Trivia: American actor James Arness had an unremarkable Minneapolis childhood, but his wartime experiences shattered that normality - literally. During the battle of Anzio, Arness' right leg was peppered with machine gun bullets, and when the bones were set they didn't mend properly, leaving him with a slight but permanent limp. The trauma of the experience mellowed into aimlessness after the war. Arness became a "beach bum," lived out of his car, and worked intermittently as a salesman and carpenter. Acting was treated equally lackadaisically, but by 1947 Arness had managed to break into Hollywood on the basis of his rugged good looks and his 6'6" frame. Few of his screen roles were memorable, though one has become an object of cult worship: Arness was cast as the menacingly glowing space alien, described by one character as "an intellectual carrot," in The Thing (1951). For a time it looked as though Arness would continue to flounder in supporting roles, while his younger brother, actor Peter Graves, seemed destined for stardom. John Wayne took a liking to Arness when the latter was cast in Wayne's Big Jim McLain (1953). Wayne took it upon himself to line up work for Arness, becoming one of the withdrawn young actor's few friends. In 1955, Wayne was offered the role of Matt Dillon in the TV version of the popular radio series Gunsmoke. Wayne turned it down but recommended that Arness be cast and even went so far as to introduce him to the nation's viewers in a specially filmed prologue to the first Gunsmoke episode. Truth be told, Arness wasn't any keener than Wayne to be tied down to a weekly series, and as each season ended he'd make noises indicating he planned to leave. This game went on for each of the 20 seasons that Gunsmoke was on the air, the annual result being a bigger salary for Arness, more creative control over the program (it was being produced by his own company within a few years) and a sizeable chunk of the profits and residuals. When Gunsmoke finally left the air in 1975, Arness was the only one of the original four principals (including Amanda Blake, Milburn Stone and Dennis Weaver) still appearing on the series. Arness made plans to take it easy after his two-decade Gunsmoke hitch, but was lured back to the tube for a one-shot TV movie, The Macahans (1976). This evolved into the six-hour miniseries How the West Was Won (1977) which in turn led to a single-season weekly series in 1978. All these incarnations starred Arness, back in the saddle as Zeb Macahan. The actor tried to alter his sagebrush image in a 1981 modern-day cop series, McClain's Law -- which being set in the southwest permitted Arness to ride a horse or two. It appeared, however that James Arness would always be Matt Dillon in the hearts and minds of fans, thus Arness obliged his still-faithful public with three Gunsmoke TV movies, the last one (Gunsmoke: The Last Apache) released in 1992. In between these assignments, James Arness starred in a 1988 TV-movie remake of the 1948 western film classic Red River, in which he filled the role previously played by his friend and mentor John Wayne.

Trivia: Milburn Stone got his start in vaudeville as one-half of the song 'n' snappy patter team of Stone and Strain. He worked with several touring theatrical troupes before settling down in Hollywood in 1935, where he played everything from bits to full leads in the B-picture product ground out by such studios as Mascot and Monogram. One of his few appearances in an A-picture was his uncredited but memorable turn as Stephen A. Douglas in John Ford's Young Mr. Lincoln. During this period, he was also a regular in the low-budget but popular Tailspin Tommy series. He spent the 1940s at Universal in a vast array of character parts, at one point being cast in a leading role only because he physically matched the actor in the film's stock-footage scenes! Full stardom would elude Stone until 1955, when he was cast as the irascible Doc Adams in Gunsmoke. Milburn Stone went on to win an Emmy for this colorful characterization, retiring from the series in 1972 due to ill health.

Trivia: The brother of actress Marilyn Brown, Barry Brown was 17 when he made his screen bow in Andy Warhol's Flesh. Brown's breakthrough role was Civil War draft dodger Drew Dixon in the 1972 sleeper Bad Company. His co-star was Jeff Bridges, a close friend whom Brown lionized in an essay written for Danny Peary's 1978 compendium Close-Ups; it was but one of many published works for Brown, who in addition to his acting accomplishments was also a noted film historian. After co-starring as Fred Winterbourne in Peter Bogdanovich's uneven 1974 cinemadaptation of Daisy Miller, Brown slowly drifted away from show business. Barry Brown was 27 when he died of a self-inflicted gunshot wound.

