Trivia: Energetic red-haired leading lady Susan Hayward (born Edythe Marrener) specialized in portraying gutsy women who rebound from adversity. She began working as a photographer's model while still in high school, and when open auditions were held in 1937 for the role of Scarlett O'Hara in Gone With the Wind, she arrived in Hollywood with scores of other actresses. Unlike most of the others, however, she managed to become a contract player. Her roles were initially discouragingly small, although she gradually work her way up to stardom. For her role in Smash-Up: The Story of a Woman (1947) -- the first in which she played a strong-willed, courageous woman -- Hayward received the first of her five Oscar nominations; the others were for performances in My Foolish Heart (1950), With a Song in My Heart (1952), I'll Cry Tomorrow (1956), and I Want to Live (1958), winning for the latter. Although the actress maintained her star status through the late '50s, the early '60s saw her in several unmemorable tearjerkers, and although she formally retired from films in 1964, that retirement was not a permanent one - as she later returned to the screen for a few more roles including parts in a couple of telemovies and one theatrical feature during the early 1970s. Her ten-year marriage to actor Jess Barker ended in 1954 with a bitter child-custody battle, and she died in 1975 after a two-year struggle with a brain tumor, one of several cast and crew members from 1956's The Conqueror to be stricken with cancer later in life.

Trivia: A vital, virile, exciting Broadway performer, Preston was once called, "the best American actor -- with a voice like golden thunder," by Richard Burton. He decided to become an actor at age 15. After studying acting at the Pasadena Playhouse, he became a steady, dependable performer in Hollywood films from the late '30s. Preston became well-known after Cecil B. De Mille cast him as Barbara Stanwyck's gambler husband in Union Pacific (1939). He was almost strictly a second-lead actor for 20 years, finally breaking through to lead roles after becoming a star on Broadway. For his Broadway performance (his first in a musical) as ebullient con-artist Harold Hill in The Music Man he won a Tony Award; he repeated the role in the screen version (1962) and it became the work for which he is best known. Preston went on to earn another Tony Award for his performance in the 1966 musical I Do! I Do!, opposite Mary Martin. Another outstanding performance was as Julie Andrews' gay friend Toddie in Blake Edwards' Victor/Victoria (1982), a performance which earned him a Best Supporting Actor Oscar nomination.

Trivia: He began performing in early childhood, going on to appear in tent shows, vaudeville, and stock throughout the Southwest. He formed Chill Wills and the Avalon Boys, a singing group in which he was the leader and bass vocalist, in the '30s. After appearing with the group in several Westerns, beginning with his screen debut, Bar 20 Rides Again (1935), he disbanded the group in 1938. For the next fifteen years he was busy onscreen as a character actor, but after 1953 his film work became less frequent. He provided the voice of Francis the Talking Mule in the "Francis" comedy series of films. In the '60s he starred in the TV series "Frontier Circus" and "The Rounders." For his work in The Alamo (1960) he received a Best Supporting Actor Oscar nomination. In 1975 he released a singing album--his first.

Trivia: A stagestruck 15-year-old Michigan farm boy, Harry Shannon succumbed to the lure of greasepaint upon joining a traveling repertory troupe. Developing into a first-rate musical comedy performer, Shannon went on to work in virtually all branches of live entertainment, including tent shows, vaudeville, and Broadway. By the 1930s, Shannon was a member of Joseph Schildkraut's Hollywood Theater Guild, which led to film assignments. Though he was busiest playing Irish cops and Western sheriffs, Harry Shannon is best remembered as Charles Foster Kane's alcoholic father ("What that kid needs is a good thrashin'!") in Orson Welles' masterpiece Citizen Kane (1941).

