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: Great Metropolitan Opera wagnerian soprano, onscreen in three films.

Trivia: The inimitable American actress Kathleen Freeman has been convulsing film audiences with portrayals of dowdy, sharp-tongued matrons since she was in her 20s. After stage work, Freeman began taking bit roles in major-studio features in 1948, seldom getting screen credit but always making a positive impression. The best of her earliest roles was in Singin' in the Rain (1952); Freeman played long-suffering vocal coach Phoebe Dinsmore, whose Herculean efforts to get dumb movie star Jean Hagen to grasp the proper enunciation of the phrase "I can't staaaand him" proved uproariously futile. Often cast as domestics, Freeman had a year's run in 1953 as the "spooked" maid on the ghostly TV sitcom Topper. Freeman was a particular favorite of comedian Jerry Lewis, who cast the actress in showy (and billed!) roles in such farces as The Errand Boy (1961), The Nutty Professor (1963) and Who's Got the Action?. As Nurse Higgins in Lewis' Disorderly Orderly (1964), Freeman weeps quietly as Jerry meekly scrapes oatmeal off her face and babbles "Oh, Nurse Higgins...you're all full of...stuff." Lewis so trusted Freeman's acting instincts that he sent her to the set of director William Wyler's The Collector (1965) in order to help build up the confidence of Wyler's nervous young leading lady Samantha Eggar. Throughout the '70s and '80s, Freeman took occasional "sabbaticals" from her movie and TV assignments to do stage work, enjoying a lengthy run in a Chicago production of Ira Levin's Deathtrap. Like many character actors of the '50s, Kathleen Freeman is frequently called upon to buoy the projects of baby-boomer directors: she was recently seen as an hysterical Julia Child clone in Joe Dante's Gremlins 2: The New Batch (1990).

Trivia: Raft spent his childhood in the tough Hell's Kitchen area of New York, then left home at 13. He went on to be a prizefighter, ballroom dancer, and taxi-driver, meanwhile maintaining close contacts with New York's gangster underworld. He eventually made it to Broadway, then went to Hollywood in the late '20s. At first considered a Valentino-like romantic lead, Raft soon discovered his forte in gangster roles. He was the actor most responsible for creating the '30s cinema image of gangster-as-hero, particularly after his portrayal of coin-flipping Guido Rinaldo in Scarface (1932). He was highly successful for almost two decades, but then bad casting diminished his popularity. By the early '50s he was acting in European films in a vain attempt to regain critical respect, but he was unsuccessful. He starred in the mid-'50s TV series "I Am the Law," a failure that seriously hurt his financial status. In 1959 a Havana casino he owned was closed by the Castro government, further damaging his revenues; meanwhile, he owed a great deal to the U.S. government in back taxes. In the mid '60s he was denied entry into England (where he managed a high-class gambling club) due to his underworld associations. Most of his film appearances after 1960 were cameos. He was portrayed by Ray Danton in the biopic The George Raft Story (1961).

Trivia: The son of circus performers, Harry James first picked up a trumpet at age 10. Organizing his own band in the early 1930s, James' progress was spotty until scoring a hit with the old standby "You Made Me Love You." By 1942, he was the most popular bandleader in the U.S. -- and in the bargain, he was married to the Number One female film star, Betty Grable. James hardly needed films to bolster his fame, but it was de rigeur in the 1930s and 1940s for bandleaders to show up on screen once in a while. Obligingly, he appeared (and on occasion spoke a few lines, rather better than most bandleaders) in such films as Private Buckaroo (42), Springtime in the Rockies (42), Bathing Beauty (44), Two Girls and a Sailor (44) and Carnegie Hall (47). James also dubbed in the trumpeting of Kirk Douglas in Young Man with a Horn (50), an a clef retelling of the Bix Beiderbecke story. Surviving the decline of the Big-Band era, James remained popular into the 1950s and 1960s, guesting in films like The Benny Goodman Story (56) and Jerry Lewis' The Ladies' Man (61). TV fans desiring an opportunity to see a trumpet-playing and acting Harry James (and Betty Grable as well) are referred to the 1958 Lucy/Desi Comedy Hour special "Lucy Buys a Racehorse".

Trivia: A standup comedian turned agent, Marty Ingels is also an occasional film actor. He made his feature-film debut in Armored Command (1969). Ingels also appeared on television and has done voice characterizations for animated television shows. He continued to make TV show appearances in the latter part of his career, including guest spots on shows like ER, CSI and New Girl. In 1977, Ingels married actress Shirley Jones. They remained married until Ingels death in 2015, at age 79.

Trivia: Standup comedian and occasional supporting actor Buddy Lester is the brother of funnyman Jerry Lester. He made his film debut in The Gene Krupa Story (1959).

