Trivia: Ann Sheridan was born Clara Lou Sheridan, the name under which she was billed in 1934 and part of 1935. At 18 she won a "Search for Beauty" contest, and was rewarded with a bit part in a film by that name (1934). Signed to a contract, she appeared in small roles in more than 20 films throughout the next two years. She changed her first name and, in 1936, switched studios to Warner Bros., which launched a publicity campaign hyping her as the sexy "Oomph Girl." Sheridan went on to a very busy career in better roles, usually cast as a wise, practical girl; her work in King's Row (1942) best demonstrated her acting ability and opened the door to a wider variety of parts. She remained popular and busy through the early '50s, when available roles began drying up for her; by the mid '50s her screen career was over. She later starred in the TV soap opera "Another World" and on "live" TV dramatic shows, and also worked in stock. At the time of her death from cancer she was starring in the TV series Pistols 'n' Petticoats. She was married three times: to actors Edward Norris, George Brent, and Scott McKay.

Trivia: Born Edward Flanagan, O'Keefe was a lithe, brash, charming, tall, rugged lead actor. The son of vaudevillians, he began appearing onstage in his parents' act while still a toddler. By age 16 he was writing scripts for "Our Gang" comedy shorts. He attended some college and did more work on vaudeville before entering films in the early '30s, appearing in bit roles in more than 50 films under the name Bud Flanagan. His work in a small role in the film Saratoga (1937) impressed Clark Gable, who recommended that he be cast in leads. MGM agreed, so he changed his name to Dennis O'Keefe and went on to play leads in numerous films, beginning with Bad Man of Brimstone (1938). Besides many light action-oriented films, he also appeared in numerous '40s comedies, and later specialized in tough-guy parts. Later in his career he directed a film or two and also wrote mystery stories. In the late '50s O'Keefe starred in the short-lived TV series "The Dennis O'Keefe Show." He was in only two films in the '60s. He died at 60 of lung cancer. His widow is actress Steffi Duna.

Trivia: "Everyman" American character actor Ross Elliot established himself on Broadway, served in World War II, returned to the stage, and made his film bow in 1948. Elliot's many movie appearances include minor roles in such science-fiction favorites as Beast From 20,000 Fathoms (1953) and Tarantula (1955). A prolific television performer, Elliot lost count of his video appearances after he passed the one-hundred mark. From 1967 to 1970, Ross Elliot was seen as Sheriff Abbott on the TV western The Virginian.

Trivia: From 1922 through 1934, Iowa-born performer Frank Jenks was a song and dance man in vaudeville. He began picking up day work in Hollywood films in 1933, and by 1937 had worked his way up to a contract with Universal Pictures. Jenks was seen in sizeable character roles in films ranging from the sumptuous Deanna Durbin vehicle 100 Men and a Girl to several entries in the Crime Club B-series. He portrayed sardonic sleuth Bill Crane (a creation of mystery writer Jonathan Latimer) in the Crime Club entries The Westland Case (1937) and Lady in the Morgue (1938). Jenks' familiar Hibernian grin and salty delivery of dialogue graced many a feature of the '40s and '50s; most of the roles were supporting, though Jenks was allowed full leads in an informal series of PRC detective films of the mid '40s. Frank Jenks' most conspicuous assignment of the '50s was as Uthas P. Garvey, the Runyonesque assistant of lovable con artist Alan Mowbray on the TV series Colonel Humphrey Flack, which ran live in 1953-54 and was resurrected for 39 filmed episodes in 1958.

Trivia: The son of a Norwegian pastor, John Qualen was born in British Columbia. After his family moved to Illinois, Qualen won a high school forensic contest, which led to a scholarship at Northwestern University. A veteran of the tent-show and vaudeville circuits by the late '20s, Qualen won the important role of the Swedish janitor in the Broadway play Street Scene by marching into the producer's office and demonstrating his letter-perfect Scandinavian accent. His first film assignment was the 1931 movie version of Street Scene. Slight of stature, and possessed of woebegone, near-tragic facial features, Qualen was most often cast in "victim" roles, notably the union-activist miner who is beaten to death by hired hooligans in Black Fury (1935) and the pathetic, half-mad Muley in The Grapes of Wrath (1940). Qualen was able to harness his trodden-upon demeanor for comedy as well, as witness his performance as the bewildered father of the Dionne quintuplets in The Country Doctor (1936). He was also effectively cast as small men with large reserves of courage, vide his portrayal of Norwegian underground operative Berger in Casablanca (1942). From Grapes of Wrath onward, Qualen was a member in good standing of the John Ford "stock company," appearing in such Ford-directed classics as The Long Voyage Home (1940), The Searchers (1955), Two Rode Together (1961), and The Man Who Shot Liberty Valance (1962). John Qualen was acting into the 1970s, often appearing in TV dramatic series as pugnacious senior citizens.