Trivia: Woefully underappreciated American actress Annette O'Toole combined intelligence, wit, and delicate, often teasing allure with a girl-next-door magnetism that served her impeccably, both during her ingenue years and well into adulthood. Born in 1953, the scarlet-haired Houston native followed the lead of her dance studio owner mother by practicing her footwork with stunning determination. Annette's family moved to the City of Angels before her 14th birthday, where she shifted gears from dancing to acting, enrolled in drama courses, and landed guest roles in such series as The Partridge Family and Hawaii Five-O. In 1974, O'Toole tackled her first major feature role -- that of sweet-hearted beauty pageant contestant Doria Houston (otherwise known as Miss Anaheim) in Michael Ritchie's legendary satire Smile (1975). She did stellar work opposite Robby Benson in the romantic comedy One on One (1977), which premiered to favorable critical reviews, but a similar effort with Gary Busey a few years later, called Foolin' Around (1980), failed to display like chemistry. For better or worse, O'Toole's big break arrived in 1982, when she was cast opposite Christopher Reeve as Lana Lang in Superman 3; the film, of course, clocked in as an enormous stinker, overbloated to the point of absurdity, with O'Toole providing its only saving grace. That film imparted bittersweet undercurrents to O'Toole's life; it brought her the greatest character identification of her career, to be certain, but (along with an ill-advised appearance in Paul Schrader's awful 1982 movie Cat People), may have contributed to keeping her offscreen for several years. She rebounded with force in Armyan Bernstein's outstanding sex comedy Cross My Heart, as one of two romantic leads opposite Martin Short. The late 1987 release displayed the wit, charisma, and intelligence of both of its stars (and incorporated a hilarious nod to Superman 3, suggesting that Bernstein and Gail Parent may have written the role specifically for O'Toole), but for some unascertainable reason, failed to connect with an audience. O'Toole then signed for roles in the Alan Rudolph comedy-mystery Love at Large (1989) and the horrific Stephen King telemovie It (1990), which found the actress, along with John Ritter, Richard Thomas, and others, squaring off against homicidal clown Pennywise (Tim Curry). Her next major feat came in the late '90s, when she played Lisa, the spunky ex-wife of the police detective title character (Don Johnson) on the series Nash Bridges (1996-2001). She then achieved recognition by playing a different Superman role than the one previously essayed -- that of Clark Kent's mother, Martha -- on the popular prime-time series Smallville (2001). At about the same time, O'Toole made headlines by marrying her second husband, comedian and actor Michael McKean (Laverne & Shirley, This Is Spinal Tap), in 1999. The two co-authored a song for the Christopher Guest mockumentary A Mighty Wind (2003), entitled "A Kiss at the End of the Rainbow," in which McKean co-starred sans O'Toole. In a particularly memorable bit, the couple performed that number together on-stage at the 2004 Academy Awards ceremony.

Trivia: Primarily an actress of stage and television, June Dayton occasionally appeared in feature films. Born Mary June Wetzel, she took her stage name from her native Dayton, OH, and made her Broadway debut in the 1940s. Those remembering the early-'50s television series The Aldrich Family will recognize her for playing Mary Aldrich during the 1952-1953 season. After that, she guest starred on numerous series through the mid-'70s, including Inner Sanctum, My Favorite Martian, Land of the Giants, and The Six Million Dollar Man. She would also show up in a few television movies such as Letters From Three Lovers (1973) and Something for Joey (1977). She made her feature film debut in 1963, appearing in the Norman Vincent Peale biopic One Man's Way and Twilight of Honor.

Trivia: With his slight built, narrow face and pencil-thin mustache, I. Stanford Jolley did not exactly look trustworthy, and a great many of his screen roles (more than 500) were indeed to be found on the wrong side of the law. Isaac Stanford Jolley had toured as a child with his father's traveling circus and later worked in stock and vaudeville, prior to making his Broadway debut opposite Charles Trowbridge in Sweet Seventeen (1924). Radio work followed and he arrived in Hollywood in 1935. Pegged early on as a gangster or Western outlaw, Jolley graduated to playing lead henchman or the boss villain in the '40s, mostly appearing for such poverty-row companies as Monogram and PRC. Although Jolley is often mentioned as a regular member of the Republic Pictures' stock company, he was never under contract to that legendary studio and only appeared in 25 films for them between 1936 and 1954. From 1950 on, Jolley worked frequently on television and remained a busy performer until at least 1976. According to his widow, the actor, who died of emphysema at the Motion Picture Country Hospital, never earned more than 100 dollars on any given movie assignment. He was the father of art director Stan Jolley.