Trivia: Born in Buffalo, New York, Gloria Jean was raised in Scranton, Pennsylvania, where her dad ran a music store. Jean's stagestruck mom put her daughter on the stage at the age of three as a singer; by the time she was five, Jean was headlining her own local radio program. Moving to New York with her family, Jean was trained for an operatic career. In 1939, Universal studios, searching for a possible successor to their juvenile singing star Deanna Durbin (and also seeking out a "threat" to hold over the temperamental Durbin's head), cast Jean in The Under-Pup, an inexpensive comedy-drama set in an Interlochen-style musical camp. The film was a hit, and Jean was signed to a Universal contract. Unfortunately, her career was not as carefully monitored as Deanna Durbin's; allegedly, the studio had problems dealing with Jean's mother, and surreptitiously punished her by sticking her daughter in second-rate roles. Outside of her starring vehicles, Jean was cast as W.C. Fields niece in Never Give a Sucker an Even Break (1941) (Fields, who reportedly despised talented kids, was friendly and cooperate towards his young co-star), and found herself playing third banana to comics Olsen and Johnson in Ghost Catchers (1944). One of her few prestige assignments was a well-played dramatic role as a blind girl in the multistoried "A"-picture Flesh and Fantasy (1944). Unfortunately, her sequences were removed from the film; these were later issued separately, with mediocre new footage added, as the throwaway "B"-picture Destiny (1944). Dropped by Universal in 1945, Jean went on an unsuccessful concert tour, then co-starred with Groucho Marx and Carmen Miranda in the disappointing 1948 musical Copacabana. She spent the rest of her career in bottom-of-the-bill programmers, with occasional worthwhile guest appearances on television. She left show business in 1959, accepting a job as a hostess in a posh Hollywood restaurant. Here she was spotted by Jerry Lewis, who stirred up publicity concerning his intention to give Jean a comeback role in his upcoming feature The Ladies' Man; alas, Jean is virtually invisible in the final release print of that film. Giving up performing for good, Gloria Jean spent her last working years as a receptionist for Redken Laboratories, a California cosmetics firm.

Trivia: Was nicknamed Jack by his older brother. Often referred to as the "godfather of fitness." As a scrawny, unhealthy teenager, changed his lifestyle after attending a lecture by pioneer nutritionist Paul Bragg. Stopped eating sugar in 1930. Graduated from chiropractic school and opened his first health spa in 1936. From 1951 to '85, hosted The Jack LaLanne Show, which became the first nationally syndicated exercise program. Swam from Alcatraz to Fisherman's Wharf at age 60 while handcuffed, shackled and towing a 1,000-pound boat. Exercised daily until he died.

Trivia: Mississippi-born Roscoe Ates spent a good portion of his childhood overcoming a severe stammer. Entering show business as a concert violinist, the shriveled, pop-eyed Ates found the money was better as a vaudeville comedian, reviving his long-gone stutter for humorous effect. In films from 1929, Ates appeared in sizeable roles in such films as The Champ (1931), Freaks (1932) and Alice in Wonderland (1933), and also starred in his own short subject series with RKO and Vitaphone. Though his trademarked stammer is something of an endurance test when seen today, it paid off in big laughs in the 1930s, when speech impediments were considered the ne plus ultra of hilarity. By the late 1930s Ates's popularity waned, and he was reduced to unbilled bits in such films as Gone with the Wind (1939) and Dixie (1942). His best showing during the 1940s was as comic sidekick to singing cowboy Eddie Dean in a series of 15 low-budget westerns. Remaining busy in films and on TV into the 1960s, Roscoe Ates made his last appearance in the 1961 Jerry Lewis comedy The Errand Boy.

Trivia: Husky, bushy-mustached, frequently unkempt Canadian actor Jack Kruschen appeared steadily on radio from 1938 onward. He began playing small film roles in 1949, often cast as minor villains and braying bullies. He became a cult favorite after playing one of the three earliest victims (the Hispanic one) of the Martian death ray in George Pal's War of the Worlds (1953). His larger film roles included MGM mogul Louis B. Mayer in the Carol Lynley version of Harlow (1965), and the remonstrative physician neighbor of Jack Lemmon in Billy Wilder's The Apartment (1960); the latter assignment copped a "Best Supporting Actor" Oscar nomination for Kruschen. A tireless TV performer, Kruschen has guested in a variety of roles on most of the top video offerings, and was a regular in the 1977 sitcom Busting Loose, playing the father of Adam Arkin. Relatively inactive after 1980, Jack Kruschen made a welcome return in PBS' 1993 adaptation of Arthur Miller's The American Clock.

Trivia: Wacky comic actor Doodles Weaver started appearing in films in the late '30s, usually playing country-bumpkin bits. He rose to fame as a musician/comedian with the Spike Jones Orchestra, regaling audiences with his double-talk renditions of such tunes as "The Man on the Flying Trapeze" and "The Whiffenpoof Song." His most popular routine was his mile-a-minute parody of an overly excited sports announcer ("And the winnerrrrrrrr....Bei-del-baum!!!!). So valuable was Weaver to Jones' aggregation that Doodles was the only member of the group who was allowed to drink while on tour. This indulgence, alas, proved to be Weaver's undoing; though he'd scaled the heights as a radio and TV star in the 1940s and 1950s, Doodles had lost most of his comic expertise by the 1960s thanks to his fondness for the bottle. A bitter, broken man in his last years, Weaver died of an apparently self-inflicted gunshot wound at the age of 71. Doodles Weaver was the brother of TV executive Sylvester "Pat" Weaver, and the uncle of actress Sigourney Weaver.

