Trivia: The son and grandson of actors, Tyrone Power made his stage debut at age seven, appearing with his father in a stage production at San Gabriel Mission. After turning professional, Power supported himself between engagements working as a theater usher and other such odd jobs. Though in films as a bit actor since 1932, Power was not regarded as having star potential until appearing in Katherine Cornell's theatrical company in 1935. Signed by 20th Century Fox in 1936, Power was cast in a supporting role in the Simone Simon vehicle Girl's Dormitory; reaction from preview audiences to Fox's new contractee was so enthusiastic that Darryl F. Zanuck ordered that Power's part be expanded for the final release version. As Fox's biggest male star, Power was cast in practically every major production turned out by the studio from 1936 through 1940; though his acting skills were secondary to his drop-dead good looks, Power was a much better actor than he was given credit for at the time. He also handled his celebrity like an old pro; he was well liked by his co-stars and crew, and from all reports was an able and respected leader of men while serving as a Marine Corps officer during World War II. After the war, Power despaired at the thought of returning to pretty-boy roles, endeavoring to toughen his screen image with unsympathetic portrayals in such films as Nightmare Alley (1947) and Witness for the Prosecution. Though Power's popularity waned in the 1950s, he remained in demand for both stage and screen assignments. Like his father before him, Tyrone Power died "in harness," succumbing to a heart attack on the set of Solomon and Sheba (1958).

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

Trivia: The daughter of actress Nan Kelly Yorke, she first modeled while still a baby, then went on to play child roles onstage and in over 50 silent films of the '20s. She worked for a time on radio, then returned to films at 17, going on to play leads in both A- and B-movies over the next decade. With her film work drying up she returned to the stage and won a Tony Award and two Sarah Siddons Best Actress Awards. She appeared in only two more films, one of which was the screen version of The Bad Seed (film, 1956), the play for which she'd won her Tony Award; for her work in the film she received a Best Actress Oscar nomination. She continued a successful stage career through the '70s, and occasionally appeared in TV roles. From 1941-42 she was married to actor Edmond O'Brien. Her brother is actor Jack Kelly.

Trivia: Born Randolph Crane, this virile, weathered, prototypical cowboy star with a gallant manner and slight Southern accent enlisted for service in the U.S. Army during World War I at age 19. After returning home he got a degree in engineering, then joined the Pasadena Community Playhouse. While golfing, Scott met millionaire filmmaker Howard Hughes, who helped him enter films as a bit player. In the mid '30s he began landing better roles, both as a romantic lead and as a costar. Later he became a Western star, and from the late '40s to the '50s he starred exclusively in big-budget color Westerns (39 altogether). From 1950-53 he was one of the top ten box-office attractions. Later in the '50s he played the aging cowboy hero in a series of B-Westerns directed by Budd Boetticher for Ranown, an independent production company. He retired from the screen in the early '60s. Having invested in oil wells, real estate, and securities, he was worth between $50-$100 million.

Trivia: Henry Hull, the son of a Louisville drama critic, made his Broadway acting debut in either 1909 or 1911, depending on which "official" biography one reads. After leaving the stage to try his luck as a gold prospector and mining engineer, Hull was back on the boards in 1916, the same year that he made his first film at New Jersey's World Studios. While his place of honor in the American Theater is incontestable (among his many Broadway appearances was Tobacco Road, in which he created the role of Jeeter Lester), Hull's reputation as film actor varies from observer to observer. An incredibly mannered movie performer, Hull was a bit too precious for his leading roles in One Exciting Night (1922) and The Werewolf of London (1935); he also came off as shamelessly hammy in such character parts as the crusading newspaper editor in The Return of Frank James (1940). Conversely, his calculated mannerisms and gratuitous vocal tricks served him quite well in roles like the obnoxious millionaire in Hitchcock's Lifeboat (1944) and the Ernie Pyle-like war correspondent in Objective Burma (1945). A playwright as well as an actor, Hull worked on such plays as Congratulations and Manhattan. One of Henry Hull's last film appearances was the typically irritating role of a small-town buttinsky in The Chase (1966).

