Trivia: One of the cinema's most enduring actors, Henry Fonda enjoyed a highly successful career spanning close to a half century. Most often in association with director John Ford, he starred in many of the finest films of Hollywood's golden era. Born May 16, 1905, in Grand Island, NE, Fonda majored in journalism in college, and worked as an office boy before pursuing an interest in acting. He began his amateur career with the Omaha Community Playhouse, often performing with the mother of Marlon Brando. Upon becoming a professional performer in 1928, Fonda traveled east, tenuring with the Provincetown Players before signing on with the University Players Guild, a New England-based ensemble including up-and-comers like James Stewart, Margaret Sullavan, and Joshua Logan. Fonda's first Broadway appearance followed with 1929's The Game of Life and Death. He also worked in stock, and even served as a set designer. In 1931, Fonda and Sullavan were married, and the following year he appeared in I Loved You Wednesday. The couple divorced in 1933, and Fonda's big break soon followed in New Faces of '34. A leading role in The Farmer Takes a Wife was next, and when 20th Century Fox bought the film rights, they recruited him to reprise his performance opposite Janet Gaynor, resulting in his 1935 screen debut. Fonda and Gaynor were slated to reunite in the follow-up, Way Down East, but when she fell ill Rochelle Hudson stepped in. In 1936 he starred in The Trail of the Lonesome Pine (the first outdoor Technicolor production), the performance which forever defined his onscreen persona: Intense, insistent, and unflappable, he was also extraordinarily adaptable, and so virtually impossible to miscast. He next co-starred with Sullavan in The Moon's Our Home, followed by Wings of the Morning (another Technicolor milestone, this one the first British feature of its kind). For the great Fritz Lang, Fonda starred in 1937's You Only Live Once, and the following year co-starred with Bette Davis in William Wyler's much-celebrated Jezebel. His next critical success came as the titular Young Mr. Lincoln, a 1939 biopic directed by John Ford. The film was not a commercial sensation, but soon after Fonda and Ford reunited for Drums Along the Mohawk, a tremendous success. Ford then tapped him to star as Tom Joad in the 1940 adaptation of John Steinbeck's The Grapes of Wrath, a casting decision which even Steinbeck himself wholeheartedly supported. However, 20th Century Fox's Darryl Zanuck wanted Tyrone Power for the role, and only agreed to assign Fonda if the actor signed a long-term contract. Fonda signed, and Zanuck vowed to make him the studio's top star -- it didn't happen, however, and despite the success of The Grapes of Wrath (for which he scored his first Best Actor Academy Award nomination), his tenure at Fox was largely unhappy and unproductive.The best of Fonda's follow-up vehicles was the 1941 Preston Sturges comedy The Lady Eve, made at Paramount on loan from Fox; his co-star, Barbara Stanwyck, also appeared with him in You Belong to Me. After a number of disappointing projects, Fox finally assigned him to a classic, William Wellman's 1943 Western The Ox-Bow Incident. Studio executives reportedly hated the film, however, until it won a number of awards. After starring in The Immortal Sergeant, Fonda joined the navy to battle in World War II. Upon his return, he still owed Fox three films, beginning with Ford's great 1946 Western My Darling Clementine. At RKO he starred in 1947's The Long Night, followed by Fox's Daisy Kenyon. Again at RKO, he headlined Ford's The Fugitive, finally fulfilling his studio obligations with Ford's Fort Apache, his first unsympathetic character. Fonda refused to sign a new contract and effectively left film work for the next seven years, returning to Broadway for lengthy runs in Mister Roberts, Point of No Return, and The Caine Mutiny Court Martial. Outside of cameo roles in a handful of pictures, Fonda did not fully return to films until he agreed to reprise his performance in the 1955 screen adaptation of Mister Roberts, one of the year's biggest hits. Clearly, he had been greatly missed during his stage exile, and offers flooded in. First there was 1956's War and Peace, followed by Alfred Hitchcock's The Wrong Man. In 1957, Fonda produced as well as starred in the Sidney Lumet classic Twelve Angry Men, but despite a flurry of critical acclaim the film was a financial disaster. In 1958, after reteaming with Lumet on Stage Struck, Fonda returned to Broadway to star in Two for the Seesaw, and over the years to come he alternated between projects on the screen (The Man Who Understood Women, Advise and Consent, The Longest Day) with work on-stage (Silent Night, Lonely Night, Critic's Choice, Gift of Time). From 1959 to 1961, he also starred in a well-received television series, The Deputy.By the mid-'60s, Fonda's frequent absences from the cinema had severely hampered his ability to carry a film. Of his many pictures from the period, only 1965's The Battle of the Bulge performed respectably at the box office. After 1967's Welcome to Hard Times also met with audience resistance, Fonda returned to television to star in the Western Stranger on the Run. After appearing in the 1968 Don Siegel thriller Madigan, he next starred opposite Lucille Ball in Yours, Mine and Ours, a well-received comedy. Fonda next filmed Sergio Leone's Once Upon a Time in the West; while regarded as a classic, the actor so loathed the experience that he refused to ever discuss the project again. With his old friend, James Stewart, he starred in The Cheyenne Social Club before agreeing to a second TV series, the police drama Smith, in 1971. That same year, he was cast to appear as Paul Newman's father in Sometimes a Great Notion.After a pair of TV movies, 1973's The Red Pony and The Alpha Stone, Fonda began a series of European productions which included the disastrous Ash Wednesday and Il Mio Nome è Nessuno. He did not fare much better upon returning to Hollywood; after rejecting Network (the role which won Peter Finch an Oscar), Fonda instead appeared in the Sensurround war epic Midway, followed by The Great Smokey Roadblock. More TV projects followed, including the miniseries Roots -- The Next Generation. Between 1978 and 1979, he also appeared in three consecutive disaster movies: The Swarm, City on Fire, and Meteor. Better received was Billy Wilder's 1978 film Fedora. A year later, he also co-starred with his son, Peter Fonda, in Wanda Nevada. His final project was the 1981 drama On Golden Pond, a film co-starring and initiated by his daughter, Jane Fonda; as an aging professor in the twilight of his years, he finally won the Best Actor Oscar so long due him. Sadly, Fonda was hospitalized at the time of the Oscar ceremony, and died just months later on August 12, 1982.

