Trivia: Rugged, athletic, and handsome, Burt Lancaster enjoyed phenomenal success from his first film, The Killers, to his last, Field of Dreams -- over a career spanning more than four decades. Boasting an impressively wide range, he delivered thoughtful, sensitive performances across a spectrum of genres: from film noir to Westerns to melodrama, he commanded the screen with a presence and power matched by only a handful of stars.Lancaster was born November 2, 1913, in New York City. As a child, he exhibited considerable athletic and acrobatic prowess, and at the age of 17 joined a circus troupe, forming a duo with the diminutive performer Nick Cravat (later to frequently serve as his onscreen sidekick). He eventually joined the army, and, after acting and dancing in a number of armed forces revues, he decided to pursue a dramatic career. Upon hiring an agent, Harold Hecht, Lancaster made his Broadway debut in A Sound of Hunting, a role which led to a contract with Paramount. Because the release of his first picture, Desert Fury, was delayed, he initially came to the attention of audiences in 1946's The Killers, a certified classic of film noir. It remained the genre of choice in several of his subsequent projects, including 1947's Brute Force and I Walk Alone the following year.After starring as Barbara Stanwyck's cheating husband in Sorry, Wrong Number, Lancaster and his manager formed their own production company, Hecht-Lancaster, the first notable star-owned venture of its kind; more were to follow, and they contributed significantly to the ultimate downfall of the old studio system. Its formation was a result of Lancaster's conscious effort to avoid "beefcake" roles, instead seeking projects which spotlighted his versatility as a performer. While the company's first effort, the war melodrama Kiss the Blood Off My Hands, was not a success, they were nonetheless able to secure enough financial backing to break off completely from the mainstream Hollywood system. Still, Lancaster also continued to appear in studio productions. In 1949, he reunited with The Killers director Robert Siodmak at Universal for another excellent noir, Criss Cross, followed by Rope of Sand. He also signed a non-exclusive contract with Warner Bros., where he and Hecht produced 1950's The Flame and the Arrow, a swashbuckler which was his first major box-office success. After producing Ten Tall Men with Hecht, Lancaster starred in the MGM Western Vengeance Valley, followed by the biopic Jim Thorpe -- All American. With Siodmak again directing, he next headlined the 1952 adventure spoof The Crimson Pirate, followed by Daniel Mann's Come Back, Little Sheba opposite Oscar-winner Shirley Booth. A minor effort, South Sea Woman, followed in 1953 before Lancaster starred in the Fred Zinnemann classic From Here to Eternity, earning him a Best Actor Oscar nomination for his performance and, in his beachside rendezvous with co-star Deborah Kerr, creating one of the most indelible images in film history. Another swashbuckler, His Majesty O'Keefe, followed, and under director Robert Aldrich the actor headlined a pair of Westerns, Apache and Vera Cruz. Finally, in 1955, Lancaster realized a long-held dream and helmed his own film, The Kentuckian; reviews were negative, however, and he did not return to the director's chair for another two decades.Again working with Mann, Lancaster co-starred with another Oscar winner, Anna Magnani, in 1955's The Rose Tattoo. Opposite Tony Curtis, he appeared in the 1956 hit Trapeze, and, with Katherine Hepburn, headlined The Rainmaker later that same year. Gunfight at the O.K. Corral, a blockbuster featuring Lancaster as Wyatt Earp, followed, as did the acclaimed The Sweet Smell of Success. With Clark Gable, Lancaster starred in 1958's Run Silent, Run Deep, followed by Separate Tables. For 1960's Elmer Gantry, he won an Academy Award for his superb portrayal of the title character, a disreputable evangelist, and a year later co-starred in Judgment at Nuremberg. Under John Frankenheimer, Lancaster next portrayed The Birdman of Alcatraz, earning Best Actor honors at the Venice Film Festival for his sympathetic turn as prisoner Robert Stroud, an expert in bird disease. For John Cassavetes, he starred in 1963's A Child Is Waiting, but the picture was the victim of studio interference and poor distribution. Around the same time, Italian filmmaker Luchino Visconti was trying to secure financing for his planned historical epic Il Gattopardo (aka The Leopard), and needed to cast an international superstar in the lead role; Lancaster actively campaigned for the part, and delivered one of the strongest performances of his career. Released in 1963, it was a massive success everywhere but in the U.S., where it was brutally edited prior to release. After two hit movies with Frankenheimer, the 1964 political thriller Seven Days in May and the 1965 war drama The Train, Lancaster starred in another Western, The Hallelujah Trail, followed by the 1966 smash The Professionals. A rare series of flops -- The Swimmer, Castle Keep, and The Gypsy Moths -- rounded out the decade, but by 1970 he was back at the top of the box office with Airport. Still, Lancaster's star was clearly dimming, and he next appeared in a pair of low-budget Westerns, Lawman and Valdez Is Coming. After an underwhelming reunion with Aldrich, 1972's Ulzana's Raid, he attempted to take matters into his own hands, writing and directing 1974's The Midnight Man in collaboration with Roland Kibbee, but it failed to attract much attention, either. For Visconti, Lancaster next starred in 1975's Gruppo di Famiglia in un Interno. Remaining in Europe, he also appeared in Bernardo Bertollucci's epic 1900. Neither resuscitated his career, nor did Robert Altman's much-panned Buffalo Bill and the Indians, or Sitting Bull's History Lesson. Lancaster languished in a number of television projects before appearing in 1978's Go Tell the Spartans, which, despite critical acclaim, failed to catch on. In 1980, however, he delivered a stunning turn as an aging gangster in Louis Malle's excellent Atlantic City, a performance which earned him Best Actor honors from the New York critics as well as another Oscar nomination. Also highly acclaimed was his supporting role in the 1983 Bill Forsyth gem Local Hero. Heart trouble sidelined him for all of 1984, but soon Lancaster was back at full steam, teaming one last time with Kirk Douglas for 1986's Tough Guys. Several more TV projects followed before he returned to feature films with 1988's little-seen Rocket Gibraltar and the 1989 blockbuster Field of Dreams. In 1991, Lancaster made his final appearance in the telefilm Separate But Equal. He died October 20, 1994.

