Trivia: The second-oldest son of humorist Will Rogers, Jimmy Rogers made his screen debut at age six in his dad's Doubling for Romeo. In 1941, Jimmy Rogers was hired by producer Hal Roach to co-star with Noah Beery Jr. in a trio of comedy-Western "streamliners." During the 1943-1944 film season, he was a regular in United Artists' Hopalong Cassidy series. Though Jimmy Rogers didn't care all that much for the movies, he welcomed the opportunity to ride the horses supplied to him by the studios, and after the cessation of his brief film career, he established a profitable horse ranching business in Bakersfield, CA.

Trivia: Beefy, puffy-faced Canadian actor Joseph Sawyer spent his first years in films (the early- to mid-'30s) acting under his family name of Sauer. Before he developed his comic skills, Sawyer was often seen in roles calling for casual menace, such as the grinning gunman who introduces "Duke Mantee, the well-known killer" in The Petrified Forest (1936). While under contract to Hal Roach studios in the 1940s, Sawyer starred in several of Roach's "streamliners," films that ran approximately 45 minutes each. He co-starred with William Tracy in a series of films about a GI with a photographic memory and his bewildered topkick: Titles included Tanks a Million (1941), Fall In (1942), and Yanks Ahoy (1943) (he later reprised this role in a brace of B-pictures produced by Hal Roach Jr. for Lippert Films in 1951). A second "streamliner" series, concerning the misadventures of a pair of nouveau riche cabdrivers, teamed Sawyer with another Roach contractee, William Bendix. Baby boomers will remember Joe Sawyer for his 164-episode stint as tough but soft-hearted cavalry sergeant Biff O'Hara on the '50s TV series Rin Tin Tin.

Trivia: A confirmed teetotaller, mustachioed American actor Jack Norton nonetheless earned cinematic immortality for his innumerable film appearances as a comic drunk. A veteran vaudevillian - he appeared in a comedy act with his wife Lillian - and stage performer, Norton entered films in 1934, often playing stone-cold sober characters; in one Leon Errol two-reeler, One Too Many, he was a stern nightcourt judge sentencing Errol on a charge of public inebriation! From Cockeyed Cavaliers (1934) onward, however, the Jack Norton that audiences loved began staggering his way from one film to another; it seemed for a while that no film could have a scene in a nightclub or salloon without Norton, three sheets to the wind and in top hat and tails, leaning precariously against the bar. To perfect his act, Norton would follow genuine drunks for several city blocks, memorizing each nuance of movement; to avoid becoming too involved in his roles, the actor drank only ginger ale and bicarbonate of soda. Though his appearances as a drunk could fill a book in themselves, Norton could occasionally be seen sober, notably in You Belong to Me (1940), The Fleet's In (1941) and Harold Lloyd's Sin of Harold Diddlebock (1946); he also "took the pledge" in such short comedies as Our Gang's The Awful Tooth (1938), Andy Clyde's Heather and Yon (1944) and the Three Stooges' Rhythm and Weep (1946). One of Norton's oddest roles was as a detective in the Charlie Chan thriller Shadows over Chinatown (1947), in which he went undercover by pretending to be a souse. Retiring from films in 1948 due to illness, Norton occasionally appeared on live TV in the early '50s. Jack Norton's final appearance would have been in a 1955 episode of Jackie Gleason's The Honeymooners, but age and infirmity had so overwhelmed him that he was literally written out of the show as it was being filmed - though Jackie Gleason saw to it that Norton was paid fully for the performance he was ready, willing, but unable to give.

Trivia: Looking for all the world like a beardless Rumpelstiltskin, actor Raymond Hatton utilized his offbeat facial features and gift for mimicry in vaudeville, where he appeared from the age of 12 onward. In films from 1914, Hatton was starred or co-starred in several of the early Cecil B. DeMille productions, notably The Whispering Chorus (1917), in which the actor delivered a bravura performance as a man arrested for murdering himself. Though he played a vast array of characters in the late teens and early 1920s, by 1926 Hatton had settled into rubeish character roles. He was teamed with Wallace Beery in several popular Paramount comedies of the late silent era, notably Behind the Front (1926) and Now We're in the Air (1927). Curiously, while Beery's career skyrocketed in the 1930s, Hatton's stardom diminished, though he was every bit as talented as his former partner. In the 1930s and 1940s, Hatton showed up as comic sidekick to such western stars as Johnny Mack Brown and Bob Livingston. He was usually cast as a grizzled old desert rat, even when (as in the case of the "Rough Riders" series with Buck Jones and Tim McCoy) he happened to be younger than the nominal leading man. Raymond Hatton continued to act into the 1960s, showing up on such TV series as The Abbott and Costello Show and Superman and in several American-International quickies. Raymond Hatton's last screen appearance was as the old man collecting bottles along the highway in Richard Brooks' In Cold Blood (1967).