Trivia: Born in Connecticut to an immigrant Irish couple, Ed Begley ran away from home several times before making a complete break from both his family and his formal education at the age of 13. For the next two decades, Begley knocked around in a variety of activities, from Naval service to working as bowling alley pin boy, before obtaining an announcer's job at a Hartford radio station in 1931. Ten years later, Begley moved to New York, where he became a prolific radio actor; from 1944 through 1948, he played the title role in the radio version of Charlie Chan. His belated Broadway debut at age 43 came in a short-lived play titled Land of Fame. In 1947, Begley created the role of benighted war profiteer Joe Keller in Arthur Miller's All My Sons; that same year, he was assigned a solid supporting part in his first film, Boomerang (1947). He was a familiar figure in TV's "golden age" of the 1950s, co-starring in the original video productions of Twelve Angry Men and Patterns. In 1955, he made the first of 789 appearances as the William Jennings Bryan counterpart in the Broadway drama Inherit the Wind, co-starring first with Paul Muni and then with Melvyn Douglas. Despite his ever-increasing activity, Ed Begley was standing in the unemployment compensation line in 1961 when he was informed that he'd been Oscar-nominated for his performance in Sweet Bird of Youth. Justifiably proud of his Oscar statuette, Begley reportedly carried it with him everywhere he went, even on short airplane flights! Ed Begley died at 69 while attending a party at the home of Hollywood press agent Jay Bernstein; he was the father of popular movie and TV leading man Ed Begley Jr.

Trivia: The pint-sized American actor Jimmy Conlin preceded his film career as a vaudeville headliner on the Keith and Orpheum circuits, where he appeared with his wife Muriel Glass in a song-and-dance turn called "Conlin and Glass." After starring in the 1928 Vitaphone short Sharps and Flats, Conlin began regularly appearing in movie bit roles in 1933. Writer/director Preston Sturges liked Conlin's work and saw to it that the actor received sizeable roles--with good billing--in such Sturges projects as Sullivan's Travels (1941), Hail the Conquering Hero (1944) and Miracle of Morgan's Creek (1944). Conlin's all-time best role was as Wormy, the birdlike barfly who persuades Harold Lloyd to have his first-ever drink in Sturges' The Sin of Harold Diddlebock (1946). When Sturges' fortunes fell in the 1950s, Conlin and his wife remained loyal friends, communicating on a regular basis with the former top director and helping out in any way they could. In 1954, Conlin had a regular role as Eddie in the syndicated TV series Duffy's Tavern. Jimmy Conlin remained a Hollywood fixture until 1959, when he appeared in his last role as an elderly habitual criminal in Otto Preminger's Anatomy of a Murder.

Trivia: Wizened character actor Paul E. Burns tended to play mousey professional men in contemporary films and unshaven layabouts in period pictures. Bob Hope fans will recall Burns' con brio portrayal of boozy desert rat Ebeneezer Hawkins in Hope's Son of Paleface (1952), perhaps his best screen role. The general run of Burns' screen assignments can be summed up by two roles at both ends of his career spectrum: he played "Loafer" in D.W. Griffith's Abraham Lincoln (1930) and "Bum in Park" in Barefoot in the Park (1967).

Trivia: Red-haired character-actor Michael Gough was brought to Hollywood in 1948 after 14 years on Broadway. Gough's burgeoning film career was cut short when he was blacklisted on the basis of alleged communist ties; likewise prohibited from working in films was Gough's wife, Karen Morley. The most immediate effect of Gough's blacklisting occurred in the opening titles of RKO's Rancho Notorious (1952); though Gough was prominently cast as the film's principal villain, RKO head man Howard Hughes, a rabid commie-hater, demanded that the actor's name be removed from the credits. Gough retreated to the stage, returning before the cameras in the 1960s, by which time Hollywood's witch-hunt mentality had dissipated. One of his first "comeback" roles was as Michael Axford in the 1966 TV series The Green Hornet. In the 1976 film The Front, Lloyd Gough was reunited with several other former blacklistees, including actors Zero Mostel, Herschel Bernardi and Joshua Shelley, director Martin Ritt and screenwriter Walter Bernstein.

