Trivia: Few would argue with the opinion that American entertainer Fred Astaire was the greatest dancer ever seen on film. Born to a wealthy Omaha family, young Astaire was trained at the Alvienne School of Dance and the Ned Wayburn School of Dancing. In a double act with his sister Adele, Fred danced in cabarets, vaudeville houses, and music halls all over the world before he was 20. The Astaires reportedly made their film bow in a 1917 Mary Pickford vehicle, same year of their first major Broadway success, Over the Top. The two headlined one New York stage hit after another in the 1920s, their grace and sophistication spilling into their social life, in which they hobnobbed with literary and theatrical giants, as well as millionaires and European royalty. When Adele married the British Lord Charles Cavendish in 1931, Fred found himself soloing for the first time in his life. As with many other Broadway luminaries, Astaire was beckoned to Hollywood, where legend has it his first screen test was dismissed with "Can't act; slightly bald; can dance a little." He danced more than a little in his first film, Dancing Lady (1933), though he didn't actually play a role and was confined to the production numbers. Later that year, Astaire was cast as comic/dancing relief in the RKO musical Flying Down to Rio, which top-billed Dolores Del Rio and Gene Raymond. Astaire was billed fifth, just below the film's female comedy relief Ginger Rogers. Spending most of the picture trading wisecracks while the "real" stars wooed each other, Astaire and Rogers did a very brief dance during a production number called "The Carioca." As it turned out, Flying Down to Rio was an enormous moneymaker -- in fact, it was the film that saved the studio from receivership. Fans of the film besieged the studio with demands to see more of those two funny people who danced in the middle of the picture. RKO complied with 1934's The Gay Divorcee, based on one of Astaire's Broadway hits. Supporting no one this time, Fred and Ginger were the whole show as they sang and danced their way through such Cole Porter hits as "Night and Day" and the Oscar-winning "The Continental." Astaire and Rogers were fast friends, but both yearned to be appreciated as individuals rather than a part of a team. After six films with Rogers, Astaire finally got a chance to work as a single in Damsel in Distress (1937), which, despite a superb George Gershwin score and top-notch supporting cast, was a box-office disappointment, leading RKO to re-team him with Rogers in Carefree (1938). After The Story of Vernon and Irene Castle (1939), Astaire decided to go solo again, and, after a few secondary films, he found the person he would later insist was his favorite female co-star, Rita Hayworth, with whom he appeared in You'll Never Get Rich (1942) and You Were Never Lovelier (1946). Other partners followed, including Lucille Bremer, Judy Garland, Betty Hutton, Jane Powell, Cyd Charisse, and Barrie Chase, but, in the minds of moviegoers, Astaire would forever be linked with Ginger Rogers -- even though a re-teaming in The Barkeleys of Broadway (1949) seemed to prove how much they didn't need each other. Astaire set himself apart from other musical performers by insisting that he be photographed full-figure, rather than have his numbers "improved" by tricky camera techniques or unnecessary close-ups. And unlike certain venerable performers who found a specialty early in life and never varied from it, Astaire's dancing matured with him. He was in his fifties in such films as The Band Wagon (1953) and Funny Face (1957), but he had adapted his style so that he neither drew attention to his age nor tried to pretend to be any younger than he was. Perhaps his most distinctive characteristic was making it look so easy. One seldom got the impression that Astaire worked hard to get his effects, although, of course, he did. To the audience, it seemed as though he was doing it for the first time and making it up as he went along. With the exceptions of his multi-Emmy-award-winning television specials of the late '50s and early '60s, Astaire cut down on his dancing in the latter stages of his career to concentrate on straight acting. While he was superb as a troubled, suicidal scientist in On the Beach (1959) and was nominated for an Oscar for his work in The Towering Inferno (1974), few of his later films took full advantage of his acting abilities. (By 1976, he was appearing in such films as The Amazing Dobermans.) In 1981, more than a decade after he last danced in public, Astaire was honored with a Lifetime Achievement Award from the American Film Institute. While this award was usually bestowed upon personalities who had no work left in them, Astaire remained busy as an actor almost until his death in 1987. The same year as his AFI prize, Astaire joined fellow show business veterans Melvyn Douglas, Douglas Fairbanks Jr., and John Houseman in the movie thriller Ghost Story.