Trivia: The son of an Irish whiskey distiller, Brian Donlevy was 10 months old when his family moved to Wisconsin. At 15, Donlevy ran away from home, hoping to join General Pershing's purge against Mexico's Pancho Villa. His tenure below the border was brief, and within a few months he was enrolled in military school. While training to be a pilot at the U.S. Naval Academy, Donlevy developed an interest in amateur theatricals. He spent much of the early 1920s living by his wits in New York, scouting about for acting jobs and attempting to sell his poetry and other writings. He posed for at least one Arrow Collar ad and did bit and extra work in several New York-based films, then received his first break with a good supporting role in the 1924 Broadway hit What Price Glory?. Several more Broadway plays followed, then in 1935 Donlevy decided to try his luck in Hollywood. A frustrated Donlevy was prepared to head back to Manhattan when, at the last minute, he was cast as a villain in Sam Goldwyn's Barbary Coast. In 1936 he was signed to a 20th Century-Fox contract, alternating between "B"-picture heroes and "A"-picture heavies for the next few years. The most notable of his bad-guy roles from this period was the cruel but courageous Sgt. Markoff in Beau Geste (1939); reportedly, Donlevy deliberately behaved atrociously off-camera as well as on, so that his co-workers would come to genuinely despise his character. From 1940 through 1946, Donlevy was most closely associated with Paramount Pictures, delivering first-rate performances in such films as The Great McGinty (1940), Wake Island (1942), The Glass Key (1942) and The Virginian (1946). His own favorite role was that of the good-hearted, raffish con-artist in Universal's Nightmare (1942). In 1950, Donlevy took time off from films to star and co-produce the syndicated radio (and later TV) series Dangerous Assignment. He went on to introduce the character of Dr. Quatermass in two well-received British science fiction films, The Creeping Unknown (1955) and Enemy From Space (1957). Brian Donlevy left behind an impressive enough filmic legacy to put the lie to his own assessment of his talents: "I think I stink."

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

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

Trivia: For nearly two decades in Hollywood, Scottish-born actor Donald Meek lived up to his name by portraying a series of tremulous, shaky-voiced sycophants and milquetoasts -- though he was equally effective (if not more so) as nail-hard businessmen, autocratic schoolmasters, stern judges, compassionate doctors, small-town Babbitts, and at least one Nazi spy! An actor since the age of eight, Meek joined an acrobatic troupe, which brought him to America in his teens. At 18 Meek joined the American military and was sent to fight in the Spanish-American War. He contracted yellow fever, which caused him to lose his hair -- and in so doing, secured his future as a character actor. Meek made his film bow in 1928; in the early talkie era, he starred with John Hamilton in a series of New York-filmed short subjects based on the works of mystery writer S. S. Van Dyne. Relocating to Hollywood in 1933, Meek immediately found steady work in supporting roles. So popular did Meek become within the next five years that director Frank Capra, who'd never worked with the actor before, insisted that the gratuitous role of Mr. Poppins be specially written for Meek in the film version of You Can't Take It With You (1938) (oddly, this first association with Capra would be the last). Meek died in 1946, while working in director William Wellman's Magic Town; his completed footage remained in the film, though he was certainly conspicuous by his absence during most of the proceedings.

Trivia: Born in Hungary, actor J. Edward Bromberg moved with his family to the US while still an infant. Bromberg was certain from an early age that he would pursue an acting career, taking several odd jobs (silk salesman, candy maker, laundry worker) to finance his training. He studied with the Moscow Art Theatre, then made his American stage bow at age 23 at the Greenwich Village Playhouse. The corpulent Bromberg conveyed a perpetual air of ulcerated, middle-aged tension, allowing him to play characters much older than himself. He worked extensively with the Theatre Guild, coming to Hollywood's attention for his work in the 1934 Pulitzer Prize winning play Men in White. With 1936's Under Two Flags, Bromberg began his long association with 20th Century-Fox, playing a vast array of foreign villains, blustering buffoons and the occasional gentle philosopher. He made a triumphant return to Broadway in 1948 as a Louis Mayer-like movie mogul in Clifford Odets' The Big Knife, but the euphoria would not last. Accused of being a Communist sympathizer, Bromberg was blacklisted from Hollywood and forced to seek work in England. Though only 47 when he fled the country, Bromberg looked twenty years older due to the strain of withstanding the accusations of the witchhunters. J. Edward Bromberg died in London in 1951, at age 48; the reason given was "natural causes," since a broken heart is not officially regarded as a fatal condition.

