Trivia: In the first ten years of his life, Raymond Burr moved from town to town with his mother, a single parent who supported her little family by playing the organ in movie houses and churches. An unusually large child, he was able to land odd jobs that would normally go to adults. He worked as a ranch hand, a traveling tinted-photograph salesman, a Forest service fire guard, and a property agent in China, where his mother had briefly resettled. At 19, he made the acquaintance of film director Anatole Litvak, who arranged for Burr to get a job at a Toronto summer-stock theater. This led to a stint with a touring English rep company; one of his co-workers, Annette Sutherland, became his first wife. After a brief stint as a nightclub singer in Paris, Burr studied at the Pasadena Playhouse and took adult education courses at Stanford, Columbia, and the University of Chunking. His first New York theatrical break was in the 1943 play Duke in Darkness. That same year, his wife Sutherland was killed in the same plane crash that took the life of actor Leslie Howard. Distraught after the death of his wife, Burr joined the Navy, served two years, then returned to America in the company of his four-year-old son, Michael Evan Burr (Michael would die of leukemia in 1953). Told by Hollywood agents that he was overweight for movies, the 340-pound Burr spent a torturous six months living on 750 calories per day. Emerging at a trim 210 pounds, he landed his first film role, an unbilled bit as Claudette Colbert's dancing partner in Without Reservations (1946). It was in San Quentin (1946), his next film, that Burr found his true metier, as a brooding villain. He spent the next ten years specializing in heavies, menacing everyone from the Marx Brothers (1949's Love Happy) to Clark Gable (1950's Key to the City) to Montgomery Clift (1951's A Place in the Sun) to Natalie Wood (1954's A Cry in the Night). His most celebrated assignments during this period included the role of melancholy wife murderer Lars Thorwald in Hitchcock's Rear Window (1954) and reporter Steve Martin in the English-language scenes of the Japanese monster rally Godzilla (1956), a characterization he'd repeat three decades later in Godzilla 1985. While he worked steadily on radio and television, Burr seemed a poor prospect for series stardom, especially after being rejected for the role of Matt Dillon on Gunsmoke on the grounds that his voice was too big. In 1957, he was tested for the role of district attorney Hamilton Burger in the upcoming TV series Perry Mason. Tired of playing unpleasant secondary roles, Burr agreed to read for Burger only if he was also given a shot at the leading character. Producer Gail Patrick Jackson, who'd been courting such big names as William Holden, Fred MacMurray, and Efrem Zimbalist Jr., agreed to humor Burr by permitting him to test for both Burger and Perry Mason. Upon viewing Burr's test for the latter role, Perry Mason creator Erle Stanley Gardner jumped up, pointed at the screen, and cried "That's him!" Burr was cast as Mason on the spot, remaining with the role until the series' cancellation in 1966 and winning three Emmies along the way. Though famous for his intense powers of concentration during working hours -- he didn't simply play Perry Mason, he immersed himself in the role -- Burr nonetheless found time to indulge in endless on-set practical jokes, many of these directed at his co-star and beloved friend, actress Barbara Hale. Less than a year after Mason's demise, Burr was back at work as the wheelchair-bound protagonist of the weekly detective series Ironside, which ran from 1967 to 1975. His later projects included the short-lived TVer Kingston Confidential (1976), a sparkling cameo in Airplane 2: The Sequel (1982), and 26 two-hour Perry Mason specials, lensed between 1986 and 1993. Burr was one of the most liked and highly respected men in Hollywood. Fiercely devoted to his friends and co-workers, Burr would threaten to walk off the set whenever one of his associates was treated in a less than chivalrous manner by the producers or the network. Burr also devoted innumerable hours to charitable and humanitarian works, including his personally financed one-man tours of Korean and Vietnamese army bases, his support of two dozen foster children, and his generous financial contributions to the population of the 4,000-acre Fiji island of Naitauba, which he partly owned. Despite his unbounded generosity and genuine love of people, Burr was an intensely private person. After his divorce from his second wife and the death from cancer of his third, Burr remained a bachelor from 1955 until his death. Stricken by kidney cancer late in 1992, he insisted upon maintaining his usual hectic pace, filming one last Mason TV movie and taking an extended trip to Europe. In his last weeks, Burr refused to see anyone but his closest friends, throwing "farewell" parties to keep their spirits up. Forty-eight hours after telling his longtime friend and business partner Robert Benevides, "If I lie down, I'll die," 76-year-old Raymond Burr did just that -- dying as he'd lived, on his own terms.

Trivia: According to her Rockford, Illinois, high-school yearbook, Barbara Hale hoped to make a career for herself as a commercial artist. Instead, she found herself posing for artists as a professional model. This led to a movie contract at RKO Radio, where she worked her way up from "B"s like The Falcon in Hollywood (1945) to such top-of-the-bill attractions as A Likely Story (1947) and The Boy With Green Hair (1949). She continued to enjoy star billing at Columbia, where among other films she essayed the title role in Lorna Doone (1952). Her popularity dipped a bit in the mid-1950s, but she regained her following in the Emmy-winning role of super-efficient legal secretary Della Street on the Perry Mason TV series. She played Della on a weekly basis from 1957 through 1966, and later appeared in the irregularly scheduled Perry Mason two-hour TV movies of the 1980s and 1990s. The widow of movie leading man Bill Williams, Barbara Hale was the mother of actor/director William Katt. Hale died in 2017, at age 94.

