Trivia: British actor Roddy McDowall's father was an officer in the English merchant marine, and his mother was a would-be actress. When it came time to choose a life's calling, McDowall bowed to his mother's influence. After winning an acting prize in a school play, he was able to secure film work in Britain, beginning at age ten with 1938's Scruffy. He appeared in 16 roles of varying sizes and importance before he and his family were evacuated to the U.S. during the 1940 Battle of Britain. McDowall arrival in Hollywood coincided with the wishes of 20th Century-Fox executive Darryl F. Zanuck to create a "new Freddie Bartholomew." He tested for the juvenile lead in Fox's How Green Was My Valley (1941), winning both the role and a long contract. McDowall's first adult acting assignment was as Malcolm in Orson Welles' 1948 film version of Macbeth; shortly afterward, he formed a production company with Macbeth co-star Dan O'Herlihy. McDowall left films for the most part in the 1950s, preferring TV and stage work; among his Broadway credits were No Time for Sergeants, Compulsion, (in which he co-starred with fellow former child star Dean Stockwell) and Lerner and Loewe's Camelot (as Mordred). McDowall won a 1960 Tony Award for his appearance in the short-lived production The Fighting Cock. The actor spent the better part of the early 1960s playing Octavius in the mammoth production Cleopatra, co-starring with longtime friend Elizabeth Taylor. An accomplished photographer, McDowall was honored by having his photos of Taylor and other celebrities frequently published in the leading magazines of the era. He was briefly an advising photographic editor of Harper's Bazaar, and in 1966 published the first of several collections of his camerawork, Double Exposure. McDowall's most frequent assignments between 1968 and 1975 found him in elaborate simian makeup as Cornelius in the Planet of the Apes theatrical films and TV series. Still accepting the occasional guest-star film role and theatrical assignment into the 1990s, McDowall towards the end of his life was most active in the administrative end of show business, serving on the executive boards of the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences. A lifelong movie collector (a hobby which once nearly got him arrested by the FBI), McDowall has also worked diligently with the National Film Preservation Board. In August, 1998, he was elected president of the Academy Foundation. One of Hollywood's last links to its golden age and much-loved by old and new stars alike -- McDowell was famed for his kindness, generosity and loyalty (friends could tell McDowall any secret and be sure of its safety) -- McDowall's announcement that he was suffering from terminal cancer a few weeks before he died rocked the film community, and many visited the ailing actor in his Studio City home. Shortly before he was diagnosed with cancer, McDowall had provided the voiceover for Disney/Pixar's animated feature A Bug's Life. A few days prior to McDowall's passing, the Academy of Motion Picture Arts and Sciences named its photo archive after him.

Trivia: Born Janet Cole, American actress Kim Hunter trained at the Actors Studio. At age 17, she debuted onscreen in The Seventh Victim (1943) before appearing in several subpar films. Her popularity was renewed with her appearance in the British fantasy A Matter of Life and Death (1946), and, in 1947, she created the role of Stella Kowalski on Broadway in Tennessee Williams' A Streetcar Named Desire, reprising the role in the 1951 film version, for which she won the Best Supporting Actress Oscar. But her career was dealt a terrible blow when her name appeared without cause in Red Channels, a Red-scare pamphlet during the McCarthy Era, and she was blacklisted. Several years later, she was called as the star witness in a court case instigated by another Red Channels victim, and her testimony discredited the publication and made it possible for dozens of other performers to reclaim their careers. She returned to films sporadically after this, and also did much work on stage and television; among her roles was appearing as a female ape in three Planet of the Apes films. She also wrote Loose in the Kitchen, a combination autobiography-cookbook. Hunter was married to writer Robert Emmett from 1951 until her death in 2002.

