Trivia: It was his failure as a playwright that led Robert Ryan to a three-decade career as an actor. He was a unique presence on both the stage and screen, and in the Hollywood community, where he was that rarity: a two-fisted liberal. In many ways, at the end of the 1940s, Ryan was the liberals' answer to John Wayne, and he even managed to work alongside the right-wing icon in Flying Leathernecks (1951). The son of a successful building contractor, Ryan was born in Chicago in 1909 and attended Dartmouth College, where one of his fraternity brothers was Nelson Rockefeller. He was a top athlete at the school and held its heavyweight boxing title for four straight years. Ryan graduated in 1932, during the depths of the Great Depression, and intended to write plays. Finding no opportunities available in this field, he became a day laborer; he stoked coal on a ship bound for Africa, worked as a sandhog, and herded horses in Montana, among other jobs. Ryan finally had his chance to write as a member of a theater company in Chicago, but proved unsuccessful and turned to acting. He arrived in Hollywood at the end of the '30s and studied at the Max Reinhardt Workshop, making his professional stage debut in 1940. He appeared in small roles for Paramount Pictures, but Ryan's real film career didn't begin until several years later. He returned east to appear in stock, and landed a part in Clifford Odets' Clash by Night, in which he worked opposite Tallulah Bankhead and got excellent reviews. Ryan came to regard that production and his work with Bankhead as the pivotal point in his career. The reviews of the play brought him to the attention of studio casting offices, and he was signed by RKO. The actor made his debut at the studio in the wartime action thriller Bombardier. It was a good beginning, although his early films were fairly lackluster and his career was interrupted by World War II -- he joined the Marines in 1944 and spent the next three years in uniform. Ryan's screen career took off when he returned to civilian life in 1947. He starred in two of the studio's best releases that year: Jean Renoir's The Woman on the Beach and Edward Dmytryk's Crossfire, the latter an extraordinary film for its time dealing with troubled veterans and virulent anti-Semitism, with Ryan giving an Oscar-nominated performance as an unrepentant murderer of an innocent Jewish man. He continued to do good work in difficult movies, including the Joseph Losey symbolic drama The Boy With Green Hair (1948) and with Robert Wise's The Set-Up (1949). The latter film (which Ryan regarded as his favorite of all of his movies) was practically dumped onto the market by RKO, though the studio soon found itself with an unexpected success when the film received good reviews, it was entered in the Cannes Film Festival, and it won the Best Picture award in the British Academy Award competition. Ryan also distinguished himself that year in Dmytryk's Act of Violence and Max Ophüls' Caught, Nicholas Ray's On Dangerous Ground in 1951, and then repeated his stage success a decade out in Fritz Lang's Clash by Night (1952). Along with Robert Mitchum, Ryan practically kept the studio afloat during those years, providing solid leading performances in dozens of movies. In the late '50s, he moved into work at other studios and proved to be one of the most versatile leading actors in Hollywood, playing heroes and villains with equal conviction and success in such diverse productions as John Sturges' Bad Day at Black Rock (1955), Anthony Mann's God's Little Acre (1958), Wise's Odds Against Tomorrow (1959), and Peter Ustinov's Billy Budd (1962). Even in films that were less-than-good overall, he was often their saving grace, nowhere more so than in Ray's King of Kings (1961), in which he portrayed John the Baptist. Even during the late '40s, Ryan was never bashful about his belief in liberal causes, and was a highly vocal supporter of the so-called "Hollywood Ten" at a time when most other movie professionals -- fearful for their livelihoods -- had abandoned them. He was also a founder of SANE, an anti-nuclear proliferation group, and served on the board of the American Civil Liberties Union. During the early '50s, he'd fully expected to be named in investigations and called by the House Select Committee on Un-American Activities or Senator Joseph R. McCarthy, but somehow Ryan was never cited, despite his public positions. In later years, he attributed it to his Irish last name, his Catholic faith, and the fact that he'd been a marine. Considering his career's focus on movies from the outset, Ryan also fared amazingly well as a stage actor. In addition to Clash by Night, he distinguished himself in theatrical productions of Shakespeare's Coriolanus in 1954 at Broadway's Phoenix Theater and a 1960 production of Antony and Cleopatra opposite Katharine Hepburn at the American Shakespeare Festival. (Hepburn later proposed him for the lead in the Irving Berlin musical Mr. President in 1962.) Ryan's other theatrical credits included his portrayal of the title role in the Nottingham (England) Repertory Theater's production of Othello, Walter Burns in a 1969 revival of The Front Page, and James Tyrone in a 1971 revival of Long Day's Journey Into Night. Not all of Ryan's later films were that good. His parts as the American field commander in Battle of the Bulge and Lee Marvin's army antagonist in The Dirty Dozen were written very unevenly, though he was good in them. He was also a strange choice (though very funny) for black comedy in William Castle's The Busy Body, and he wasn't onscreen long enough (though he was excellent in his scenes) in Robert Siodmak's Custer of the West. But for every poor fit like these, there were such movies as John Sturges' Hour of the Gun and Sam Peckinpah's The Wild Bunch, in which he excelled. His success in Long Day's Journey Into Night was as prelude to his last critical success, as Larry in John Frankenheimer's The Iceman Cometh (1973). Ironically, at the time he was playing a terminally ill character in front of the camera, Ryan knew that he was dying from lung cancer. During this time he also filmed a hard-hitting anti-smoking public service announcement that directly attributed his condition to his long-time heavy use of cigarettes.

