Trivia: American actor Gary Cooper was born on the Montana ranch of his wealthy father, and educated in a prestigious school in England -- a dichotomy that may explain how the adult Cooper was able to combine the ruggedness of the frontiersman with the poise of a cultured gentleman. Injured in an auto accident while attending Wesleyan College, he convalesced on his dad's ranch, perfecting the riding skills that would see him through many a future Western film. After trying to make a living at his chosen avocation of political cartooning, Cooper was encouraged by two friends to seek employment as a cowboy extra in movies. Agent Nan Collins felt she could get more prestigious work for the handsome, gangling Cooper, and, in 1926, she was instrumental in obtaining for the actor an important role in The Winning of Barbara Worth. Movie star Clara Bow also took an interest in Cooper, seeing to it that he was cast in a couple of her films. Cooper really couldn't act at this point, but he applied himself to his work in a brief series of silent Westerns for his home studio, Paramount Pictures, and, by 1929, both his acting expertise and his popularity had soared. Cooper's first talking-picture success was The Virginian (1929), in which he developed the taciturn, laconic speech patterns that became fodder for every impressionist on radio, nightclubs, and television. Cooper alternated between tie-and-tails parts in Design for Living (1933) and he-man adventurer roles in The Lives of a Bengal Lancer (1935) for most of the 1930s; in 1941, he was honored with an Oscar for Sergeant York, a part for which he was the personal choice of the real-life title character, World War I hero Alvin York. One year later, Cooper scored in another film biography, Pride of the Yankees. As baseball great Lou Gehrig, the actor was utterly convincing (despite the fact that he'd never played baseball and wasn't a southpaw like Gehrig), and left few dry eyes in the audiences with his fade-out "luckiest man on the face of the earth" speech. In 1933, Cooper married socialite Veronica Balfe, who, billed as Sandra Shaw, enjoyed a short-lived acting career. Too old for World War II service, Cooper gave tirelessly of his time in hazardous South Pacific personal-appearance tours. Ignoring the actor's indirect participation in the communist witch-hunt of the 1940s, Hollywood held Cooper in the highest regard as an actor and a man. Even those co-workers who thought that Cooper wasn't exerting himself at all when filming were amazed to see how, in the final product, Cooper was actually outacting everyone else, albeit in a subtle, unobtrusive manner. Consigned mostly to Westerns by the 1950s (including the classic High Noon [1952]), Cooper retained his box-office stature. Privately, however, he was plagued with painful, recurring illnesses, and one of them developed into lung cancer. Discovering the extent of his sickness, Cooper kept the news secret, although hints of his condition were accidentally blurted out by his close friend Jimmy Stewart during the 1961 Academy Awards ceremony, where Stewart was accepting a career-achievement Oscar for Cooper. One month later, and less than two months after his final public appearance as the narrator of a TV documentary on the "real West," Cooper died; to fans still reeling from the death of Clark Gable six months earlier, it seemed that Hollywood's Golden Era had suddenly died, as well.

Trivia: Roman studied acting at the Bishop Lee Dramatic School and worked on stage before becoming a leading lady of Hollywood films in the mid '40s. (She later moved into character roles.) The film for which she first received good reviews and critical attention was Champion (1949). She tended to play determined, strong-willed characters who are cold externally but inwardly passionate. She is best remembered for her starring role in Hitchcock's Strangers on a Train (1951) opposite Farley Granger. During the rest of the '50s she primarily appeared in routine films. She has also done much TV work, including the series The Long Hot Summer.