Trivia: American actress Jane Darwell was the daughter of a Missouri railroad executive. Despite her father's disapproval, she spent most of her youth acting in circuses, opera troupes and stock companies, making her film debut in 1912. Even in her early thirties, Darwell specialized in formidable "grande dame" roles, usually society matrons or strict maiden aunts. Making an easy transition to talking pictures, Darwell worked primarily in small character parts (notably as governesses and housekeepers in the films of Shirley Temple) until 1939, when her role as the James Brothers' mother in Jesse James began a new career direction--now she was most often cast as indomitable frontierswomen, unbending in the face of hardship and adversity. It was this quality that led Darwell to be cast in her favorite role as Ma Joad in The Grapes of Wrath (1940), for which she won an Oscar. Darwell continued to work until illness crept upon her in the late 1950s. Even so, Darwell managed to essay a handful of memorable parts on TV and in movies into the 1960s; her last film role was as the "Bird Woman" in Disney's Mary Poppins (1964).

Trivia: Though best known to modern filmgoers as a horror star, cadaverous John Carradine was, in his prime, one of the most versatile character actors on the silver screen. The son of a journalist father and physician mother, Carradine was given an expensive education in Philadelphia and New York. Upon graduating from the Graphic Arts School, he intended to make his living as a painter and sculptor, but in 1923 he was sidetracked into acting. Working for a series of low-paying stock companies throughout the 1920s, he made ends meet as a quick-sketch portrait painter and scenic designer. He came to Hollywood in 1930, where his extensive talents and eccentric behavior almost immediately brought him to the attention of casting directors. He played a dizzying variety of distinctive bit parts -- a huntsman in Bride of Frankenstein (1935), a crowd agitator in Les Miserables (1935) -- before he was signed to a 20th Century Fox contract in 1936. His first major role was the sadistic prison guard in John Ford's Prisoner of Shark Island (1936), which launched a long and fruitful association with Ford, culminating in such memorable screen characterizations as the gentleman gambler in Stagecoach (1939) and Preacher Casy ("I lost the callin'!") in The Grapes of Wrath (1940). Usually typecast as a villain, Carradine occasionally surprised his followers with non-villainous roles like the philosophical cab driver in Alexander's Ragtime Band (1938) and Abraham Lincoln in Of Human Hearts (1938). Throughout his Hollywood years, Carradine's first love remained the theater; to fund his various stage projects (which included his own Shakespearean troupe), he had no qualms about accepting film work in the lowest of low-budget productions. Ironically, it was in one of these Poverty Row cheapies, PRC's Bluebeard (1944), that the actor delivered what many consider his finest performance. Though he occasionally appeared in an A-picture in the 1950s and 1960s (The Ten Commandments, Cheyenne Autumn), Carradine was pretty much consigned to cheapies during those decades, including such horror epics as The Black Sleep (1956), The Unearthly (1957), and the notorious Billy the Kid Meets Dracula (1966). He also appeared in innumerable television programs, among them Twilight Zone, The Munsters, Thriller, and The Red Skelton Show, and from 1962 to 1964 enjoyed a long Broadway run as courtesan-procurer Lycus in A Funny Thing Happened on the Way to the Forum. Though painfully crippled by arthritis in his last years, Carradine never stopped working, showing up in films ranging from Everything You Always Wanted to Know About Sex But Were Afraid to Ask (1972) to Peggy Sue Got Married (1984). Married four times, John Carradine was the father of actors David, Keith, Robert, and Bruce Carradine.

Trivia: American actor Russell Simpson is another of those character players who seemed to have been born in middle age. From his first screen appearance in 1910 to his last in 1959, Simpson personified the grizzled, taciturn mountain man who held strangers at bay with his shotgun and vowed that his daughter would never marry into that family he'd been feudin' with fer nigh on to forty years. It was not always thus. After prospecting in the 1898 Alaska gold rush, Simpson returned to the States and launched a career as a touring actor in stock -- most frequently cast in romantic leads. This led to a long association with Broadway impresario David Belasco. Briefly flirting with New York-based films in 1910, Simpson returned to the stage, then chose movies on a permanent basis in 1917. Of his hundreds of motion picture and TV appearances, Russell Simpson is best known for his participation in the films of director John Ford, most memorably as Pa Joad in 1940's The Grapes of Wrath.

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: The son of a Norwegian pastor, John Qualen was born in British Columbia. After his family moved to Illinois, Qualen won a high school forensic contest, which led to a scholarship at Northwestern University. A veteran of the tent-show and vaudeville circuits by the late '20s, Qualen won the important role of the Swedish janitor in the Broadway play Street Scene by marching into the producer's office and demonstrating his letter-perfect Scandinavian accent. His first film assignment was the 1931 movie version of Street Scene. Slight of stature, and possessed of woebegone, near-tragic facial features, Qualen was most often cast in "victim" roles, notably the union-activist miner who is beaten to death by hired hooligans in Black Fury (1935) and the pathetic, half-mad Muley in The Grapes of Wrath (1940). Qualen was able to harness his trodden-upon demeanor for comedy as well, as witness his performance as the bewildered father of the Dionne quintuplets in The Country Doctor (1936). He was also effectively cast as small men with large reserves of courage, vide his portrayal of Norwegian underground operative Berger in Casablanca (1942). From Grapes of Wrath onward, Qualen was a member in good standing of the John Ford "stock company," appearing in such Ford-directed classics as The Long Voyage Home (1940), The Searchers (1955), Two Rode Together (1961), and The Man Who Shot Liberty Valance (1962). John Qualen was acting into the 1970s, often appearing in TV dramatic series as pugnacious senior citizens.

Trivia: After many, many years on-stage, American actress Zeffie Tilbury made her film bow in 1919. Almost from the beginning of her movie career, Tilbury was typecast as grandmotherly types, be they lovable, spiteful, or diabolical. At her peak in the 1930s and early '40s, she was seen as the Gypsy Queen in Laurel and Hardy's Bohemian Girl (1936); the elegant, larcenous Aunt Olga in the Lubitsch-produced Desire (1936); Gramma Joad in John Ford's Grapes of Wrath (1940); and Ma Lester in another Ford production, Tobacco Road (1941). Fans of the Little Rascals will remember Tilbury as the snappish hypochondriac who is regenerated by the presence of Spanky, Alfalfa, and the rest in the 1936 two-reeler Second Childhood. During her 1930s heyday, Zeffie Tilbury was almost totally blind, a fact she successfully kept secret from the public so as not to generate curiosity or pity.