Trivia: Entertainer Judy Garland was both one of the greatest and one of the most tragic figures in American show business. The daughter of a pushy stage mother, Garland and her sisters were forced into a vaudeville act called the Gumm Sisters (her real name), which appeared in movie shorts and at the 1933 Chicago World's Fair. It was clear from the outset that Judy was the star of the act, and, as such, was signed by MGM as a solo performer in 1936. The studio adored Garland's adult-sounding singing but was concerned about her puffy facial features and her curvature of the spine. MGM decided to test both Garland and another teenage contractee, Deanna Durbin, in a musical "swing vs. the classics" short subject entitled Every Sunday (1936). The studio had planned to keep Durbin and drop Garland, but, through a corporate error, the opposite took place. Nevertheless, MGM decided to allow Garland her feature film debut in another studio's production, just in case the positive audience response to Every Sunday was a fluke. Loaned to 20th Century Fox, Garland was ninth-billed in Pigskin Parade (1936), but stole the show with her robust renditions of "Balboa" and "Texas Tornado." Garland returned to MGM in triumph and was given better opportunities to show her stuff: the "Dear Mr. Gable" number in Broadway Melody of 1938, "Zing Went the Strings of My Heart" in Listen, Darling (1938), and so on. When MGM planned to star 20th Century Fox's Shirley Temple in The Wizard of Oz, Garland almost didn't get her most celebrated role, but the deal fell through and she was cast as Dorothy. But even after this, the actress nearly lost her definitive screen moment when the studio decided to cut the song "Over the Rainbow," although finally kept the number after it tested well in previews. The Wizard of Oz made Garland a star, but MGM couldn't see beyond the little-girl image and insisted upon casting her in "Hey, kids, let's put on a show" roles opposite Mickey Rooney (a life-long friend). Garland proved to the world that she was a grown-up by marrying composer David Rose in 1941, after which MGM began giving her adult roles in such films as For Me and My Gal (1942) -- although still her most successful film of the early '40s was in another blushing-teen part in Meet Me in St. Louis (1944). Once very popular on the set due to her infectious high spirits, in the mid-'40s Garland became moody and irritable, as well as undependable insofar as showing up on time and being prepared. The problem was an increasing dependency upon barbiturates, an addiction allegedly inaugurated in the 1930s when the studio had Garland "pepped up" with prescription pills so that she could work longer hours. Garland also began drinking heavily, and her marriage was deteriorating. In 1945, she married director Vincente Minnelli, with whom she had a daughter, Liza, in 1946. By 1948, Garland's mood swings and suicidal tendencies were getting the better of her, and, in 1950, she had to quit the musical Annie Get Your Gun. That same year, she barely got through Summer Stock, her health problems painfully evident upon viewing the film. Before 1950 was half over, Garland attempted suicide, and, after recovering, was fired by MGM. Garland and Vincente Minnelli divorced in 1951, whereupon she married producer Sid Luft, who took over management of his wife's career and choreographed Garland's triumphant comeback at the London Palladium, a success surpassed by her 1951 appearance at New York's Palace Theatre. Luft strong-armed Warner Bros. to bankroll A Star Is Born (1954), providing Garland with her first film role in four years. It was Garland's best film to date, earned her an Oscar nomination for Best Actress, and allowed her a wealth of songs to sing and a full range of emotions to play.Riding high once more, Garland was later reduced to the depths of depression when she lost the Oscar to Grace Kelly. Her subsequent live appearances were wildly inconsistent, and her film performances ranged from excellent (Judgment at Nuremberg [1961]) to appallingly undisciplined (A Child Is Waiting [1963]). Her third marriage on the rocks, Garland nonetheless pulled herself together for an unforgettable 1961 appearance at Carnegie Hall, which led indirectly to her 1963 weekly CBS series, The Judy Garland Show. As with most of the significant moments in Garland's life, much contradictory information has emerged regarding the program and her behavior therein; the end result, however, was its cancellation after one year, due less to the inconsistent quality of the series (it began poorly, but finished big with several "concert" episodes) as to the competition of NBC's Bonanza. Garland's marriage to Sid Luft, which produced her daughter Lorna, ended in divorce in 1965, and, from there on, Garland's life and career made a rapid downslide. She made a comeback attempt in London in 1968, but audiences ranged from enthusiastic to indifferent -- as did her performances. A 1969 marriage to discotheque manager Mickey Deems did neither party any good, nor did a three-week engagement at a London nightclub, during which Garland was booed off the stage. On June 22, 1969, Judy Garland was found dead in her London apartment, the victim of an ostensibly accidental overdose of barbiturates. Despite (or perhaps because of) the deprivations of her private life, Garland has remained a show business legend. As to her untimely demise, Ray Bolger summed it up best in his oft-quoted epitaph: "Judy didn't die. She just wore out."

