Trivia: Arguably the most popular -- and certainly the busiest -- movie leading man in Hollywood history, John Wayne entered the film business while working as a laborer on the Fox lot during summer vacations from U.S.C., which he attended on a football scholarship. He met and was befriended by John Ford, a young director who was beginning to make a name for himself in action films, comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the male lead in the 1930 epic Western The Big Trail, and, although it was a failure at the box office, the movie showed Wayne's potential as a leading man. During the next nine years, be busied himself in a multitude of B-Westerns and serials -- most notably Shadow of the Eagle and The Three Mesquiteers series -- in between occasional bit parts in larger features such as Warner Bros.' Baby Face, starring Barbara Stanwyck. But it was in action roles that Wayne excelled, exuding a warm and imposing manliness onscreen to which both men and women could respond. In 1939, Ford cast Wayne as the Ringo Kid in the adventure Stagecoach, a brilliant Western of modest scale but tremendous power (and incalculable importance to the genre), and the actor finally showed what he could do. Wayne nearly stole a picture filled with Oscar-caliber performances, and his career was made. He starred in most of Ford's subsequent major films, whether Westerns (Fort Apache [1948], She Wore a Yellow Ribbon [1949], Rio Grande [1950], The Searchers [1956]); war pictures (They Were Expendable [1945]); or serious dramas (The Quiet Man [1952], in which Wayne also directed some of the action sequences). He also starred in numerous movies for other directors, including several extremely popular World War II thrillers (Flying Tigers [1942], Back to Bataan [1945], Fighting Seabees [1944], Sands of Iwo Jima [1949]); costume action films (Reap the Wild Wind [1942], Wake of the Red Witch [1949]); and Westerns (Red River [1948]). His box-office popularity rose steadily through the 1940s, and by the beginning of the 1950s he'd also begun producing movies through his company Wayne-Fellowes, later Batjac, in association with his sons Michael and Patrick (who also became an actor). Most of these films were extremely successful, and included such titles as Angel and the Badman (1947), Island in the Sky (1953), The High and the Mighty (1954), and Hondo (1953). The 1958 Western Rio Bravo, directed by Howard Hawks, proved so popular that it was remade by Hawks and Wayne twice, once as El Dorado and later as Rio Lobo. At the end of the 1950s, Wayne began taking on bigger films, most notably The Alamo (1960), which he produced and directed, as well as starred in. It was well received but had to be cut to sustain any box-office success (the film was restored to full length in 1992). During the early '60s, concerned over the growing liberal slant in American politics, Wayne emerged as a spokesman for conservative causes, especially support for America's role in Vietnam, which put him at odds with a new generation of journalists and film critics. Coupled with his advancing age, and a seeming tendency to overact, he became a target for liberals and leftists. However, his movies remained popular. McLintock!, which, despite well-articulated statements against racism and the mistreatment of Native Americans, and in support of environmentalism, seemed to confirm the left's worst fears, but also earned more than ten million dollars and made the list of top-grossing films of 1963-1964. Virtually all of his subsequent movies, including the pro-Vietnam War drama The Green Berets (1968), were very popular with audiences, but not with critics. Further controversy erupted with the release of The Cowboys, which outraged liberals with its seeming justification of violence as a solution to lawlessness, but it was successful enough to generate a short-lived television series. Amid all of the shouting and agonizing over his politics, Wayne won an Oscar for his role as marshal Rooster Cogburn in True Grit, a part that he later reprised in a sequel. Wayne weathered the Vietnam War, but, by then, time had become his enemy. His action films saw him working alongside increasingly younger co-stars, and the decline in popularity of the Western ended up putting him into awkward contemporary action films like McQ (1974). Following his final film, The Shootist (1976) -- possibly his best Western since The Searchers -- the news that Wayne was stricken ill with cancer (which eventually took his life in 1979) wiped the slate clean, and his support for the Panama Canal Treaty at the end of the 1970s belatedly made him a hero for the left. Wayne finished his life honored by the film community, the U.S. Congress, and the American people as had no actor before or since. He remains among the most popular actors of his generation, as evidenced by the continual rereleases of his films on home video.

Trivia: A child actress in her hometown of Minneapolis, Muriel Evans began her screen career in 1927 as a leading lady to comedian Lupino Lane. Her parents, however, demanded that she finish her education and she was offscreen until 1932. Blonde and, according to at least one reviewer, "unspoiled," Evans enjoyed a busy career in mainly B-films, including no less than 13 series Westerns with the likes of John Wayne, Buck Jones, and Tex Ritter. In the late 1930s, her career came full circle when she starred in two-reel comedies opposite James Finlayson.