Trivia: Some sources list actor Paul Henreid's birthplace as Italy, but at the time of his birth, Henreid's hometown of Trieste was still part of the Austro-Hungarian empire. Of aristocratic stock, Henreid felt drawn to theatrical activities while attending college. He briefly supported himself as a translator before Max Reinhardt's assistant Otto Preminger officially discovered him and launched his stage career. Still billed under his given name of Von Hernreid, he made his film debut in a 1933 Moroccan production. Relocating to England in 1935, he was often as not cast as Teutonic villains, most memorably in the 1940 melodrama Night Train. In 1940, Henreid became an American citizen--and, at last, a leading man. Henreid's inbred Continental sophistication struck a responsive chord with wartime audiences. He spent his finest years as an actor at Warner Bros., where he appeared as Jerry Durrance in Bette Davis' Now Voyager (1942), as too-good-to-be-true resistance leader Victor Laszlo in Casablanca (1942), and as troubled medical student Philip Carey in the 1946 remake of Of Human Bondage (1946). Henreid exhibited a great deal of vivacity in such swashbucklers as The Spanish Main (1945), Last of the Buccaneers (1950) and The Siren of Bagdad (1953); in the latter film, the actor engagingly spoofed his own screen image by repeating his lighting-two-cigarettes bit from Now Voyager with an ornate water pipe. He was also an effective villain in Hollow Triumph (1948, which he also produced) and Rope of Sand (1949).Henreid's star faded in the 1950s, a fact he would later attribute (in his 1984 autobiography Ladies Man) to the Hollywood Blacklist. He turned to directing, helming such inexpensive but worthwhile dramas as For Men Only (a 1951 indictment of the college hazing process) and A Woman's Devotion (1954). One of his best directorial efforts was the 1964 meller Dead Ringer, starring his former Warners co-star (and longtime personal friend) Bette Davis. In addition, Henreid directed dozens of 30- and 60-minute installments of such TV series as Alfred Hitchcock Presents and Maverick. His last on-camera appearance was as "The Cardinal" in Exorcist 2: The Heretic (1977). Henreid married Elizabeth Gluck in 1936, with whom he had two daughters, Monika Henreid and Mimi Duncan. On March 29, 1992, he died of pneumonia, following a stroke, in Santa Monica, California.