Trivia: Native American actor Chief Yowlachie (pronounced "Yo-latchee") spent many years on stage as an opera singer, performing under his given name of Daniel Simmons. His film career began in the mid-1920s with feathered-headdress bits in such productions as Ella Cinders (1925). Though well into middle age when he started showing up on screen, he was youthful-looking enough to play fierce Indian warriors and renegades well into the 1930s. His larger roles include the nominal villain in Ken Maynard's Red Raiders (1928), Billy Jackrabbit in the 1930 version of Girl of the Golden West (1930) and Geronimo in Son of Geronimo. After years of portraying noble, taciturn characters with names like Running Deer, Yellow Feather, Long Arrow, Little Horse and Black Eagle, Chief Yowlachie let his hair down in the role of "Chief Hi-Octane" in the Bowery Boys' Bowery Buckaroos (1948).

Trivia: Actor Pierre Watkin looked as though he was born to a family of Chase Manhattan executives. Tall, imposing, imbued with a corporate demeanor and adorned with well-trimmed white mustache, Watkin appeared to be a walking Brooks Brothers ad as he strolled through his many film assignments as bankers, lawyers, judges, generals and doctors. When director Frank Capra cast the actors playing US senators in Mr Smith Goes to Washington (1939) using as criteria the average weight, height and age of genuine senators, Watkin fit the physical bill perfectly. Occasionally Watkin could utilize his established screen character for satirical comedy: in W.C. Fields' The Bank Dick, he portrayed Lompoc banker Mr. Skinner, who extended to Fields the coldest and least congenial "hearty handclasp" in movie history. Serial fans know Pierre Watkin as the actor who originated the role of bombastic Daily Planet editor Perry White in Columbia's two Superman chapter plays of the late '40s.

Trivia: A genuine westerner, Lane Chandler, upon leaving Montana Wesleyan College, moved to LA and worked as a garage mechanic while seeking out film roles. After several years in bit parts, Chandler was signed by Paramount in 1927 as a potential western star. For a brief period, both Chandler and Gary Cooper vied for the best cowboy roles, but in the end Paramount went with Cooper. Chandler made several attempts to establish himself as a "B" western star in the 1930s, but his harsh voice and sneering demeanor made him a better candidate for villainous roles. He mostly played bits in the 1940s, often as a utility actor for director Cecil B. DeMille. The weather-beaten face and stubbly chin of Lane Chandler popped up in many a TV and movie western of the 1950s, his roles gradually increasing in size and substance towards the end of his career.

Trivia: Lola Albright's meat-and-potatoes job as switchboard operator of an Ohio radio station led to on-the-air work in minor roles. She then worked as a model before travelling to Hollywood in 1948. Impressed by Lola's hands-on-hips self-assuredness, producer Stanley Kramer cast her opposite Kirk Douglas in 1949's Champion. The film should have secured Lola's stardom, but didn't; for nearly a year after its release she couldn't get an acting job, and for a long period she subsisted on peanut-butter sandwiches. After marrying her Good Humor Man (1950) co-star Jack Carson, Lola found that her husband preferred her at home rather than in the studio. She acceded to his wishes, taking film and TV work only sporadically; still, by 1958 the marriage dissolved due to the very career conflicts that both Lola and Jack had tried to avoid. From 1958 through 1961, Lola played sultry nightclub songstress Edie Hart on the TV private eye series Peter Gunn. Lola's post-Gunn film roles alternated between fascinating (especially her over-the-hill stripper in Cold Wind in August [1964]) and merely rent-paying (David Niven's antiseptic spouse in The Impossible Years [1968]). In 1966, Albright briefly replaced a seriously ill Dorothy Malone in the role of Constance McKenzie on the prime time TV serial Peyton Place. Albright died in 2017, at age 92.