Trivia: The son of a California lumberman, actor Steve Cohran spent his youth in Laramie, Wyoming, where he graduated from the University of Wyoming in 1939. After learning his craft at the Barter Theatre and the Carmel (California) Shakespeare Festival, he went on to work at Detroit's Federal Theatre, and was co-starred in the touring companies of Without Love and My Sister Eileen before his Broadway debut in the eight-performance flop Hickory Stick. During the war, Cochran directed Army camp shows. From 1945 through 1948, he was under contract to Sam Goldwyn, mostly playing secondary roles as gangsters. He left Hollywood to co-star with Mae West in Catherine Was Great and Diamond Lil; perhaps as a reward for not being acted off the stage by the formidable West, Cochran was signed by Warner Bros., where from 1949 through 1952 he was seen in rugged leading roles. In 1953, Cochran formed his own production company, Robert Alexander Productions, but he would not be seen in another film until 1956's Come Next Spring, which he produced for Republic Studios. He then headed for Europe, where he was given a starring assignment in Michelangelo Antonioni's The Outcry. In 1965, after several years of unimpressive movie and TV appearances, Cochran revived his production company and headed for Central and South America to scout locations. He hired three women, ages 14 through 25, to work as assistants, then headed for Costa Rica aboard his forty-foot yacht. On June 25, 1965, the yacht drifted into Port Champerico, Guatemala; on board were the three very distraught women--and the body of Steve Cochran, who had died some ten days earlier of a lung affection. Steve Cochran's last film project, Tell Me in the Sunlight (which he had produced, directed, written, scored and starred in back in 1964), was reedited and released posthumously.

Trivia: As one of several sons of the owner of Toronto's Massey/Harris Agricultural Implement Company, Raymond Massey was expected to distinguish himself in business or politics or both (indeed, one of Raymond's brothers, Vincent Massey, later became Governor General of Canada). But after graduating form Oxford University, Massey defied his family's wishes and became an actor. He made his first stage appearance in a British production of Eugene O'Neill's In the Zone in 1922. By 1930, Massey was firmly established as one of the finest classical actors on the British stage; that same year he came to Broadway to play the title role in Hamlet. In 1931, Massey starred in his first talking picture, The Speckled Band, portraying Sherlock Holmes. One year later, he was co-starred with Charles Laughton, Melvyn Douglas, Gloria Stuart and Ernst Thesiger in his first Hollywood film, the classic The Old Dark House (1932). Returning to England, Massey continued dividing his time between stage and screen, offering excellent performances in such major motion-picture efforts as The Scarlet Pimpernal (1935) and Things to Come (1936). In 1938, he was cast in his most famous role: Abraham Lincoln, in Robert E. Sherwood's Pulitzer Prize-winning Broadway production Abe Lincoln in Illinois. Massey repeated his Lincoln characterization in the 1940 film version of the Sherwood play, and 22 years later played a cameo as Honest Abe in How the West Was Won (1962). Refusing to allow himself to be pigeonholed as Lincoln, Massey played the controversial abolitionist John Brown in both Santa Fe Trail (1940) and Seven Angry Men (1955), and gave an effectively straight-faced comic performance as mass murderer Jonathan Brewster (a role originally written for Boris Karloff) in Frank Capra's riotous 1941 filmization of Arsenic And Old Lace. Though he would portray a wisecracking AWOL Canadian soldier in 1941's 49th Parallel and a steely-eyed Nazi officer in 1943's Desperate Journey, Massey served valiantly in the Canadian Army in both World Wars. On television, Massey played "Anton the Spymaster", the host of the 1955 syndicated anthology I Spy; and, more memorably, portrayed Dr. Gillespie in the 1960s weekly Dr. Kildare. An inveterate raconteur, Massey wrote two witty autobiographies, When I Was Young and A Thousand Lives (neither of which hinted at his legendary on-set contentiousness). Married three times, Raymond Massey was the father of actors Daniel and Anne Massey.

Trivia: Brassy blonde leading lady Barbara Payton appeared in films from 1949 on. Payton hit the big time when she was personally selected by James Cagney (who was reportedly impressed by her offscreen fondness for profanity) to co-star in Cagney's Kiss Tomorrow Goodbye (1950). She earned nationwide notoriety shortly afterward, when actors Franchot Tone and Tom Neal engaged in public fisticuffs over her affections. After 1955, Payton's star plummeted, and despite the popularity of her 1963 tell-all biography, I Am Not Ashamed, Barbara Payton's career never recovered.

