Trivia: American actor/singer Bing Crosby acquired his nickname as a child in Washington state. As the legend goes, little Harry Lillis Crosby's favorite comic strip was "The Bingville Bugle," in which the leading character was called Bingo. Hence, the boy was "Bingo" Crosby, with the "O" dropping off as he got older. A restless youth, Crosby tried studying law at Gonzaga University, but spent more time as a drummer and singer in a Spokane band. He and his pal Al Rinker worked up a musical act, and were later joined by Harry Barris. As the Rhythm Boys, the three young entertainers were hired by bandleader Paul Whiteman, who featured them in his nightclub appearances and his film debut, The King of Jazz (1930). Crosby managed to score on radio in 1931, and a series of two-reel comedies made for Mack Sennett helped him launch a screen career; his starring feature debut was in 1932's The Big Broadcast. During this period, he married singer Dixie Lee, with whom he had sons Gary, Dennis, Philip and Lindsay. As one of Paramount's most popular stars of the '30s, and with his carefully cultivated image of an easygoing, golf-happy, regular guy, generous contributor to charities, devoted husband, father, and friend, Crosby became an icon of American values. In 1940, he made the first of several appearances with his golfing buddy Bob Hope, ultimately resulting in seven "Road" pictures which, thanks to the stars' laid-back improvisational style, seem as fresh today as they did at the time. Another milestone occurred in 1944, when director Leo McCarey asked Crosby to play a priest in an upcoming film. Crosby, a devout Catholic, at first refused on the grounds that it would be in bad taste. But McCarey persisted, and Crosby ended up winning an Oscar for his performance in Going My Way (1944). He ushered in a new technological era a few years later when he signed a contract to appear on a weekly ABC variety show provided that it not be live, but tape recorded -- a first for network radio -- so that Crosby could spend more time on the golf course. With the death of his wife Dixie in 1952, the devastated entertainer dropped out of the movie business for a full year; but his life took an upswing when he married young actress Kathryn Grant in 1957. His film roles were few in the '60s, but Crosby was a television fixture during those years, and could be counted on each Yuletide to appear on just about everyone's program singing his signature holiday tune, "White Christmas." Burdened by life-threatening illnesses in the mid-'70s, the singer nonetheless embarked on concert tours throughout the world, surviving even a dangerous fall into an orchestra pit. Crosby died from a heart attack in 1977, shortly after he had finished the 18th hole on a Spanish golf course.