Trivia: J. Farrell MacDonald was one of the most beloved and prolific character actors in Hollywood history. A former minstrel singer, MacDonald toured the U.S. in stage productions for nearly two decades before he ever set foot in Tinseltown. He made his earliest film appearances in 1911 with Carl Laemmle's IMP company (the forerunner of Universal); within two years he was a firmly established lead actor and director. While functioning in the latter capacity with L. Frank Baum's Oz Film Company, MacDonald gave much-needed work to up-and-coming extras Hal Roach and Harold Lloyd. When Roach set up his own production company in 1915 with Lloyd as his star, he signed MacDonald as director (both Roach and Lloyd would hire their one-time employer as character actor well into the sound era). In the 1920's, MacDonald had returned to acting full time, appearing extensively in westerns and Irish-flavored comedies. A particular favorite of director John Ford, he was prominently featured in such Ford silents as The Iron Horse (1924), The Bad Man (1926) and Riley the Cop (1927, as Riley). He also showed up as Kelly in some of Universal's culture-clash "Cohens and Kellys" comedies. With a voice that matched his personality perfectly, MacDonald was busier than ever in the early-talkie era, usually playing such workaday roles as cops and railroad engineers; in 1932 alone, he showed up in 18 films! Even when his footage was limited, he was always given a moment or two to shine, as witness his emotional curtain speech in Shirley Temple's Our Little Girl. He kept up his workload into the 1940s, often popping up in the films of John Ford and Preston Sturges. His later roles often went unbilled, but he gave his all no matter how fleeting the assignment. One of his choicest roles of the 1940s was as the Dodge City barkeep in Ford's My Darling Clementine (1946). J. Farrell MacDonald continued working right up to his death in 1952; one of his last assignments was a continuing character on the Gene Autry-produced TV series Range Rider.

Trivia: Though she reportedly played a bit in the 1937 version of A Star Is Born, actress Joan Shawlee's first confirmed professional work was as a model, singer, and nightclub performer. While appearing in New York, Shawlee was discovered by comedian Lou Costello, who put her under personal contract. She was billed as Joan Fulton in her first appearance with Abbott and Costello in the 1947 film Buck Privates Come Home. She reverted to "Shawlee" once she'd gained a reputation as a wisecracking, gum-chewing comedienne, a reputation enhanced by her many appearances on the popular TV sitcom The Abbott and Costello Show. Her films ranged from trash like Prehistoric Women (1950) to treasures like From Here to Eternity. Her best screen role was as dictatorial bandleader Sweet Sue in the Billy Wilder classic Some Like It Hot (1959); Wilder would cast Shawlee in choice supporting roles in his later films, The Apartment (1960), Irma La Douce (1963), and Buddy Buddy (1981). Outside of her work on Abbott and Costello's various television ventures, Joan Shawlee's TV career included regular roles on such series as The Betty Hutton Show, McHale's Navy, The Dick Van Dyke Show (as Morey Amsterdam's wife Pickles), and The Feather and Father Gang.

Trivia: Czech character actor Steven Geray was for many years a member in good standing of the Hungarian National Theater. He launched his English-speaking film career in Britain in 1935, then moved to the U.S. in 1941. His roles ranged from sinister to sympathetic, from "A" productions like Gilda (1946) to potboilers like El Paso (1949). He flourished during the war years, enjoying top billing in the moody little romantic melodrama So Dark the Night (1946), and also attracting critical praise for his portrayal of Dirk Stroeve in The Moon and Sixpence (1942). Many of Geray's film appearances in the 1950s were unbilled; when he was given screen credit, it was usually as "Steve Geray." Geray's busy career in film and television continued into the 1960s. Steven Geray worked until he had obviously depleted his physical strength; it was somewhat sad to watch the ailing Geray struggle through the western horror pic Jesse James Meets Frankenstein's Daughter (1965).

Trivia: Chinese/American actor Victor Sen Yung would always be limited by stereotype in his selection of film roles, but it cannot be denied that he did rather well for himself within those limitations. Billed simply as Sen Yung in his earliest films, the actor was elevated to semi-stardom as Jimmy Chan, number two son of screen sleuth Charlie Chan. He first essayed Jimmy in 1938's Charlie Chan in Honolulu, replacing number one son Keye Luke (both Luke and Yung would co-star in the 1948 Chan adventure The Feathered Serpent). Not much of an actor at the outset, Yung received on-the-job training in the Chan films, and by 1941 was much in demand for solid character roles. With the absence of genuine Japanese actors during World War II (most were in relocation camps), Yung specialized in assimilated, sophisticated, but nearly always villainous Japanese in such films as Across the Pacific (1942). Remaining busy into the '50s, Yung co-starred in both the stage and screen versions of Rodgers and Hammerstein's Flower Drum Song. His longest-lasting assignment in the '60s was as temperamental cook Hop Sing on the TV series Bonanza. Victor Sen Yung died in his North Hollywood home of accidental asphyxiation at the age of 65.