Trivia: American character actor Frank Sully worked as a vaudeville and Broadway comedian before drifting into movies in 1935. Often typecast as musclebound, doltish characters, the curly-haired, lantern-jawed Sully was seen in a steady stream of hillbilly, GI and deputy sheriff roles throughout the '40s and '50s. He was prominently cast as Noah in John Ford's memorable drama The Grapes of Wrath (1940), one of the few times he essayed a non-comic role. During the '50s, Sully accepted a number of uncredited roles in such westerns as Silver Lode (1954) and was a member in good standing of the Columbia Pictures 2-reel "stock company," appearing as tough waiters, murderous crooks and jealous boyfriends in several short comedies, including those of the Three Stooges (Fling in the Ring, A Merry Mix-Up etc.) Frank Sully's last screen appearance was a bit as a bartender in Barbra Streisand's Funny Girl (1968).

Trivia: Frail-looking character actor Frank Darien began working in films around 1910, playing parts in a smattering of D. W. Griffith and Mack Sennett shorts. Darien was busiest during the early-talkie era, essaying peripheral roles in such productions as Cimarron (1931), The Miracle Man (1932) and Mystery of the Wax Museum (1932). He was most often cast as coroners, doctors, household servants, doormen and justices of the peace. Frank Darien's most memorable role was Uncle John in The Grapes of Wrath (1940), directed by another D. W. Griffith alumnus, John Ford.

Trivia: Actor Darryl Hickman was discovered at age three by kiddie-troupe entrepreneur Ethel Meglin, to whom Hickman's insurance salesman father had sold a policy. Whenever young Hickman would ask his ambitious mother exactly why he was trodding the boards with Meglin's Kiddies, she would reply, "But, dear, it's what you've always wanted." Hickman's first movie was a minor role in If I Were King (1938), followed by a better, critically lauded role in Bing Crosby's The Star Maker (1939). After free-lancing for several seasons, Hickman signed a five-year MGM contract, which he later considered a mixed blessing in that, while his roles were good ones, he grew up much too quickly for his tastes. During the 1940s, Hickman often played the film's leading adult character as a child: young Ira Gershwin in Rhapsody in Blue (1945), young Eddie Rickenbacker in Captain Eddie (1945), and so on. Hickman's first mature role, for which he garnered a passel of excellent reviews, was as Clark Gable's son in 1949's Any Number Can Play. Weary of the Hollywood game in 1951, Hickman entered a monastery, but quit this austere existence after 18 months to enroll in Loyola University. Some of Hickman's better adult roles after his Army service included a meaty part in 1956's Tea and Sympathy and a starring part on the 1961 Civil War-based TV series The Americans. In the late 1950s, Hickman found that his fame had been eclipsed by his younger brother Dwayne, who co-starred on TV's Bob Cummings Show and played the lead in the weekly sitcom Dobie Gillis. Like Dwayne, Darryl eventually went into the production side of the business as a CBS executive, though he was still willing to take a part if the project interested him (as 1976's Network obviously did). Darryl Hickman was married to actress Pamela Lincoln, whom he met on the set of The Tingler (1959).

Trivia: The son of a general and a graduate of Yale College and Harvard Law School, Ohioan Grant Mitchell was a lawyer (he certainly looked the part) for several years before going into acting. He made his stage bow at the age of 27, and spent the next quarter of a century as a leading player, often billed above the title of the play. Mitchell was a special favorite of showman George M. Cohan, who wrote a vehicle specifically tailored to Mitchell's talents, The Baby Cyclone, in 1927. Though he reportedly appeared in a 1923 film, Mitchell's movie career officially began in 1932, first in bits (the deathhouse priest in If I Had a Million), then in sizeable supporting roles at Warner Bros. Often cast as the father of the heroine, Mitchell socked across his standard dyspeptic-papa lines with a delivery somewhat reminiscent of James Cagney (leading one to wonder if the much-younger Cagney didn't take a few pointers from Mitchell during his own formative years). While he sparkled in a variety of secondary roles as businessmen, bank clerks and school principals, Mitchell was occasionally honored with a B-picture lead, as in 1939's Father is a Prince. With years of theatrical experience behind him, Mitchell was shown to best advantage in Warners' many adaptations of stage plays, notably A Midsummer Night's Dream (1935) and The Man Who Came to Dinner (1942). Freelancing in the mid '40s, Grant Mitchell occasionally showed up in unbilled one-scene cameos (Leave Her to Heaven [1945]) and in reprises of his small-town bigwig characterizations in such B-films as Blondie's Anniversary (1947) and Who Killed Doc Robbin? (1948).

Trivia: American actor Ward Bond was a football player at the University of Southern California when, together with teammate and lifelong chum John Wayne, he was hired for extra work in the silent film Salute (1928), directed by John Ford. Both Bond and Wayne continued in films, but it was Wayne who ascended to stardom, while Bond would have to be content with bit roles and character parts throughout the 1930s. Mostly playing traffic cops, bus drivers and western heavies, Bond began getting better breaks after a showy role as the murderous Cass in John Ford's Young Mr. Lincoln (1939). Ford cast Bond in important roles all through the 1940s, usually contriving to include at least one scene per picture in which the camera would favor Bond's rather sizable posterior; it was an "inside" joke which delighted everyone on the set but Bond. A starring role in Ford's Wagonmaster (1950) led, somewhat indirectly, to Bond's most lasting professional achievement: His continuing part as trailmaster Seth Adams on the extremely popular NBC TV western, Wagon Train. No longer supporting anyone, Bond exerted considerable creative control over the series from its 1957 debut onward, even seeing to it that his old mentor John Ford would direct one episode in which John Wayne had a bit role, billed under his real name, Marion Michael Morrison. Finally achieving the wide popularity that had eluded him during his screen career, Bond stayed with Wagon Train for three years, during which time he became as famous for his offscreen clashes with his supporting cast and his ultra-conservative politics as he was for his acting. Wagon Train was still NBC's Number One series when, in November of 1960, Bond unexpectedly suffered a heart attack and died while taking a shower.