Trivia: It is hardly necessary to enumerate the accomplishments, patriotic services, charitable donations, awards, medals, and honorariums pertaining to Bob Hope, a man for whom the word "legend" seems somehow inadequate. Never mind that he was born in England; the entertainer unquestionably became an American institution.Hope's father was a stonemason and his mother a one-time concert singer; when he was two, his parents moved him and his brothers to Cleveland, where relatives awaited. Since everyone in the Hope clan was expected to contribute to the family's income, he took on several part-time jobs early in life. One of these was as a concessionaire at Cleveland's Luna Park, where Hope had his first taste of show business by winning a Charlie Chaplin imitation contest. (He later claimed he'd gotten his brothers to strong-arm all the neighborhood kids to vote for him). At 16, Hope entered the work force full-time as a shoe salesman for a department store, then as a stock boy for an auto company. At night, he and a friend picked up spare change singing at local restaurants and saloons, and, for a brief time, he was an amateur boxer, calling himself "Packy East." Picking up dancing tips from older vaudevillians, Hope decided to devote himself to a show business career, first in partnership with his girlfriend Mildred Rosequist, then with a pal named Lloyd Durbin. Comedian Fatty Arbuckle, headlining a touring revue, caught Hope and Durbin's comedy/dancing act and helped the boys get better bookings. Following the accidental death of Durbin, Hope found another partner, George Byrne, with whom he developed a blackface act. After several career reversals, Hope and Byrne were about to pack it in when they were hired to emcee Marshall Walker's Whiz Bang review in New Castle, PA. As the more loquacious member of the team, Hope went out on-stage as a single and got excellent response for his seemingly ad-libbed wisecracks. It was in this and subsequent vaudeville appearances that Hope learned how to handle tough audiences by having the guts to wait on-stage until everyone in the crowd had gotten his jokes; he was still using this technique seven decades later. Dropping his blackface makeup and cannibalizing every college humor magazine he could get his hands on, Hope took on yet another partner (Louise Troxell) in 1928 and started getting choice vaudeville bookings on the Keith Circuit. A year later, he was given a movie screen test, but was told his ski-slope nose didn't photograph well. With material from legendary gagster Al Boasberg, Hope appeared as a single in The Antics of 1931, which led to a better theatrical gig with Ballyhoo of 1932, in which he was encouraged to ad-lib to his heart's content. He then went back to vaudeville and squeezed in his first radio appearance in 1933 before being hired as the comedy second lead in an important Jerome Kern Broadway musical, Roberta. During the long run of this hit, Hope met and married nightclub singer Dolores Reade, who became still another of his on-stage partners when the play closed and Hope yet again returned to vaudeville. He scored a major success in Ziegfeld Follies of 1936, which spotlighted his talent for sketch comedy, and then co-starred with Ethel Merman and Jimmy Durante in Red, Hot and Blue. In 1937, he was brought to Hollywood for Paramount's The Big Broadcast of 1938, in which he duetted with Shirley Ross in the Oscar-winning song "Thanks for the Memory," which became his signature theme from then on. Hope's first few years at Paramount found him appearing in relatively sedate comedy leads, but with The Cat and the Canary (1939) he solidified his screen persona as the would-be great lover and "brave coward" who hides his insecurities with constant wisecracking. In 1940, Hope was teamed with Bing Crosby and Dorothy Lamour for Road to Singapore, the first of the still-uproarious "Road" series that featured everything from in-jokes about Bob and Bing's private lives to talking camels. While continuing to make money at the box office, Hope was also starring in his long running NBC radio program, which was distinguished by its sharp topical humor and censor-baiting risqué material. But it was not so much his show business earnings as his profitable real estate deals and holdings that formed the basis of Hope's immense personal fortune. In the midst of all his media clowning during World War II, Hope worked tirelessly as a U.S.O. entertainer for troops in the U.S. and abroad -- so much so that he was unable to make any films at all in 1944. In 1950, Hope inaugurated a long-term television contract with NBC, which resulted in more than 40 years worth of periodic specials that never failed to sweep the ratings. He also later hosted (and occasionally starred in) an Emmy-winning '60s anthology series, Bob Hope Presents The Chrysler Theatre. With his film box-office receipts flagging in the early '50s (audiences didn't quite buy the idea of a 50-year-old man playing a 30-ish girl chaser), Hope took the advice of writer/directors Norman Panama and Melvin Frank and attempted a dramatic film role as Eddie Foy Sr. in The Seven Little Foys (1955). He succeeded in both pulling off the character and in packing a relatively maudlin script with humanity and humor. Hope's last "straight" film part was as New York City Mayor Jimmy Walker in Beau James (1957), in which he again acquitted himself quite nicely. Having long taken a percentage of profits on his Paramount releases, Hope became his own producer in 1957, which at first resulted in such fine pictures as Alias Jesse James (1959) and The Facts of Life (1960, with frequent co-star Lucille Ball). But the quality of Hope's films took a depressing downward spiral in the '60s, and even hard-core Hope fans were hard-pressed to suffer though such dogs as Boy, Did I Get a Wrong Number! (1966) and The Private Navy of Sgt. O'Farrell (1968). It has been theorized that Hope was too wealthy and much too busy with a multitude of other projects to care about the sorry state of his films. Besides, even the worst of the Hope pictures posted a profit, which to him evidently meant more than whether or not the films were any good. His last feature film appearance was a 1985 cameo in Spies Like Us, a spoof of the road pictures he made with Crosby. In 1991, he again traveled overseas to entertain U.S. troops -- this time in Saudi Arabia during the first Gulf War. Though Hope's only onscreen appearances through the remainder of the decade would prove archival in origin, generations of fans would later show their appreciation for his enduring career in the 2003 television special 100 Years of Hope and Humor. Hope proved too frail to attend the celebration in person, though his friends and family assured the public that the star was indeed overwhelmed at the outpouring of public affection.On Sunday, July 27, 2003, the world lost one of its most beloved comic talents when Bob Hope died of pneumonia in Taluca Lake, CA. He was 100.