Trivia: One of the most prolific actors in television history -- with starring roles in 11 different television series under his belt -- Harry Morgan is most closely identified with his portrayal of Colonel Sherman Potter on M*A*S*H (1975-83). But his credits go back to the 1930s, embracing theater and film as well as the small screen. Born Harry Bratsberg in Detroit, Michigan, in 1915, he made his Broadway debut with the Group Theatre in 1937 as Pepper White in the original production of Golden Boy, alongside Luther Adler, Phoebe Brand, Howard Da Silva, Lee J. Cobb, Morris Carnovsky, Frances Farmer, Elia Kazan, John Garfield, Martin Ritt, and Roman Bohnen. His subsequence stage appearances between 1939 and 1941 comprised a string of failures -- most notably Clifford Odets' Night Music, directed by Harold Clurman; and Robert Ardrey's Thunder Rock, directed by Elia Kazan -- before he turned to film work. Changing his name to Henry Morgan, he appeared in small roles in The Shores of Tripoli, The Loves of Edgar Allen Poe, and Orchestra Wives, all from 1942. Over the next two years, he essayed supporting roles in everything from war movies to Westerns, where he showed an ability to dominate the screen with his voice and his eyes. Speaking softly, Morgan could quietly command a scene, even working alongside Henry Fonda in the most important of those early pictures, The Ox-Bow Incident (1943). Over the years following World War II, Morgan played ever-larger roles marked by their deceptive intensity. And even when he couldn't use his voice in a role, such as that of the mute and sinister Bill Womack in The Big Clock (1948), he was still able to make his presence felt in every one of his scenes with his eyes and his body movements. He was in a lot of important pictures during this period, including major studio productions such as All My Sons (1948), Down to the Sea in Ships (1949), and Madame Bovary (1949). He also appeared in independent films, most notably The Well (1951) and High Noon (1952). One of the more important of those roles was his portrayal of a professional killer in Appointment With Danger (1951), in which he worked alongside fellow actor Jack Webb for the first time. Morgan also passed through the stock company of director Anthony Mann, working in a brace of notable outdoor pictures across the 1950s. It was during the mid-1950s, as he began making regular appearances on television, that he was obliged to change his professional name to Harry Morgan (and, sometimes, Henry "Harry" Morgan), owing to confusion with another performer named Henry Morgan, who had already established himself on the small screen and done some movie acting as well. And it was at this time that Morgan, now billed as Harry Morgan, got his first successful television series, December Bride, which ran for five seasons and yielded a spin-off, Pete and Gladys. Morgan continued to appear in movies, increasingly in wry, comedic roles, most notably Support Your Local Sheriff (1969), but it was the small screen where his activity was concentrated throughout the 1960s.In 1966, Jack Webb, who had become an actor, director, and producer over the previous 15 years, decided to revive the series Dragnet and brought Morgan aboard to play the partner of Webb's Sgt. Joe Friday. As Officer Bill Gannon, Morgan provided a wonderful foil for the deadpan, no-nonsense Friday, emphasizing the natural flair for comic eccentricity that Morgan had shown across the previous 25 years. The series ran for four seasons, and Morgan reprised the role in the 1987 Dragnet feature film. He remained a busy actor going into the 1970s, when true stardom beckoned unexpectedly. In 1974, word got out that McLean Stevenson was planning on leaving the successful series M*A*S*H, and the producers were in the market for a replacement in the role of the military hospital's commanding officer. Morgan did a one-shot appearance as a comically deranged commanding general and earned the spot as Stevenson's replacement. Morgan worked periodically in the two decades following the series' cancellation in 1983, before retiring after 1999. He died in 2011 at age 96.

Trivia: Actor Dack Rambo specialized in low-budget action features and television. Born Norman Rambo and the twin brother of actor Dirk Rambo, he started out playing Dack Massey on The New Loretta Young Show (1962-1963). He next appeared as Grant Harrison on the daytime soap Another World and in the early '80s as Steve Jacoby on All My Children. Between 1985 and 1988, Rambo played Jack Ewing on the nighttime serial Dallas. He has also appeared regularly on series such as The Guns of Will Sonnett (1967-1969). Rambo made his feature-film debut in Which Way to the Front (1970). He made his last film appearance in the 1992 film Ultra Warrior.

Trivia: An alumnus of the Indiana University Law School, Herbert Vigran gave up the legal world to become an actor. Making his 1935 film debut in Vagabond Lady, Vigran had a few lean months after his first flurry of Hollywood activity, but began getting stage work in New York on the basis of a portfolio of photos showing him sharing scenes with several well-known movie actors (never mentioning that most of his film roles were bit parts). After his first Broadway success in Having Wonderful Time, Vigran returned to L.A., accepting small parts in movies while keeping busy with plenty of lucrative radio work; among his hundreds of radio assignments was the title character on the wartime sitcom "The Sad Sack." In films, the harsh-voiced, heavily eyebrowed Vigran could usually be seen as brash reporters and Runyon-esque hoodlums; his favorite role was the rumpled private eye in the 1954 Dick Powell/Debbie Reynolds comedy Susan Slept Here. During the 1950s, Vigran was most active in TV, essaying half a dozen bad guy roles on the Superman series and appearing regularly as Monte the Bartender on the Dante's Inferno episodes of the anthology series Four Star Playhouse. In the early '70s, Herb Vigran found time during his hectic movie and voice-over schedule to play the recurring role of Judge Brooker on Gunsmoke.