Trivia: Born Aldo DaRe. A leading man of Hollywood and some European films with a husky frame, thick neck, and raspy voice, he specialized in playing brawny but lovable tough guys. In World War Two he served as a Navy frog-man; later he was briefly the constable of Crockett, California, during the campaign for which he was spotted by Hollywood scouts. Ray debuted onscreen in the small role of a cynical football player in Saturday's Hero (1951), going on to frequently portray American rednecks and military men. His career went downhill rapidly in the '70s -- he made a string of low-budget films as a beefy character actor. His last film was Shock 'Em Dead (1990). Briefly married to actress Jeff Donnell, Ray is the father of actor Eric DaRe, best known as the character Leo in the TV series Twin Peaks.

Trivia: "Titian-haired" is the manner in which actress Tina Louise is usually described. Despite her numerous comic performances, she prefers to be regarded as a serious actress; according to some of her co-workers, her preference in this manner often takes the form of an ultimatum. Louise was born near Brooklyn, where her father ran a candy store. She studied drama at Miami University, the Neighborhood Playhouse, and the Actors' Studio. A nightclub singer in the mid-1950s, Louise came to Broadway as Appasionatta von Climax in the original 1956 production of the musical Li'l Abner. Two years later she made her first film, the then-torrid God's Little Acre. By the early 1960s, Louise was shuttling between Hollywood and Europe, often appearing in productions of the shoestring variety. Louise is fondly remembered for her three-year (1964 through 1967) stint as Marilynesque movie star Ginger Grant on Gilligan's Island, though she despised the role and made no secret of it on the set. Nor did she wish to have anything to do with the Gilligan cartoon and TV movie follow-ups of the 1970s and 1980s, choosing instead to carve a reputation as a versatile, no-nonsense actress, though she eventually capitulated and appeared in The Castaways on Gilligan's Island. Though she would go on to make other film and TV appearances in the decades to come, even penning a children's book and earning her helicopter pilot's license, Louise would forever remain the most well known for the role of Ginger.

Trivia: The son of a Brooklyn upholsterer, baby-faced comic actor Buddy Hackett always claimed he was "born to be funny." Hackett was the boy who invariably blew his lines in the Holiday pageants and the overweight teen who accidentally stuck his foot in a water bucket during his first game with the high school football team. It was while serving in the Army that Hackett met the double-talking Chinese waiter who inspired him to create the most famous of his early nightclub routines. Hackett's first stand-up gig in Brooklyn led to additional work on the New York supper club Catskill resort circuits; he also guested on a very early (1945) TV program, Laff Time. His film debut was as the voice of a talking camel in the otherwise straightforward Arabian nights programmer Slave Girl (1947). He was signed to a Universal Pictures contract in 1953, then starred for two years in Broadway comedy Lunatics and Lovers. He played the title role in 1956 TV sitcom Stanley, which served to introduce Carol Burnett to America's televiewers; two years later, he became a regular on Jackie Gleason's Saturday night variety series. Hackett was most active in films during the years 1958 through 1968, appearing primarily in nitwit comedy-relief roles, but also delivering a solid dramatic performance in God's Little Acre. At the same time, his reputation in nightclubs soared, first because of his quick wit and gift for sudden improvisation, then later for his ability to spout out the dirtiest of material with the cherubic ingenuousness of a naughty first-grader. Perhaps it was this veneer of innocence that made Hackett an ideal "family" entertainer in such G-rated pictures as Everything's Ducky (1961), The Music Man (1962), and The Love Bug (1968). As late as 1989, he was still delighting the kiddie trade as the voice of Scuttle in the Disney animated feature The Little Mermaid. Among Buddy Hackett's many television credits was the 1978 biopic Bud and Lou, in which he offered a curiously unsympathetic interpretation of his idol, Lou Costello; ironically, back in 1954 Hackett had replaced an ailing Costello in the Universal slapstick comedy flick Fireman Save My Child.