Trivia: In the latter stages of her long career, musical comedy star Ann Miller spent much of her time thanking her colleagues for not revealing a secret concerning her early days in Hollywood. According to Miller, she was but 14 years old when she began receiving sizeable screen roles in such RKO films as New Faces of 1937 (1937), Having Wonderful Time (1938), and Room Service (1938), thus it was illegal for her to appear on the set without a guardian or tutor. Perhaps the reason that her co-stars conspired to keep her age a secret was because she was doing so; Miller was in fact 18 when she signed her RKO contract. Not that any of this bears the slightest relevance to Ms. Miller's dazzling terpsichorean talent (in one of her Columbia-starring vehicles, she set a world record for taps-per-minute) nor her stellar contributions to such MGM Technicolor musicals as Easter Parade (1948), On the Town (1949), and Kiss Me Kate (1953). More famous for her winning personality and shapely stems than her acting ability, Miller tended to flounder a bit in her non-singing and non-dancing appearances; thus, when the MGM brand of musicals went out of fashion in the mid-'50s, her film career came to a standstill. Continuing to prosper on the nightclub circuit, Miller made a return before the cameras in a celebrated 1970 TV soup commercial, produced and directed by Stan Freberg and choreographed by Hermes Pan in the all-stops-out manner of a Busby Berkeley spectacular. During that same period, Miller played to SRO crowds in the touring company of Mame. In the mid-'70s, she enjoyed a personal triumph when she co-starred with Mickey Rooney in the Broadway musical Sugar Babies. Ann Miller is the author of two autobiographies, 1974's Miller's High Life (which details her three marriages in an engagingly cheeky fashion) and 1990's Tapping the Force (which dwelt upon her fascination with the Occult).

Trivia: Peter Lawford was a bushy-browed, slender, aristocratic, good-looking British leading man in Hollywood films. At age eight he appeared in the film Poor Old Bill (1931); seven years later he visited Hollywood and appeared in a supporting role as a Cockney boy in Lord Jeff (1938). In 1942 he began regularly appearing onscreen, first in minor supporting roles; by the late 1940s he was a breezy romantic star, and his studio promised him (incorrectly) that he would be the "new Ronald Colman." His clipped British accent, poise, looks, and charm made him popular with teenage girls and young women, but he outgrew his typecast parts by the mid '50s and spent several years working on TV, starring in the series Dear Phoebe and The Thin Man. Off screen he was known as a jet-setter playboy; a member of Frank Sinatra's "Rat Pack," he married Patricia Kennedy and became President John F. Kennedy's brother-in-law. From the 1960s he appeared mainly in character roles; his production company, Chrislaw, made several feature films, and he was credited as executive producer of three films, two in co-producer partnership with Sammy Davis Jr. In 1971-72 he was a regular on the TV sitcom The Doris Day Show. He divorced Kennedy in 1966 and later married the daughter of comedian Dan Rowan. He rarely acted onscreen after the mid-'70s.

Trivia: An American comedian with hang-dog eyes, Jules Munshin began his career singing, dancing, and telling jokes in the Catskill resorts. He later switched to vaudeville, which led him to Broadway, where in 1946, he became a star after starring in the musical Call Me Mister. During the late '40s, he began appearing in MGM musicals. His most memorable role was playing one of the three carefree sailors on leave in On the Town (1949). Munshin then resumed his stage career, and only infrequently returned to films.

Trivia: A former teacher, American actor Clinton Sundberg realized from the moment he set foot on stage that he'd never be a romantic lead, but settled -- profitably, as it turned out -- for character work. Sundberg's prim demeanor and light, throaty voice enabled him to carve a significant Hollywood niche as desk clerks and minor bureaucrats, though he was capable of coarse villainy, as proven in Undercover Maisie (1949). The actor worked most often at MGM throughout his career, from 1946's Undercurrent to 1963's How the West Was Won. Probably the closest he got to a full lead was as corpulent private eye J. Scott Smart's "Man Friday" in the enjoyable Universal low-budget mystery The Fat Man (1951). Clinton Sundberg contributed numerous voice-overs to commercials of the '70s, and was seen to good advantage in one advertisement as an unflappable tailor outfitting a large, talking Seven-Up bottle!