Trivia: Yale graduate Bradford Dillman began his career in the sort of misunderstood-youth roles that had previously been the province of Montgomery Clift and James Dean. His first significant stage success was as the younger son in the Pulitzer Prize-winning Eugene O'Neill play Long Day's Journey Into Night. Signed by 20th Century-Fox in 1958, Dillman at first played standard leading men; his subtle shift to villainy occurred after he was cast as a wealthy psychopath in Compulsion, the 1959 drama based on the Leopold-Loeb case. Compulsion won Dillman an award at the Cannes Film Festival, and also threatened to typecast him for the rest of his film career, notwithstanding his leading role in Fox's Francis of Assisi (1961). It was during his Fox years that Dillman married popular cover girl Suzy Parker. Bradford Dillman has remained much in demand as a television guest star, and in 1965 was the lead on the filmed-in-Britain TV drama series Court-Martial.

Trivia: American actress Natalie Trundy was lauded with critical appreciation for her very first film role as a mixed-up teenager in The Careless Years (1957). Her subsequent film roles were acceptable if not as impressive, though she worked often thanks to the influence of her producer-husband Arthur Jacobs. Given plenty of screen time as Jimmy Stewart's daughter Susan in Mr. Hobbs Takes a Vacation (1962), Trundy proved that her performance in Careless Years wasn't a fluke and that she seemed to have a stellar career ahead of her. But in 1962, she suffered a broken back in an auto accident, and was out of commission for several years. She made her comeback in Planet of the Apes (1969), produced by her husband, and appeared (with no undue physical strain imposed upon her) in all four Apes sequels. After the death of Arthur Jacobs in 1973, Natalie Trundy retired again, and later married an executive of the Gucci company.

Trivia: German-born Hans Gudegast was still in his teens when he made his first film appearance in The Colossus of Rhodes (1957). Spending virtually his entire career in Hollywood, Gudegast achieved TV fame as the eternally outflanked Afrika Korps officer Hauptman on the weekly TV series The Rat Patrol (1967-1969). Sensing that he'd forever be typecast as a Nazi under his given name, Gudegast changed his professional cognomen to Eric Braeden in 1970 (he reportedly borrowed the name of his home town in Germany, though some sources indicate that he was actually born in Kiel). The actor's instincts were correct: under his new professional name, Braeden was afforded the opportunity to demonstrate his versatility as both leading man -- he was Charles Forbin in Colossus: The Forbin Project -- and villain. He was often called upon to convey insufferable arrogance, vide his memorable appearance as a media critic on an episode of The Mary Tyler Moore Show (that's the one where Braeden received a pie in the face, courtesy of Ted Knight). Eric Braeden's best-known characterization was as the smoothly sinister Victor Newman in the CBS daytime drama The Young and the Restless. Braeden played a small role as the wealthy John Jacob Astor in 1997's mega-hit Titanic, and co-starred in the comedy Meet the Deedles the following year. Following a long run on The Young and the Restless, Braeden co-starred with fellow Titanic alumni Billy Zane in The Man Who Came Back (2008), and took on the role of Robin Scherbatsky, Sr. for the television series How I Met Your Mother.

