Trivia: In the first ten years of his life, Raymond Burr moved from town to town with his mother, a single parent who supported her little family by playing the organ in movie houses and churches. An unusually large child, he was able to land odd jobs that would normally go to adults. He worked as a ranch hand, a traveling tinted-photograph salesman, a Forest service fire guard, and a property agent in China, where his mother had briefly resettled. At 19, he made the acquaintance of film director Anatole Litvak, who arranged for Burr to get a job at a Toronto summer-stock theater. This led to a stint with a touring English rep company; one of his co-workers, Annette Sutherland, became his first wife. After a brief stint as a nightclub singer in Paris, Burr studied at the Pasadena Playhouse and took adult education courses at Stanford, Columbia, and the University of Chunking. His first New York theatrical break was in the 1943 play Duke in Darkness. That same year, his wife Sutherland was killed in the same plane crash that took the life of actor Leslie Howard. Distraught after the death of his wife, Burr joined the Navy, served two years, then returned to America in the company of his four-year-old son, Michael Evan Burr (Michael would die of leukemia in 1953). Told by Hollywood agents that he was overweight for movies, the 340-pound Burr spent a torturous six months living on 750 calories per day. Emerging at a trim 210 pounds, he landed his first film role, an unbilled bit as Claudette Colbert's dancing partner in Without Reservations (1946). It was in San Quentin (1946), his next film, that Burr found his true metier, as a brooding villain. He spent the next ten years specializing in heavies, menacing everyone from the Marx Brothers (1949's Love Happy) to Clark Gable (1950's Key to the City) to Montgomery Clift (1951's A Place in the Sun) to Natalie Wood (1954's A Cry in the Night). His most celebrated assignments during this period included the role of melancholy wife murderer Lars Thorwald in Hitchcock's Rear Window (1954) and reporter Steve Martin in the English-language scenes of the Japanese monster rally Godzilla (1956), a characterization he'd repeat three decades later in Godzilla 1985. While he worked steadily on radio and television, Burr seemed a poor prospect for series stardom, especially after being rejected for the role of Matt Dillon on Gunsmoke on the grounds that his voice was too big. In 1957, he was tested for the role of district attorney Hamilton Burger in the upcoming TV series Perry Mason. Tired of playing unpleasant secondary roles, Burr agreed to read for Burger only if he was also given a shot at the leading character. Producer Gail Patrick Jackson, who'd been courting such big names as William Holden, Fred MacMurray, and Efrem Zimbalist Jr., agreed to humor Burr by permitting him to test for both Burger and Perry Mason. Upon viewing Burr's test for the latter role, Perry Mason creator Erle Stanley Gardner jumped up, pointed at the screen, and cried "That's him!" Burr was cast as Mason on the spot, remaining with the role until the series' cancellation in 1966 and winning three Emmies along the way. Though famous for his intense powers of concentration during working hours -- he didn't simply play Perry Mason, he immersed himself in the role -- Burr nonetheless found time to indulge in endless on-set practical jokes, many of these directed at his co-star and beloved friend, actress Barbara Hale. Less than a year after Mason's demise, Burr was back at work as the wheelchair-bound protagonist of the weekly detective series Ironside, which ran from 1967 to 1975. His later projects included the short-lived TVer Kingston Confidential (1976), a sparkling cameo in Airplane 2: The Sequel (1982), and 26 two-hour Perry Mason specials, lensed between 1986 and 1993. Burr was one of the most liked and highly respected men in Hollywood. Fiercely devoted to his friends and co-workers, Burr would threaten to walk off the set whenever one of his associates was treated in a less than chivalrous manner by the producers or the network. Burr also devoted innumerable hours to charitable and humanitarian works, including his personally financed one-man tours of Korean and Vietnamese army bases, his support of two dozen foster children, and his generous financial contributions to the population of the 4,000-acre Fiji island of Naitauba, which he partly owned. Despite his unbounded generosity and genuine love of people, Burr was an intensely private person. After his divorce from his second wife and the death from cancer of his third, Burr remained a bachelor from 1955 until his death. Stricken by kidney cancer late in 1992, he insisted upon maintaining his usual hectic pace, filming one last Mason TV movie and taking an extended trip to Europe. In his last weeks, Burr refused to see anyone but his closest friends, throwing "farewell" parties to keep their spirits up. Forty-eight hours after telling his longtime friend and business partner Robert Benevides, "If I lie down, I'll die," 76-year-old Raymond Burr did just that -- dying as he'd lived, on his own terms.