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

Trivia: Of English, French and Irish descent.At six months old, joined his parents for the first time onstage.Attended business college and worked in an appliance corporation.Developed makeup skills which he learned from his father.Started working in films in 1930 after his father's death.In 1935, changed his stage name to Lon Chaney Jr.Played classic movie monsters like a wolf man, Frankenstein's Monster, a mummy and a vampire (Dracula's son).

Trivia: Two things American actor John Russell was not: he was not cinematographer John L. Russell, nor was he the Johnny Russell who appears as Shirley Temple's brother in 20th Century-Fox's The Blue Bird (1940). He was however, a contract juvenile at Fox from 1937 through 1941. Interrupting his career for war service, Russell emerged from his tour of duty as a highly decorated marine. Busy in postwar films and TV as a secondary lead and utility villain, Russell was given costar billing with Chick Chandler in the 1955 syndicated TV adventure series Soldiers of Fortune. Four years later, Russell (now sporting a mustache) was cast as Marshal Dan Troop on the Warner Bros. weekly western series Lawman. This assignment lasted three years, after which Russell became a journeyman actor again. John Russell was well served with character parts in 1984's Honkytonk Man and 1985's Pale Rider, both directed by and starring another ex-TV-cowboy, Clint Eastwood.

Trivia: Comic actor George Chandler entered the University of Illinois after World War I service, paying for his education by playing in an orchestra. He continued moonlighting in the entertainment world in the early 1920s, working as an insurance salesman by day and performing at night. By the end of the decade he was a seasoned vaudevillian, touring with a one-man-band act called "George Chandler, the Musical Nut." He began making films in 1927, appearing almost exclusively in comedies; perhaps his best-known appearance of the early 1930s was as W.C.Fields' prodigal son Chester in the 1932 2-reeler The Fatal Glass of Beer. Chandler became something of a good-luck charm for director William Wellman, who cast the actor in comedy bits in many of his films; Wellman reserved a juicy supporting role for Chandler as Ginger Rogers' no-good husband in Roxie Hart (1942). In all, Chandler made some 330 movie appearances. In the early 1950s, Chandler served two years as president of the Screen Actors Guild, ruffling the hair of many prestigious stars and producers with his strongly held political views. From 1958 through 1959, George Chandler was featured as Uncle Petrie on the Lassie TV series, and in 1961 he starred in a CBS sitcom that he'd helped develop, Ichabod and Me.

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

Trivia: The lengthy screen career of actress Claire DuBrey got under way in 1917. Alternating between leading roles and choice character parts, DuBrey appeared in such major productions as The Sea Hawk (1924). When talkies came in, she could be seen in dozens of minor roles as waitresses, nurses, landladies and Native Americans. She also played three of the least fortunate wives in screen history: the raving Bertha Rochester in Jane Eyre (1934), Mrs. Bob "Dirty Little Coward" Ford in Jesse James (1939), and Emma Smith, widow of slain Mormon leader Joseph Smith, Brigham Young, Frontiersman (1940). A busy television performer, DuBrey was a regular during the 1953-54 season of The Ray Bolger Show. Retiring in 1958 at the age of 76, Claire DuBrey died in 1993, just a month shy of her 101st birthday.

Trivia: A New Year's baby, actor Willard Robertson grew up in Texas, where he became a successful lawyer. Reportedly he was offered an opportunity to become a federal judge, but he turned it down because of a sudden interest in acting. Since he looked the part of a prosperous attorney, however, Robertson frequently found himself playing a member of the very profession he'd left behind. The actor also showed up as sheriffs, mayors, city councilmen and stern father figures during his quarter-centry film career. While Preston Sturges buffs pinpoint Robertson's flamboyant defense attorney in Remember the Night? (1940) as his best performance, the actor is equally fondly recalled for his portrayal of Jackie Cooper's outwardly stern, inwardly loving father in Skippy (1931) and Sooky (1931). By the mid '40s, Willard Robertson's roles were usually of one scene's duration or less, but he still carried plenty of authority, notably as the sheriff in the grim The Ox-Bow Incident (1943); Robertson's icy remonstration to a lynch mob, "The Lord better have mercy on you...you won't get it from me," still chills the blood after fifty years.

