Trivia: Robert Taylor's cumbersome given name, Spangler Arlington Brugh, can be blamed on his father, a Nebraska doctor. As a high schooler, Taylor participated on the track team, won oratory awards, and played the cello (his first love) in the school band. Attending Pomona College to study music, Taylor became involved in student theatricals, where his uncommonly good looks assured him leading roles. Spotted by an MGM talent scout, the 23-year-old Taylor was signed to a contract with that studio -- though his first film, Handy Andy (1934), would be a loanout to Fox. Taylor was given an extended, publicly distributed "screen test" when he starred in the MGM "Crime Does Not Pay" short, playing a handsome gangster who tries to avoid arrest by purposely disfiguring his face with acid. It was another loanout, to Universal for Magnificent Obsession (1935), that truly put Taylor in the matinee-idol category. Too "pretty" to be taken seriously by the critics, Taylor had to endure some humiliating reviews during his first years in films; even when delivering a perfectly acceptable performance as Armand in Camille (1936), Taylor was damned with faint praise, reviewers commenting on how "surprised" they were that he could act. Nobody liked Taylor but his public and his coworkers, who were impressed by his cooperation and his willingness to give 110 percent of himself and his time on the set. Though never a great actor, Taylor was capable of being a very good one, as even a casual glance at Johnny Eager (1942) and Bataan (1942) will confirm. Taylor's contributions to the war effort included service as an Air Force flight instructor and his narration of the 1944 documentary The Fighting Lady. His film career in eclipse during the 1950s, Taylor starred for three years in the popular weekly police series Robert Taylor's Detectives (1959-1962); and when his friend, Ronald Reagan, opted for a full-time political career in 1965, Taylor succeeded Reagan as host/narrator of the Western anthology Death Valley Days. Robert Taylor was married twice, to actresses Barbara Stanwyck (they remained good friends long after the divorce) and Ursula Theiss.

Trivia: The son of a traveling salesman, actor Richard Widmark had lived in six different Midwestern towns by the time he was a teenager. He entered Illinois' Lake Forest College with plans to earn a law degree, but gravitated instead to the college's theater department. He stayed on after graduation as a drama instructor, then headed to New York to find professional work. From 1938 through 1947, Widmark was one of the busiest and most successful actors in radio, appearing in a wide variety of roles from benign to menacing, and starring in the daytime soap opera "Front Page Farrell." He did so well in radio that he'd later quip, "I am the only actor who left a mansion and swimming pool to head to Hollywood." Widmark's first stage appearance was in Long Island summer stock; in 1943, he starred in the Broadway production of Kiss and Tell, and was subsequently top billed in four other New York shows. When director Henry Hathaway was looking for Broadway-based actors to appear in his melodrama Kiss of Death (1947), Widmark won the role of giggling, psychopathic gangster Tommy Udo. And the moment his character pushed a wheelchair-bound old woman down a staircase, a movie star was born. (Widmark always found it amusing that he'd become an audience favorite by playing a homicidal creep, noting with only slightly less amusement that, after the release of the film, women would stop him on the street and smack his face, yelling, "Take that, you little squirt!") The actor signed a 20th Century Fox contract and moved to Hollywood on the proviso that he not be confined to villainous roles; the first of his many sympathetic, heroic movie parts was in 1949's Down to the Sea in Ships. After his Fox contract ended in 1954, Widmark freelanced in such films as The Cobweb (1955) and Saint Joan (1957), the latter representing one of the few times that the actor was uncomfortably miscast (as the childish Dauphin). In 1957, Widmark formed his own company, Heath Productions; its first effort was Time Limit, directed by Widmark's old friend Karl Malden. Widmark spent most of the 1960s making films like The Alamo (1960) and Cheyenne Autumn (1964), so that he could afford to appear in movies that put forth a political or sociological message. These included Judgment at Nuremberg (1961) and The Bedford Incident (1965). A longtime television holdout, Widmark made his small-screen debut in Vanished (1970), the first two-part TV movie. He later starred in a 1972 series based upon his 1968 theatrical film Madigan. And, in 1989, he was successfully teamed with Faye Dunaway in the made-for-cable Cold Sassy Tree. Richard Widmark was married for 55 years to Jean Hazelwood, a former actress and occasional screenwriter who wrote the script for her husband's 1961 film The Secret Ways (1961). Their daughter Anne married '60s baseball star Sandy Koufax. Widmark died at age 93 in 2008, of health complications following a fractured vertebra.

Trivia: Heavyweight American actor Robert Middleton trained for a musical career at the Cincinnati Conservatory of Music and Carnegie Tech. His deep, booming voice enabled Middleton to secure steady work as a radio actor and announcer. After appearing on Broadway in Ondine and in several live TV dramas, Middleton entered films in 1954. He was most effectively cast as burly, bullying villains, notably the sadistic prison escapee Dobish in The Desperate Hours (1955) and "grim and grisly Griswold" in Danny Kaye's The Court Jester (1956). That he could leaven his skullduggery with humor was proven in his many appearances on the Jackie Gleason shows of the mid-'50s as Ralph Kramden's boss, Mr. Marshall. Television continued to make good use of Middleton's talents into the 1960s; there was hardly a Western series in existence which didn't at least once feature the massive actor as a brutish mountain patriarch, smirking town boss, or grim-faced lynch mob leader. Shortly before his death in 1977, Robert Middleton was featured as inordinately sinister Secretary of War Edwin Stanton in the speculative feature The Lincoln Conspiracy (1977).

Trivia: Born in Brooklyn of Puerto Rican parentage, Henry Silva supported himself with delivery jobs as he trained for an acting career with the Group Theater and the Actors Studio. Though definitely an "ethnic type," Silva's actual heritage was nebulous enough to permit him to play a wide variety of nationalities. He has successfully portrayed Mexicans, Native Americans, Italians, Japanese, and even extraterrestrials. Among Henry Silva's best-known film roles were the treacherous North Korean "houseboy" to Laurence Harvey in The Manchurian Candidate (1962), the vengeful eponymous gangster in Johnny Cool (1963), and the shrewd Oriental title character in The Return of Mr. Moto (1965).

Trivia: The son of a Baptist minister, actor DeForest Kelley was one of the lucky few chosen to be groomed for stardom by Paramount Pictures' "young talent" program in 1946. He served an apprenticeship in 2-reel musicals like Gypsy Holiday before starring as a tormented musician in Fear in the Night (47). Unfortunately, a sweeping cancellation of Paramount young talent contracts ended Kelley's stardom virtually before it began. By the mid-1950s, he was scrounging up work on episodic TV and playing bits in such films as The Man in the Grey Flannel Suit (56) (this film, by the way, is the first in which Kelley uttered his now-famous line, "He's dead, captain"). Producer/writer Gene Roddenberry took a liking to Kelley and cast the actor in the leading role of a flamboyant criminal attorney in the 1959 TV pilot film 333 Montgomery. The series didn't sell, but Roddenberry was still determined to help Kelley on the road back to stardom. One of their next collaborations was Star Trek (66-69), in which (as everybody in the galaxy knows) Kelley appeared as truculent ship's doctor Leonard "Bones" McCoy. Virtually all of Kelley's subsequent film appearances have been as McCoy in the seemingly endless series of elaborate Star Trek feature films. And on the pilot for the 1987 syndie Star Trek: The Next Generation, DeForrest Kelley was once more seen as "Bones" -- albeit appropriately stooped and greyed.