Trivia: The son of British stage actor Frederick Rains, Claude Rains gave his first theatrical performance at age 11 in Nell of Old Drury. He learned the technical end of the business by working his way up from being a two-dollars-a-week page boy to stage manager. After making his first U.S. appearance in 1913, Rains returned to England, served in the Scottish regiment during WWI, then established himself as a leading actor in the postwar years. He was also featured in one obscure British silent film, Build Thy House. During the 1920s, Rains was a member of the teaching staff at the Royal Academy of Dramatic Art; among his pupils were a young sprout named Laurence Olivier and a lovely lass named Isabel Jeans, who became the first of Rains' six wives. While performing with the Theatre Guild in New York in 1932, Rains filmed a screen test for Universal Pictures. On the basis of his voice alone, the actor was engaged by Universal director James Whale to make his talking-picture debut in the title role of The Invisible Man (1933). During his subsequent years at Warner Bros., the mellifluous-voiced Rains became one of the studio's busiest and most versatile character players, at his best when playing cultured villains. Though surprisingly never a recipient of an Academy award, Rains was Oscar-nominated for his performances as the "bought" Senator Paine in Mr. Smith Goes to Washington (1939), the title character in Mr. Skeffington (1944), the Nazi husband of Ingrid Bergman in Notorious (1946), and, best of all, the cheerfully corrupt Inspector Renault in Casablanca (1942). In 1946, Rains became one of the first film actors to demand and receive one million dollars for a single picture; the role was Julius Caesar, and the picture Caesar and Cleopatra. He made a triumphant return to Broadway in 1951's Darkness at Noon. In his last two decades, Claude Rains made occasional forays into television (notably on Alfred Hitchcock Presents) and continued to play choice character roles in big-budget films like Lawrence of Arabia (1962) and The Greatest Story Ever Told (1965).

Trivia: Alluring French leading lady Corinne Calvet began making films in her native country in 1945. She was brought to America by producer Hal Wallis, who cast her in the 1949 Casablanca derivation Rope of Sand. From 1950 through 1953, Calvet acted opposite such worthies as Danny Kaye, Dan Dailey, James Cagney, Alan Ladd, and Dean Martin and Jerry Lewis. Back in Europe in 1954, Calvet appeared in such international productions as Sins of Casanova (1954) and Napoleon (1955). Corinne Calvet continued making scattered appearances in American films into the 1980s, often in such fare as the Cherri Caffaro soft-core porn vehicle Too Hot to Handle (1976). In her autobiography Has Corinne Been a Good Girl? she claimed that her marriage to adventure star John Bromfield (one of five husbands) came about because Bromfield was ordered to marry her by his studio.

Trivia: With the possible exception of Edward G. Robinson, no actor has so often been the target of impressionists as the inimitable, Hungarian-born Peter Lorre. Leaving his family home at the age of 17, Lorre sought out work as an actor, toiling as a bank clerk during down periods. He went the starving-artist route in Switzerland and Austria before settling in Germany, where he became a favorite of playwright Bertolt Brecht. For most of his first seven years as a professional actor, Lorre employed his familiar repertoire of wide eyes, toothy grin, and nasal voice to invoke laughs rather than shudders. In fact, he was appearing in a stage comedy at the same time that he was filming his breakthrough picture M (1931), in which he was cast as a sniveling child murderer. When Hitler ascended to power in 1933, Lorre fled to Paris, and then to London, where he appeared in his first English-language film, Hitchcock's The Man Who Knew Too Much (1934). Although the monolingual Lorre had to learn his lines phonetically for Hitchcock, he picked up English fairly rapidly, and, by 1935, was well equipped both vocally and psychologically to take on Hollywood. On the strength of M, Lorre was initially cast in roles calling for varying degrees of madness, such as the love-obsessed surgeon in Mad Love (1935) and the existentialist killer in Crime and Punishment (1935). Signed to a 20th Century Fox contract in 1936, Lorre asked for and received a chance to play a good guy for a change. He starred in eight installments of the Mr. Moto series, playing an ever-polite (albeit well versed in karate) Japanese detective. When the series folded in 1939, Lorre freelanced in villainous roles at several studios. While under contract to Warner Bros., Lorre played effeminate thief Joel Cairo in The Maltese Falcon (1941), launching an unofficial series of Warner films in which Lorre was teamed with his Falcon co-star Sidney Greenstreet. During this period, Lorre's co-workers either adored or reviled him for his wicked sense of humor and bizarre on-set behavior. As far as director Jean Negulesco was concerned, Lorre was the finest actor in Hollywood; Negulesco fought bitterly with the studio brass for permission to cast Lorre as the sympathetic leading man in The Mask of Dimitrios (1946), in which the diminutive actor gave one of his finest and subtlest performances. In 1951, Lorre briefly returned to Germany, where he directed and starred in the intriguing (if not wholly successful) postwar psychological drama The Lost One. The '50s were a particularly busy time for Lorre; he performed frequently on such live television anthologies as Climax; guested on comedy and variety shows; and continued to appear in character parts in films. He remained a popular commodity into the '60s, especially after co-starring with the likes of Vincent Price, Boris Karloff, and Basil Rathbone in a series of tongue-in-cheek Edgar Allan Poe adaptations for filmmaker Roger Corman. Lorre's last film, completed just a few months before his fatal heart attack in 1964, was Jerry Lewis' The Patsy, in which, ironically, the dourly demonic Lorre played a director of comedy films.