Trivia: Brooklyn-born actor John Joseph Patrick Ryan borrowed his stage name "Jack Lord" from a distant relative. Spending his immediate post-college years as a seafaring man, Lord worked as an engineer in Persia before returning to American shores to manage a Greenwich Village art school and paint original work; he flourished within that sphere (often signing his paintings "John J. Ryan,") and in fact exhibited the tableaux at an array of prestigious institutions including the Metropolitan Museum of Art and the Modern Museum of Art. Lord switched to acting in the late 1940s, studying under Sanford Meisner at New York's Neighborhood Playhouse. In films and television from 1949, Lord (a performer with stark features including deep-set eyes and high cheekbones) played his share of brutish villains and working stiffs before gaining TV fame as star of the critically acclaimed but low-rated rodeo series Stoney Burke (1962). At around the same time, Lord played CIA agent Felix Leiter in the first James Bond film, Dr. No. From 1968 through 1980, Lord starred on the weekly cop drama Hawaii Five-O; producers cast him as Steve McGarrett, a troubleshooter with the Hawaii State Police who spent his days cruising around the islands, cracking open individual cases, and taking on the movers and shakers in Hawaiian organized crime, particularly gangster Wo Fat (Khigh Dhiegh), who eluded capture until the program's final month on the air. Lord also wrote and directed several episodes. After Hawaii 5-0 folded, Jack Lord attempted another Hawaii-based TV series, but M Station: Hawaii (1980) never got any farther than a pilot film. Lord died of congestive heart failure in his Honolulu beachfront home at the age of 77, in January 1998. He was married to Marie Denarde for 50 years.

Trivia: Few actresses of the 1950s could play shanty tramps and "trailer trash" with more gusto than Fay Spain. The actress' signature role was Darlin' Jill, the inbred temptress in Erskine Caldwell's God's Little Acre (1958). Spain also worked for quickie-movie king Albert Zugsmith, playing the Earthly emissary of the demonic Mickey Rooney in Private Lives of Adam and Eve (1960). Spain also played a relatively sympathetic character in 1960's Al Capone. Periodically retiring in the late 1960s and early 1970s, Fay Spain's last important film role was Marcia Roth, wife of mobster Hyman Roth (Lee Strasberg), in The Godfather, Part II (1972).

Trivia: He debuted onscreen in The Blackbord Jungle (1955) as a sadistic high school student, and after several years he moved up to starring roles. He often played vicious bad guys. He starred in the '60s TV series Combat. In the mid '60s he directed several off-Broadway plays and a couple of short films, then directed, co-produced, and co-wrote the film Deathwatch (1966), adapted from a Jean Genet play; after directing another feature he returned to acting, having gone eight years between screen roles. In 1982 he was killed by the blades of a helicopter while filming an action sequence in the film Twilight Zone: The Movie. He was the father of actress Jennifer Jason Leigh.

Trivia: Helen Westcott launched her stage career at the age of 5. It has long been presumed that she made only one screen appearance in her preteen years, as a fairy in Midsummer Night's Dream (1935); in fact, she played a major role in the 1934 B western Thunder Over Texas, which starred Guinn "Big Boy" Williams. Be that as it may, Westcott would not achieve film prominence until the late 1940s--early 1950s, with such roles as Gregory Peck's ex-wife in The Gunfighter (1950) and the imperiled heroine of Dr. Jekyll and Mr. Hyde (1953). When her starring career in films faded, Helen Westcott turned to television, where she flourished as a character actress; her last screen appearance was as Mrs. Burrows in 1970's I Love My...Wife.

Trivia: The sun rose and set on American leading man Lance Fuller's film career during the decade of the 1950s. From Cattle Queen of Montana (1954) onward, Fuller seemed most at home in westerns. Surprisingly, Fuller was never tapped for a regular role in one of the many TV westerns of the era, though he kept busy in guest-star assignments. Lance Fuller's best screen role was as Jim Leslie in the watered-down filmization of Erskine Caldwell's God's Little Acre (1958); a possible runner-up was his portrayal of a slimy fortune hunter in producer Alex Gordon's Voodoo Woman (1957).