Trivia: A professional pilot, mustachioed Richard Simmons was reportedly discovered by Louis B. Mayer while vacationing on a dude ranch near Palm Springs, CA. Mayer signed the strapping six-footer to a stock contract right then and there, promising the neophyte "outdoor roles." As it turned out, the tycoon couldn't quite keep his promise and Simmon's roles -- in such fare as Sergeant York (1941), Thousands Cheer (1943), Love Laughs at Andy Hardy (1946), and Battle Circus (1953) -- proved minor. In fact, the actor had to pay his dues in little more than walk-ons for nearly a decade before finally reaching stardom -- and then it was on the small screen. Filmed in color in central California, Sergeant Preston of the Yukon teamed Simmons with Yukon King, a handsome malamute, and Rex, an equally impressive stallion, and the trio became a mainstay on children's television from 1955 to 1958 and in syndication ever since. Simmons, who also guest starred on such shows as Perry Mason, Rawhide, The Brady Bunch, and ChiPS, should not be confused with the frenetic video exercise guru of the same name.

Trivia: Lola Albright's meat-and-potatoes job as switchboard operator of an Ohio radio station led to on-the-air work in minor roles. She then worked as a model before travelling to Hollywood in 1948. Impressed by Lola's hands-on-hips self-assuredness, producer Stanley Kramer cast her opposite Kirk Douglas in 1949's Champion. The film should have secured Lola's stardom, but didn't; for nearly a year after its release she couldn't get an acting job, and for a long period she subsisted on peanut-butter sandwiches. After marrying her Good Humor Man (1950) co-star Jack Carson, Lola found that her husband preferred her at home rather than in the studio. She acceded to his wishes, taking film and TV work only sporadically; still, by 1958 the marriage dissolved due to the very career conflicts that both Lola and Jack had tried to avoid. From 1958 through 1961, Lola played sultry nightclub songstress Edie Hart on the TV private eye series Peter Gunn. Lola's post-Gunn film roles alternated between fascinating (especially her over-the-hill stripper in Cold Wind in August [1964]) and merely rent-paying (David Niven's antiseptic spouse in The Impossible Years [1968]). In 1966, Albright briefly replaced a seriously ill Dorothy Malone in the role of Constance McKenzie on the prime time TV serial Peyton Place. Albright died in 2017, at age 92.

Trivia: Buxom, peroxide-blonded Joi Lansing began her screen career as a bit actress in 1948; among the many films graced by her fleeting presence was 1952's Singin' in the Rain. She gained prominence on TV in the 1950s as Shirley Swanson, one of the many models squired by Robert Cummings in Love That Bob, and in guest-star appearances on dozens of other programs (in a 1957 Superman episode, she played the new bride of the Man of Steel). In films, Lansing was invariably cast as an "arm ornament" or good-time girl, exhibiting a sharp sense of comic timing in such films as A Hole in the Head (1959) and Who Was That Lady (1960). During the 1960s, Lansing was co-starred on the TV adventure series Klondike, and played the recurring role of showbiz aspirant Mrs. Flatt (!) on The Beverly Hillbillies. Joi Lansing died of cancer at the age of 44, not long after appearing in yet another of the schlocky horror films that had become her lot in her last decade.

Trivia: American actor/playwright Nolan Leary made his stage debut in 1911; 60 years later, he was still appearing in small film and TV roles. From 1943 onward, Leary showed up in some 150 movies, mostly in bit roles. One of his juicier screen assignments was as the deaf-mute father of Lon Chaney James Cagney in Man of 1000 Faces (1958). In 1974, Nolan Leary showed up briefly as Ted Baxter's prodigal father on The Mary Tyler Moore Show.