Trivia: Born William Anderson, this brawny, blond second lead had the looks of a Viking god. He worked as a band vocalist and trombone player, then gained a small amount of stage experience before debuting onscreen in a bit part (as a corpse) in Wanderer of the Wasteland (1935). Billed by Paramount as Glenn Erickson, he began his screen career as a leading man in Westerns. Because of his Nordic looks he was renamed Leif Erikson, which he later changed to Erickson. He played intelligent but unexciting second leads and supporting parts in many films. Erickson took four years off to serve in World War II and was twice wounded. He made few films after 1965 and retired from the screen after 1977. Also working on Broadway and in TV plays, he played the patriarch Big John Cannon in the TV series High Chaparral (1967-1971). From 1934 to 1942, he was married to actress Frances Farmer, with whom he co-starred in Ride a Crooked Mile (1938); later, he was briefly married to actress Margaret Hayes (aka Dana Dale).

Trivia: Spanish actor Antonio Moreno was in films from 1912, and in the pre-1920 years had built himself up into one of the bigger stars of Vitagraph Studios. A beefy, handsome man who could spring into rugged action at the turn of a camera crank, Moreno also appeared in several silents serials, with titles like The House of Hate and Invisible Hands. Like many pioneer movie players, Moreno found his star waning in the early '20s, until the arrival of Rudolph Valentino created a demand in Hollywood for Latin Lover types. Moreno's career was revitalized, and by 1926 he was pitching woo to Greta Garbo and engaging in a bloody bullwhip duel (not with Garbo) in The Temptress. When talkies came in, Moreno was kept busy starring in Spanish-language versions of Hollywood film hits, and continued making films in his native tongue both in the USA and below the border. As an actor, Moreno was rather locked in the declamatory style of his Vitagraph days, as witness his florid performance as an amorous gypsy in Laurel and Hardy's The Bohemian Girl (1936). But he worked often, if not for the high salaries of his silent days, in character roles in such Hollywood costume epics as The Spanish Main (1945) and Captain from Castile (1948). John Ford devotees will be familiar with Moreno for his role as Emilio Figueroa in Ford's influential western epic The Searchers (1955). Antonio Moreno's final film was still another Spanish-language production, El Senora Faron y la Cleopatra (1958).

Trivia: From vaudeville and stock companies, actor Jerome Cowan graduated to Broadway in the now-forgotten farce We've Gotta Have Money. While starring in the 1935 Broadway hit Boy Meets Girl, Cowan was spotted by movie producer Sam Goldwyn, who cast Cowan as a sensitive Irish rebel in 1936's Beloved Enemy. Most of Cowan's subsequent films found him playing glib lawyers, shifty business executives and jilted suitors. A longtime resident at Warner Bros., the pencil-mustached Cowan appeared in several substantial character parts from 1940 through 1949, notably the doomed private eye Miles Archer in The Maltese Falcon. Warners gave Cowan the opportunity to be a romantic leading man in two "B" films, Crime By Night (42) and Find the Blackmailer (43). As the years rolled on, Cowan's air of slightly unscrupulous urbanity gave way to respectability, and in this vein he was ideally suited for the role of Dagwood Bumstead's new boss Mr. Radcliffe in several installments of Columbia's Blondie series; he also scored in such flustered roles as the hapless district attorney in Miracle on 34th Street. Cowan briefly left Hollywood in 1950 to pursue more worthwhile roles on stage and TV; he starred in the Broadway play My Three Angels and was top-billed on the 1951 TV series Not for Publication. In his fifties and sixties, Cowan continued essaying roles calling for easily deflated dignity (e.g. The Three Stooges' Have Rocket Will Travel [59] and Jerry Lewis' Visit to a Small Planet [60]) and made regular supporting appearances on several TV series, among them Valiant Lady, The Tab Hunter Show, Many Happy Returns and Tycoon.