Trivia: Cyrus W. Kendall was eight years old when he made his acting debut at the fabled Pasadena Playhouse. As an adult, the portly Kendall became a charter member of the Playhouse's Eighteen Actors Inc., acting in and/or directing over 100 theatrical productions. In films from 1936, he was usually typecast as an abrasive, cigar-chomping detective, gangster or machine politician. He showed up in roles both large and small in feature films, and was prominently cast in several of MGM's Crime Does Not Pay short subjects. Typical Kendall assignments of the 1940s included Jumbo Madigan in Alias Boston Blackie (1941) and "Honest" John Travers in Outlaw Trail (1944). Remaining active into the early years of live television, Cyrus W. Kendall essayed several guest spots on the 1949 quiz show/anthology Armchair Detective, and co-starred with Robert Bice, Spencer Chan and Herb Ellis on the Hollywood-based ABC weekly Mysteries of Chinatown (1949-50).

Trivia: A former boxer from Italy and the second husband of notorious socialite/actress Evelyn Nesbit, Jack Clifford (born Jack Montani) appeared opposite his wife in Threads of Destiny (1914). Much busier in the talkie era, Clifford played innumerable bit roles from 1931 to 1949, including the nasty dogcatcher in Jackie Cooper's Skippy (1931), Uncle Tom in Shirley Temple's Dimples (1936), and assorted lawmen in B-Westerns. Clifford's final role was that of a henchman in several episodes of television's The Lone Ranger series.

Trivia: Yakima Canutt was the most innovative stunt performer and coordinator ever to risk life and limb for the art of Hollywood illusion. Cheating death at every turn, many of the tricks of the trade he first developed in the Westerns of the silent era remain fixtures of the craft even today. Born Enos Edward Canutt on November 29, 1895, in Colfax, WA, he began working on ranches while in his youth and at the age of 17 signed on as a trick rider with a Wild West show, where he ultimately won the title of Rodeo World Champion. Billing himself as Eddie Canutt, "the Man From Yakima," in 1917 he met Hollywood cowboy star Tom Mix, who recruited him as a stunt man. Quickly he became one of the leading fall guys in the industry, with a knack for horse spills and wagon wrecks. Over and over again, Canutt brought Western reelers to a rousing finale by doubling as the hero as he leapt from his horse to tackle a villain attempting to flee from the long arm of the law. In 1920, Canutt first earned billing for his work in The Girl Who Dared. Soon his name was appearing in the credits of several Westerns each year, all highlighted by his daredevil antics. His reputation rested on his ability to mastermind larger-than-life sequences -- cattle stampedes, covered-wagon races, and the like -- as well as intricate battles between frontier settlers and their Indian rivals. He could also be counted on to leap from a cliff's top while on horseback, or from a stagecoach onto its runaway horse team. For his elaborately choreographed fight scenes, Canutt developed a new, more realistic method of throwing punches, positioning the action so that the camera filmed over the shoulder of the actor receiving the blow, with the punch itself coming directly toward the lens. With the addition of sound effects, the illusion of fisticuffs was complete, and the practice remains an essential component of the stunt man's craft today. Under Canutt's supervision, a number of rules and guidelines designed to improve stunt safety were established, all of them becoming industry standards. Indeed, to his credit no one was ever seriously injured in any of his films. Many of Canutt's most important innovations involved his use of rigging: In one such attempt to minimize the possibility of broken bones, he carefully rigged his stirrups to break open to allow his feet to release at the proper moment. He also rigged cable mechanisms to trigger stunt action, maintaining more control over his scenes to eliminate the possibility of catastrophe. Gene Autry, Roy Rogers -- nearly every major Western star -- owed much of his success to Canutt's daring; eventually, his mastery of the craft was such that scripts were penned without detailed descriptions of their fight scenes or chases, and "Action by Yakima Canutt" was simply written instead.By the mid-'20s, Canutt was starring in Westerns as well as handling stunts. However, as the sound era dawned he suffered an illness which stripped the resonance from his voice, effectively ending his career as a leading man and reducing him to turns as sidekicks and heavies. In 1932's serial The Shadow of the Eagle, he was cast alongside John Wayne, beginning a partnership that was to endure for many years; their most notable collaboration was the 1939 classic Stagecoach, where Canutt not only came aboard as the stunt supervisor but also appeared onscreen to take falls as a cowboy, an Indian, and even as a woman. In addition to keeping peace between Wayne and director John Ford, Canutt also performed one of the most legendary stunts in film history, a pulse-pounding pass under a moving stagecoach: Doubling as an Indian, he rode his horse ahead of the coach before attempting to leap over to its lead team and dropping to the ground; after a brief moment, he then released his grip and allowed the horses and the coach to pass over his body. As Canutt grew older, injuries began to take their toll, and he cut back on his rigorous schedule, making the transition from stunt performer to coordinator to, ultimately, director. However, he still found time to appear onscreen in noteworthy films like 1939's Gone With the Wind, not only standing in for Clark Gable during his wagon drive through the burning streets of Atlanta but also playing the renegade soldier who attacks Scarlett O'Hara and tumbles backward down a flight of steps. In his later years Canutt also served as a second-unit director, most notably aiding William Wyler on 1959's Ben-Hur, where he helped supervise the choreography of the famed chariot race (a sequence two years in the making). Canutt also oversaw the many animal action scenes in Old Yeller, as well as the car chase in The Flim-Flam Man.In 1966, Canutt received a special Academy Award for his lifetime of excellence as a stunt performer, winning kudos "for creating the profession of stunt man as it exists today and for the development of many safety devices used by stunt men everywhere." In 1975, he was also inducted into the Cowboy Hall of Fame in Oklahoma City. Canutt remained active in films until 1976, ending his career as a consultant on Equus. His son later carried on in the family business. In 1979, Canutt published his memoirs, Stunt Man: The Autobiography of Yakima Canutt. Yakima Canutt died in Hollywood on May 24, 1986, at the age of 90.

