Trivia: American actor James Arness had an unremarkable Minneapolis childhood, but his wartime experiences shattered that normality - literally. During the battle of Anzio, Arness' right leg was peppered with machine gun bullets, and when the bones were set they didn't mend properly, leaving him with a slight but permanent limp. The trauma of the experience mellowed into aimlessness after the war. Arness became a "beach bum," lived out of his car, and worked intermittently as a salesman and carpenter. Acting was treated equally lackadaisically, but by 1947 Arness had managed to break into Hollywood on the basis of his rugged good looks and his 6'6" frame. Few of his screen roles were memorable, though one has become an object of cult worship: Arness was cast as the menacingly glowing space alien, described by one character as "an intellectual carrot," in The Thing (1951). For a time it looked as though Arness would continue to flounder in supporting roles, while his younger brother, actor Peter Graves, seemed destined for stardom. John Wayne took a liking to Arness when the latter was cast in Wayne's Big Jim McLain (1953). Wayne took it upon himself to line up work for Arness, becoming one of the withdrawn young actor's few friends. In 1955, Wayne was offered the role of Matt Dillon in the TV version of the popular radio series Gunsmoke. Wayne turned it down but recommended that Arness be cast and even went so far as to introduce him to the nation's viewers in a specially filmed prologue to the first Gunsmoke episode. Truth be told, Arness wasn't any keener than Wayne to be tied down to a weekly series, and as each season ended he'd make noises indicating he planned to leave. This game went on for each of the 20 seasons that Gunsmoke was on the air, the annual result being a bigger salary for Arness, more creative control over the program (it was being produced by his own company within a few years) and a sizeable chunk of the profits and residuals. When Gunsmoke finally left the air in 1975, Arness was the only one of the original four principals (including Amanda Blake, Milburn Stone and Dennis Weaver) still appearing on the series. Arness made plans to take it easy after his two-decade Gunsmoke hitch, but was lured back to the tube for a one-shot TV movie, The Macahans (1976). This evolved into the six-hour miniseries How the West Was Won (1977) which in turn led to a single-season weekly series in 1978. All these incarnations starred Arness, back in the saddle as Zeb Macahan. The actor tried to alter his sagebrush image in a 1981 modern-day cop series, McClain's Law -- which being set in the southwest permitted Arness to ride a horse or two. It appeared, however that James Arness would always be Matt Dillon in the hearts and minds of fans, thus Arness obliged his still-faithful public with three Gunsmoke TV movies, the last one (Gunsmoke: The Last Apache) released in 1992. In between these assignments, James Arness starred in a 1988 TV-movie remake of the 1948 western film classic Red River, in which he filled the role previously played by his friend and mentor John Wayne.

Trivia: Milburn Stone got his start in vaudeville as one-half of the song 'n' snappy patter team of Stone and Strain. He worked with several touring theatrical troupes before settling down in Hollywood in 1935, where he played everything from bits to full leads in the B-picture product ground out by such studios as Mascot and Monogram. One of his few appearances in an A-picture was his uncredited but memorable turn as Stephen A. Douglas in John Ford's Young Mr. Lincoln. During this period, he was also a regular in the low-budget but popular Tailspin Tommy series. He spent the 1940s at Universal in a vast array of character parts, at one point being cast in a leading role only because he physically matched the actor in the film's stock-footage scenes! Full stardom would elude Stone until 1955, when he was cast as the irascible Doc Adams in Gunsmoke. Milburn Stone went on to win an Emmy for this colorful characterization, retiring from the series in 1972 due to ill health.

Trivia: Following her training in regional theatre and radio, red-headed actress Amanda Blake was signed by MGM in 1949, where she was briefly groomed for stardom. Among her MGM assignments was 1950's Stars in My Crown, in which she was cast for the first time opposite James Arness. Film fame eluded Amanda, especially after her sizeable role in the 1954 version of A Star is Born was almost completely excised from the release print. By 1955, she had to make do with appearances in such epics as the Bowery Boys' High Society. Amanda's fortunes took a turn for the better later in 1955, when she won the role of Miss Kitty, the euphemistically yclept "hostess" of the Long Branch Saloon on the TV western Gunsmoke, which starred James Arness as Marshal Matt Dillon. She remained with Gunsmoke until its next-to-last season in 1974. After Gunsmoke, Amanda went into semi-retirement save for a handful of film projects like the made-for-TV Betrayal (1974), the theatrical releases The Boost (1988) and B.O.R.N (1989), and the 1987 reunion project Gunsmoke: Return to Dodge. Amanda Blake died in 1989 at the age of sixty.