Trivia: American actor Frank Faylen was born into a vaudeville act; as an infant, he was carried on stage by his parents, the song-and-dance team Ruf and Clark. Traveling with his parents from one engagement to another, Faylen somehow managed to complete his education at St. Joseph's Prep School in Kirkwood, Missouri. Turning pro at age 18, Faylen worked on stage until getting a Hollywood screen test in 1936. For the next nine years, Faylen played a succession of bit and minor roles, mostly for Warner Bros.; of these minuscule parts he would later say, "If you sneezed, you missed me." Better parts came his way during a brief stay at Hal Roach Studios in 1942 and 1943, but Faylen's breakthrough came at Paramount in 1945, where he was cast as Bim, the chillingly cynical male nurse at Bellevue's alcoholic ward in the Oscar-winning The Lost Weekend. Though the part lasted all of four minutes' screen time, Faylen was so effective in this unpleasant role that he became entrenched as a sadistic bully or cool villain in his subsequent films. TV fans remember Faylen best for his more benign but still snarly role as grocery store proprietor Herbert T. Gillis on the 1959 sitcom Dobie Gillis. For the next four years, Faylen gained nationwide fame for such catch-phrases as "I was in World War II--the big one--with the good conduct medal!", and, in reference to his screen son Dobie Gillis, "I gotta kill that boy someday. I just gotta." Faylen worked sporadically in TV and films after Dobie Gillis was canceled in 1963, receiving critical plaudits for his small role as an Irish stage manager in the 1968 Barbra Streisand starrer Funny Girl. The actor also made an encore appearance as Herbert T. Gillis in a Dobie Gillis TV special of the 1970s, where his "good conduct medal" line received an ovation from the studio audience. Faylen was married to Carol Hughes, an actress best-recalled for her role as Dale Arden in the 1939 serial Flash Gordon Conquers the Universe, and was the father of another actress, also named Carol.

Trivia: Beefy, puffy-faced Canadian actor Joseph Sawyer spent his first years in films (the early- to mid-'30s) acting under his family name of Sauer. Before he developed his comic skills, Sawyer was often seen in roles calling for casual menace, such as the grinning gunman who introduces "Duke Mantee, the well-known killer" in The Petrified Forest (1936). While under contract to Hal Roach studios in the 1940s, Sawyer starred in several of Roach's "streamliners," films that ran approximately 45 minutes each. He co-starred with William Tracy in a series of films about a GI with a photographic memory and his bewildered topkick: Titles included Tanks a Million (1941), Fall In (1942), and Yanks Ahoy (1943) (he later reprised this role in a brace of B-pictures produced by Hal Roach Jr. for Lippert Films in 1951). A second "streamliner" series, concerning the misadventures of a pair of nouveau riche cabdrivers, teamed Sawyer with another Roach contractee, William Bendix. Baby boomers will remember Joe Sawyer for his 164-episode stint as tough but soft-hearted cavalry sergeant Biff O'Hara on the '50s TV series Rin Tin Tin.

Trivia: American actor Harry Tyler wasn't really as old as the hills when he started his film career in 1929; in fact, he was barely 40. Still, Tyler's wizened, gimlet-eyed face was his fortune, and he spent most of his movie years playing variations of the Spry Old Timer. Tyler began his stage career as a boy soprano in 1901, under the aegis of producer Flo Ziegfeld and Ziegfeld's wife Anna Held. He married Gladys Crolius in 1910, and for the next twelve years they toured vaudeville in a precursor to Burns and Allen's smart guy/dumb dora act. Returning to the legitimate stage in 1925, Tyler journeyed to Hollywood when talking pictures took hold four years later. His inaugural screen appearance was a recreation of his stage role in The Shannons on Broadway. Harry Tyler played bits and featured roles as janitors, sign painters, philandering businessmen, frontier farmers and accident victims from 1929 until his farewell appearance in John Ford's The Last Hurrah (1958).

Trivia: American actor John Arledge, played second leads and character roles during the '30s. Prior to coming to films he performed on vaudeville and on stage.

Trivia: American actor Paul Guilfoyle was a familiar Broadway presence in the years 1928 through 1934, most often seen in musicals and comedies. Switching his activities to filmmaking in 1935, Guilfoyle continued playing comedy relief roles, often as the best friend and severest critic of the hero. In the 1940s, Guilfoyle began settling into villainy; his furtive features made him the "perfect" gangland hanger-on or snivelling stoolie. In this latter characterization, Guilfoyle was most memorable as the prison informer who is "ventilated" by James Cagney in White Heat (1949) and as the communist party flunkey who is deep-sixed by cell leader Thomas Gomez in I Married a Communist (1949). In the 1950s, Guilfoyle turned to directing, helming such programmers as Captain Scarface (1953) and Tess of the Storm Country (1961). Paul Guilfoyle's son, also named Paul, went on to become an actor, as well.

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).

Trivia: Roger Imhof began his performing career with a circus, then went on to tour in vaudeville with his wife Marcelle Coreine. An established stage performer, Imhof made his first film appearance in 1930. While under contract to Fox, he showed up in several films starring his friend Will Rogers. Elsewhere, he was generally cast as tight-lipped military officers or domineering fathers. In 1940's Little Old New York, he had a cute opening bit as millionaire-to-be John Jacob Astor. Roger Imhof remained in films until 1945.

Trivia: Stage actor William Pawley made his movie bow in 1931's Over the Hill. Especially busy in crime melodramas, Pawley essayed tough-guy roles in such films as I Am a Fugitive From a Chain Gang (1932), Bullets or Ballots (1936), San Quentin (1937), and a handful of two-reelers in MGM's Crime Does Not Pay series. He occasionally forsook double-breasted suits and snap-brim hats for the garb of a hillbilly (1934's Kentucky Kernels) or cowboy (he played a stage actor impersonating the recently deceased Jesse James in 1941's The Return of the Frank James). Active until 1942, William Pawley worked steadily for 20th Century Fox during the last months of his screen career.

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 son of vaudeville monologist Julius Tannen, Charles Tannen launched his own film career in 1936. For the rest of his movie "life," Tannen was most closely associated with 20th Century Fox, playing minor roles in films both large (John Ford's The Grapes of Wrath) and not so large (Laurel and Hardy's Great Guns). Rarely receiving screen credit, Tannen continued playing utility roles well into the 1960s, showing up in such Fox productions as The Fly (1958) and Voyage to the Bottom of the Sea (1961). Charles Tannen's older brother, William, was also an active film performer during this period.

Trivia: Eddy Waller's career moved along the same channels as most western comedy-relief performers: medicine shows, vaudeville, legitimate theatre, movie bit parts (from 1938) and finally the unshaven, grizzled, "by gum" routine. During the '40s, Waller was teamed with virtually everyone at Republic studios. He was amusing with his soup-strainer mustache, dusty duds and double takes, but virtually indistinguishable from such other Republic sagebrush clowns as Olin Howlin and Chubby Johnson. Eddy Waller is most fondly remembered for his 26-week stint as Rusty Lee, sidekick to star Douglas Kennedy on the 1952 TV series Steve Donovan, Western Marshal.