Trivia: According to her Rockford, Illinois, high-school yearbook, Barbara Hale hoped to make a career for herself as a commercial artist. Instead, she found herself posing for artists as a professional model. This led to a movie contract at RKO Radio, where she worked her way up from "B"s like The Falcon in Hollywood (1945) to such top-of-the-bill attractions as A Likely Story (1947) and The Boy With Green Hair (1949). She continued to enjoy star billing at Columbia, where among other films she essayed the title role in Lorna Doone (1952). Her popularity dipped a bit in the mid-1950s, but she regained her following in the Emmy-winning role of super-efficient legal secretary Della Street on the Perry Mason TV series. She played Della on a weekly basis from 1957 through 1966, and later appeared in the irregularly scheduled Perry Mason two-hour TV movies of the 1980s and 1990s. The widow of movie leading man Bill Williams, Barbara Hale was the mother of actor/director William Katt. Hale died in 2017, at age 94.

Trivia: The son of legendary Broadway actor DeWolfe Hopper and movie actress Hedda Hopper, William Hopper made his film debut as an infant in one of his father's films. The popular consensus is that the younger Hopper was given his first talking-picture break because of his mother's reputation as the most feared of the Hollywood gossips. Not so: Hopper was signed to his first Warner Bros. contract in 1937, a year or so before Hedda had established herself as the queen of the dirt-dishers. At first billing himself as DeWolfe Hopper Jr., Hopper languished in bit parts and walk-ons for several years. He wasn't able to graduate to better roles until the 1950s, by which time he was calling himself William Hopper. After a largely undistinguished film career (notable exceptions to his usual humdrum assignments were his roles in 20 Million Miles to Earth [1957] and The Bad Seed [1956]) Hopper finally gained fame -- and on his own merits -- as private detective Paul Drake on the enormously popular Perry Mason television series, which began its eight-season run in 1957. In a bizarre coincidence, Perry Mason left the air in 1966, the same year that William Hopper's mother Hedda passed away.

Trivia: A radio and stage actress since early childhood, Mala Powers made her first film appearance at age 11 in the 1942 Dead End Kids opus Tough As They Come. After attending U.C.L.A., she was discovered by filmmaker/actress Ida Lupino who starred Powers in her 1950 film Outrage. That same year, Stanley Kramer signed Powers to star opposite Jose Ferrer in Cyrano de Bergerac. Though critical reviews for the film were mixed, Powers was praised for her beauty, sensitivity, and naturalness in portraying Cyrano's great love, Roxanne. It remains her best-known role. Her promising career was nipped in the bud the following year by a life-threatening illness. Following her recovery, Powers had difficulty obtaining production insurance and this in turn made it difficult for her to appear in A-features. As a result, she spent the majority of her subsequent career appearing in low-budget Westerns and adventure films. She died of complications from leukemia, at age 76, in early June 2007.

Trivia: American actress Carmen Phillips played leads in many MGM films during the '50s and '60s.

Trivia: American actor Tom Drake inaugurated his acting career in 1938 with Clean Beds, a Broadway-bound play that closed out of town. A revived Clean Beds in 1939 brought Drake to the attention of MGM, who only half-heartedly promoted the actor, usually casting him in bits or secondary roles. His chance at stardom in White Cliffs of Dover (1944) was squelched when Drake's scenes were cut from that still-overlong wartime drama. A better opportunity came in the role of Judy Garland's "boy next door" vis-a-vis in Meet Me in St. Louis (1944); this was followed by an even meatier part in The Green Years (1946), in which Drake managed to keep his head above water despite such formidable supporting acting talent as Hume Cronyn, Charles Coburn, Jessica Tandy and Gladys Cooper. Unfortunately, the good roles began diminishing shortly afterward; Drake's performance as Richard Rodgers in Words and Music (1948) was knocked out of the box by Mickey Rooney's tyro interpretation of Lorenz Hart, while in Mr. Belvedere Goes to College (1949) everybody in the cast - including Shirley Temple - played second fiddle to Clifton Webb. Never able to fulfill his potential, Drake continued into the '70s playing subordinate roles in 'A' pictures, the occasional lead in low-budget films, and secondary TV parts in such productions as Marcus Welby MD and The Return of Joe Forrester. A classic example of how talented people could fall between the tracks of the studio contract system, Tom Drake spent his final years supplementing his performing income with a job as a used car salesman.