Trivia: American actress/singer Dorothy Lamour graduated from Spencer Business College, after spending a few teen years as an elevator operator in her home town of New Orleans. By 1930, she'd turned her back on the business world and was performing in the Fanchon and Marco vaudeville troupe. In 1931, she became vocalist for the Herbie Kay Band, and soon afterward married (briefly) Kay. In the years just prior to her film debut, Lamour built up a solid reputation as a radio singer, notably on the 1934 series Dreamer of Songs. Paramount Pictures signed Lamour to a contract in 1936, creating an exotic southseas image for the young actress: she wore her fabled sarong for the first time in Jungle Princess (1936), the first of three nonsensical but high-grossing "jungle" films in which the ingenuous island girl asked her leading man what a kiss was. A more prestigious "sarong" role came about in Goldwyn's The Hurricane (1937), wherein Lamour, ever the trouper, withstood tons of water being thrust upon her in the climactic tempest of the film's title. A major star by 1939, Lamour had developed enough onscreen self awareness to amusingly kid her image in St. Louis Blues (1939), in which she played a jaded movie star who balked at playing any more southseas parts. Lamour's latter-day fame was secured in 1940, when she co-starred in Road to Singapore (1940), the first of six "Road" pictures teaming Lamour with Bob Hope and Bing Crosby. It represented both a career summit and a downslide: As the "Road" series progressed, Lamour found herself with fewer and fewer comic lines, and by 1952's Road to Bali she was little more than a decorative "straight woman" for Bob and Bing. Very popular with the troops during World War II, Lamour gave selflessly of her time and talent in camp tours, USO shows and bond drives throughout the early 1940s. A tough cookie who brooked no nonsense on the set, Lamour was nonetheless much loved by Paramount casts and crews, many of which remained friends even after the studio dropped her contract in the early 1950s. Occasionally retiring from films during her heyday to devote time to her family, Lamour was out of Hollywood altogether between 1952 and 1962, during which time she developed a popular nightclub act. She returned to films for Hope and Crosby's Road to Hong Kong (1962), not as leading lady (that assignment was given to Joan Collins) but as a special guest star -- this time she was allowed as many joke lines as her co-stars in her one scene. More on stage than on film in the 1960s and 1970s, Lamour was one of several veteran actresses to star in Hello Dolly, and spent much of her time in regional productions of such straight plays as Barefoot in the Park. She took on a few film and television roles in the '70s and '80s, participated in many Bob Hope TV birthday specials, and was the sprightly subject of an interview conducted by Prof. Richard Brown on cable's American Movie Classics channel. Dorothy Lamour passed away in her North Hollywood, California home in 1996 at the age of 81.