Trivia: After a substantial stage career, American actor Cliff Clark entered films in 1937. His movie credits ranged from Mountain Music to the 1953 Burt Lancaster/Virginia Mayo affair South Sea Woman. The weather-beaten Clark usually played surly city detectives, most frequently in RKO's Falcon series of the 1940s. In 1944, Clark briefly ascended from "B"s to "A"s in the role of his namesake, famed politico Champ Clark, in the 20th Century-Fox biopic Wilson. And in the 1956 TV series Combat Sergeant, Cliff Clark was second-billed as General Harrison.

Trivia: Adrian Morris was the son of prominent Broadway actors William Morris and Etta Hawkins, and the younger brother of stage and film star Chester Morris. Adrian launched his own film career in 1931, spending the next decade playing minor roles as cops, sheriffs, gangsters, and the like. He played the loquacious carpetbagger who promised a gathering of freed slaves that they'd each receive "40 acres and a mule" in Gone With the Wind (1939), and was seen as the heartless hiring agent who delivers impossible ultimatums to the transient "Okies" in The Grapes of Wrath (1940). Adrian Morris died unexpectedly at the age of 38.

Trivia: Actor Robert Emmett Homans seemingly had the map of Ireland stamped on his craggy face. As a result, Homans spent the better part of his film career playing law enforcement officers of all varieties, from humble patrolmen to detective chiefs. After a lengthy stage career, Homans entered films in 1923. A break from his usual microscopic film assignments occured in Public Enemy (1931), where Homans is given an opportunity to deliver reams of exposition (with a pronounced brogue) during a funeral sequence. And in the 1942 Universal horror programmer Night Monster, Robert Emmett Homans is alotted a sizeable role as the ulcerated detective investigating the supernatural goings-on at the home of seemingly helpless invalid Ralph Morgan.

Trivia: Irving Bacon entered films at the Keystone Studios in 1913, where his athletic prowess and Ichabod Crane-like features came in handy for the Keystone brand of broad slapstick. He appeared in over 200 films during the silent and sound era, often playing mailmen, soda jerks and rustics. In The Amazing Dr. Clitterhouse (1938) it is Irving, as a flustered jury foreman, who delivers the film's punchline. In the late 1930s and early 1940s, Irving played the recurring role of Mr. Crumb in Columbia's Blondie series; he's the poor postman who is forever being knocked down by the late-for-work Dagwood Bumstead, each collision accompanied by a cascade of mail flying through the air. Irving Bacon kept his hand in throughout the 1950s, appearing in a sizeable number of TV situation comedies.

Trivia: American actor James Flavin was groomed as a leading man when he first arrived in Hollywood in 1932, but he balked at the glamour treatment and was demonstrably resistant to being buried under tons of makeup. Though Flavin would occasionally enjoy a leading role--notably in the 1932 serial The Airmail Mystery, co-starring Flavin's wife Lucille Browne--the actor would devote most of his film career to bit parts. If a film featured a cop, process server, Marine sergeant, circus roustabout, deckhand or political stooge, chances are Jimmy Flavin was playing the role. His distinctive sarcastic line delivery and chiselled Irish features made him instantly recognizable, even if he missed being listed in the cast credits. Larger roles came Flavin's way in King Kong (1933) as Second Mate Briggs; Nightmare Alley (1947), as the circus owner who hires Tyrone Power; and Abbott and Costello Meet the Killer, Boris Karloff (1949), as a long-suffering homicide detective. Since he worked with practically everyone, James Flavin was invaluable in later years as a source of on-set anecdotes for film historians; and because he evidently never stopped working, Flavin and his wife Lucille were able to spend their retirement years in comfort in their lavish, sprawling Hollywood homestead.

Trivia: An enterprising actor/writer/associate producer, handsome, cleft-chinned George O'Hara began his screen career with Mack Sennett, who cast the youngster opposite Marie Prevost in the delightful Love, Honor and Behave (1920). The following year, O'Hara was credited as associate producer (as well as playing a bit as a cameraman) in Ben Turpin's A Small Town Idol and he later wrote continuity and titles for such programmers as Beau Broadway (1928), Side Street (1929), and Night Parade (1929). As an actor, O'Hara was quite popular in comedy series such as FBO's The Go-Getters (1924-1925) and The Pacemakers (1925), the boxing series Fighting Blood (1926), and the action serials Casey of the Coast Guard (1926) and Pirates of the Pines (1928). Leaving films at the advent of sound, the former star returned as an extra in the late '30s.

Trivia: WWI-veteran Jack Pennick was working as a horse wrangler when, in 1926, he was hired as a technical advisor for the big-budget war drama What Price Glory? Turning to acting in 1927, Pennick made his screen bow in Bronco Twister. His hulking frame, craggy face, and snaggle-toothed bridgework made him instantly recognizable to film buffs for the next 35 years. Beginning with 1928's Four Sons and ending with 1962's How the West Was Won, Pennick was prominently featured in nearly three dozen John Ford films. He also served as Ford's assistant director on How Green Was My Valley (1941) and Fort Apache (1947), and as technical advisor on The Alamo (1960), directed by another longtime professional associate and boon companion, John Wayne. Though pushing 50, Jack Pennick interrupted his film career to serve in WWII, earning a Silver Star after being wounded in combat.

Trivia: Actor Walter McGrail's birthdate is frequently given as 1899, but this hardly seems likely, inasmuch as he was playing adult leading roles in films as early as 1915. During his first decade before the cameras, McGrail was often cast as imperious scions of wealth in such films as Miss Ambition (1918), Girl Problem (1918) and The Country Cousin (1919). In the 1920s, he essayed scores of character roles, often playing a suave and/or villainous Latin type. The size of his roles decreased in the talkie era, though he occasionally played such meaty parts as Winsted Omstock in The Shadow Strikes (1937) and the leader of the "action" heavies in the 1940 serial Mysterious Dr. Satan. Walter McGrail retired in 1951.

Trivia: Athletically inclined, Tyler entered films at age 21 as a stuntman and extra. He went on to play supporting roles in several late silents, then signed a contract to star in Westerns. He soon became a popular screen cowboy, often accompanied by sidekick Frankie Darro; he survived the transition to sound, going on to star in a number of serials in the early '30s. He remained popular through the early '40s and occasionally played supporting roles in major films. In 1943 he was struck by a crippling rheumatic condition; although he appeared in a handful of additional films throughout the next decade, his career was effectively ended as he was relegated to minor roles. By the early '50s he was broke. He died of a heart attack at age 50.