Trivia: Perhaps best remembered for playing Henry Mitchell, the father of an energetic tow-headed boy in the popular television sitcom Dennis the Menace (1959-1963), tall, slender, and bespectacled character actor Herbert Anderson's career encompassed extensive experience on Broadway and in Hollywood films. Contracted to Warner Bros. around 1940, he made his film debut in Meet the Fleet (1940). His first two years were quite busy, but by mid-decade he was landing fewer roles. On stage, he appeared with Henry Fonda in a 1953 production of Caine Mutiny Court Martial. After the cancellation of Dennis the Menace, Anderson's film appearances became quite rare, though he made frequent guest appearances on other television shows, including Batman, Bewitched, and Dragnet. Heart trouble in the early '80s forced Anderson to retire.

Trivia: American actress Sharon Farrell first began making TV appearance in the early '60s. Farrell began studying dance at age seven, and before she was out of her teens had racked up a great many appearances with the American Ballet Company. Her musical comedy debut occurred at age 17 with a Denver production of Oklahoma. Moving to New York, Farrell immediately got a job with a children's theatre--which just as immediately folded. Modelling work followed, then several years as a guest actress on a variety of top network programs, among them Bob Hope Chrysler Theatre, The Man From U.N.C.L.E., The Alfred Hitchcock Hour and The Wild Wild West. Movie assignments included Marlowe (1969) and The Reivers (1969); despite several years' experience, she was voted "most promising newcomer" for the latter film. Farrell's career was tragically interrupted when her heart stopped beating for four minutes during childbirth. She incurred brain damage, and was virtually unable to read, write, or memorize. After extensive sessions of re-learning, Sharon returned to acting in the early '70s, her work load increasing as her recovery progressed. By the '90s, Farrell was seen as a regular on two series: The Young and the Restless and Matlock. Sharon Farrell's second husband was writer Dale Trevillon, whom she met on the set of the Mississippi-filmed The Premonition (1976).

Trivia: American stage actress Angela Clarke entered films in 1949. Though only in her early 40s, Angela cornered the market in grey-haired matriarch roles, usually with accompanying ethnic accent. One of her best-remembered parts in this capacity was Harry Houdini's Jewish mama Mrs. Weiss in Houdini (1953). Clark also made a strong impression as Bob Hope's disapproving Italian aunt-in-law in the 1955 biopic The Seven Little Foys. Angela Clarke was busy in films and TV until the early 1980s, essaying supporting roles in such movies as Blindfold (1966) and Harrad Summer (1974).

Trivia: As a screen performer, Vinton Hayworth had an evolution similar to that of his older contemporary, Ernest Truex, beginning in weasley and milquetoast roles (often as good-natured but conniving husbands) and aging into dignified character parts; screen work, however, was only a small part of his career. Born Vinton Haworth in Washington, D.C., in 1906, he began acting in his late teens. Possessed of a melodious voice, he was a pioneering radio announcer in the early '20s, first in Washington, later in New York, and then in Chicago, where he became familiar to the public as one of the first identifiable newscasters in the new medium. Subsequently, he also appeared on numerous radio programs in various roles. Hayworth entered movies in 1933, under the stage name Jack Arnold (not to be confused with the movie director of that name), and made appearances in small roles under that name, as well as under his real name. He usually played comically good-natured, sneaky characters, such as nervous husbands trying to get a night out away from the wife. His appearances as Jack Arnold ended in the early '40s and he did a two-year stint on Broadway, from 1942 to 1944, in the cast of Doughgirls before returning to California. His appearances in film from the late '50s onward, usually in crafty but dignified roles, were under his own name, to which he added the "y" to the spelling in the mid-'60s. By that time, Hayworth, sporting a dignified moustache and thinning, elegant silvery hair, had settled into avuncular character parts, in anthology series such as Alfred Hitchcock Presents and on programs like Gunsmoke, Perry Mason, Dennis The Menace, Petticoat Junction, Hazel, and The Munsters. On Green Acres, he played Dr. Faber, the long-suffering New York phyisican to Eddie Albert's Oliver Wendell Douglas. He is best remembered for his portrayal of General Schaeffer, Tony Nelson's commanding officer in I Dream of Jeannie for the series' final two seasons. Haworth, who had been a leading anti-communist spokesman for his profession during the 1930's and 1940's, became notorious during the early/mid-1950s for his participation in the blacklist while an officer of AFTRA and also a leader of Aware, Inc., an anti-communist "screening" organization that regularly named members of the acting profession as suspect. He and the slate that he headed within the union organized against accused and alleged communists and also moderates who were opposed to the warfare between the right and the left, and Haworth became so well-known for his political activities that he was considered unemployable by many producers, this in a time when anti-communism was in the ascent. His career recovered somewhat in the 1960's as the passions over this issue died down. Haworth passed away in 1970, at the age of 63. His wife, the former Jean Owens, was the aunt of actress Ginger Rogers.