Trivia: Earthy and at times exuberant, Anthony Quinn was one of Hollywood's more colorful personalities. Though he played many important roles over the course of his 60-year career, Quinn's signature character was Zorba, a zesty Greek peasant who teaches a stuffy British writer to find joy in the subtle intricacies of everyday life in Zorba the Greek (1964), which Quinn also produced. The role won him an Oscar nomination and he reprised variations of Zorba in several subsequent roles. Although he made a convincing Greek, Quinn was actually of Irish-Mexican extraction. He was born Antonio Rudolfo Oaxaca Quinn in Chihuahua, Mexico, on April 21, 1915, but raised in the U.S. Before becoming an actor, Quinn had been a prizefighter and a painter. He launched his film career playing character roles in several 1936 films, including Parole (his debut) and The Milky Way, after a brief stint in the theater. In 1937, he married director Cecil B. DeMille's daughter Katherine De Mille, but this did nothing to further his career and Quinn remained relegated to playing "ethnic" villains in Paramount films through the 1940s. By 1947, he was a veteran of over 50 films and had played everything from Indians, Mafia dons, Hawaiian chiefs, Chinese guerrillas, and comical Arab sheiks, but he was still not a major star. So he returned to the theater, where for three years he found success on Broadway in such roles as Stanley Kowalski in A Streetcar Named Desire. Upon his return to the screen in the early '50s, Quinn was cast in a series of B-adventures like Mask of the Avenger (1951). He got one of his big breaks playing opposite Marlon Brando in Elia Kazan's Viva Zapata! (1952). His supporting role as Zapata's brother won Quinn his first Oscar and after that, Quinn was given larger roles in a variety of features. He went to Italy in 1953 and appeared in several films, turning in one of his best performances as a dim-witted, thuggish, and volatile strongman in Federico Fellini's La Strada (1954). Quinn won his second Best Supporting Actor Oscar portraying the painter Gaugin in Vincente Minnelli's Lust for Life (1956). The following year, he received another Oscar nomination for George Cukor's Wild Is the Wind. During the '50s, Quinn specialized in tough, macho roles, but as the decade ended, he allowed his age to show. His formerly trim physique filled out, his hair grayed, and his once smooth, swarthy face weathered into an appealing series of crags and crinkles. His careworn demeanor made him an ideal ex-boxer in Requiem for a Heavyweight and a natural for the villainous Bedouin he played in Lawrence of Arabia (both 1962). The success of Zorba the Greek in 1964 was the highwater mark of Quinn's career during the '60s -- it offered him another Oscar nomination -- and as the decade progressed, the quality of his film work noticeably diminished. The 1970s offered little change and Quinn became known as a ham, albeit a well-respected one. In 1971, he starred in the short-lived television drama Man in the City. His subsequent television appearances were sporadic, though in 1994, he became a semi-regular guest (playing Zeus) on the syndicated Hercules series. Though his film career slowed considerably during the 1990s, Quinn continued to work steadily, appearing in films as diverse as Jungle Fever (1991), Last Action Hero (1993), and A Walk in the Clouds (1995). In his personal life, Quinn proved as volatile and passionate as his screen persona. He divorced his wife Katherine, with whom he had three children, in 1956. The following year he embarked on a tempestuous 31-year marriage to costume designer Iolanda Quinn. The union crumbled in 1993 when Quinn had an affair with his secretary that resulted in a baby; the two shared a second child in 1996. In total, Quinn has fathered 13 children and has had three known mistresses. He and Iolanda engaged in a public and very bitter divorce in 1997 in which she and one of Quinn's sons, Danny Quinn, alleged that the actor had severely beaten and abused Iolanda for many years. Quinn denied the allegations, claiming that his ex-wife was lying in order to win a larger settlement and part of Quinn's priceless art collection. When not acting or engaging in well-publicized court battles, Quinn continued to paint and became a well-known artist. He also wrote and co-wrote two memoirs, The Original Sin (1972) and One Man Tango (1997). In the latter, Quinn is candid and apologetic about some of his past's darker moments. Shortly after completing his final film role in Avenging Angelo (2001), Anthony Quinn died of respiratory failure in Boston, MA. He was 86.

Trivia: Vivacious, volatile Mexico-born singer/actress Dona Drake first gained fame as a band singer; using the name Rita Rio. She was featured in several musical short subjects, and offered a delightful rendition of "The Gypsy from Poughkeepsie" in the 1941 Columbia two-reeler Fresh as a Freshman. Signed by Paramount in 1941, she changed her professional name to Dona Drake. Her most famous role during her Paramount stay was as Bob Hope's vis-a-vis in The Road to Morocco (1942). During her waning days in films, Dona Drake was a Columbia contractee, playing secondary roles in such films as Valentino (1952) and Kansas City Confidential (1954).

Trivia: The son of a celebrated Jewish cantor, Russia-born Mikhail Rasumny was a working actor from age 14 on. After several years of touring the provinces, Rasumny joined the Moscow Art Theater, accompanying the troupe to the U.S. in 1935. Deciding to settle in the States, he took such odd jobs as dishwasher, bill collector, and hearse driver between theatrical engagements. He made his film debut in Comrade X (1940) then spent the next 15 years specializing in ethnic character roles, ranging from Slavic to Spanish (he was Rafael in 1943's For Whom the Bell Tolls). Nearly always listed among the supporting players, Mikhail Rasmumny was afforded top billing ("for perhaps the only time in his career," speculated film historian Leonard Maltin) in the Technicolor two-reel musical Gypsy Holiday (1945).

Trivia: A literature and philosophy student in his native Moscow, Vladimir Sokoloff trained for an acting career under Stanislavsky at the Moscow Art Theatre. Leaving Russia in 1923, Sokoloff resettled in Germany, where he made his first film, Uneasy Money, in 1926. Dividing his time between Paris and Berlin throughout the 1930s, Sokoloff came to Hollywood in 1937, where his craggy face and colorful accent enabled him to secure choice character roles. Despite his name and ethnic derivation, Sokoloff successfully portrayed nearly 35 different nationalities during his American career: He was Frenchman Paul Cezanne in The Life of Emile Zola (1937), a Middle Easterner in Road to Morocco (1942), Spanish freedom fighter Anselmo in For Whom the Bell Tolls (1943), an elderly Mexican in The Magnificent Seven (1960), and so it went. Vladimir Sokoloff was active in films (Taras Bulba) and TV programs (The Twilight Zone) right up to his death in 1962.