Trivia: A former professional baseball player, Pat Flaherty was seen in quite a few baseball pictures after his 1934 screen debut. Flaherty can be seen in roles both large and small in Death on the Diamond (1934), Pride of the Yankees (1942), It Happened in Flatbush (1942), The Stratton Story (1949, as the Western All-Stars coach), The Jackie Robinson Story (1950) and The Winning Team (1952, as legendary umpire Bill Klem). In 1948's Babe Ruth Story, Flaherty not only essayed the role of Bill Corrigan, but also served as the film's technical advisor. Outside the realm of baseball, he was usually cast in blunt, muscle-bound roles, notably Fredric March's taciturn male nurse "Cuddles" in A Star is Born (1937). One of Pat Flaherty's most unusual assignments was Wheeler and Woolsey's Off Again, On Again (1937), in which, upon finding his wife (Patricia Wilder) in a compromising position with Bert Wheeler, he doesn't pummel the hapless Wheeler as expected, but instead meekly apologizes for his wife's flirtatiousness!

Trivia: Ralph Dunn used his burly body and rich, theatrical voice to good effect in hundreds of minor feature-film roles and supporting appearances in two-reel comedies. He came to Hollywood during the early talkie era, beginning his film career with 1932's The Crowd Roars. A huge man with a withering glare, Dunn was an ideal "opposite" for short, bumbling comedians like Lou Costello in the 1944 Abbott and Costello comedy In Society, Dunn plays the weeping pedestrian who explains that he doesn't want to go to Beagle Street because that's where a two-ton safe fell on his head and killed him. A frequent visitor to the Columbia short subjects unit, Dunn shows up in the Three Stooges comedy Mummie's Dummies as the ancient Egyptian swindled at the Stooges' used chariot lot. Ralph Dunn kept busy into the '60s, appearing in such TV series as Kitty Foyle and such films as Black Like Me (1964).

Trivia: Paris-born George Breakston moved to the U.S. when he was six. As a child actor, Breakston got in on the ground floor of the Los Angeles radio industry. In films, he played the young Pip in the 1934 Great Expectations, and that same year played the sickliest of the Wiggs children in Mrs. Wiggs of the Cabbage Patch and the boy with the ailing bus-passenger mother in It Happened One Night. In the late 1930s, Breakston was seen in the recurring role of Breezy in MGM's Andy Hardy series. Upon reaching adulthood, Breakston retired from acting to become a producer/director. He moved to Kenya, where he set up his own production company, turning out several African-themed films (Urubu, Golden Ivory) and such TV series as African Patrol and Adventures of a Jungle Boy. George Breakston went on to produce and direct films in Europe and Japan before returning to his "home town" of Paris.

Trivia: In films from 1935, American actor Norman Willis was almost invariably cast as a villain. With his eternal half-sneer, pencil mustache, and nasal, insinuating voice, Willis was a convincing menace in Westerns, serials, and detective melodramas. One of his most typical roles was Spider Webb (no kidding) in the 1937 serial Tim Tyler's Luck. He also showed up in several short subjects, including the Three Stooges' Out West (1947), Our Gang's Little Miss Pinkerton (1943), and a handful of MGM's Crime Does Not Pay entries. Active until 1957, Norman Willis occasionally billed himself as Jack Norman.

Trivia: In films from 1921 through 1952, white-maned American character actor Erville Alderson was most closely associated with D.W. Griffith in his early movie years. Alderson played major roles in Griffith's The White Rose (1932), America (1924) and Isn't Life Wonderful (1924). In D.W.'s Sally of the Sawdust (1926), Alderson performed double duty, playing the merciless Judge Foster in front of the cameras and serving as assistant director behind the scenes. During the talkie era, the actor showed up in "old codger" roles as sheriffs, court clerks and newspaper editors. You might remember Erville Alderson as the crooked handwriting expert (he was crooked, not the handwriting) in Frank Capra's Mr. Smith Goes to Washington (1939) and as Jefferson Davis in the Errol Flynn starrer Santa Fe Trail (1940).

Trivia: Working in virtual anonymity throughout his film career, the sharp-featured, gangly character actor Harry Strang was seldom seen in a feature film role of consequence. From 1930 through 1959, Strang concentrated on such sidelines characters as soldiers, sentries, beat cops and store clerks. He was given more to do and say in 2-reel comedies, notably in the output of RKO Radio Pictures, where he appeared frequently in the comedies of Leon Errol and Edgar Kennedy. Harry Strang will be remembered by Laurel and Hardy fans for his role as a desk clerk in Block-Heads (1938), in which he was not once but twice clobbered in the face by an errant football.

Trivia: At first studying for the ministry, in college he was attracted to acting; at age 21 he went to Hollywood, working for several years as an extra. His first lead role came in A Woman Who Sinned (1924); three years later he was elevated to star status after his lead role opposite Sharon Lynne in Clancy's Kosher Wedding (1927). For the next several years he played romantic leads in numerous mysteries, drawing-room dramas, and comedies, and easily made the transition into the sound era. In the mid '30s he began specializing in Westerns and action serials, and last starred in 1936; after that he played supporting roles, both as the heroes' buddies and low-down villains, in dozens of B-Westerns and serials.

Trivia: Kentucky-born Louis Mason enjoyed a long stage and screen career playing a vast array of rustic characters. In films from 1933, Mason could often as not be found portraying feuding hillbillies, backwood preachers, moonshiners and other assorted rubes. When he was given a character name, it was usually along the lines of Elmo and Lem. An off-and-on member of John Fords stock company, Mason showed up in Ford's Judge Priest (1934), Steamboat Round the Bend (1935) and Young Mr. Lincoln (1939), among others. Louis Mason remained active at least until 1953.

Trivia: A film actor from 1925, Norway native Harry Tenbrook usually played such functionary roles as shore patrolmen, sailors, gangsters, and bartenders. The names of Tenbrook's screen characters ran along the lines of Limpy, Spike, and Squarehead. With his supporting appearance in The Informer (1935), the actor became a member of director John Ford's stock company. Harry Tenbrook's association with Ford ended with 1958's The Last Hurrah.