Trivia: American actor Harold Goodwin started performing as a child in Los Angeles community theatre. In 1915 he appeared in his first film, The Little Orphan. Though initially cast as under-fed waifs, Goodwin matured into a strapping, athletic leading man, working in roles of varying sizes and importance at Fox, Universal and other studios during the 1920s. He became a close pal and baseball buddy of comedian Buster Keaton while playing the B.M.O.C. villain in Keaton's College (27). Even when Goodwin descended into small character roles in the 1930s, Keaton saw to it that Goodwin was cast in substantial secondary parts in Buster's Educational Studios two-reelers of the 1930s. By 1955, Goodwin had been around Hollywood so long that he was among the film "pioneers" given prominent billing in Abbott and Costello Meet the Keystone Kops. In between acting assignments, Goodwin functioned as a dialogue director. When a British actor named Harold Goodwin rose to prominence in the 1940s and 1950s, the American Harold Goodwin changed the spelling of his first name to Herold to avoid confusion.

Trivia: Burly, puffy-cheeked American actor Spencer Charters entered films in 1923, after decades of stage experience. In his first talkie appearances (Whoopee [1930], The Bat Whispers [1931], etc.), Charters was often seen as an ill-tempered authority figure. Traces of this characterization continued into such mid-'30s efforts as Wheeler and Woolsey's Hips Hips Hooray, but before the decade was over Charters was firmly locked into playing such benign types as rustic sheriffs, bucolic hotel clerks and half-asleep justices of the peace. Advancing age and the attendant infirmities made it difficult for Charters to play anything other than one-scene bits by the early '40s. At the age of 68, he ended his life by downing an overdose of sleeping pills and then inhaling the exhaust fumes of his car.

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

Trivia: Wizened character actor Paul E. Burns tended to play mousey professional men in contemporary films and unshaven layabouts in period pictures. Bob Hope fans will recall Burns' con brio portrayal of boozy desert rat Ebeneezer Hawkins in Hope's Son of Paleface (1952), perhaps his best screen role. The general run of Burns' screen assignments can be summed up by two roles at both ends of his career spectrum: he played "Loafer" in D.W. Griffith's Abraham Lincoln (1930) and "Bum in Park" in Barefoot in the Park (1967).

Trivia: Actor Arthur Aylesworth's first regular film employment was in a series of Paramount "newspaper" short subjects produced between 1932 and 1933. Aylesworth signed a Warner Bros. contract in 1934, appearing in nine films his first year. His roles under the Warners escutcheon included the Chief Censor in Life of Emile Zola (1937), the auto court owner in High Sierra (1941) and the sleigh driver in Christmas in Connecticut (1946). He also showed up at other studios, playing the night court judge in W.C. Fields' Man on the Flying Trapeze (Paramount 1935) and essaying minor roles in several of director John Ford's 20th Century-Fox productions. Arthur Aylesworth's last screen assignment was the part of a tenant farmer in Fox's Dragonwyck (1946).

Trivia: American actor Charles Halton was forced to quit school at age 14 to help support his family. When his boss learned that young Halton was interested in the arts, he financed the boy's training at the New York Academy of Dramatic Arts. For the next three decades, Halton appeared in every aspect of "live" performing; in the '20s, he became a special favorite of playwright George S. Kaufman, who cast Halton in one of his most famous roles as movie mogul Herman Glogauer in Once in a Lifetime. Appearing in Dodsworth on Broadway with Walter Huston, Halton was brought to Hollywood to recreate his role in the film version. Though he'd occasionally return to the stage, Halton put down roots in Hollywood, where his rimless spectacles and snapping-turtle features enabled him to play innumerable "nemesis" roles. He could usually be seen as a grasping attorney, a rent-increasing landlord or a dictatorial office manager. While many of these characterizations were two-dimensional, Halton was capable of portraying believable human beings with the help of the right director; such a director was Ernst Lubitsch, who cast Halton as the long-suffered Polish stage manager in To Be or Not to Be (1942). Alfred Hitchcock likewise drew a flesh and blood portrayal from Halton, casting the actor as the small-town court clerk who reveals that Robert Montgomery and Carole Lombard are not legally married in Mr. and Mrs. Smith (1942). Charles Halton retired from Hollywood after completing his work on Friendly Persuasion in 1956; he died three years later of hepatitis.