Trivia: While the name and face may not be familiar, the voice of Reed Hadley will be instantly recognizable to filmgoers of the 1940s. Working as an actor by night and floorwalker by day, the tall, spare Hadley began picking up radio gigs in the 1930s. His best-known airwaves assignment was the voice of western hero Red Ryder. In films from 1938, Hadley spent his first few years before the camera bouncing around between heroes and heavies; he starred in the 1939 serial Zorro's Fighting Legion, and was seen briefly as a burlesqued Hollywood matinee idol in W.C. Fields' The Bank Dick (1940). Signed by 20th Century-Fox in 1943, Hadley appeared onscreen and served as the offscreen narrator of such "docudramas" as House on 92nd Street (1945), Call Northside 777 (1947) and Boomerang (1947). From 1950 through 1953, Hadley starred as Captain Braddock, the unctuous, chain-smoking star/narrator of the popular TV series Racket Squad; in 1954, he played a similar role on the 39-week series Public Defender. Considering the fact that Reed Hadley's deep, persuasive voice was his fortune, it is ironic that his last screen role was a non-speaking supporting part in Roger Corman's The St. Valentine's Day Massacre (1967).

Trivia: As handsome as most of the Western stars he supported, if not more so, Zon Murray (born Emery Zon Murray) often sported a mustache and was thus obviously not up to anything good. Rarely the "Boss Villain," Murray instead played scores of so-called "Dog Heavies" in run-of-the-mill Westerns from 1945 to 1956, ending his long run in the feature film version of The Lone Ranger. There would be a few minor roles in cheap action fare to come, but Murray definitely belonged to the era of the series Western. Very prolific in television as well -- especially on such shows as Gene Autry, Wild Bill Hickock, Roy Rogers, and yes, The Lone Ranger -- Murray seems to have ended his career after a bit in Requiem for a Gunfighter (1965).

Trivia: San Franciscan Will Wright was a newspaper reporter before he hit the vaudeville, legitimate stage, and radio circuit. With his crabapple face and sour-lemon voice, Wright was almost instantly typecast as a grouch, busybody, or small-town Scrooge. Most of his film roles were minor, but Wright rose to the occasion whenever given such meaty parts as the taciturn apartment house manager in The Blue Dahlia (1946). In one of his best assignments, Wright remained unseen: He was the voice of the remonstrative Owl in the Disney cartoon feature Bambi (1942). Will Wright didn't really need the money from his long movie and TV career: His main source of income was his successful Los Angeles ice cream emporium, which was as popular with the movie people as with civilians, and which frequently provided temporary employment for many a young aspiring actor.

Trivia: A product of the Indiana orphanage system, the part-Cherokee-Indian Monte Blue held down jobs ranging from stevedore to reporter before offering his services as a movie-studio handyman in the early 1910s. Pressed into service as an extra and stunt man, Blue graduated to featured parts in D.W. Griffith's Birth of a Nation (1915). Thanks to his work with Griffith and (especially) Cecil B. DeMille, Blue became a dependable box-office attraction of the 1920s, playing everything from lawyers to baseball players. He was a mainstay of the fledgling Warner Bros. studios, where the profits from his films frequently compensated for the expensive failures starring John Barrymore. In 1928 he was cast in his finest silent role, as the drink-sodden doctor in White Shadows on the South Seas. After making a successful transition to talkies, Blue decided to retire from filmmaking, taking a tour around the world to celebrate his freedom. Upon his return to the U.S. in 1931, Blue found that he had lost his fortune through bad investments, and that the public at large had forgotten him. By now too heavy-set to play romantic leads, Blue rebuilt his career from the bottom up, playing bits in "A" pictures and supporting roles in "B"s. He was busiest in the bread-and-butter westerns produced by such minor studios as Republic, Monogram and PRC; he also showed up in several serials, notably as "Ming the Merciless" clone Unga Khan in 1936's Undersea Kingdom. Movie mogul Jack Warner, out of gratitude for Blue's moneymaking vehicles of the 1920s, saw to it that Monte was steadily employed at Warner Bros., and that his name would appear prominently in the studio's advertising copy. While many of his talkie roles at Warners were bits, Blue was given choice supporting roles in such films as Across the Pacific (1942), Mask of Dimitrios (1944) and especially Key Largo (1948). Extending his activities into TV, Blue continued accepting character roles until retiring from acting in 1954. During the last years of his life, Monte Blue was the advance man for the Hamid-Morton Shrine Circus; it was while making his annual appearance in this capacity in Milwaukee, Wisconsin, that Blue suffered a heart attack and died at the age of 73.