Trivia: A major star of silent serials, often in tandem with the fearless Allene Ray, handsome, dark-haired Walter Miller had begun his professional career with various stock companies operating out of Jersey City, NJ. Onscreen with the American Mutoscope and Biograph Company from as early as 1912, Miller appeared in supporting roles in such melodramas as the still extant The Musketeers of Pig Alley (1912), in which he played Lillian Gish's young husband, and later specialized in "other man" roles. Stardom came at the Pathé company in the 1920s, where he most fortuitously was teamed with the era's great serial queen Allene Ray in one popular chapterplay after another, ten in all, the team battling their way through such wild and woolly adventures as Sunken Silver (1925), their first, The Green Archer (1925), Hawk of the Hills (1927), and The Black Book (1929). Ray did not fare well in talkies and retired but Miller found a berth with serial newcomer Mascot, who starred him in King of the Kongo (1929), The Lone Defender (1930), and King of the Wild (1930). But he floundered without Miss Ray by his side and since there was always something slightly sinister about his looks, which a deep voice only acerbated, Miller spent the remainder of his career on the wrong side of the law, appearing in countless B-movies, Westerns and crime yarns alike, until his death from a heart attack in 1940. He left a widow, Eileen Schofield, who had played a bit part in her husband's 1930 effort King of the Wild.

Trivia: American actor Trevor Bardette could truly say that he died for a living. In the course of a film career spanning three decades, the mustachioed, granite-featured Bardette was "killed off" over 40 times as a screen villain. Entering movies in 1936 after abandoning a planned mechanical engineering career for the Broadway stage, Bardette was most often seen as a rustler, gangster, wartime collaborator and murderous backwoodsman. His screen skullduggery carried over into TV; one of Bardette's best remembered video performances was as a "human bomb" on an early episode of Superman. Perhaps being something of a reprobate came naturally to Trevor Bardette -- or so he himself would claim in later years when relating a story of how, as a child, he'd won ten dollars writing an essay on "the evils of tobacco," only to be caught smoking behind the barn shortly afterward.

Trivia: William Haade spent most of his movie career playing the very worst kind of bully--the kind that has the physical training to back up his bullying. His first feature-film assignment was as the arrogant, drunken professional boxer who is knocked out by bellhop Wayne Morris in Kid Galahad (37). In many of his western appearances, Haade was known to temper villainy with an unexpected sense of humor; in one Republic western, he spews forth hilarious one-liners while hacking his victims to death with a knife! William Haade also proved an excellent menace to timorous comedians like Laurel and Hardy and Abbott and Costello; in fact, his last film appearance was in Abbott and Costello Meet the Keystone Kops (55).

Trivia: American entertainer Peggy Ryan came from a large vaudevillian family, billed as the Merry Dancing Ryans; she was onstage from infancy and in films from age 6 (The Wedding of Jack and Jill [1930]). Peggy's peak movie years were 1941-1945, during which she was costarred in several lightweight musicals with fellow Universal contractee Donald O'Connor. Ryan and O'Connor usually played teenaged sweethearts who found themselves hoofing away at the drop of an orchestra leader's baton (though O'Connor was larger and more mature looking, Ryan was in fact the older of the two). So locked in was Ms. Ryan with her costar that, while she was performing a musical number with Lou Costello in Here Come the Co-Eds (1945), Costello airily remarked "I feel just like Donald O'Connor." Ryan and O'Connor were also a popular fixture of USO tours, at least until O'Connor himself was put into uniform. Her film career faltered as she grew older, though Ryan remained in musicals until 1953's All Ashore, in which she appeared opposite Mickey Rooney. After running her own dance school, Peggy Ryan retired to Hawaii, returning before the cameras occasionally in the Honolulu-filmed TV series Hawaii 5-O.

Trivia: American actress Mae Marsh was the daughter of an auditor for the Santa Fe railroad - and as such, she and her family moved around quite a bit during Marsh's childhood. After her father died and her stepfather was killed in the San Francisco earthquake, she was taken to Los Angeles by her great aunt, a one-time chorus girl who'd become a New York actress. Marsh followed her aunt's footsteps by securing film work with Mack Sennett and D.W. Griffith; it was Griffith, the foremost film director of the early silent period, who first spotted potential in young Miss Marsh. The actress got her first big break appearing as a stone-age maiden in Man's Genesis (1911), after Mary Pickford refused to play the part because it called for bare legs. Specializing in dramatic and tragic roles, Marsh appeared in innumerable Griffith-directed short films, reaching a career high point as the Little Sister in the director's Civil War epic, The Birth of A Nation (1915). She made such an impression in this demanding role that famed American poet Vachel Lindsay was moved to write a long, elaborate poem in the actress' honor. Marsh's career went on a downhill slide in the '20s due to poor management and second-rate films, but she managed to score a personal triumph as the long-suffering heroine of the 1931 talkie tear-jerker Over the Hill. She retired to married life, returning sporadically to films - out of boredom - as a bit actress, notably in the big-budget westerns of director John Ford (a longtime Marsh fan). When asked in the '60s why she didn't lobby for larger roles, Mae Marsh replied simply that "I didn't care to get up every morning at five o'clock to be at the studio by seven."

Trivia: Mainly remembered for offering younger brother John Ford his first opportunities in the movie business, Francis Ford (born Feeney) was a touring company actor before entering films with Thomas Edison in 1907. In the early 1910s, he served a tumultuous apprenticeship as a director/star for producer Thomas Ince -- who in typical Ince fashion presented many of Ford's accomplishments as his own -- before moving over to Carl Laemmle's Universal in 1913. A true auteur, Ford would direct, write, and star in his own Westerns and serials, often opposite Grace Cunard, the studio's top action heroine. Contrary to popular belief they never married, but their onscreen partnership resulted in such popular action serials as Lucille Love -- Girl of Mystery (1914), The Broken Coin (1915), and The Adventures of Peg o' the Ring (1916). Both Ford's and Cunard's careers declined in the 1920s, with Ford directing mostly poverty row productions. He kept working in films as a supporting actor through the early '50s, mainly due to the influence of John, who often made Francis Ford and Victor McLaglen supply the corny Irish humor for which he exhibited a lifelong fondness. Francis Ford's son, Philip Ford, also became a director of Westerns, and also like his father, mainly of the poverty row variety.