Trivia: Stern-visaged American actress Virginia Brissac was a well-established stage actress in the early part of the 20th century. For several seasons in the 1920s, she headed a travelling stock company bearing her name. Once Brissac settled down in Hollywood in 1935, she carved a niche in authoritative parts, spending the next twenty years playing a steady stream of schoolteachers, college deans, duennas and society matrons. Once in a while, Virginia Brissac was allowed to "cut loose" with a raving melodramatic part: in Bob Hope's The Ghost Breakers, she dons a coat of blackface makeup and screams with spine-tingling conviction as the bewitched mother of zombie Noble Johnson.

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

Trivia: White-maned, saintly American actor Edward LeSaint became a familiar figure in B-westerns of the '30s. He was almost invariably cast as the frail but courageous father of the heroine, who refused to sell his land (water, oil, gold) rights to the villains -- and equally invariably received a bullet in the back for his brave stance. A stage actor since the 19th century and in films since at least 1915, LeSaint was engaged as a staff director by the Fox Studios in 1918, where he was billed as E.J. LeSaint. Switching back to acting in the talkie era, LeSaint showed up in brief roles as college professors, judges, generals, city officials and the like. Edward LeSaint is best known to modern viewers as one of the "yes-men" professors in The Marx Brothers' Horse Feathers, and as judges in both the Three Stooges' Disorder in the Court (1936) and the anti-pot camp classic Reefer Madness (1936).

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

Trivia: A distinguished gray-haired stage actor, John Elliott appeared sporadically in films from around 1920. But Elliott became truly visible after the advent of sound, when he found his niche in B-Westerns. As versatile as they come, he could play the heroine's harassed father with as much conviction as he would "boss heavies." Doctors, lawyers, assayers, prospectors, clergymen -- John Elliott played them all in a screen career that lasted until 1956, the year of his death. His final screen appearance was in Perils of the Wilderness (1956) which, coincidentally, was the second-to-last action serial produced in the United States.

Trivia: Freckle-faced child actor Leonard Kibrick appeared in more than three-dozen movies across the 1930s and early '40s, often in bit roles and sometimes, more prominently, as a tough kid and bully. Born Leonard Kibrick Warren in Minneapolis in 1924, he entered movies in the early '30s, at age eight. His screen career dated from Darryl F. Zanuck's debut 20th Century Films production, The Bowery (1933), starring Wallace Beery, George Raft, and Fay Wray. Kibrick also had a small part in the Frank Borzage Depression-era masterpiece Man's Castle (1933), starring Spencer Tracy and Loretta Young, and he could be seen in uncredited roles in such major productions as Ah, Wilderness! (1935) and San Francisco (1936), well into the decade.It was the handful of short films, though, that Kibrick made as part of Hal Roach's "Our Gang" (aka "Little Rascals") troupe that immortalized the actor. Starting with For Pete's Sake (1934), in which he played the nasty son of a greedy, conniving store owner (William Wagner), Kibrick was typed as a bully and tough kid, a role that he played to the hilt (and often to good comic effect) in the middle of the decade, in Shrimps for a Day (1934) and The Lucky Corner (1936, in which he reprised his role with Wagner from For Pete's Sake). Kibrick was supplanted as the company's heavy by Tommy Bond, who took on the role Butch, the resident bully, though Leonard's equally freckle-faced and huskily built younger brother, Sidney Kibrick, continued to get work in the Our Gang films, playing Butch's sidekick, "The Woim."Leonard Kibrick turned up in small roles in Nothing Sacred (1937) and Roxie Hart (1942), but left pictures in the early '40s. He briefly resumed his acting career on television in the late '80s, with parts in The Return of the Six Million Dollar Man and the Bionic Woman and an episode of L.A. Law. Kibrick died of cancer in 1993.