Trivia: Silent film star Frank Mayo was in movies as early as 1913 when he began a long association with the World Film Company of New Jersey; later he was most closely linked with Universal Pictures. Equally impressive in a dinner jacket or rugged outdoor garb, Mayo was a dependable strong-and-stalwart hero in such Hollywood films as The Brute Breaker (19), Afraid to Fight (22) and Souls for Sale (23). Toward the end of the silent era, Mayo married actress Dagmar Godowsky, whose star began ascending even as her husband's eclipsed; the marriage was annulled in 1928. Confined to bit and extra roles in the 1930s and 1940s, Frank Mayo was frequently hired by producer Jack Warner and director Cecil B. DeMille, both of whom regularly employed the faded stars of the silent years; Mayo's final appearance was in DeMille's Samson and Delilah (49).

Trivia: Singer and actress Venuta Benay appeared in a few films during the late '40s and early '50s; she made her film debut in the silent Trail of '98 (1928). A native of San Francisco, she learned to dance in adolescence. After 1957, Benay primarily focused upon her theatrical career. She did occasionally return to film work up through the early '90s.

Trivia: Although he is perhaps best remembered as the emcee of Walt Disney's The Mickey Mouse Club television show, for which he also wrote the opening theme, curly-haired actor/composer Jimmy Dodd (sometimes given as Jimmie Dodd) played sidekick Lullaby Joslin in the last six entries in Republic Pictures' long-running "Three Mesqueteers" series, replacing Rufe Davis and joining veterans Tom Tyler and Bob Steele. Dodd, however, was probably more city than prairie and spent the remainder of his career playing G.I.'s, elevator boys, and messengers. The people at Disney paid rather more attention to his composing of such tunes as "Rosemary,", "Ginny," and "Meet Me in Monterey" when they signed him to the Mickey Mouse Club, which ran from 1955-1959. Retired and living in Honolulu, Dodd was scheduled to star in yet another Disney venture, The Jimmie Dodd Aloha Show, when he succumbed to a fatal heart attack.

Trivia: Hearty character actor Ralph Sanford made his first screen appearances at the Flatbush studios of Vitaphone Pictures. From 1933 to 1937, Sanford was Vitaphone's resident Edgar Kennedy type, menacing such two-reel stars as Shemp Howard, Roscoe Ates, and even Bob Hope. He moved to Hollywood in 1937, where, after playing several bit roles, he became a semi-regular with Paramount's Pine-Thomas unit with meaty supporting roles in such films as Wildcat (1942) and The Wrecking Crew (1943). He also continued playing featured roles at other studios, usually as a dimwitted gangster or flustered desk sergeant. One of his largest assignments was in Laurel and Hardy's The Bullfighters (1945), in which he plays vengeance-seeking Richard K. Muldoon, who threatens at every opportunity to (literally) skin Stan and Ollie alive; curiously, he receives no screen credit, despite the fact that his character motivates the entire plot line. Busy throughout the 1950s, Ralph Sanford was a familiar presence on TV, playing one-shot roles on such series as Superman and Leave It to Beaver and essaying the semi-regular part of Jim "Dog" Kelly on the weekly Western Wyatt Earp (1955-1961).

Trivia: Howard M. Mitchell's screen acting career got off to a good start with a pair of silent serials, Beloved Adventurer (1914) and The Road of Strife (1915). Mitchell kept busy as a director in the 1920s, returning to acting in 1935. His roles were confined to bits and walk-ons as guards, storekeepers, judges, and especially police chiefs. Howard M. Mitchell closed out his career playing a train conductor in the classic "B" melodrama The Narrow Margin (1952).

Trivia: Was Miss California of 1944.Made her television debut in the drama series Studio One, in the 1951 episode "A Bolt of Lightning."Worked as a script supervisor on a number of TV shows and films, including the 1979 cult classic Mad Max.

Trivia: Reportedly a great-niece of novelist Vicente Blasco Ibanez of The Four Horsemen of the Apocalypse fame, brunette Ruth Hall had been an extra prior to playing Zeppo Marx's girlfriend in Monkey Business (1931). The comedy earned her a berth as one of the 1932 Wampas Baby Stars and a host of leading lady chores opposite silver screen cowboys such as John Wayne (with whom she also did the serial The Three Musketeers in 1933), Ken Maynard, and Tom Mix. Hall recalled being termed "the girl" on these cheaply made program Westerns. "The Girl," she told Western historian Jon Tuska, "had to play her scene right because there were no second takes and, horrors, of course no retakes. The main stars were coached but not the girls." It may have been arduous work, especially on dusty locations with few if any conveniences -- especially for The Girl -- but the always game Hall would remain a favorite of both Wayne and Ken Maynard, who felt the loss when she left films to marry one of the industry's best cinematographers, Lee Garmes, a union that would last a lifetime.