Trivia: Though perhaps best remembered for playing the suave, mysterious Mr. Roarke on the popular television series Fantasy Island (1978-1984), and for his car commercials in which he seductively exhorted the pleasures of the upholstery ("Rich, Corinthian leather") in his distinctive Spanish accent, Ricardo Montalban once played romantic leads in major features of the '40s and '50s. He also had a successful career on-stage. Born Ricardo Gonzalo Pedro Montalban y Merino in Mexico City, Montalban spent part of his youth in the U.S. The tall, dark, handsome, and curly haired actor first worked as a bit player on Broadway before returning to Mexico in the early '40s and launching a film career there. By 1947, he had returned to the States and signed with MGM. That year, Montalban played his first leading role opposite Cyd Charisse in the romantic musical Fiesta (1947). It would be the first of many roles in which he would play a passionate singing and dancing "Latin Lover." He and Charisse again teamed up as dancers in the Esther Williams musical water extravaganza in On an Island With You (1948). At one point, it was a toss-up between Montalban and fellow MGM "LL" Fernando Lamas as to which was more popular. It would not be until 1949 before Montalban had the opportunity to play a non-romantic role as a border agent who gets revenge upon the killers of his partner in Border Incident. His second serious role in Battleground (1949) ranks among his best performances. By the late '50s, he had become a character actor, often cast in ethnic roles, notably that of a genteel Japanese Kabuki actor in Sayonara (1957). He had occasionally appeared on television since the late '50s, but did not appear regularly until the mid-'70s. In 1976, Montalban earned an Emmy for his portrayal of a Sioux chief in the television miniseries How the West Was Won. In the early '70s he was part of a touring troupe that read dramatic excerpts from Shaw's Don Juan in Hell. In 1982, Montalban reprised a role he had made famous on the original Star Trek TV series as the ruthless Khan to star in the second Star Trek feature, The Wrath of Khan. In the '80s, Montalban only sporadically appeared in feature films. His television career also slowed, though he occasionally appeared on series such as The Colbys (1985-1987) and Heaven Help Us! (1994). Montalban has written an autobiography, Reflections: A Life in Two Worlds (1980). Confined to a wheelchair after a 1993 spinal operation left him paralyzed from the waist down, Montalban remiained in good health despite being in constant pain, and continued to play an active role in promoting Nostros - a non-profit organization founded by Montalban in 1970 and dedicated to improving the image of Latinos within the entertainment industry. In the late 1990s and early 2000s Moltalban's career recieved something of a second wind when he began performing vocal work on such animated television series' as Freakazoid!, Dora the Explorer, and Kim Possible, with a role as the kindly grandfather in Robert Rodriguez's Spy Kids 2: Island of Lost Dreams and Spy Kids 3-D: Game Over even giving the wheelchair-bound actor an opportunity to triumphantly rise once again thanks to the magic of special effects. Additional vocal work in the 2006 animated family adventure The Ant Bully continued to keep Montalban busy despite his physical limitations. His brother, Carlos Montalban, was also an actor.

Trivia: The great-grandson of a famous and influential 19th century Minnesota senator, actor William Windom was born in New York, briefly raised in Virginia, and attended prep school in Connecticut. During World War II, Windom was drafted into the army, which acknowledged his above-the-norm intelligence by bankrolling his adult education at several colleges. It was during his military career that Windom developed a taste for the theater, acting in an all-serviceman production of Richard III directed by Richard Whorf. Windom went on to appear in 18 Broadway plays before making his film debut as the prosecuting attorney in To Kill a Mockingbird. He gained TV fame as the co-star of the popular 1960s sitcom The Farmer's Daughter and as the James Thurber-ish lead of the weekly 1969 series My World and Welcome to It. Though often cast in conservative, mild-mannered roles, Windom's offscreen persona was that of a much-married, Hemingway-esque adventurer. William Windom was seen in the recurring role of crusty Dr. Seth Haslett on the Angela Lansbury TV series Murder She Wrote.

Trivia: Short and intense Sal Mineo was a sad-eyed juvenile and adult actor with black curls. At age eight his misbehavior caused him to be kicked out of a parochial school; he went on to attend dancing classes and two years later was cast in Broadway's The Rose Tattoo, moving from there to a prominent adolescent role in The King and I with Yul Brynner. Mineo debuted onscreen in 1955 and for the next decade he was a busy screen actor, first in juvenile roles and then in youthful leads; his characters were often troubled. For his work at age 16 in Rebel Without a Cause (1955), his third feature, he received a Best Supporting Actor Oscar nomination; he was nominated in the same category for Exodus (1960). His film work began to dry up after the mid-'60s and Mineo turned to TV and the stage. He directed the play Fortune and Men's Eyes on the West Coast and on Broadway. He was stabbed to death on the street in 1976.

