; he later appeared in juvenile parts in some Westerns his father directed. In 1927 he began starring in cowboy films, maintaining his career in screen Westerns through the early '40s; he was one of the "Three Mesquiteers" in the series of that name. He also played straight dramatic roles, including the part of Curly in Of Mice and Men (1940). After the mid '40s he played character roles, appearing in films every few years until the early '70s. He was a regular on the '60s TV sitcom "F Troop."

Trivia: Chuck Hicks was both a character actor and a stunt man who worked in feature films, television and television commercials. He later became a stunt coordinator and an instructor.

Trivia: An actor since the 1950s, Enrique Lucero is best remembered as host of the long-running Latin American radio series La Hora Latina. His screen credits include Villa (1958) and The Magnificent Seven (1960), both lensed in his native Mexico. In the 1960s, he was seen in a few horror films, quite a departure from his avuncular radio and TV image. Enrique Lucero's later films ranged from Sam Peckinpah's The Wild Bunch (in 1969 as Ignacio) to Robert Altman's The Long Goodbye (in 1973 as Jake).