Trivia: Though born in Omaha, George Givot gained fame in vaudeville with his characterization of an English-language-fracturing Greek immigrant. Givot's catch-phrase "How'd ya like that?" served as the title for one of the many 2-reelers he starred in between 1933 and 1934; another of his short-subject vehicles was Roast Beef and Movies (1933), in which he was teamed with the 3 Stooges' Curly Howard. After making his feature debut in Meet the Baron (1933), Givot continued playing dialect parts in films and on radio. By 1940, however, he was accepting "straight" roles, speaking without a trace of accent and frequently opting for dramatics rather than laughs. His later screen efforts include The Falcon and the Co-eds (1943) and Riff Raff (1947). In 1949, he co-hosted the TV musical series Versatile Varieties, reviving his malapropish Greek characterization. George Givot briefly returned to dialect humor once more as the voice of Italian restaurateur Tony in the Disney cartoon feature Lady and the Tramp (1956).

Trivia: Excelling in baseball while at Phillips-Exeter academy, American comic actor Andrew Tombes determined he'd make a better living as an actor than as a ballplayer. By the time he became a headliner in the Ziegfeld Follies, Tombes had performed in everything from Shakespeare to musical comedy. He received star billing in five editions of the Follies in the '20s, during which time he befriended fellow Ziegfeldite Will Rogers. It was Rogers who invited Tombes to Hollywood for the 1935 Fox production Doubting Thomas. An endearingly nutty farceur in his stage roles, Tombes' screen persona was that of an eternally befuddled, easily aggravated business executive. The baldheaded, popeyed actor remained at Fox for several years after Doubting Thomas, playing an overabundance of police commissioners, movie executives, college deans, and Broadway "angels." Tombes' problem was that he arrived in talkies too late in the game: most of the larger roles in which he specialized usually went to such long-established character men as Walter Catlett and Berton Churchill, obliging Tombes to settle for parts of diminishing importance in the '40s. Most of his later screen appearances were unbilled, even such sizeable assignments as the would-be musical backer in Olsen and Johnson's Hellzapoppin' (1941) and the royal undertaker's assistant in Hope and Crosby's Road to Morocco (1942). Still, Tombes was given ample opportunity to shine, especially as the secretive, suicidal bartender in the 1944 "film noir" Phantom Lady. Andrew Tombes last picture was How to Be Very Very Popular (1955), which starred a colleague from his busier days at 20th Century-Fox, Betty Grable.

Trivia: Born in Odessa, Ukraine Leon Belasco was prepared for a musical career at various seats of learning in Japan and Manchuria. For several years, Belasco was first violinist for the Tokyo Symphony, and later led his own orchestra. Though he made his first film in 1926, his Hollywood career proper didn't begin until 1939. Together with Leonid Kinsky and Mischa Auer, Belasco was one of filmdom's favorite comic Russians, usually cast as an excitable musician, choreographer or aesthete. He also registered well in sinister roles, especially in World War II and Cold War espionagers. On radio, Leon Belasco was heard as larcenous informant Pagan Zeldschmidt on The Man Called X; his best-known TV role was Appopoplous the landlord in My Sister Eileen (1960).

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

Trivia: Born Peggy Yvonne Middleton, Yvonne De Carlo began studying dance in childhood, and in her teens appeared in nightclubs and on-stage. She debuted onscreen in 1942, going on to a number of secondary roles. Finally she was cast in the title role of Salome -- Where She Danced (1945) and played leads in The Song of Scheherazade and Slave Girl (both 1947), after which she was typecast as an Arabian Nights-type temptress in harem attire; she also appeared frequently in Westerns, and occasionally showed talent in comedies. De Carlo was a co-star of the '60s TV sitcom The Munsters. In 1971 she appeared on Broadway in the musical Follies. She married and divorced stuntman and actor Robert Morgan. She continued appearing in occasional films through the '90s and authored Yvonne: An Autobiography (1987). De Carlo died of unspecified causes at age 84 on January 8, 2007.