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

Trivia: Actor Donald Douglas came to Hollywood in 1934 to play the small role of "Mac" in the film version of Sidney Kingsley's Men in White (1934). Though occasionally a villain, the Scottish-born Douglas was usually cast in bland good-guy roles (e.g. his portrayal of the dull detective at odds with Dick Powell's Philip Marlowe in 1944's Murder My Sweet). One of his few leading roles in film was the title character in the Columbia serial Deadwood Dick (1940). Douglas was given more of a chance to shine on radio; in the 1943 Mutual network mystery anthology Black Castle, Douglas played all the parts, including the announcer. Donald Douglas died suddenly at the age of 40, not long after completing work on Gilda (1946), in which he played Thomas Langford.

Trivia: An outdoorsman from an early age, gangling Montana-born actor Ethan Laidlaw began showing up in westerns during the silent era. Too menacing for lead roles, Laidlaw was best suited for villains, usually as the crooked ranch hand in the employ of the rival cattle baron, sent to spy on the hero or heroine. During the talkie era, Laidlaw began alternating his western work with roles as sailors and stevedores; he is quite visible chasing the Marx Brothers around in Monkey Business (1931). Though usually toiling in anonymity, Ethan Laidlaw was given prominent billing for his "heavy" role in the 1936 Wheeler and Woolsey sagebrush spoof Silly Billies.

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

Trivia: New Jersey-born Victor Kilian drove a laundry truck before joining a New England repertory company when he was 18. His first break on Broadway came with the original 1924 production of Eugene O'Neill's Desire Under the Elms. After making a few scattered appearance in East Coast-produced films, Kilian launched his Hollywood career in 1936. Often cast as a brutish villain (notably "Pap" in the 1939 version of Huckleberry Finn) Kilian duked it out with some of moviedom's most famous leading men; while participating in a fight scene with John Wayne in 1942's Reap the Wild Wind, Kilian suffered an injury that resulted in the loss of an eye. Victimized by the Blacklist in the 1950s, Kilian returned to TV and film work in the 1970s. Fans of the TV serial satire Mary Hartman Mary Hartman will have a hard time forgetting Kilian as Mary's grandpa, a.k.a. "The Fernwood Flasher." In March of 1979, Victor Kilian was murdered in his apartment by intruders, a scant few days after a similar incident which culminated in the death of another veteran character actor, Charles Wagenheim.

Trivia: Rotund, squeaky-voiced American actor Harry Holman forsook vaudeville and the legitimate stage for films in 1929. For the next 18 years, Holman played a vast array of mayors, justices of the peace, attorneys, millionaires and sugar daddies. Sometimes he had no professional designation at all, and was simply a "Jolly Fat Man" (as he was billed in 1935's Dante's Inferno). Equally busy in short subjects as in features, Holman is best remembered by Three Stooges fans as the first of many wealthy professors who tried to turn the Stooges into gentlemen in Hoi Polloi (1935). A fixture of Frank Capra films, Harry Holman showed up as the high school principal in Capra's Yuletide perennial It's a Wonderful Life.

Trivia: With his slight built, narrow face and pencil-thin mustache, I. Stanford Jolley did not exactly look trustworthy, and a great many of his screen roles (more than 500) were indeed to be found on the wrong side of the law. Isaac Stanford Jolley had toured as a child with his father's traveling circus and later worked in stock and vaudeville, prior to making his Broadway debut opposite Charles Trowbridge in Sweet Seventeen (1924). Radio work followed and he arrived in Hollywood in 1935. Pegged early on as a gangster or Western outlaw, Jolley graduated to playing lead henchman or the boss villain in the '40s, mostly appearing for such poverty-row companies as Monogram and PRC. Although Jolley is often mentioned as a regular member of the Republic Pictures' stock company, he was never under contract to that legendary studio and only appeared in 25 films for them between 1936 and 1954. From 1950 on, Jolley worked frequently on television and remained a busy performer until at least 1976. According to his widow, the actor, who died of emphysema at the Motion Picture Country Hospital, never earned more than 100 dollars on any given movie assignment. He was the father of art director Stan Jolley.