Trivia: Nature obviously intended for Sam Jaffe to spend much of his screen career playing eccentric scientists and peppery little old men. As a child, Jaffe appeared in Yiddish stage productions with his mother, a prominent actress. He gave up the theater to study engineering at Columbia University, then served for several years as a mathematics teacher in the Bronx. He returned to acting in 1915 and never left, despite efforts by the more rabid communist-hunters of the 1950s to prevent the gently liberal-minded Jaffe from earning a living. Jaffe's now-familiar shock of wild, white hair was first put on view before the cameras in 1934's The Scarlet Empress, in which he played the insane Grand Duke Peter (several critics compared Jaffe's erratic behavior and bizarre appearance to Harpo Marx). Still only in his mid-40s, Jaffe went on to play the centuries-old High Lama in Capra's Lost Horizon (1937). In 1939, he essayed the title character in Gunga Din, though Hollywood protocol dictated that top billing go to Cary Grant, Victor McLaglen and Douglas Fairbanks Jr. Jaffe was Oscar-nominated for his performance as Doc, the "brains" in the 1950 crime film The Asphalt Jungle. His resemblance to Albert Einstein (minus the bushy moustache, of course) led to Jaffe being cast in Einsteinlike roles in Gentleman's Agreement (1947) and The Day the Earth Stood Still (1951). Jaffe was the lifelong best friend of Edward G. Robinson, with whom he appeared in the made-for-TV film The Old Man Who Cried Wolf (1971). TV viewers with long memories will recall Sam Jaffe as snowy-haired father-figure Dr. Zorba on the 1960s TV series Ben Casey, in which Jaffe was co-starred with his second wife, Bettye Ackerman.

Trivia: Born in South Bend, Indiana, athletic, barrel-voiced leading man John Bromfield was brought to Hollywood by Paramount Pictures in 1948. While at Paramount, Bromfield was briefly married to actress Corinne Calver. Languishing in second-string films throughout the 1950s, Bromfield at last became a star when he was cast in the lucrative syndicated TV series Sheriff of Cochise (1956). In 1958, this series metamorphosed into US Marshal, which ran until 1960. A widely renowned hunting enthusiast John Bromfield was, from the mid-1950s to the early 1980s, the master of ceremonies at Chicago's annual Sportsman's Show.

Trivia: Though typecast as a dull-witted brute, Austrian-born Mike Mazurki was the holder of a Bachelor of Arts degree from Manhattan College. During the 1930s, he was a professional football and basketball player, as well as a heavyweight wrestler. His clock-stopping facial features enabled Mazurki to pick up bit and supporting roles in such films as The Shanghai Gesture (1941) and Dr.Renault's Secret (1943). Larger parts came his way after his indelible portrayal of psychotic brute Moose Malloy in 1944's Murder My Sweet. His trademarked slurred speech was reportedly the result of an injury to his Adam's apple, incurred during his wrestling days. While villainy was his bread and butter, Mazurki enjoyed working with comedians like Jerry Lewis and Lou Costello; he was particularly fond of the latter because the diminutive Costello treated him with dignity and respect, defending big Mike against people who treated the hulking actor like a big dumb lug. Mazurki's many TV appearances included a regular role on the short-lived 1971 sitcom The Chicago Teddy Bears. In 1976, Mike Mazurki was effectively cast as a kindly trapper in the family-oriented "four-waller" Challenge to Be Free, which ended up a cash cow for the veteran actor.