Trivia: Character actor Byron Keith's movie career spanned over two decades. He made his film debut in The Stranger (1946). Keith also worked on television; lovers of the campy '60s series Batman may remember him for playing Mayor Linseed. Other television appearances include Bewitched, 77 Sunset Strip, and The Invaders.

Trivia: Rotund, moon-faced character actor Charles Watts made a mini-career out of portraying glad-handing politicians, voluble businessmen and salesmen, crafty bankers, and cheerful or cynical parents, uncles, family friends, and other supporting players. He never had a starring role, or even a co-starring role, in a motion picture, but his physical presence and voice made for some memorable moments. Born in Clarksville, TN, in 1912, Watts was a high-school teacher -- handling both business law and drama -- for a time during his mid-twenties, working in Chattanooga. He worked in local theater and tent shows early in his career, and after World War II was also in demand for industrial shows. Watts didn't start doing movie or television appearances until 1950, and in that first year he played small, uncredited roles in such serious dramas as The Killer That Stalked New York (1950), as a mailman, and Storm Warning (1951), as a lunch-counter proprietor -- and somewhat larger parts, as a sheriff, in three episodes of The Lone Ranger. Over the next 16 years, he was seen in nearly 100 movies and television shows. His most prominent big-screen role was that of Judge (and later United States Senator) Oliver Whiteside in George Stevens' Giant (1956), where his rich, melodious voice and cheerful demeanor were put to extensive use. Watts was also an uncredited man in the crowd in Stuart Heisler's I Died a Thousand Times, a police sergeant in Philip Dunne's The View From Pompey's Head (both 1955), and Mr. Schultz, the salesman from the suspender company, in Billy Wilder's The Spirit of St. Louis (1957). Watts even found his way into two big-scale musicals -- Million Dollar Mermaid (1952) and Jumbo (1962) -- a decade apart. When he had a role with dialogue of any length, he was often used -- or so it seemed -- for his tendency to speechify, and to make even ordinary words stand out in relief. As active on television as he was in movies, Watts was familiar to several generations of young viewers for his role as Bill Green, the skeptical anti-superstition league leader in the Adventures of Superman episode "The Lucky Cat" (1955). He also played a small but key role in the Father Knows Best episode "24 Hours in Tyrantland," done on behalf of the Treasury Department to sell U.S. Savings Bonds, as the Andersons' skeptical neighbor, whose brief, cynical talk to son Bud finally pushes Jim Anderson (Robert Young) to straighten his kids out about the importance of savings bonds. Watts remained busy into the mid-'60s, and died of cancer in 1966.

Trivia: Mexican-born utility actor Joe Dominguez claimed to have entered films in 1913, and to have appeared in over 300 pictures. Primarily a bit player, Dominguez usually showed up in Westerns, serials, and historical films with South-of-the-Border settings. Among Joe Dominguez' larger roles were Gonzalez in Fritz Lang's Rancho Notorious (1952) and the Grandfather in I Love You, Alice B. Toklas (1970), his last film.

Trivia: A professional actor since his teens, Gene Evans made his first film appearance in 1947's Under Colorado Skies. Evans' gritty, no-nonsense approach to his craft attracted the attention of like-minded director Sam Fuller, who cast the actor in several of his 1950s film projects. Many consider Evans' portrayal as the grim, born-survivor sergeant in Fuller's The Steel Helmet (1951) to be not only the actor's best performance, but also one of the best-ever characterizations in any war film. Active in films until 1984, Gene Evans also co-starred in the TV series My Friend Flicka (1956), Matt Helm (1975) and Spencer's Pilots (1976).