Trivia: The blonde star of PRC horror films, Rosemary La Planche had been a dance extra in films as early as 1938. Although she was voted Miss America in 1941, her screen work continued to be mainly unbilled until German émigré director Frank Wisbar chose her to play the heroine in PRC's low-budget Strangler in the Swamp (1946), a remake of the director's semi-classic Fahrman Maria (1936); she was the ferry owner Maria who is haunted by a ghostly Charles Middleton. The Devil Bat's Daughter (1946), also helmed by Wisbar, co-starred her as Nina, an innocent girl "gaslighted" into believing she is a killer by an evil psychiatrist. Although these quasi-horror films were too cheaply made to have had much of an impact during their original release, both have earned cult followings, as has Federal Agents vs. Underworld, Inc., a 1949 Republic serial starring former Superman Kirk Alyn and featuring La Planche as its imperiled heroine. It wasn't much of a career, however, and she retired to marry radio personality Harry Koplan, briefly returning in the early '60s as a television pitch woman. Her sister, Louise La Planche, was an MGM showgirl in the 1940s.

Trivia: American actor Frank Faylen was born into a vaudeville act; as an infant, he was carried on stage by his parents, the song-and-dance team Ruf and Clark. Traveling with his parents from one engagement to another, Faylen somehow managed to complete his education at St. Joseph's Prep School in Kirkwood, Missouri. Turning pro at age 18, Faylen worked on stage until getting a Hollywood screen test in 1936. For the next nine years, Faylen played a succession of bit and minor roles, mostly for Warner Bros.; of these minuscule parts he would later say, "If you sneezed, you missed me." Better parts came his way during a brief stay at Hal Roach Studios in 1942 and 1943, but Faylen's breakthrough came at Paramount in 1945, where he was cast as Bim, the chillingly cynical male nurse at Bellevue's alcoholic ward in the Oscar-winning The Lost Weekend. Though the part lasted all of four minutes' screen time, Faylen was so effective in this unpleasant role that he became entrenched as a sadistic bully or cool villain in his subsequent films. TV fans remember Faylen best for his more benign but still snarly role as grocery store proprietor Herbert T. Gillis on the 1959 sitcom Dobie Gillis. For the next four years, Faylen gained nationwide fame for such catch-phrases as "I was in World War II--the big one--with the good conduct medal!", and, in reference to his screen son Dobie Gillis, "I gotta kill that boy someday. I just gotta." Faylen worked sporadically in TV and films after Dobie Gillis was canceled in 1963, receiving critical plaudits for his small role as an Irish stage manager in the 1968 Barbra Streisand starrer Funny Girl. The actor also made an encore appearance as Herbert T. Gillis in a Dobie Gillis TV special of the 1970s, where his "good conduct medal" line received an ovation from the studio audience. Faylen was married to Carol Hughes, an actress best-recalled for her role as Dale Arden in the 1939 serial Flash Gordon Conquers the Universe, and was the father of another actress, also named Carol.

Trivia: Possessor of one of the meanest faces in the movies, American actor Ray Teal spent much of his film career heading lynch mobs, recruiting for hate organizations and decimating Indians. Naturally, anyone this nasty in films would have to conversely be a pleasant, affable fellow in real life, and so it was with Teal. Working his way through college as a saxophone player, Teal became a bandleader upon graduation, remaining in the musical world until 1936. In 1938, Teal was hired to act in the low-budget Western Jamboree, and though he played a variety of bit parts as cops, taxi drivers and mashers, he seemed more at home in Westerns. Teal found it hard to shake his bigoted badman image even in A-pictures; as one of the American jurists in Judgment at Nuremberg (1961), he is the only member of Spencer Tracy's staff that feels that sympathy should be afforded Nazi war criminals -- and the only one on the staff who openly dislikes American liberals. A more benign role came Teal's way on the '60s TV series Bonanza, where he played the sometimes ineffectual but basically decent Sheriff Coffee. Ray Teal retired from films shortly after going through his standard redneck paces in The Liberation of LB Jones (1970).