Trivia: Reversing the usual procedure, Scottish actor Edmund Breon began his film career in Hollywood in 1928, then returned to the British Isles in 1932. Breon was most often seen in self-effacing roles, usually military in nature. He was cast as Lt. Bathurst in The Dawn Patrol (1930), Colonel Morgan in Goodbye, Mr. Chips (1939), and General Huddleston in Gaslight (1944). Among Edmund Breon's late-'40s assignments was the role of Julian Emery in the Sherlock Holmes opus Dressed to Kill (1946), an indication perhaps that the part had been slated for the real Gilbert Emery, a British actor who, like Breon, specialized in humble, passive characterizations.

Trivia: An alumnus of the American Academy of Dramatic Arts, Brooklyn-born Hayden Rorke became a member of the original Walter Hampden theatrical company in the early '30s (he ended up the last surviving member of that hardy troupe). While serving in WWII, Rorke appeared in both the road company and film versions of the all-serviceman musical This Is the Army. He would make 70 Broadway appearances in his career, in additional to some 50 films and nearly 400 TV shows. Though usually unbilled, Rorke was instantly recognizable in roles calling for erudition and urbanity, notably in such films as An American in Paris (1951) and The Robe (1953). Among his many TV assignments was the role of CBS radio announcer John Daly (though his character was not identified by name) in the Pearl Harbor episode of the CBS historical series You Are There; he also co-starred in the two-part pilot for an intriguing 1951 science fiction series Project Moonbase, which didn't make it as a series but was released as a theatrical feature. Still essaying small movie roles into the 1960s, Hayden Rorke finally achieved a fame (and generous screen time) in the continuing role of flustered air force psychiatrist Dr. Bellows on the fanciful TV sitcom I Dream of Jeannie (1965-1970).

Trivia: A thin, weasel-like Russian stage actor, David Hoffman made his mark in Hollywood films of the 1940s, chiefly at Universal where, as the spirit, he opened the first five Inner Sanctum films: Calling Dr. Death (1943), Weird Woman (1944), Dead Man's Eyes (1944), The Frozen Ghost (1945), and Strange Confession (1945). Hoffman was also an effective Hawaiian-based Nazi spy in a couple of chapters of the 1943 serial The Adventures of Smilin' Jack (1943) and portrayed yet another furtive Axis agent in the Marx Brothers comedy A Night in Casablanca (1946). Often unbilled, Hoffman continued in films until the late '50s. He should not be confused with the later director of the same name.

Trivia: Carl Harbord was a very busy English actor from the outset of his career, on stage and later in movies, and had the distinction of appearing in one of the earliest dramas ever broadcast by the BBC. Born in Salcombe, Devonshire, England, Harbord began working on stage in the early '20s, and his theatrical appearances included work in The Painted Veil, When Ladies Meet, and The Happy Husband. In 1932, as the BBC began experimental television broadcasts, Harbord starred opposite Isobel Elsom in The Christmas Present, which was one of the very first dramas ever shown on television. Harbord entered motion pictures in 1928 as Lt. Gunther in Bolibar, a historical drama directed by Walter Summers. He easily made the transition to sound and among the early talkies he appeared in was a now-forgotten 1929 British-made version of Liam O'Flaherty's The Informer, directed by Arthur Robinson (and featuring a young Ray Milland in a tiny role). Harbord was busy in British films right up through 1937, although his earlier films tended to be more notable, such as his portrayal of one of the doomed Australian soldiers in Anthony Asquith's 1931 drama Tell England (aka The Battle of Gallipoli). After 1937, Harbord ceased working in British films and his screen career resumed in Hollywood in 1942 with his performance as Blake in the Technicolor action vehicle Captains of the Clouds, starring James Cagney. In middle age in Hollywood, Harbord usually played small but important character roles in good movies, such as Zoltan Korda's Sahara and Roy William Neill's final Sherlock Holmes series entry with Basil Rathbone, Dressed to Kill, in 1946. In 1957, the year before his death, Harbord appeared on Broadway in Hide and Seek, an atomic-age drama that also starred Rathbone and Barry Morse.

Trivia: French stage actor Georges Renavent made his first American film appearance in 1915's Seven Sisters. Fourteen years later, Renavent made an impressive talking-picture bow as the villainous Kinkajou in RKO's musical spectacular Rio Rita. He spent the rest of his Hollywood career playing roles of varying sizes, usually foreign ambassadors and international gigolos. An apparent favorite of producer Hal Roach, Renavent enjoyed a lengthy role in Roach's Turnabout (1940) as Mr. Ram, the ancient Indian god who performs a gender-switch on stars John Hubbard and Carole Landis. Sporadically during the 1930s and 1940s, Renavent managed his own touring Grand Guignol theatrical troupe. Georges Renavent was married to actress Selena Royle.