Trivia: Best known as an actor during the '30s, Slim Summerville led a knockabout life before coming to motion pictures -- born in New Mexico, he was raised in Canada and Oklahoma, but ran away from home as a teenager, working at various jobs. Actor Edgar Kennedy gave him an introduction to Mack Sennett, and Summerville quickly became one of the top members of Sennett's resident slapstick company, the Keystone Kops, and was moved into solo appearances as well. His long, lanky body and innocent demeanor made him a natural for silent comedy, and Summerville soon had a respectable career as a screen comedian. He moved to Fox studios at the end of the teens, and became a director of comedy shorts in the '20s. He moved to Universal later in the '20s, and continued to direct. He returned to acting with the arrival of sound, and turned in a notable dramatic performance in Lewis Milestone's All Quiet on the Western Front (1930) -- he also appeared in the groundbreak musical King of Jazz (1930), The Front Page (1931), The Road Back (1937 -- the abortive sequel to All Quiet on the Western Front), and Tobacco Road (1941), among numerous other films, principally in character roles.

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

Trivia: The son of actors Lon Chaney and Cleva Creighton, Creighton Tull Chaney was raised in an atmosphere of Spartan strictness by his father. He refused to allow Creighton to enter show business, wanting his son to prepare for a more "practical" profession; so young Chaney trained to be plumber, and worked a variety of relatively menial jobs despite his father's fame. After Lon Sr. died in 1930, Creighton entered movies with an RKO contract, but nothing much happened until, by his own recollection, he was "starved" into changing his name to Lon Chaney Jr. He would spend the rest of his life competing with his father's reputation as The Man With a Thousand Faces, hoping against hope to someday top Lon Sr. professionally. Unfortunately, he would have little opportunity to do this in the poverty-row quickie films that were his lot in the '30s, nor was his tenure (1937-1940) as a 20th Century Fox contract player artistically satisfying. Hoping to convince producers that he was a fine actor in his own right, Chaney appeared as the mentally retarded giant Lennie in a Los Angeles stage production of John Steinbeck's Of Mice and Men. This led to his being cast as Lennie in the 1939 film version -- which turned out to be a mixed blessing. His reviews were excellent, but the character typed him in the eyes of many, forcing him to play variations of it for the next 30 years (which was most amusingly in the 1947 Bob Hope comedy My Favorite Brunette). In 1939, Chaney was signed by Universal Pictures, for which his father had once appeared in The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925); Universal was launching a new cycle of horror films, and hoped to cash in on the Chaney name. Billing Lon Jr. as "the screen's master character actor," Universal cast him as Dynamo Dan the Electric Man in Man Made Monster (1941), a role originally intended for Boris Karloff. That same year, Chaney starred as the unfortunate lycanthrope Lawrence Talbot in The Wolf Man, the highlight of which was a transformation sequence deliberately evoking memories of his father's makeup expertise. (Unfortunately, union rules were such than Lon Jr. was not permitted to apply his own makeup). Universal would recast Chaney as the Wolf Man in four subsequent films, and cast him as the Frankenstein Monster in The Ghost of Frankenstein (1942) and the title role in Son of Dracula (1943). Chaney also headlined two B-horror series, one based upon radio's Inner Sanctum anthology, and the other a spin-off from the 1932 film The Mummy. Chaney occasionally got a worthwhile role in the '50s, notably in the films of producer/director Stanley Kramer (High Noon, Not As a Stranger, and especially The Defiant Ones), and he co-starred in the popular TV series Hawkeye and the Last of the Mohicans. For the most part, however, the actor's last two decades as a performer were distinguished by a steady stream of cheap, threadbare horror films, reaching a nadir with such fare as Hillbillies in a Haunted House (1967). In the late '60s, Chaney fell victim to the same throat cancer that had killed his father, although publicly he tried to pass this affliction off as an acute case of laryngitis. Unable to speak at all in his last few months, he still grimly sought out film roles, ending his lengthy film career with Dracula vs. Frankenstein(1971). He died in 1973.

Trivia: Owl-faced Granville Bates began scowling his way through films in 1929. At one juncture in the mid-1930s, it was virtually impossible not to see Bates on screen; between 1936 and 1939, he appeared in 46 films-an average of 11 per year! Most often cast as dyspeptic grandpops and truculent storekeepers, he was particularly well-served in two of director Garson Kanin's RKO productions. In 1939's The Great Man Votes, Bates played the corrupt, bird-brained incumbent mayor; and in 1940's My Favorite Wife he was seen as the bewildered judge. Granville Bates continued working right up to his fatal heart attack in the summer of 1940.