Trivia: Burmese actor Abraham Sofaer had the strong semitic features and cultured mannerisms to allow him to play a variety of ethnic types. In various films and TV shows, Sofaer portrayed Jews, Arabs, Armenians, Turks and plenty of East Indians (though he usual shied away from the latter because, in his words, "it is so ridiculously easy"). Offscreen, Sofaer thought of himself as an old-school-tie Englishman. He came to London at age 19 to complete his education, secured a job as stage manager with a Shakespearian company, and went on to a British stage career in 1921 -- making his BBC television debut as early as 1936. One of his most famous portrayals in both England and on Broadway was as Disraeli in the original Helen Hayes production of Victoria Regina. Ensconced in Hollywood by the '50s, Sofaer continued to live the live of an English gentleman, playing cricket in his spare time. He also was a keen scholar of different cultures, especially Hebrew tribal customs. Among Abraham Sofaer's many films were Dreyfus (filmed in Britain in 1931), Elephant Walk (1956), The King of Kings (1961) and Head (1969); certainly Sofaer's most conspicuous film performance was as God Himself in A Matter of Life and Death (1945).

Trivia: Broadway actress Kathryn Givney first came to Hollywood in 1930 to repeat her stage role as "golf widow" Mrs. Bascomb in the film version of the hit musical Follow Through. She then returned to the stage, reemerging before the cameras as a character actress in 1948. Usually cast as imperious dowagers, she is best remembered for such characterizations as the haughty Mrs. Rhinelander in My Friend Irma and Salvation Army general Matilda B. Cartwright in Guys and Dolls. Kathryn Givney was also a familiar presence on television; one of her best TV assignments was as a reclusive old woman who "kidnaps" housewife Donna Stone on a mid-'60s installment of The Donna Reed Show.

Trivia: Elizabeth Harrower was an American character actress who appeared on radio, television, stage and screen during the '50s and '60s. Later in her career she became a writer on daytime television serials.

Trivia: Broadway actor Richard Gaines made his initial film appearance as Patrick Henry in The Howards of Virginia (1940). Gaines is best-known to modern audiences as Jean Arthur's stuffy suitor C. J. Pendergast in George Stevens' The More the Merrier (1942). Less pompous but no less dignified were his performances as George Washington in DeMille's Unconquered (1947) and Professor Jackson in Flight to Mars (1953). Either by accident or design, Richard Gaines made most of his last screen appearances at MGM, playing DAs, doctors and other briskly professional types.

Trivia: Even when she was only in her early forties, Isabel Randolph specialized in middle-aged "grand dame" roles on stage and radio, continuing in this vein when she entered films in 1940. Randolph gained nationwide popularity as the pompous Mrs. Uppington (aka "Uppy") on radio's Fibber McGee and Molly. She re-created this character onscreen in RKO's Look Who's Laughing (1941) and Here We Go Again! (1942), and in the Republic cornpone musical O, My Darling Clementine (1943). She went on to play scores of small roles in A-pictures and major assignments in B's; in at least one Republic Western of the early '50s, she was cast radically against type as a criminal mastermind. On TV, Isabel Randolph was seen as private-school proprietress Mrs. Nestor during the final (1955-1956) season of Our Miss Brooks.

Trivia: Delightful hatchet-faced character comedian Elvia Allman made quite a few screen appearances in the 1940s but is today much better remembered for her television work. It was Allman who, as the factory foreman, introduced Lucy and Ethel to the chocolate assembly line in the classic 1951 I Love Lucy episode "Job Switching"; and she appeared in no less than three of the most fondly remembered situation comedies, playing memorable supporting roles: Cora Dithers in Blondie, Selma Plout in Petticoat Junction, and Elverna Bradshaw in The Beverly Hillbillies. Allman also created the voice for the Disney cartoon character Clarabelle Cow and played Aunt Sally in a 1981 television version of The Adventures of Huckleberry Finn.