Trivia: After serving in World War Two he began acting, training at the Dramatic Workshop of the American Theater Wing and at the Actors Studio. He performed off-Broadway and in live TV drama; in 1955 he appeared to much acclaim in Broadway's Bus Stop. He began appearing in films in 1958, going on to a sporadic but intermittently busy screen career; he often played cowpokes and "good ol' boys." Meanwhile, most of his work was done on TV. From 1956-63 he was married to actress Peggy Ann Garner. In 1990 he was found dead next to the body of his estranged wife; a police investigation suggested that he had killed his wife and then himself.

Trivia: Most filmgoers and television viewers know Jason Evers for his performances on such series as The Guns of Will Sonnett, movies like The Green Berets, and guest-starring roles on programs such as Star Trek ("Wink of an Eye"). In reality, the actor has had a much longer career than those movie and television credits rooted in the 1960s and 1970s. Born Herbert Evers in the Bronx, NY, in 1922, he was the son of a theatrical ticket agent. Evers left De Witt Clinton High School before graduation in order to pursue an acting career and landed an apprenticeship with the Ethel Barrymore Colt Jitney Players, with whom he toured the country for two years at the end of the 1930s. In the early '40s, he was signed up by producer Brock Pemberton, who cast him in his breakthrough part, as Pvt. Dick Lawrence in the play Janie. That play established Evers as a handsome male ingenue, of a type similar to contemporaries such as Van Heflin, Van Johnson, and Bill Williams. He subsequently endured a series of flop plays, as well as two years in uniform. After returning to civilian life, Evers resumed his career, principally in road company productions, including a tour of I Am a Camera with Veronica Lake. By then Evers was married to actress Shirley Ballard and the two frequently found themselves struggling financially between roles. Strangely enough, their marriage ended just at a point when the two were working together in a successful Broadway play entitled Fair Game. By 1960, Evers was ready to make the jump to the potentially greener pastures of the West Coast, and possible film work. He landed the leading role in a summer replacement television series called Wrangler, portraying a rugged, laconic cowboy. In the bargain, he also traded in his first name for the smoother and more manly Jason Evers. The series wasn't picked up for the regular season but Evers was on the map, his new name and image working very much in his favor. Jason Evers was a fresh name and face, and he had also acquired an intense, edgy quality, in sharp contrast to the callow handsomeness of his image in the 1940s and 1950s. Herbert Evers seemed a slightly bland leading man, but Jason Evers, in name and image, conveyed intensity and even danger. He did a few small movie roles at the outset of the decade, and then got the only starring screen role of his career -- unfortunately, the latter was in the horror thriller The Brain That Wouldn't Die (1962). The actor -- credited as Herb Evers -- played a scientist obsessed with the idea of keeping the severed head of his fiancée alive. Luckily, no one of any consequence in the entertainment industry ever saw the film (which has since been embraced by bad-movie cultists, and has turned up on Mystery Science Theater 3000), or tied "Herb Evers" up with Jason Evers. In 1964, he got another crack at a series with Channing, a topical drama set at a university -- a kind of collegiate answer to Mr. Novak -- co-starring Henry Jones. That program failed to find an audience, but by then, Evers was making a massive number of guest-star appearances, on series as different as Gunsmoke and Star Trek, often playing villains. He also played important supporting roles in feature films, including an excellent performance in The Green Berets, as the doomed Captain Coleman, the outgoing commander of the forward base where John Wayne's Colonel Kirby tries to make a stand. Evers landed what was arguably his best television role on the series The Guns of Will Sonnett, portraying Jim Sonnett, the gunslinger who is the object of a search through the West by his father (Walter Brennan) and son (Dack Rambo). Evers was perfect as Jim Sonnett, grim and taciturn and, yet, beneath his nasty veneer as a tired veteran gunman, concerned for the well-being of his father and son once he knows they are looking for him. The only problem with the role was that he hardly ever got to play it -- as the object of the quest at the center of the series' plot, he only actually appeared onscreen a handful of times during the two-year run of the series. Still, it was an actor's dream of a part, in the sense that his character was discussed prominently in every episode, and figured in virtually every plot complication and development; no performer could ask for a better lead-in than that to his actually taking the stage, and his appearances were memorable. Evers' career began to wind down during the 1970s, amid roles of varying size in such movies as Escape From the Planet of the Apes and Barracuda, and the horror-exploitation movie Claws. Evers has been in retirement since the mid-'80s, although he did briefly return to work, portraying a role in Basket Case 2 (1990).