Trivia: The African-American actor Rex Ingram -- not to be confused with the Irish-born director of the same name from the silent era -- was, for a time, the most prominent black dramatic performer in Hollywood and second only to Paul Robeson in recognition among all black actors. And like Robeson, Ingram also had a difficult time finding enough serious roles to keep himself employed and maintain a viable career. The son of a steamer fireman on the riverboat Robert E. Lee, Rex Ingram was literally born on the Mississippi River, somewhere between Natchez, MS, and Cairo, IL, where his mother resided. He spent a big part of his youth working with his father on riverboats until he entered Northwestern University and, later, medical school. After earning his degree, he took a trip to California for some rest; while standing on a street corner in L.A., he was spotted by a casting director and offered ten dollars per day to appear in a movie. He ended up playing an African tribesman in the first of the Tarzan movies (starring Elmo Lincoln), Tarzan of the Apes (1918). Ingram subsequently got a succession of the typical roles available to black actors in the silent era: butlers, porters, and native Africans. He was busier than most of his colleagues because of his startlingly good looks, his 6' 2" height, and substantial 220-pound build. The money was good and living in California agreed with him, even if the parts didn't, and he turned up in the silent The King of Kings and The Ten Commandments, as well as such early-'30s epics as Sign of the Cross. Lacking any formal acting training and having entered movies from literally right off the street, Ingram never considered working on the stage until someone suggested it. With help from English actor Alan Mowbray, he got readings and auditions and began studying everything he could find about the theater. He was cast in David Belasco's L.A. production of Lulu Belle in 1928 and proved a quick study and a superb performer. From there, he moved on to occasional roles in short-lived shows, the most notable of which was his portrayal of Crown in the drama Porgy. When there was no work in theater, he returned to movies, but the stage became his preference. A succession of theatrical roles followed, including the major part of Blacksnake Johnson in the Theatre Union's New York production of the topical play Stevedore and the title role at Suffern in Eugene O'Neill's The Emperor Jones -- a part immortalized onscreen by Robeson. Both performances raised his stature and the latter became the favorite of all Ingram's roles. He also broke some ground on the sociological and racial front, portraying the Prince of Morocco in a production of The Merchant of Venice that starred Estelle Winwood at the University of Illinois. In addition, he wrote and produced a play, Drums of the Bayou (which closed before reaching New York). His breakthrough came with the film version of Marc Connelly's play The Green Pastures. Ingram was initially cast as Adam, but stage manager Claude Archer suggested that Warner Bros. test Ingram for the role of De Lawd, pointing out that makeup could compensate for his being two decades too young for the part. But he slipped into it so convincingly, with his forceful, articulate presence and dignified, yet unpretentious, bearing, that he was cast in the role immediately. Ingram's performance as De Lawd in The Green Pastures film was the defining moment of his movie career and turned him into the most prominent black leading man in Hollywood -- not that there was much competition. Paul Robeson, who had emerged to stardom in the 1920s in Showboat and had done The Emperor Jones on film, was living in England at the time, making films there because there were simply no vehicles or roles available in Hollywood for strong, powerful, black leading men. Alas, Ingram encountered the same problem after playing De Lawd; there were few movie roles from the major studios suitable to an actor of such stature. He would not and could not go back to playing porters or African tribesmen, but he found himself unable to go forward either. The best offer he got was to do a theatrical revival of The Green Pastures, in which he refused to take part. So he left acting, returned to medicine, and planned to go into research. A year later, Ingram was bankrupt. Faced with the need to support his wife and daughter, he returned to acting, working in stock before heading back to New York and the Broadway stage for productions of The Emperor Jones and the WPA Theater production of Haiti. He returned to the screen in 1939 for the first time in three years, with his portrayal of Jim, the runaway slave, in The Adventures of Huckleberry Finn. In 1940, Ingram played what became the most well-known and beloved role of his career, as the towering Djinni in Alexander Korda's production of The Thief of Bagdad (1940). His character stood over 200-feet tall and he played his role solo against a blue-screen background, never actually interacting with the other performers in the same shot. He also turned the fantasy part into a compelling monologue on freedom that resonated far beyond the boundaries of the movie. Ingram continued to work steadily and well in plays such as Cabin in the Sky (he later starred in the movie version, as well) and films like The Talk of the Town. His best part from this period was that of the Sudanese army sergeant who joins a ragtag band of Allied soldiers fighting a delaying action in the desert in Zoltan Korda's Sahara. His performance was also one of the best elements of Dark Waters, a Hitchcock-like thriller starring Merle Oberon and Thomas Mitchell. Ingram was busy throughout the mid-'40s, including work in an all-black Broadway stage production of Lysistrata, and played a major role in Fritz Lang's Moonrise (1948). And then disaster struck. In April 1949, Ingram was arrested and accused of violating the Mann Act -- specifically, transporting a teenage Kansas girl to New York for "immoral purposes." He pleaded guilty in May and his screen career was crippled for the next six years. He did appear in an episode of Ramar of the Jungle, a series with which he would never have been associated in better times, and, in 1955, he did The Emperor Jones on the small screen as part of Kraft Television Theatre. He returned to movies that same year in Tarzan's Hidden Jungle, the kind of film in which he'd started 25 years earlier. There were some good roles in better productions such as God's Little Acre, Anna Lucasta (in which he starred), Elmer Gantry, and even Your Cheatin' Heart, but his days as an onscreen leading man were behind him. He got some great opportunities on-stage, however, most notably in Herbert Berghof's 1957 production of Waiting for Godot, which also starred Earl Hyman, Mantan Moreland, and Geoffrey Holder. In the late '60s, Ingram got roles in the movies Hurry Sundown and Journey to Shiloh and a prominent part in one episode of I Spy ("Weight of the World"). Comedian-turned-actor Bill Cosby also saw to it that Ingram got work in an episode of The Bill Cosby Show. Ingram died of a heart attack in September 1969, two months prior to the airing of that last television appearance.