Trivia: Tiny, bright-eyed character actress Ida Moore made her first film in 1925, but did not actively pursue moviemaking until well into her sixties. Nearly always cast as a twinkly grandma or man-hungry spinster, Ms. Moore enlivened the proceedings of many a film comedy of the 1940s and 1950s. Her most ardent fans treasure those moments wherein Moore was cast against type as a crook or confidence trickster (vide the 1949 Bowery Boys comedy Hold That Baby). Ida Moore somewhat surprisingly became a cult figure to film buffs of the 1960s, warranting a write-up in the encyclopedic The American Movies Reference Book: The Sound Era, a 1968 volume that curiously couldn't find room for several other deserving "Moores" like Victor and Colleen.

Trivia: Short, stout Scottish actor David Thursby came to Hollywood at the dawn of the talkie era. Thursby was indispensable to American films with British settings like Werewolf of London and Mutiny on the Bounty (both 1935). He spent much of his career at 20th Century Fox, generally in unbilled cameos. Often as not, he was cast as a London bobby (vide the 1951 Fred Astaire musical Royal Wedding, in which he was briefly permitted to sing). David Thursby remained active until the mid-60s.

Trivia: American actor Darby Jones began appearing in Hollywood features at the age of nine. By the 1930s, he had begun playing leading roles, something he did through the 1940s.

Trivia: One of the meanest looking denizens of B-Westerns, John "Blackie" Whiteford could also play comedy. He made one of his earliest screen appearances as a fellow inmate in Laurel & Hardy's The Hoose Gow (1929). He was a comedy prisoner again in the boys' Pardon Us (1932), but from then on it was B-Westerns all the way. With his scowling demeanor and hefty physique, Whiteford almost always played a thug and usually his appearance went unbilled. If his character had a name, it was always something like Zeke, Jake, or of course, Blackie. He was billed John P. Whiteford in his final screen appearance, John Ford's The Man Who Shot Liberty Valance (1962).

Trivia: There's a bit of a cloud surrounding the origins of character actor Harry Cording. The 1970 biographical volume The Versatiles lists his birthplace as New York City, while the exhaustive encyclopedia Who Was Who in Hollywood states that Cording was born in England. Whatever the case, Cording made his mark from 1925 through 1955 in distinctly American roles, usually portraying sadistic western bad guys. A break from his domestic villainy occurred in the 1934 Universal horror film The Black Cat, in which a heavily-made-up Harry Cording played the foreboding, zombie-like servant to Satan-worshipping Boris Karloff.

Trivia: Nestor Paiva had the indeterminate ethnic features and gift for dialects that enabled him to play virtually every nationality. Though frequently pegged as a Spaniard, a Greek, a Portuguese, an Italian, an Arab, an even (on radio, at least) an African-American, Paiva was actually born in Fresno, California. A holder of an A.B. degree from the University of California at Berkeley, Paiva developed an interest in acting while performing in college theatricals. Proficient in several languages, Paiva made his stage bow at Berkeley's Greek Theatre in a production of Antigone. His subsequent professional stage career was confined to California; he caught the eye of the studios by appearing in a long-running Los Angeles production of The Drunkard, which costarred another future film player of note, Henry Brandon. He remained with The Drunkard from 1934 to 1945, finally dropping out when his workload in films became too heavy. Paiva appeared in roles both large and small in so many films that it's hard to find a representative appearance. Fans of Bob Hope and Bing Crosby can take in a good cross-section of Paiva's work via his appearances in Road to Morocco (1942), Road to Utopia (1945) and Road to Rio (1947); he has a bit as a street peddler in Morocco, is desperado McGurk in Utopia, and plays the Brazilian theatre manager who isn't fooled by the Wiere Brothers' attempt to pass themselves off as Americans ("You're een the groove, Jackson") in Rio. During his busiest period, 1945 through 1948, Paiva appeared in no fewer than 117 films. The familiar canteloupe-shaped mug and hyperactive eyebrows of Nestor Paiva graced many a film and TV program until his death in 1966; his final film, the William Castle comedy The Spirit is Willing (1967), was released posthumously.