Trivia: While maintaining his whole life that he was part Cree and part Cherokee, actor Iron Eyes Cody was in fact born Espera DeCorti, a second generation Italian-American. He started out as a Wild-West-show performer, like his father before him. His earliest recognizable film appearances date back to 1919's Back to God's Country. While his choice of film roles was rather limited in the 1930s, 1940s and 1950s, Cody made himself a valuable Hollywood commodity by offering his services as a technical advisor on Indian lore, customs, costuming and sign language. In between his TV work and personal appearances with the Ringling Bros. Circus and other such touring concerns, Iron Eyes continued accepting supporting roles in Hollywood westerns of the 1950s; he played Chief Crazy Horse twice, in Sitting Bull (1954) and The Great Sioux Massacre (1965). Far more erudite and well-read than most of his screen characters, Iron Eyes has in recent years become a popular interview subject and a fixture at western-movie conventions and film festivals. His famous appearance as the tear-shedding Indian in the "Keep America Beautiful" TV campaign of the 1970s recently enjoyed a "revival" on cable television. In 1982, Cody wrote his enjoyably candid autobiography, in which several high-profile movie stars were given the "emperor has no clothes" treatment. As well as being an actor, Cody owns an enormous collection of Indian artifacts, costumes, books and artwork; has written several books with Indian themes; is a member of the board of directors of the Los Angeles Indian Center, the Southwest Museum and the Los Angeles Library Association; is vice-president of the Little Big Horn Indian Association; is a member of the Verdugo Council of the Boy Scouts of America; and has participated as Grand Marshal of Native American pow-wows throughout the U.S.

Trivia: American actor Dick Wessel had a face like a Mack Truck bulldog and a screen personality to match. After several years on stage, Wessel began showing up in Hollywood extra roles around 1933; he is fleetingly visible in the Marx Brothers' Duck Soup (1933), Laurel and Hardy's Bonnie Scotland (1935), and the Columbia "screwball" comedy She Couldn't Take It (1935). The size of his roles increased in the '40s; perhaps his best feature-film showing was as the eponymous bald-domed master criminal in Dick Tracy vs. Cueball (1946). He was a valuable member of Columbia Pictures' short subject stock company, playing a variety of bank robbers, wrestlers, jealous husbands and lazy brother-in-laws. Among his more memorable 2-reel appearances were as lovestruck boxer "Chopper" in The Three Stooges' Fright Night (1947), Andy Clyde's invention-happy brother-in-law in Eight Ball Andy (1948), and Hugh Herbert's overly sensitive strongman neighbor in Hot Heir (1947). Wessel was shown to good (if unbilled) advantage as a handlebar-mustached railroad engineer in the superspectacular Around the World in 80 Days (1956), and had a regular role as Carney on the 1959 TV adventure series Riverboat. Dick Wessel's farewell screen appearance was as a harried delivery man in Disney's The Ugly Dachshund (1965).

Trivia: Starting out as an assistant animator at the Walt Disney studios, John Dehner went on to work as a professional pianist, Army publicist, and radio journalist. From 1944 until the end of big-time radio in the early '60s, Dehner was one of the busiest and best performers on the airwaves. He guested on such series as Gunsmoke, Suspense, Escape, and Yours Truly, Johnny Dollar, and starred as British news correspondent J.B. Kendall on Frontier Gentleman (1958) and as Paladin in the radio version of Have Gun Will Travel (1958-1960). On Broadway, he appeared in Bridal Crown and served as director of Alien Summer. In films from 1944, Dehner played character roles ranging from a mad scientist in The Bowery Boys Meet the Monsters (1954) to Sheriff Pat Garrett in The Left-Handed Gun (1958) to publisher Henry Luce in The Right Stuff (1983). Though he played the occasional lead, Dehner's cocked-eyebrow imperiousness generally precluded any romantic entanglements; he once commented with pride that, in all his years as an actor, he never won nor kissed the heroine. As busy on TV as elsewhere, Dehner was seen regularly on such series as The Betty White Show (1954), The Westerner (1960), The Roaring '20s (1961), The Baileys of Balboa (1964), The Doris Day Show (1968), The Don Knotts Show (1969), Temperatures Rising (1973-1974), Big Hawaii (1977), Young Maverick (1979-1980), and Enos (1980-1981). He also essayed such TV-movie roles as Dean Acheson in The Missiles of October (1974). Working almost up to the end, John Dehner died of emphysema and diabetes at the age of 76.