Trivia: CCNY and Columbia University alumnus John Randolph was first seen on Broadway in the 1937 opus Revolt of the Beavers. Randolph served in the Air Force in World War II, then resumed what seemed at the time to be an increasingly successful, near-unstoppable acting career. But in 1951, Randolph found himself on a specious "Commie sympathizers" list. After appearing as a hostile witness before the House UnAmerican Activities Committee, Randolph was effectively blacklisted from movies, TV and radio commercials for the next twelve years. Fortunately, he could always rely upon the theatre to provide him an income, though it was touch-and-go for a while when a Broadway show in which he was appearing was picketed by anti-Red zealots. Throughout the 1950s, Randolph was featured in such major stage productions as Come Back Little Sheba, The Visit, Sound of Music and Case of Libel. In 1963, he was at long last permitted to guest-star on a network TV program, The Defenders. Appropriately, it was in an episode titled "Blacklist," which condemned the knee-jerk policy of banning artists because of their political views; ironically, Randolph was very nearly denied the part when the network complained that he hadn't been "cleared." Though he'd played a small part in 1948's The Naked City, Randolph's movie career began in earnest in 1965. In John Frankenheimer's Seconds, he was cast as aging businessman Arthur Hamilton, who through the magic of plastic surgery is given a fresh new identity (he emerges from the bandages as Rock Hudson)! Since his career renaissance, Hamilton hasn't stopped working before the cameras. He has been featured in films like Gaily Gaily (1969), Little Murders (1971), King Kong (1976), Heaven Can Wait (1978) Prizzi's Honor (1985; as Pop Prizzi); in TV movies like Wings of Kitty Hawk (1978; as Alexander Graham Bell) and The American Clock (1993); and as a regular in the TV series Angie (1979) Annie McGuire (1988) and Grand (1990). Though he'd probably rather you not mention it, Randolph is a dead ringer for former attorney general John Mitchell; accordingly, he played Mitchell in the TV miniseries Blind Ambition, and was heard but not seen in the same role in the 1976 theatrical feature All the President's Men. Despite the upsurge in his film and TV activities, Randolph has never abandoned the theatre: in 1986, he won a Tony Award for his work in Neil Simon's Broadway Bound. As if to slap the faces of those self-styled patriots who denied him work in the 1950s, Randolph has in recent years accepted the German Democratic Republic's Paul Robeson Award, and has served on the National Council for US-Soviet friendship. John Randolph has also served on the board of directors of all three major performing guilds: SAG, AFTRA and Equity. After taking on a variety of grandfatherly roles, including Jack Nicholson's father in Prizzi's Honor and Tom Hanks' grandfather in You've Got Mail), Randloph passed away at 88-years-old in April of 2004.

Trivia: General purpose actor Harry Lauter began showing up in films around 1948. Long associated with Columbia Pictures, Lauter appeared in featured roles in such major releases as The Big Heat (1953), Hellcats of the Navy (1957) and The Last Hurrah (1958). He also acted in the studio's "B"-western and horror product. Making occasional visits to Republic, Lauter starred in three serials: Canadian Mounties vs. the Atomic Invaders (1953), Trader Tom of the China Seas (1954) and King of the Carnival (1956), Republic's final chapter play. On TV, he co-starred with Preston Foster in Waterfront (1954) and was second-billed as Ranger Clay Morgan in Tales of the Texas Rangers (1955-59). After appearing in Escape from the Planet of the Apes (1971), Harry Lauter retired from acting to concentrate on painting and managing his art and antique gallery.