Trivia: Actor Patrick Waltz -- who entered movies professionally as Philip Shawn -- was a leading man and supporting player who was busy in television and occasional feature films for just over 20 years. Born in Akron, OH, in 1924, where he grew up as Jack Waltz, he landed a starring role his first time out in motion pictures in the low-budget but critically successful drama The Sun Sets At Dawn (1950), as a condemned man facing execution. Alas, despite some good notices, he soon discovered that work -- even as the star -- in a low-budget production of a Poverty Row studio wasn't the career boost that it might otherwise have been. Most of the work he got over the year that followed as Philip Shawn was in television. He also had what were mostly uncredited appearances as Patrick Waltz (or Pat Waltz) in a handful of television and low-budget movie dramas over the next few years, on series such as The Adventures of Dr. Fu Manchu, Circus Boy. Sugarfoot and The Gale Storm Show. In 1958, he played what was probably his best known -- and certainly his most important -- movie role, as Lt. Larry Turner, the navigator and self-styled Lothario of the space crew in the delightfully campy science fiction/adventure Queen Of Outer Space. As a real "operator" with the ladies who finds himself part of a crew stranded on Venus -- depicted as a planet populated entirely by beautiful women -- he had some of the best lines in the movie. Waltz revealed an ability as a charming scene stealer. He was also, apparently, at least as charming off camera as well, as he ended up romancing his on-screen paramour Lisa Davis from the movie -- the two were married in the summer of 1958, less than six months after shooting the picture, and they had three children before their divorce in 1971. Alas, Waltz never got another movie role that good again, and his television work was confined to supporting parts, and often very small ones, for the rest of his career. He died of a heart attack in Los Angeles in 1972, at age 47.

Trivia: Michigan-born Jack Perrin moved to California with his family in the early 1900s. Perrin launched his film career in 1914 as a bit player and extra, working his way up to leading roles by 1917. After serving on a submarine in WWI, he resumed his movie work, attaining stardom in the 1919 Universal serial Lion Man. Handsome and athletic, Perrin became a popular Western star in the 1920s. Throughout the silent era, he worked for most of the major Western units (Universal, Pathe, First National) and not a few of the minor ones (Rayart, Mascot). In 1929, he was starred in the first all-talkie B-Western, Overland Bound. Perrin spent the early '30s laboring away for such Poverty Row concerns as Aywon and Big Four, where, despite shabby production values and substandard sound recording, he and his "wonder horse" Starlight remained Saturday-matinee favorites. He also briefly co-starred with Ben Corbett in a series of three-reel Westerns, released under the blanket title Bud and Ben. After his final starring series for producer William Berke in 1936, Perrin settled into character roles, both large (Davy Crockett in the 1937 serial The Painted Stallion) and small (the prison guard who escorts James Cagney to the hot seat in 1938's Angels With Dirty Faces). In 1956, Jack Perrin, together with several other former B-Western favorites, rode alongside Col. Tim McCoy in the "Cavalry rescue" sequence in Around the World in 80 Days (1956).

Trivia: Probably no one came by the label "Runyon-esque" more honestly than Polish-born actor George E. Stone; a close friend of writer Damon Runyon, Stone was seemingly put on this earth to play characters named Society Max and Toothpick Charlie, and to mouth such colloquialisms as "It is known far and wide" and "More than somewhat." Starting his career as a Broadway "hoofer," the diminutive Stone made his film bow as "the Sewer Rat" in the 1927 silent Seventh Heaven. His most prolific film years were 1929 to 1936, during which period he showed up in dozens of Warner Bros. "urban" films and backstage musicals, and also appeared as the doomed Earle Williams in the 1931 version of The Front Page. He was so closely associated with gangster parts by 1936 that Warners felt obligated to commission a magazine article showing Stone being transformed, via makeup, into an un-gangsterish Spaniard for Anthony Adverse (1936). For producer Hal Roach, Stone played three of his oddest film roles: a self-pitying serial killer in The Housekeeper's Daughter (1938), an amorous Indian brave in Road Show (1940), and Japanese envoy Suki Yaki in The Devil With Hitler (1942). Stone's most popular role of the 1940s was as "the Runt" in Columbia's Boston Blackie series. In the late '40s, Stone was forced to severely curtail his acting assignments due to failing eyesight. Though he was totally blind by the mid-'50s, Stone's show business friends, aware of the actor's precarious financial state, saw to it that he got TV and film work, even if it meant that his co-stars had to literally lead him by the hand around the set. No one was kinder to George E. Stone than the cast and crew of the Perry Mason TV series, in which Stone was given prominent billing as the Court Clerk, a part that required nothing more of him than sitting silently at a desk and occasionally holding a Bible before a witness.