Trivia: Eddie Quillan made his performing debut at age seven in his family's vaudeville act. By the time he was in his teens, Quillan was a consummate performer, adept at singing, dancing, and joke-spinning. He made his first film, Up and At 'Em, in 1922, but it wasn't until 1925, when he appeared in Los Angeles with his siblings in an act called "The Rising Generation," that he began his starring movie career with Mack Sennett. At first, Sennett tried to turn Quillan into a new Harry Langdon, but eventually the slight, pop-eyed, ever-grinning Quillan established himself in breezy "collegiate" roles. Leaving Sennett over a dispute concerning risqué material, Quillan made his first major feature-film appearance when he co-starred in Cecil B. DeMille's The Godless Girl (1929). This led to a contract at Pathé studios, where Quillan starred in such ebullient vehicles as The Sophomore (1929), Noisy Neighbors (1929), Big Money (1930), and The Tip-Off (1931). He remained a favorite in large and small roles throughout the 1930s and 1940s; he faltered only when he was miscast as master sleuth Ellery Queen in The Spanish Cape Mystery (1936). Among Quillan's more memorable credits as a supporting actor were Mutiny on the Bounty (1935), Young Mr. Lincoln (1939), The Grapes of Wrath (1940), and Abbott and Costello's It Ain't Hay (1943). From 1948 through 1956, Quillan co-starred with Wally Vernon in a series of 16 two-reel comedies, which showed to excellent advantage the physical dexterity of both men. Quillan remained active into the 1980s on TV; from 1968 through 1971, he was a regular on the Diahann Carroll sitcom Julia. In his retirement years, Eddie Quillan became a pet interview subject for film historians thanks to his ingratiating personality and uncanny total recall.

Trivia: A circus, vaudeville, and Broadway comedian, actor Charles Grapewin was an unlikely prospect for screen stardom. In fact, he had already retired as an entertainer prior to the advent of sound in films, and before he'd ever even considered appearing in movies. Born in Xenia, OH, in 1869 (although some say 1875), he ran away from home to join a circus at the age of ten, and, by his teens, was a roller-skating acrobat who graduated to be a high-wire performer and trapeze artist. Grapewin made a living at these high-risk activities for a few years, but was later drawn to the footlights, and eventually joined a regional stock company (although he found himself back on the trapeze in the 1880s). He moved between the theater and the circus until the end of the decade, when he landed a role in a New York production of the play Little Puck. He never returned to the circus, although he did lend his skills to vaudeville for a time, writing plays along the way and touring with one of his own productions, The Awakening of Mr. Pipp, for a dozen years. In 1919, Grapewin gave up performing to join General Motors; having invested his money wisely, he retired. One day in late 1929, however, he and his wife Anna awakened to discover that their net worth -- once two million dollars -- had dropped to about 200. He subsequently wrote four books that proved successful enough to earn him some income. At around the same time, the arrival of sound in movies was also creating a demand for actors who could read lines well, and, as he had retired to California, Grapewin decided to give Hollywood a try. He ended up a busy actor throughout the 1930s in increasingly visible roles, including key supporting parts in films such as The Grapes of Wrath. But it was in 1941 that he achieved stardom when he was cast as Lester Jeeter in John Ford's Tobacco Road. That movie made Grapewin into a major screen actor, but, given his advanced age, he never took full advantage of it. He declined to sign a long-term contract, preferring to use his energy at his time of life picking and choosing his roles. He always seemed to be offered the best character parts, and remained busy right to the end of the '40s. Ironically, Tobacco Road dropped out of distribution in later decades, and Grapewin's became best known for playing a part that was probably one of the shortest of his movie career: Dorothy's Uncle Henry in The Wizard of Oz, in which he displayed some of his comedic skills to great advantage in the historic film's opening segment.

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: American actor Ben Hall trafficked in adolescent and juvenile roles from his 1928 film debut in Harold Teen onward. Frequently cast in bucolic roles, Hall was seen as Goofy in Fritz Lang's Fury (1935) and as heroine Anne Shirley's dim-witted brother in John Ford's Steamboat Round the Bend (1935). Even when playing a Gallic character in Algiers (1938), Hall was still essentially the country bumpkin. One of Ben Hall's last film credits was Ford's My Darling Clementine (1946), in which he was briefly seen as a tremulous barber.

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: A onetime stage actor, Frank O'Connor was a prolific writer/director in the silent era. During his busiest period as a director (1921-1929), he wrote and helmed such enjoyable time-fillers as Lawful Cheaters (1926). Returning to acting when sound came in, he played innumerable bit roles as cops, commissioners, clerks, and such until his retirement in 1953. This Frank O'Connor should not be confused with the thesp of the same name who was married to novelist Ayn Rand.

Trivia: Dick Rich's film career extended from 1937 to 1957. Rich spent much of the early '40s as a 20th Century Fox contractee, playing such roles as the fatally impulsive Deputy Mapes in The Ox-Bow Incident. Later in the decade, he showed up in MGM's short-subject product, playing brutish bad guys in everything from the Crime Does Not Pay series to the Our Gang one-reelers. He retained his association with MGM into the 1950s, essaying small roles in such films as Seven Brides for Seven Brothers (1954) and Jailhouse Rock (1957). Even after closing out his film career, Dick Rich remained active on television, making five appearances on the prime-time Western Gunsmoke.

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: Stage actor Lee Shumway first gave the upstart movie industry a try in 1909. He returned to picture-making on a more regular basis in the mid-teens, remaining in Hollywood until his retirement in 1947. On both sides of the talkie revolution, Shumway was most gainfully employed in Westerns and serials, switching from comparative heroics to villainy after the movies learned to talk. Lee Shumway may well be the only actor to have ever appeared with both Bela Lugosi (1935's Mystery of Mr. Wong) and Lou Gehrig (1938's Rawhide).

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: To six decades' worth of filmgoers, Kentucky-born character actor Charles B. Middleton was Ming the Merciless, the megalomaniac ruler of the planet Mongo in three 1930s serials based on Alex Raymond's comic strip Flash Gordon. Beginning his career in circuses and carnivals in the South, Middleton worked in vaudeville and stock companies before his 1927 entree into films. With his hatchet face, bad teeth, and rolling-toned voice, Middleton was ideally cast as stern judges, cruel orphanage officials, backwater sheriffs, and small town bigots. Outside of his extensive work in serials and Westerns, he was used to best advantage in the films of Laurel and Hardy and Will Rogers. In a far less villainous vein, Charles Middleton was cast as Tom Lincoln, father of the 16th president, in Abe Lincoln in Illinois (1940); he also portrayed the Great Emancipator himself on several occasions -- while in 1937's Stand-In, Middleton was hilariously cast as an unsuccessful actor who dresses like Lincoln in hopes of landing a movie role.

Trivia: The younger brother of comic actor Nat Pendleton, Gaylord "Steve" Pendleton entered films in 1923. He was usually cast as collegiate types (undergrads, military school cadets), with a few weaklings and villains thrown in. Fans of Bob Hope and Bing Crosby will remember Pendleton as tuxedoed "other man" Gordon Wycott in Road to Singapore (1940). Active in films until 1960, Gaylord Pendleton was generally confined to minor roles, with a handful of leads and second leads in serials and comedy two-reelers.