Trivia: Rarely garnering a lead role, M. Emmet Walsh has become one of the busiest character actors in Hollywood, using his ruddy, seedy appearance to embody countless low-life strangers with unsavory agendas. In his rare sympathetic roles, he's also capable of generating genuine pathos for the put upon plight of struggling small-timers. His effortless portrayals have made him a welcome addition to numerous ensembles, even if many viewers can't match a name to his recognizable mug. In fact, his work is so well thought of that critic Roger Ebert created the Stanton-Walsh Rule, which states that no film featuring either Walsh or Harry Dean Stanton can be altogether bad.Contrary to his frequent casting as a Southerner, Walsh is a native New Yorker, born on March 22, 1935, in Ogdensburg, NY. As a youth he attended the prestigious Tilton School in New Hampshire, and went on to share a college dorm room with actor William Devane. He graduated from the Clarkson University School of Business, but it was not until his thirties that he discovered his true calling: acting. He first popped up in Midnight Cowboy (1969), and has worked steadily ever since, some years appearing in as many as eight motion pictures, other years focusing more on TV movies. Working in relative anonymity through the '70s and early '80s, appearing in films ranging from Serpico (1973) to Slapshot (1977) to Blade Runner (1982), Walsh landed his meatiest and most memorable role in Joel and Ethan Coen's remarkable debut, Blood Simple (1984). Without batting an eye, Walsh exuded more casual menace as the amoral private detective doggedly pursuing his own self-interest than a host of typecast villains could muster in their entire careers. His role was key to creating a stylish noir that would launch the careers of two modern masters. It earned him an Independent Spirit Award.Blood Simple did not markedly alter Walsh's status as a supporting actor, as he went on to appear in this capacity in Fletch (1985), Back to School (1986), and Raising Arizona (1987), his next collaboration with the Coens, in which his bull-slinging machinist scores riotously with less than a minute of screen time. One of the first appearances of the kindly Walsh was in 1988's Clean and Sober, in which he plays a recovering alcoholic helping Michael Keaton through the same struggle.As he crept into his late fifties and early sixties, the stature of Walsh's films diminished a little, if not his actual workload. Continuing to dutifully pursue his craft throughout the early '90s, Walsh again returned to a higher profile with appearances in such films as A Time to Kill (1996), William Shakespeare's Romeo + Juliet (1996), and My Best Friend's Wedding (1997). More as a reaction to the ineptitude of the movie than Walsh's performance, Ebert called into question his own Walsh-Stanton Rule in his review of Wild Wild West, the 1999 Will Smith-Kevin Kline debacle in which Walsh is one of the only tolerable elements. In the years to come, Walsh would remain active on screen, appearing in films like Youth in Revolt and providing the voice of Olaf on the animated series Pound Puppies.

Trivia: A general purpose performer with slightly more distinction to his face and voice than most of his ilk, American actor Norman Burton quietly entered films in the 1960s. Many of his early films were more artistic than profitable, as witness the experimental Wild Seed (1965). Burton was spotted in brief character parts in a few box-office hits, notably Planet of the Apes (1968) (he was the simian Hunt Leader) and The Towering Inferno (1974) (as Will Giddings). In the James Bond actioner Diamonds are Forever (1970), Burton succeeded Jack Lord, Rik Van Nutter et. al. in the role of Bond's American CIA contact Felix Leiter. On TV's New Adventures of Wonder Woman series of the late 1970s, Burton had the recurring role of Joe Atkinson, the boss of anti-subversive operative Diana Prince (aka Wonder Woman). Still answering casting calls into the 1990s, Norman Burton was one of many film veterans appearing in the zany 1994 biopic Ed Wood.

Trivia: American character actor Robert Nichols appeared in numerous Hollywood and British films during the 1950s. He was particularly prolific during the 1950s. Nichols has also worked on stage and in television.