Trivia: It was while attending Colorado College that American actor/singer Ken Curtis discovered his talent for writing music. After an artistic apprenticeship on the staff of the NBC radio network's music department in the early '30s, Curtis was hired as male vocalist for the Tommy Dorsey Orchestra, then went on to work for bandleader Shep Fields. Preferring country-western to swing, Curtis joined the Sons of the Pioneers singing group in the 1940s, and in this capacity appeared in several western films. Columbia Pictures felt that Curtis had star potential, and gave the singer his own series of westerns in 1945, but Ken seemed better suited to supporting roles. He worked a lot for director John Ford in the '40s and '50s, as both singer and actor, before earning starring status again on the 1961 TV adventure series Ripcord. That was the last we saw of the handsome, clean-shaven Ken Curtis; the Ken Curtis that most western fans are familiar with is the scraggly rustic deputy Festus Haggen on the long-running TV Western Gunsmoke. Ken was hired to replace Dennis Weaver (who'd played deputy Chester Good) in 1964, and remained with Gunsmoke until the series ended its 20-year run in 1975. After that, Ken Curtis retired to his spread in Fresno, California, stepping back into the spotlight on occasion for guest appearances at western-movie conventions.

Trivia: The son of actors, Percy Helton began his own career at age two in a Tony Pastor revue in which his parents were performing. The undersized Helton was a valuable juvenile player for producer David Belasco, making his film debut in a 1915 Belasco production, The Fairy and the Waif. Helton matured into adult roles under the stern guidance of George M. Cohan. After serving in the Army during World War I, Helton established himself on Broadway, appearing in such productions as Young America, One Sunday Afternoon and The Fabulous Invalid. He made his talkie debut in 1947's Miracle on 34th Street, playing the inebriated Macy's Santa Claus whom Edmund Gwenn replaces. Perhaps the quintessential "who is that?" actor, Helton popped up, often uncredited, in over one hundred succinct screen characterizations. Forever hunched over and eternally short of breath, he played many an obnoxious clerk, nosey mailman, irascible bartender, officious train conductor and tremulous stool pigeon. His credits include Fancy Pants (1950), The Robe (1953), White Christmas (1954), Rally Round the Flag Boys (1959), The Music Man (1962) and Hush Hush Sweet Charlotte (1965), as well as two appearances as sweetshop proprietor Mike Clancy in the Bowery Boys series. Thanks to his trademarked squeaky voice, and because he showed up in so many "cult" films (Wicked Woman, Kiss Me Deadly, Sons of Katie Elder), Helton became something of a high-camp icon in his last years. In this vein, Percy Helton was cast as the "Heraldic Messenger" in the bizarre Monkees vehicle Head (he showed up at the Monkees' doorstep with a beautiful blonde manacled to his wrist!), the treacherous Sweetieface in the satirical western Butch Cassidy and the Sundance Kid (1969), and the bedraggled bank clerk Cratchit on the TV series The Beverly Hillbillies.

Trivia: Though born in the American Midwest, Henry Rowland had heavily Teutonic facial features, making him an invaluable commodity in wartime films. Rowland "heiled" and "achtunged" his way through films ranging from 1942's Casablanca to 1975's Russ Meyer's Supervixens, in which he played a suspicious old coot named Martin Borman! Conversely, he showed up as an American flight surgeon in 1944's Winged Victory, billed under his military ranking as Corporal Henry Rowland. In his last years, Rowland continued playing such Germanic characters as the Amish farmer in 1975's The Frisco Kid.