Trivia: A bit player from the 1930s and '40s who appeared uncredited in the majority of the films he was in, actor/dancer John R. Albright was a member of the Screen Actors Guild from 1935 and a former member of the Screen Extras Guild. With credited appearances including roles in King of Gamblers and I, Jane Doe (both 1948), Albright continued acting until the early '50s. On October 24, 2001, Albright died of complications due to pneumonia in Los Angeles, CA. He was 88.

Trivia: Model-turned-actress Dolores Donlon attracted the attention of producers from the mid-1940s to the early 1960s, but they seldom looked past her admittedly considerable physical attributes, to see if there was an actress there. Most of her film appearances were bits, however, which mostly focused on her exceptionally voluptuous figure. Born Patricia Vaniver in Philadelphia, Pennsylvania, she first began working as a model in the mid-1940s, working as Pat Van Iver. Her early screen work consisted of uncredited walk-on parts, in movies ranging from Dough Girls (1948) to Easter Parade (1948) -- Donlon was more set decoration than actress at that point. By 1954, however, she had moved up to credited roles in movies such as The Long Wait, Security Risk, and Flight To Hong Kong. She began doing television around this time as well, including appearances on The Jack Benny Program and westerns and adventure series such as The Texan and Richard Diamond, Private Detective. But Donlon's most prominent (and enduring, thanks to decades of reruns) small-screen appearance came on I Love Lucy in the episode "Don Juan And The Starlets," as herself -- introducing herself under her own name, she plays one of a bevy of young actresses assigned to surround Desi Arnaz's Ricky Ricardo in a photo shoot, during his sojourn to Hollywood in search of movie stardom. In August of 1957, Donlon achieved the height of her fame as a model when she was the Playmate of the Month in that issue of Playboy magazine. During the early 1960s, she also made a brief splash in Europe as the star of the drama Nude Odyssey (1961). Donlon gave up acting in 1962, following her marriage to New York Philharmonic violinist (and fellow Philadelphian) Robert de Pasquale.

Trivia: Beginning her career as a dancer and actress on-stage and in films, June Gale went on to become a popular daytime television hostess in Los Angeles during the 1950s. Most famous was her on-air rivalry with her husband (who also hosted his own show), pianist/humorist Oscar Levant. Gale launched her career as part of the dancing Gale Quadruplets (actually two sets of twins). The act was popular in vaudeville during the '20s and made it to Broadway. Gale moved to Los Angeles at age 19 and soon after signed with Fox Studios. Gale made her film debut around 1934 and subsequently appeared in such light fare as Pigskin Parade (1936) and Pardon Our Nerve (1939). She met Oscar Levant while touring in a production of Stage Door. Gale married him in 1939 and they remained together until Levant's death in 1972. During the early '50s, Gale became well-known for her devotion to Levant as she helped him recover from a heart attack and a subsequent addiction to prescription drugs. In 1956, Levant and Gale co-hosted The Oscar Levant Show. They were quite popular until they had an on-air disagreement. Gale then received her own show (on the same L.A. station). Both were nominated for local Emmys in 1960. After joining the Actor's Studio in the early '60s, Gale launched a small theatrical career. In 1962, Gale appeared in an episode of The Alfred Hitchcock Hour. Gale passed away on November 13, 1996.

Trivia: Boasting a colorful show-biz background as a circus and vaudeville performer, Robert Emmet O'Connor entered films in 1926. Blessed with a pudgy Irish mug that could convey both jocularity and menace, O'Connor was most often cast as cops and detectives, some of them honest and lovable, some of them corrupt and pugnacious. His roles ranged from such hefty assignments as the flustered plainclothesman Henderson in Night at the Opera (1935) to such bits as the traffic cop who is confused by Jimmy Cagney's barrage of Yiddish in Taxi! (1932). One of his most famous non-cop roles was warm-hearted bootlegger Paddy Ryan in Public Enemy. During the 1940s, O'Connor was a contract player at MGM, showing up in everything from Our Gang comedies to the live-action prologue of the Tex Avery cartoon classic Who Killed Who? (1944). Robert Emmet O'Connor's last film role was Paramount studio-guard Jonesy in Sunset Boulevard (1950). Twelve years later, he died of injuries sustained in a fire.