Trivia: A master purveyor of smug, condescending character roles, Minnesota-born Larry Keating was the nephew of heavyweight boxing champ Tommy Burns. Keating built his acting reputation in radio, as master of ceremonies for such variety series as The Fitch Bandwagon and as narrator of the long-running This is Your FBI. He began his film career in 1949, generally playing curt doctors or no-nonsense business executives; one of his more warmhearted characterizations was as a blind attorney in 1951's Bright Victory. In 1953, Keating replaced Fred Clark as acerbic next door neighbor Harry Morton on the popular TV sitcom The George Burns and Gracie Allen Show. He continued in this vein in 1961 as Wilbur Post's pompous neighbor Roger Addison in the George Burns-produced Mister Ed. Larry Keating remained with this last-named series until his death from leukemia at the age of 64.

Trivia: American actor Selmer Jackson first stepped before the cameras in the 1921 silent film Supreme Passion. Silver-haired and silver-tongued, Jackson so closely resembled such dignified character players as Samuel S. Hinds and Henry O'Neill that at times it was hard to tell which actor was which -- especially when (as often happened at Warner Bros. in the 1930s) all three showed up in the same picture. During World War II, Jackson spent most of his time in uniform as naval and military officers, usually spouting declarations like "Well, men...this is it!" Selmer Jackson's final film appearance was still another uniformed role in 1960's The Gallant Hours.

Trivia: American actor Joseph Crehan bore an uncanny resemblance to Ulysses S. Grant and appeared as Grant in a number of historical features, notably They Died With Their Boots On (1941) and The Adventures of Mark Twain (1944). Appearing in hundreds of other films as well, the short, snappish actor's field-commander personality assured him authoritative roles as police chiefs, small-town mayors and newspaper editors. Because he never looked young, Joseph Crehan played essentially the same types of roles throughout his screen career, even up until 1961's Judgment at Nuremberg. Perhaps Joseph Crehan's oddest appearance is in a film he never made; in West Side Story (1961), it is Crehan's face that appears on those ubiquitous political campaign posters in the opening Jets vs. Sharks sequences.

Trivia: American actor/playwright Nolan Leary made his stage debut in 1911; 60 years later, he was still appearing in small film and TV roles. From 1943 onward, Leary showed up in some 150 movies, mostly in bit roles. One of his juicier screen assignments was as the deaf-mute father of Lon Chaney James Cagney in Man of 1000 Faces (1958). In 1974, Nolan Leary showed up briefly as Ted Baxter's prodigal father on The Mary Tyler Moore Show.

Trivia: In films from the early 1930s, Fred Graham was one of Hollywood's busiest stunt men and stunt coordinators. A fixture of the Republic serial unit in the 1940s and 1950s, Graham was occasionally afforded a speaking part, usually as a bearded villain. His baseball expertise landed him roles in films like Death on the Diamond (1934), Angels in the Outfield (1951) and The Pride of St. Louis (1952). He was also prominently featured in several John Wayne vehicles, including She Wore a Yellow Ribbon (1949), The Fighting Kentuckian (1949), The Horse Soldiers (1959) and The Alamo (1960). After retiring from films, Fred Graham served as director of the Arizona Motion Pictures Development Office.

Trivia: With two solid decades of stage experience to his credit, Charles D. Brown made his talking-picture bow in 1929's The Dance of Life. At first, Brown's bland features and flat voice made him difficult to cast, but by the time he'd reached his fifties, he was very much in demand for authoritative roles. Brown was frequently cast as a detective, though his unruffled demeanor made him a valuable "surprise" killer in more than one murder mystery. Charles D. Brown died in 1948, not long after completing his role in RKO's Follow Me Quietly (1950).