Trivia: American supporting actress Francesca Bellini appeared in a few films during the 1960s. After 1977, she began working as a stage manager.

Trivia: Madlyn Rhue, on her own in New York since the mid-'50s, took short-term jobs ranging from cigarette girl to magician's assistant. She made her TV acting debut in 1959, the same year that she appeared in her first film, The Miracle. Not a great beauty by 1960s standards, Rhue's face had an aura of inner resilience, enabling her to portray virtually everything from long-suffering heroines to calculating villainesses. Her busy private life was always a source of interest to gossip columnists; in her heyday, she was squired by such eligibles as Cary Grant and Vic Damone. In the 1980s, Rhue fell victim to a neuromuscular illness which limited her to roles that did not require her to walk or stand up. Eventually, Madlyn Rhue worked just long enough each year to cover her medical expenses; she was most often seen in the recurring role of the Cabot Cove librarian in the weekly TV mystery series Murder She Wrote.

Trivia: Mississippi-born Stella Stevens was a wife, mother, and divorcée before she was 17. While studying medicine at Memphis State College, Stevens became interested in acting and modeling. The notoriety of her nude spread in Playboy magazine was quickly offset by the public's realization that she had genuine talent, particularly in the comedy field. Stevens' many delightful comic characterizations include Apassionata von Climax in the movie version of Li'l Abner (1959), Glenn Ford's drum-playing girlfriend in Courtship of Eddie's Father (1963), and the klutzy heroine in the Matt Helm opus The Silencers (1966). She also showed up in a brace of 1960s cult favorites: Elvis Presley's Girls! Girls! Girls! (1962) and Jerry Lewis' Nutty Professor (1963), her presence in the latter film was celebrated by Lewis' utilization of the Victor Young musical piece "Stella by Starlight." Despite consistently good work, Stevens never achieved the full stardom that she deserved: When she posed again for Playboy in 1968, she admitted that it was purely to get people to attend her films. Stevens worked steadily on television since the late '50s, appearing regularly on the Flamingo Road series from 1981 to 1982. She switched to the other side of cameras in the 1980s, producing the documentary The American Heroine and directing the inexpensive Canadian feature The Ranch (1989). Stella Stevens is the mother of actor Andrew Stevens, and was very briefly the mother-in-law of actress Kate Jackson.

Trivia: The story goes that Benson Fong was a California grocer when, in 1943, he was asked by a talent scout if he'd like to be in a movie (Asian types were, of course, highly sought after during the War years). Actually, Fong had been accepting occasional movie bit parts as early as 1937. After his requisite wartime appearances as hateful Japanese soldiers and courageous Chinese freedom fighters, Fong showed up as Charlie Chan's "number three son" Tommy in four Monogram-produced "Chan" programmers. On the advice of his friend Gregory Peck, Fong added to his acting income by becoming a successful restaurateur, with several top eateries in the southern California region to his name. Active in films into the 1980s, Benson Fong also showed up from time to time on TV, notably as "The Old One" on Kung Fu.

Trivia: Eddie Quillan made his performing debut at age seven in his family's vaudeville act. By the time he was in his teens, Quillan was a consummate performer, adept at singing, dancing, and joke-spinning. He made his first film, Up and At 'Em, in 1922, but it wasn't until 1925, when he appeared in Los Angeles with his siblings in an act called "The Rising Generation," that he began his starring movie career with Mack Sennett. At first, Sennett tried to turn Quillan into a new Harry Langdon, but eventually the slight, pop-eyed, ever-grinning Quillan established himself in breezy "collegiate" roles. Leaving Sennett over a dispute concerning risqué material, Quillan made his first major feature-film appearance when he co-starred in Cecil B. DeMille's The Godless Girl (1929). This led to a contract at Pathé studios, where Quillan starred in such ebullient vehicles as The Sophomore (1929), Noisy Neighbors (1929), Big Money (1930), and The Tip-Off (1931). He remained a favorite in large and small roles throughout the 1930s and 1940s; he faltered only when he was miscast as master sleuth Ellery Queen in The Spanish Cape Mystery (1936). Among Quillan's more memorable credits as a supporting actor were Mutiny on the Bounty (1935), Young Mr. Lincoln (1939), The Grapes of Wrath (1940), and Abbott and Costello's It Ain't Hay (1943). From 1948 through 1956, Quillan co-starred with Wally Vernon in a series of 16 two-reel comedies, which showed to excellent advantage the physical dexterity of both men. Quillan remained active into the 1980s on TV; from 1968 through 1971, he was a regular on the Diahann Carroll sitcom Julia. In his retirement years, Eddie Quillan became a pet interview subject for film historians thanks to his ingratiating personality and uncanny total recall.