Trivia: Herbert Heywood spent the bulk of his screen career answering to the nicknames "Pop" and "Old Timer." Already well into middle age when he began his film career in 1935, Heywood could be seen as mailmen, doormen, judges, convicts and railroad workers. Most of his films were made at Universal and Fox, two companies historically averse to crediting their minor players. Among the few roles played by Herbert Heywood to be given names rather than descriptions were Hot Cake Joe in Criminals of the Air (1937) and brakeman Arnold Kelly in King's Row (1941).

Trivia: Actor Arthur Aylesworth's first regular film employment was in a series of Paramount "newspaper" short subjects produced between 1932 and 1933. Aylesworth signed a Warner Bros. contract in 1934, appearing in nine films his first year. His roles under the Warners escutcheon included the Chief Censor in Life of Emile Zola (1937), the auto court owner in High Sierra (1941) and the sleigh driver in Christmas in Connecticut (1946). He also showed up at other studios, playing the night court judge in W.C. Fields' Man on the Flying Trapeze (Paramount 1935) and essaying minor roles in several of director John Ford's 20th Century-Fox productions. Arthur Aylesworth's last screen assignment was the part of a tenant farmer in Fox's Dragonwyck (1946).

Trivia: The sister of silent screen star Katherine MacDonald and a former photographer's model, blonde Mary MacLaren had danced in the Broadway revue The Passing Show of 1914 before making her screen debut in 1916. A favorite of pioneering woman director Lois Weber, MacLaren starred as the poor working girl in Shoes (1916) and was Marie Walcamp's maid in the anti-abortion drama Where Are My Children (1916). For another early woman director, Ida May Park, MacLaren played an actress betrayed by a Broadway wolf and reduced to living in squalor in the evocative Bread (1918) and she was a regal Anne of Austria in Fairbanks' The Three Musketeers (1921). Like most of her contemporaries, MacLaren's career waned in the 1920s and she was reduced to minor roles after the changeover to sound. After playing scores of maids, nurses and dowagers, MacLaren left films around 1948 to travel with her husband, a British military officer. Sadly, when she resurfaced in the 1970s, a newspaper reporter discovered her living in abject poverty in her once palatial Hollywood home. MacLaren's tragic story was widely reported and in her final years she became a popular guest at various silent screen revivals.

Trivia: Actor Edward Hearn's Hollywood career extended from 1916 to 1951. A leading man in the silent era, Hearn was seen in such roles as Philip Nolan, the title character in Man without a Country (1925). His first talkie effort was Frank Capra's The Donovan Affair (1929). Capra never forgot Hearn, securing minor roles for the actor when his star faded in the early 1930s. Edward Hearn spent his last two decades in films playing dozens of cops, jurors, and military officers, essaying bits in features and supporting roles in serials and short subjects.

Trivia: American character actor Earl Dwire was most closely associated with the B-Western movie mills of the 1930s. Dwire frequently played the antagonist in the low-budget vehicles of such cowboy stars as Bob Steele and Johnny Mack Brown. In the early '30s, he was virtually a regular in the John Wayne Westerns produced by the Lone Star outfit. He also occasionally accepted such contemporary minor roles as a priest in Angels With Dirty Faces (1938) and a gangster in Accidents Will Happen (1939). Earl Dwire's last known film credit was the Universal serial Flash Gordon Conquers the Universe (1940).

Trivia: Actor Tex Palmer was busy in films from 1932 to 1947. Spending his entire career in B-Westerns, Palmer played bits and minor roles in the films of such sagebrush favorites as John Wayne and Ray "Crash" Corrigan. From 1937 to 1939, he showed up in six of singing cowboy Tex Ritter's vehicles for Grand National Pictures. Tex Palmer was particularly active at PRC Studios in the 1940s, appearing in the company's Billy the Kid, Lone Rider, Frontier Marshal, Buster Crabbe, and Eddie Dean series.

Trivia: On screen from the late '20s, roly-poly B-Western and serial perennial Jack Kirk (born Kirkhuff) began turning up in low-budget Westerns after the advent of sound, usually as a member of various music constellations bearing names like "Range Riders" and "Arizona Wranglers." He later essayed scores of scruffy-looking henchmen and, as he grew older and more settled, began playing bankers, sheriffs, and ranchers. Under term contract with B-Western industry leader Republic Pictures from July 12, 1943, to July 11, 1944, Kirk found roles increasingly more difficult to come by thereafter and left films in 1948 to work on a fishing vessel in Alaska. The former actor reportedly died of a massive heart attack while in the process of unloading a night's catch.