Trivia: A vaudeville and burlesque comedienne who went on to essay numerous film roles after being discovered at an orphanage at the age of eight, actress Billie Bird would later use her stage experience to entertain troops on 12 USO tours in the 1960s and '70s. Born Bird Berniece Sellen in Pocatello, ID, in February 1908, her chance discovery came when a traveling road show stopped to entertain the children at the orphanage in which she resided and immediately recognized her talent. Subsequently traveling with the troupe and studying with a tutor in her downtime, Bird went on to form a sister act and later appeared in such "light opera" works as Show Boat and New Moon. A move to Los Angeles in 1943 found Bird performing at such hot spots as Club Moderne and The Colony Club, and, from 1947 to 1955, she showed off her skills on the guitar, clarinet, vibraphone, and bagpipes in burlesque shows. Although Bird made her screen debut in the 1921 comedy Grass Widowers, it was the 1950s that found her edging away from the stage and toward television and film. Particularly active in movies in the '50s, Bird appeared in more than a dozen films, including Somebody Loves Me (1952) and The Joker Is Wild (1957). The actress remained relatively active in the '60s, as well, although her career slowed to a notable pace in the '70s with the exception of a featured role in the popular late-'70s sitcom Benson. However, her screen career later picked up momentum with such notable '80s comedies as Sixteen Candles (1984), One Crazy Summer (1986), and Police Academy 4: Citizens on Patrol (1987), and Bird made a successful return to the world of sitcom television as an aged, but feisty, support-group member in Dear John. Roles in such films as Home Alone (1990) and Dennis the Menace (1993) followed. In 1995, she made her final screen appearance in the Pauly Shore comedy Jury Duty. Stricken with Alzheimer's disease in the '90s, Bird died in November 2002. She was 92.

Trivia: Lanky character actor Tom Fadden first trod the boards when he joined an Omaha stock company in 1915. Fadden went on to tour in top vaudeville with his actress wife Genevieve. From 1932 to 1939, he was seen on Broadway in such productions as Nocturne and Our Town. He made his first film in 1939. Fadden's better-known screen roles include the tollhouse keeper in It's a Wonderful Life (1946)--which led to choice appearances in subsequent Frank Capra productions--and "possessed" townman Ira in Invasion of the Body Snatchers (1956). In 1958, he was seen on a weekly basis as Silas Perry on TV's Cimarron City. Tom Fadden's cinematic swan song was 1977's Empire of the Ants.

Trivia: Sad-eyed, mustachioed actor Hal K. Dawson appeared in several Broadway productions of the 1920s. During the run of Machinal, Dawson was the roommate of fellow actor Clark Gable; throughout his later Hollywood career, Gable saw to it that Dawson was given parts in such films as Libeled Lady (1936) and To Please a Lady (1951). Even without Gable's help, Dawson enjoyed a long and productive movie and TV career, usually playing long-suffering personal secretaries and officious desk clerks. Hal K. Dawson was a lifelong member of the Masquers Club, and, in the twilight of his life, was made an honorary member of the Pioneers of Radio Club.

Trivia: American silent screen cowboy Buddy Roosevelt came to Hollywood in 1914 with the C.B. Irwin Wild West Show. Working primarily as a stunt man in William S. Hart Westerns at Triangle, Roosevelt was earning 22 dollars a week plus board when World War I took him overseas. Working his way back to Hollywood after the Armistice, Roosevelt doubled Rudolph Valentino in The Sheik (1920), as well as William Desmond. Universal starred him as Kent Sanderson in the two-reeler Down in Texas (1923), but he somehow fell between the cracks at that studio, signing instead a personal contract with independent producer Lester F. Scott Jr. Scott didn't like the name Kent Sanderson and changed it to Buddy Roosevelt, in honor of former president Theodore Roosevelt. Making 25 fast-paced Westerns for Scott's Action Pictures, the former stunt man proved to be an acceptable actor who did not look the fool even with the heavy doses of comedy that Scott seemed to favor. Unfortunately, the Roosevelt budgets deteriorated as Scott brought Buffalo Bill Jr. and Wally Wales into the fold and Roosevelt bolted in January 1928, in favor of Rayart. With the veteran J.P. McGowan at the helm, Roosevelt continued to do strong work, but sound interrupted what could have been a career on the upswing. He was tested for the lead in the Fox Western In Old Arizona (1929), but a broken leg caused him to be replaced by Warner Baxter, who, of course, went on to earn an Academy Award for his role as the Cisco Kid. A chance to star in a new series reportedly went out the window when Mrs. Roosevelt, a cousin of Clark Gable, got into an argument with the producer, ex-stunt man Paul Malvern; John Wayne earned the berth instead and the rest, as they say, is history. There would be a few Western leads to come, but only for bottom-rung producers such as Jack Irwin and Victor Adamson. Roosevelt continued playing bits in Westerns through the early '60s, however; his final role -- a mere walk-on -- came in John Ford's The Man Who Shot Liberty Valance (1962). Retiring to his hometown in Colorado, Buddy Roosevelt kept up a correspondence with Western fans from around the world.