Trivia: Australian-born actor George Lloyd spoke without a trace of accent of any kind in his hundreds of movie appearances. Lloyd's mashed-in mug and caterpillar eyebrows were put to best use in roles calling for roughneck sarcasm. He was often seen as second-string gangsters, escape-prone convicts, acerbic garage mechanics and (especially) temperamental moving men. George Lloyd's film career began in the mid-1930s and petered out by the beginning of the TV era.

Trivia: Described bluntly as "yeccch" in a 1968 book on movie villains, porcine Dan Seymour has certainly played more than his share of slimy bad guys. Seymour started out as a nightclub comedian, then decided to give movies a try. He was almost immediately cast in heavy roles due to his girth and sinister features. Seymour's career has in many ways been inextricably linked with the 1942 classic Casablanca. He played the small role of Abdul the doorman in that film, went on to a larger part in Warners' Casablanca clone To Have and Have Not (1944), graduated to chief of police in the Marx Brothers spoof A Night in Casablanca (1946), and, coming full circle, was cast in the old Sidney Greenstreet role of Ferrari in Warners' weekly TV series version of Casablanca in 1955. Dan Seymour continued to play small roles in films like The Way We Were into the 1970s, and was frequently seen on TV comedy series of the same era, usually cast as a self-indulgent Middle Eastern potentate.

Trivia: Satanic-featured British actor Brandon Hurst was once singled out by a prominent film historian as one of the five finest villains of the silent screen. He started out as a Philology student, gravitating to the stage in the 1880s. He was 50 years old at the time of his first film appearance in Via Wireless (1916), and 54 when he portrayed the first in his gallery of memorable screen heavies, Sir George Carewe in the 1920 Barrymore version of Dr. Jekyll and Mr. Hyde. Other reprobates in Hurst's cinematic repertoire included the sadistic Jehan in The Hunchback of Notre Dame (1923), the wicked Caliph in The Thief of Baghdad (1924), the diabolical court jester in The Man Who Laughs (1928) and the insidious Merlin in A Connecticut Yankee (1931). Most of his talkie appearances were in such minor roles as condescending butlers and grouchy coroners. Brandon Hurst continued to pop up briefly in films like The Princess and the Pirate (1944) and House of Frankenstein (1945) until his death at the age of 80.

Trivia: Though he was the personification of the cruel, calculating Japanese military officer in many a wartime propaganda film, Richard Loo was actually born in Hawaii of Chinese parents. The holder of a Business Studies degree from the University of California, Loo ran a successful importing firm until his assets were wiped out in the 1929 stock market crash. He launched his acting career in 1931, first in California-based stock companies, then in films, beginning with Frank Capra's Dirigible (1931). His movie career picked up momentum after the attack on Pearl Harbor, with villainous roles in such films as Wake Island (1942) and The Purple Heart (1944). In all, Richard Loo toted up some 200 film appearances in his five-decade career.

Trivia: A dapper-looking character actor from Russia, Leo Mostovoy played Fydor, one of "the usual suspects" in Casablanca (1942), perhaps an early highlight in a screen career that was spent mainly playing excitable chefs, headwaiters, pawnbrokers, and the like. Mostovoy, who also appeared frequently on early television, played a chef once again in his last credited film, Serenade (1956).

Trivia: Russian-born Michael Mark spent his first two decades in America as a vaudeville and legit-theatre director/producer. In films from 1924, Mark played featured roles until his retirement 25 years later. A fixture of Universal's horror-film output, he is best remembered as the father of the little drowned girl in the original Frankenstein (1931). During the late 1940s, Michael Mark was a semi-regular in Monogram's "Joe Palooka" series, playing the title character's father.

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.

Trivia: American character actor Stanley Price reportedly launched his screen career in 1922. Possessed of a sharkish smile and luminescent stare, Price was usually seen as a villain, often of the psychotic variety. He was a "regular" in the serial field, appearing in such chapter plays as The Miracle Rider (1935), Red Barry (1938), Adventures of Captain Marvel (1941), Holt of the Secret Service (1942), Batman (1943), Captain America (1944), Superman (1948), and King of the Rocket Man (1949). His flair for comedy was well represented in such films as Road to Morocco (1942), in which he played the blithering idiot in the opening bazaar scene, and his many appearances with the Three Stooges. According to at least one source, Stanley Price was briefly a dialogue director at Lippert Studios.