Trivia: Diminutive, baby-faced actress Noel Neill entered films as a Paramount starlet in 1942. Though she was showcased in one of the musical numbers in The Fleet's In (1944) and was starred in the Oscar-nominated Technicolor short College Queen (1945), most of her Paramount assignments were thankless bit parts. She fared better as one of the leads in Monogram's Teen Agers series of the mid- to late '40s. In 1948 she was cast as intrepid girl reporter Lois Lane in the Columbia serial The Adventures of Superman, repeating the role in the 1950 chapter play Atom Man vs. Superman. At the time, she regarded it as just another freelance job, perhaps a little better than her cameos in such features as An American in Paris (in 1951 as the American art student) and DeMille's The Greatest Show on Earth (1953). But someone was impressed by Neill's appealingly vulnerable interpretation of Lois Lane, and in 1953 she was hired to replace Phyllis Coates as Lois in the TV version of Superman. She remained with the series for 78 episodes, gaining an enormous fan following (consisting primarily of ten-year-old boys) if not a commensurately enormous bank account. Retiring to private life after the cancellation of Superman in 1958, she was brought back into the limelight during the nostalgia craze of the 1970s. She made countless lecture appearances on the college and film convention circuit, and in 1978 returned to films as Lois Lane's mother in the big-budget Superman: The Movie: alas, most of her part ended up on the cutting-room floor, and neither she nor fellow Adventures of Superman alumnus Kirk Alyn received billing. Noel Neill's last TV appearance to date was a guest spot in a 1991 episode of the syndicated The Adventures of Superboy; she made a cameo appearance in 2006's Superman Returns. Neill died in 2016, at age 95.

Trivia: Like most African-American performers of his generation, comic actor Dudley Dickerson played more than his fair share of Pullman porters, bell-boys, waiters, and shoe-shine boys. But from the late '30s until the mid-'50s, Dickerson was the most prominent black actor working in two-reel comedies. Contracted by Columbia's short subject department, the roly-poly supporting comic brought a refreshing energy to his portrayals of, yes, Pullman porters, shoe-shine boys, and the always demeaning "frightened Negro domestic." Closer in type to Mantan Moreland than Stepin Fetchit, Dickerson was especially good opposite Charley Chase in His Bridal Fright (1940) and the Three Stooges in A-Plumbing We Will Go (1940). Dickerson played a Pullman porter once again in his final film The Alligator People (1959), after which he concentrated on television work. The veteran comic died of cerebral thrombosis.

Trivia: Born in New York City while his father Noah Beery Sr. was appearing on-stage, Noah Beery Jr. was given his lifelong nickname, "Pidge," by Josie Cohan, sister of George M. Cohan "I was born in the business," Pidge Beery observed some 63 years later. "I couldn't have gotten out of it if I wanted to." In 1920, the younger Beery made his first screen appearance in Douglas Fairbanks' The Mark of Zorro (1920), which co-starred dad Noah as Sergeant Garcia. Thanks to a zoning mistake, Pidge attended the Hollywood School for Girls (his fellow "girls" included Doug Fairbanks Jr. and Jesse Lasky Jr.), then relocated with his family to a ranch in the San Fernando Valley, miles from Tinseltown. While some kids might have chafed at such isolation, Pidge loved the wide open spaces, and upon attaining manhood emulated his father by living as far away from Hollywood as possible. After attending military school, Pidge pursued film acting in earnest, appearing mostly in serials and Westerns, sometimes as the hero, but usually as the hero's bucolic sidekick. His more notable screen credits of the 1930s and '40s include Of Mice and Men (1939), Only Angels Have Wings (again 1939, this time as the obligatory doomed-from-the-start airplane pilot), Sergeant York (1941), We've Never Been Licked (1943), and Red River (1948). He also starred in a group of rustic 45-minute comedies produced by Hal Roach in the early '40s, and was featured in several popular B-Western series; one of these starred Buck Jones, whose daughter Maxine became Pidge's first wife. Perhaps out of a sense of self-preservation, Beery appeared with his camera-hogging uncle Wallace Beery only once, in 1940's 20 Mule Team. Children of the 1950s will remember Pidge as Joey the Clown on the weekly TV series Circus Boy (1956), while the more TV-addicted may recall Beery's obscure syndicated travelogue series, co-starring himself and his sons. The 1960s found Pidge featured in such A-list films as Inherit the Wind (1960) and as a regular on the series Riverboat and Hondo. He kicked off the 1970s in the role of Michael J. Pollard's dad (there was a resemblance) in Little Fauss and Big Halsey. Though Beery was first choice for the part of James Garner's father on the TV detective series The Rockford Files, Pidge was committed to the 1973 James Franciscus starrer Doc Elliot, so the Rockford producers went with actor Robert Donley in the pilot episode. By the time The Rockford Files was picked up on a weekly basis, Doc Elliot had tanked, thus Donley was dropped in favor of Beery, who stayed with the role until the series' cancellation in 1978. Pidge's weekly-TV manifest in the 1980s included Quest (1981) and The Yellow Rose (1983). After a brief illness, Noah Beery Jr. died at his Tehachapi, CA, ranch at the age of 81.