Trivia: The son of a Jewish movie-publicist father and an Irish Catholic musical-comedy actress, Michael Landon grew up in a predominantly Protestant New Jersey neighborhood. The social pressures brought to bear on young Michael, both at home and in the schoolyard, led to an acute bedwetting problem, which he would later dramatize (very discreetly) in the 1976 TV movie The Loneliest Runner. Determined to better his lot in life, Landon excelled in high school athletics; his prowess at javelin throwing won him a scholarship at the University of Southern California, but a torn ligament during his freshman year ended his college career. Taking a series of manual labor jobs, Landon had no real direction in life until he agreed to help a friend audition for the Warners Bros. acting school. The friend didn't get the job, but Landon did, launching a career that would eventually span nearly four decades. Michael's first film lead was in the now-legendary I Was a Teenage Werewolf (1957), widely derided at the time but later reassessed as one of the better examples of the late-'50s "drive-in horror" genre. The actor received his first good reviews for his performance as an albino in God's Little Acre. This led to his attaining the title role in 1959's The Legend of Tom Dooley, which in turn was instrumental in his being cast as Little Joe Cartwright on the popular TV western Bonanza. During his fourteen-year Bonanza stint, Landon was given the opportunity to write and direct a few episodes. He carried over these newfound skills into his next TV project, Little House on the Prairie, which ran from 1974 to 1982 (just before Little House, Landon made his TV-movie directorial bow with It's Good to Be Alive, the biopic of baseball great Roy Campanella). Landon also oversaw two spinoff series, Little House: The New Beginning (1982-83) and Father Murphy (1984). Landon kept up his career momentum with a third long-running TV series, Highway to Heaven (1984-89) wherein the actor/producer/director/writer played guardian angel Jonathan Smith. One of the most popular TV personalities of the '70s and '80s, Landon was not universally beloved by his Hollywood contemporaries, what with his dictatorial on-set behavior and his tendency to shed his wives whenever they matured past childbearing age. Still, for every detractor, there was a friend, family member or coworker who felt that Landon was the salt of the earth. In early 1991, Landon began work on his fourth TV series, Us, when he began experiencing stomach pains. In April of that same year, the actor was informed that he had inoperable pancreatic cancer. The courage and dignity with which Michael Landon lived his final months on earth resulted in a public outpouring of love, affection and support, the like of which was seldom witnessed in the cynical, self-involved '90s. Michael Landon died in his Malibu home on July 1, 1991, with his third wife Cindy at his side.

Trivia: American actor Davis Roberts played character roles on stage, television, and in feature films for nearly 40 years. Between 1983 and 1984, he had a regular role as a blind bluesman on the television series Boone. He made his final film appearance in To Sleep With Anger. In addition to acting, Roberts served as an advisor for the Western division of the Actor's Equity Association. He also founded the Beverly Hills-Hollywood NAACP Image Award.