Trivia: Highly visible in Republic and Columbia serials of the 1940s, Alabama-born stunt performer/actor Robert Barron never truly got the break he deserved. As handsome as any leading man, the mustachioed Barron was relegated to playing a thug in King of the Texas Rangers (1941), one of the native tribesmen (and wearing a hilarious fright wig) in Jungle Girl (1941) and its sequel Perils of Nyoka (1942), Robert Armstrong's henchman in Adventures of the Flying Cadets (1943), and Ro-Zon, the Kryptonian leader in Superman (1948). In between his many serials, Barron played an assortment of henchmen in B-Westerns and action melodramas.

Trivia: Cyrus W. Kendall was eight years old when he made his acting debut at the fabled Pasadena Playhouse. As an adult, the portly Kendall became a charter member of the Playhouse's Eighteen Actors Inc., acting in and/or directing over 100 theatrical productions. In films from 1936, he was usually typecast as an abrasive, cigar-chomping detective, gangster or machine politician. He showed up in roles both large and small in feature films, and was prominently cast in several of MGM's Crime Does Not Pay short subjects. Typical Kendall assignments of the 1940s included Jumbo Madigan in Alias Boston Blackie (1941) and "Honest" John Travers in Outlaw Trail (1944). Remaining active into the early years of live television, Cyrus W. Kendall essayed several guest spots on the 1949 quiz show/anthology Armchair Detective, and co-starred with Robert Bice, Spencer Chan and Herb Ellis on the Hollywood-based ABC weekly Mysteries of Chinatown (1949-50).

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: A native Californian, dark-haired, tough-looking Dick Botiller became a fixture in B-Westerns and serials from 1933-1945, playing scores of thugs, "half-breeds," soldiers, henchmen, and assorted Native Americans, his appearances often going unbilled. Film historian Les Adams has clocked Botiller's usually nefarious presence at a total of 82 Westerns and 11 serials.

Trivia: The "Genuine Pennzoil Girl" of 1940s billboard fame and the sister of Miss America of 1941, Louise La Planche played a gypsy girl at the age of three in the 1923 Lon Chaney version of The Hunchback of Notre Dame. She was also in some Hal Roach shorts but La Planche's screen career didn't get into high gear until the 1940s when she became a showgirl for MGM and Paramount, appearing as hatcheck girls, handmaidens, and models in everything from Ziegfeld Girl (1941), Road to Morocco (1942), and Easter Parade (1948). After retiring to raise a family, La Planche returned to the limelight in the 1980s, playing bits in such television shows as The Golden Girls, Knots Landing, and Days of Our Lives, as well as the feature film The Rocketeer (1991). At the age of 80, the Ann Arbor, MI, resident and former Miss Catalina was voted "Miss Michigan Achievement 2000."

Trivia: In his youth, Jerry Colonna worked as a longshoreman by day to finance his music studies by night. He became a star trombonist in several major bands, fronting his own jazz aggregation for a time. Not willing to become just one more sideliner, Colonna decided to develop a wacky comic persona, growing a huge handlebar mustache for that purpose. He skyrocketed to popularity as a combination stooge/heckler for radio comedian Bob Hope, coining such catch phrases as "Who's Yehudi?" and "Ah, yes...exciting, isn't it?" On his own, Colonna recorded several best-selling records, offering ear-piercing renditions of such songs as "On the Road to Mandalay" (he could hold a high note longer--and to better effect--than any "serious" opera diva). After his film debut in 52nd Street (1937), Colonna played several hilarious supporting roles, and also starred in a few lively "B"-movies like Priorities on Parade (1944) and Kentucky Jamboree (1950); he was also seen in an ersatz version in dozens of Warner Bros. cartoons of the 1940s. During the 1950s and 1960s, Colonna continued making USO tours with Bob Hope (as he'd done during the war), headlined a nightclub act, and showed up with great frequency as a TV guest star on such series as The Monkees and McHale's Navy. After Colonna fell victim to a stroke in the late 1960s, his old boss Hope saw to it that Jerry and his family were well-provided for. In addition to his performing credits, Jerry Colonna also penned a novel, The Loves of Tullio (1970).