Trivia: The scion of a wealthy Detroit family, William Talman would later claim that he learned to "champion the underdog" while a member of his Episcopal church boxing team. In his 20s, Talman became an evangelist for the Moral Re-Armament Movement, and later made at stab at studying law. He drifted to New York, where, through the intervention of an actor friend of his father, he began picking up small stage roles. After extensive experience in New York and in the touring company of Of Mice and Men, Talman moved to Hollywood, where in 1949 he played his first important screen role as a gangster in Red, Hot and Blue (1949). At his best when his characters were at their worst, Talman developed into one of Tinseltown's most fearsome screen villains, never more so than when he played a psycho killer who slept with one eye open in the noir classic The Hitchhiker (1955). In 1957, Talman was cast as Hamilton Burger, the perennially losing District Attorney on the popular TV weekly Perry Mason. He remained with the series until March of 1960, when he was arrested for throwing a wild party where vast quantities of illegal substances were consumed. The Perry Mason producers had every intention of firing Talman from the series, but he was reinstated thanks to the loyal intervention of his co-stars -- particularly Raymond Burr, who threatened to quit the show if Talman wasn't given a second chance. William Talman was last seen on TV in a series of anti-smoking public service announcements; these spots were run posthumously, at Talman's request, following his death from lung cancer at the age of 53.

Trivia: Blond actress June Vincent entered the movie business in 1940. Occasionally a leading lady, as in Abbott & Costello's Here Come the Co-eds, Vincent was more effectively cast as an ice-princess "other woman." After a string of progressively uninteresting film parts, she received a shot in the arm careerwise when she began accepting television roles, rapidly establishing herself as an versatile character actress; TV Guide, taking into consideration the number of times that the on-screen Vincent tried to steal away somebody's husband or boyfriend, referred to her as "Television's Favorite Homewrecker." June Vincent made her final TV appearances in the mid-1960s.

Trivia: Born in London, Les Tremayne moved to America in his early teens. Educated at Northwestern, Columbia and UCLA, Tremayne went on the stage in the early 1930s, where his distinguished demeanor and mellifluous voice served him well. He rose to stardom on radio, appearing in literally thousands of "Golden Age" broadcasts, notably as star of the long-running anthology The First Nighter Program. In films from 1951, Tremayne brought a large dose of sober credibility to many an otherwise hard-to-swallow science fiction opus. At his best as General Mann in War of the Worlds (1953)--the General's explanation of the Martian's invasion strategy remains one of the finest pieces of pure exposition in all of "fantastic" cinema--Tremayne was also successful in maintaining his dignity in cheapies of the Angry Red Planet (1959) and Slime People (1965) variety. The actor's contributions to the sci-fi genre were hosannahed in the direct-to-video production The Attack of the B-Movie Monsters (1985). In addition, Tremayne showed up in several non-genre efforts, usually in small but substantial roles like the auctioneer in North by Northwest (Tremayne's single scene in this 1959 Hitchcock classic also featured his old First Nighter colleague Olan Soule). Busiest on television as a commercial spokesman and voiceover artist, Tremayne found time to appear on the prime-time TV version of radio's One Man's Family (1951); as Inspector Richard Queen on the 1958-59 incarnation of the venerable Ellery Queen; and as Mentor on the Saturday morning Captain Marvel-inspired weekly Shazam! (1974-77). In 1995, Les Tremayne, as golden-throated as ever, was inducted into the Radio Hall of Fame during a moving, nationally broadcast ceremony from Chicago's Museum of Broadcasting.

Trivia: Supporting actress, former lead, onscreen from 1941.

Trivia: Bald, moon-faced character actor George Cisar kept busy in a 22-year Hollywood career with roles in well over 100 film and television productions, starting in 1948 with an uncredited bit as a policeman in Henry Hathaway's Call Northside 777. Perhaps it was his rough-hewn yet genial features, coupled with an unaffected working-class accent and demeanor, but he was frequently put into police uniforms; and, in fact, many baby boomers may instantly recognize Cisar's face, if not his name, for his recurring role as the long-suffering Sgt. Mooney on the series Dennis the Menace, a part he portrayed in over two dozen episodes between 1960 and 1963. He worked in every genre from romantic comedies to Westerns, horror, and science fiction. In 1956 alone, Cisar was a barfly in Fred F. Sears' Teenage Crime Wave; a bartender in Sears' The Werewolf; and the somewhat disingenuous father of a vengeful teenager, who tries to sponsor and then derail a controversial rock & roll show, in Sears' Don't Knock the Rock. Cisar was obviously reliable, as director Sears and producer Sam Katzman -- who made those three movies -- were known for efficient filmmaking on a notoriously low budget.Cisar worked a lot for them at Columbia Pictures (which also produced Dennis the Menace), but he also did a lot of work at Ziv TV, on series such as Highway Patrol and Bat Masterson, in addition to regular appearance in Dragnet, where Jack Webb apparently liked keeping him busy and employed. Cisar could be funny or sinister, and some of his appearances were limited to a single line or two of dialogue, as in The Giant Claw (1957), where he provided a moment of comic relief (indeed, in that movie, his scene was one of the rare intentionally amusing moments). He also turned up in tiny roles in high-profile pictures such as Jailhouse Rock (1957) and Some Came Running (1958). Typically, Cisar would go from a co-starring part in a low-budget exploitation picture, such as Bernard Kowalski's Attack of the Giant Leeches, to a bit in, say, Don Siegel's Edge of Eternity, and then right on to an episode of The Untouchables (all 1959). Cisar retired at the start of the 1970s and passed away in 1979.