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: Charles Horvath entered films in the immediate postwar years as a stunt man. From 1951 onward, Horvath began receiving speaking roles, most often in westerns. He occasionally accepted contemporary parts, playing rednecks and toughs in such films as Damn Citizen (1957). Charles Horvath spent his last decade playing featured roles in films like A Woman Under the Influence (1974) and The Domino Principle (1977).

Trivia: Supporting actor O.Z. Whitehead made his professional acting debut on the New York stage, where he appeared opposite starlets Katharine Hepburn and the Gish sisters. He made his film debut in the 1935 drama The Scoundrel and subsequently appeared in close to 30 films, notably John Ford's The Grapes of Wrath (1940).

Trivia: Former rodeo performer Frank McCarroll made his first film, Big Calibre, in 1935. From that point onward, until his retirement in 1951, McCarroll appeared in nothing but westerns. He played dozens of small roles as gunmen, posse leaders and the like, and also served as stunt double for some of the biggest stars in the shoot-'em-up genre. Ironically, Frank McCarroll died in an accidental fall in his own home.

Trivia: Enjoying one of the longest screen careers on record, Irish-born, English-reared Al Ferguson became one of the silent era's busiest Western villains, his wolf-like features instantly recognizable to action fans everywhere. According to the actor himself, Ferguson had entered films with the American company as early as 1910, and by 1912, he was appearing in Selig Westerns under the name of "Smoke" Ferguson, often opposite action heroine Myrtle Steadman. In 1920, Ferguson played Hector Dion's henchman in the partially extant The Lost City, the first of more than 40 serials, silent and sound, in which he would appear. Still reasonably good-looking by the early '20s, Ferguson even attempted to become an action star in his own right, producing, directing, and starring in a handful of low-budget Westerns filmed in Oregon and released to the States' Rights market by Poverty Row mogul J. Charles Davis. None of these potboilers, which included The Fighting Romeo (1925), with Ferguson as a ranch foreman rescuing his employer's kidnapped daughter, made him a star, however, and he returned to ply his nefarious trade in low-budget oaters featuring the likes of Bob Steele and Tom Tyler. Today, Ferguson is perhaps best remembered as the main heavy in two Tarzan serials, Tarzan the Mighty (1928) and Tarzan the Tiger (1929), both starring Frank Merrill. The later survives intact and Ferguson emerges as a melodramatic screen villain at the top of his game.Like most of his contemporaries, including Bud Osborne and the silent era James Mason, Al Ferguson saw his roles decrease in stature after the advent of sound. Not because of his Irish accent, which had become all but undetectable, but mainly due to changing acting styles. Ferguson, however, hung in there and appeared in scores of sound Westerns and serials, not exclusively portraying villains but also playing lawmen, peaceful ranchers, townsmen, and even a Native American or two. By the 1950s, he had included television shows such as Sky King to his long resumé, but B-Westerns and serials remained Ferguson's bread and butter, the now veteran actor appearing in the cast of both Perils of the Wilderness (1956) and Blazing the Overland Trail (1956), the final chapter plays to be released in America.

Trivia: Barrel-chested American actor Dewey Robinson was much in demand during the gangster cycle of the early '30s. Few actors could convey muscular menace and mental vacuity as quickly and as well as the mountainous Mr. Robinson. Most of his roles were bits, but he was given extended screen time as a polo-playing mobster in Edward G. Robinson's Little Giant (1933), as a bored slavemaster in the outrageously erotic "No More Love" number in Eddie Cantor's Roman Scandals (1933) and as a plug-ugly ward heeler at odds with beauty contest judge Ben Turpin in the slapstick 2-reeler Keystone Hotel (1935). Shortly before his death in 1950, Dewey Robinson had a lengthy unbilled role as a Brooklyn baseball fan in The Jackie Robinson Story, slowly metamorphosing from a brainless bigot to Jackie's most demonstrative supporter.

Trivia: The brother of Buck Bucko, American screen actor Roy Bucko usually played ranch hands or rustlers in "B"-westerns. The Bucko brothers almost always appeared together in their films, including The Man from Black Hills (1952), their final (credited) work.

Trivia: A busy B-Western villain of the 1920s, Australian-born David Dunbar menaced the likes of Bob Custer, Buzz Barton, and Tom Tyler. He became a riding extra after the advent of sound and died at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: Mainly a bit player, Robert "Buddy" Shaw (born Wilfred Robert Shaw) turned up in scores of Hollywood films and television series from 1931 to the 1960s, in the early years mainly playing college students. His largest role was his first: Blanche Mehaffey's weak-willed brother, innocently accused of murder in Riders of the North (1931). This Robert Shaw should not be confused with the British star (1927-1978) of the same name.

Trivia: Ohio-born Fred Kelsey was so firmly typed as a comedy cop in Hollywood films that in the 1944 MGM cartoon classic Who Killed Who?, animator Tex Avery deliberately designed his detective protagonist to look like Kelsey -- mustache, heavy eyebrows, derby hat and all. In films from 1909, Kelsey started out as a director (frequently billed as" Fred A. Kelcey"), but by the '20s he was well into his established characterization as the beat cop or detective who was forever falling asleep on the job or jumping to the wrong conclusion. Often Kelsey's dialogue was confined to one word: "Sayyyyy....!" He seemed to be busiest at Warner Bros. and Columbia, appearing in fleeting bits at the former studio (butchers, bartenders, house detectives), and enjoying more sizeable roles in the B-films, short subjects and serials at the latter studio. From 1940 through 1943, Kelsey had a continuing role as dim-witted police sergeant Dickens in Columbia's Lone Wolf B-picture series. Seldom given a screen credit, Fred Kelsey was curiously afforded prominent featured billing in 20th Century-Fox's O. Henry's Full House (1952), in which he was barely recognizable as a street-corner Santa Claus.

Trivia: A diminutive, pot-bellied supporting player in B-Westerns, Ben Corbett had enjoyed some success at the famous rodeo at Pendleton, OR, and at New York's Madison Square Garden, where his roping and "Roman" riding skills reportedly won him several trophies. Entering films as a riding double for William Desmond and Antonio Moreno in Vitagraph Westerns and action melodramas in the 1910s, Corbett later became a member of Western star Hoot Gibson's stock company at Universal. That studio saw enough comedic potential in the former stunt man to team him with the equally diminutive Gilbert "Pee Wee" Holmes as Magpie and Dirtshirt in a series of rural comedy shorts set in the fictive community of Piperock. The series, which was released on Universal's "Mustang Brand" in the mid-'20s, counted among its leading ladies such future stars as Janet Gaynor and Fay Wray. In the 1930s, Corbett's character of Magpie returned in several independently produced "Bud 'n Ben" western shorts and the now veteran supporting player later became Tim McCoy's sidekick at low-budget Victory Pictures. He seems to have popped up in every other low-budget Western thereafter, usually appearing unbilled. B-Western compiler Les Adams has verified Corbett's presence in about 185 Westerns and half a dozen serials between 1930 and the actor's retirement in the early '50s, but there may actually have been many more. History, alas, has not been kind to the rustic B-Western perennial, whose arcane comedy relief, most fans of the genre agree, often seems more a hindrance than a help in keeping a plot moving.