Trivia: Universally regarded among the screen's greatest actors, Spencer Tracy was a most unlikely leading man. Stocky, craggy-faced, and gruff, he could never be considered a matinee idol, yet few stars enjoyed greater or more consistent success. An uncommonly versatile performer, his consistently honest and effortless performances made him a favorite of both audiences and critics throughout a career spanning well over three decades. Born April 5, 1900, in Milwaukee, WI, Tracy was expelled from some 15 different elementary schools prior to attending Rippon College, where he discovered and honed a talent for debating; eventually, he considered acting as a logical extension of his skills, and went on to study at the American Academy of Dramatic Arts. His first professional work cast him as a robot in a stage production of R.U.R. at a salary of ten dollars a week. He made his Broadway debut in 1923's A Royal Fandango and later co-starred in a number of George M. Cohan vehicles. Tracy's performance as an imprisoned killer in 1930's The Last Mile made him a stage star, and during its Broadway run he made a pair of shorts for Vitaphone, The Hard Guy and Taxi Talks. Screen tests for MGM, Universal, and Warners were all met with rejection, however, but when John Ford insisted on casting Tracy as the lead in his prison drama Up the River, Fox offered a five-year contract.Tracy's second film was 1931's Quick Millions, in which he portrayed a racketeer. He was frequently typecast as a gangster during his early career, or at the very least a tough guy, and like the majority of Fox productions throughout the early part of the decade, his first several films were unspectacular. His big break arrived when Warners entered a feud with Jimmy Cagney, who was scheduled to star in 1933's 20,000 Years in Sing Sing; when he balked, the studio borrowed Tracy, and the picture was a hit. His next two starring roles in The Face in the Sky and the Preston Sturges epic The Power and the Glory were also successful, earning very positive critical notice. Still, Fox continued to offer Tracy largely low-rent projects, despite extending his contract through 1937. Regardless, much of his best work was done outside of the studio grounds; for United Artists, he starred in 1934's Looking for Trouble, and for MGM starred as The Show-Off. After filming 1935's It's a Small World, executives cast Tracy as yet another heavy in The Farmer Takes a Wife; he refused to accept the role and was fired. Despite serious misgivings, MGM signed him on. However, the studio remained concerned about his perceived lack of sex appeal and continued giving the majority of plum roles to Clark Gable. As a consequence, Tracy's first MGM offerings -- 1935's Riff Raff, The Murder Man, and 1936's Whipsaw -- were by and large no better than his Fox vehicles, but he next starred in Fritz Lang's excellent Fury. For the big-budget disaster epic San Francisco, Tracy earned the first of nine Academy Award nominations -- a record for male stars -- and in 1937 won his first Oscar for his work in Victor Fleming's Captains Courageous. Around the release of the 1938 smash Test Pilot, Time magazine declared him "cinema's number one actor's actor," a standing solidified later that year by Boys' Town, which won him an unprecedented second consecutive Academy Award. After 1939's Stanley and Livingstone, Tracy starred in the hit Northwest Passage, followed by a turn as Edison the Man. With the success of 1941's Dr. Jekyll and Mr. Hyde, he even usurped Gable's standing as MGM's top draw.Tracy was happily married to actress Louise Treadwell when he teamed with Katharine Hepburn in 1942's Woman of the Year. It was the first in a long series of collaborations that established them as one of the screen's greatest pairings, and soon the two actors entered an offscreen romance which continued for the remainder of Tracy's life. They were clearly soulmates, yet Tracy, a devout Catholic, refused to entertain the thought of a divorce; instead, they carried on their affair in secrecy, their undeniable chemistry spilling over onto their onscreen meetings like Keeper of the Flame. Without Hepburn, Tracy next starred in 1943's A Guy Named Joe, another major hit, as was the following year's 30 Seconds Over Tokyo. Without Love, another romantic comedy with Hepburn, premiered in 1945; upon its release Tracy returned to Broadway, where he headlined The Rugged Path. Returning to Hollywood, he appeared in three more films with Hepburn -- The Sea of Grass, Frank Capra's State of the Union, and George Cukor's sublime Adam's Rib -- and in 1950 also starred as Vincente Minnelli's Father of the Bride, followed a year later by the sequel Father's Little Dividend. On Hepburn's return from shooting The African Queen, they teamed with Cukor in 1952's Pat and Mike. Without Hepburn, Tracy and Cukor also filmed The Actress the following year. Venturing outside of the MGM confines for the first time in years, he next starred in the 1954 Western Broken Lance. The well-received Bad Day at Black Rock followed, but as the decade wore on, Tracy was clearly growing more and more unhappy with life at MGM -- the studio had changed too much over the years, and in 1955 they agreed to cut him loose. He first stopped at Paramount for 1956's The Mountain, reuniting with Hepburn for Fox's Desk Set a year later. At Warners, Tracy then starred in the 1958 adaptation of Hemingway's The Old Man and the Sea, a major box-office disaster; however, The Last Hurrah signalled a rebound. After 1960's Inherit the Wind, Tracy subsequently reunited with director Stanley Kramer for 1961's Judgment at Nuremburg and the 1963 farce It's a Mad, Mad, Mad, Mad World. The film was Tracy's last for four years. Finally, in 1967 he and Hepburn reunited one final time in Kramer's Guess Who's Coming to Dinner; it was another great success, but a success he did not live to see. Tracy died on June 10, 1967, just weeks after wrapping production.

Trivia: Few American comedians have had so aggressive a "stage mother" as did Milton Berle. Berle's mother Sarah dragged her son to New Jersey's Edison movie studios in 1914 to do extra work, then finessed the lad into supporting roles, including the part of a newsboy in the first-ever feature-length comedy, Tillie's Punctured Romance (1914), which starred Charlie Chaplin. Under Sarah's powerhouse tutelage, Berle moved into vaudeville, making his debut at the prestigious Palace Theatre in 1921. Berle continued as a vaudeville headliner, with occasional stopovers on Broadway and in Hollywood, into the World War II years. His lengthy starring stint in the 1943 edition of Broadway's Ziegfeld Follies established Berle as a brash, broad, wisecracking comedian par excellence, whose carefully publicized propensity for "lifting" other comedians' material earned him the nickname "the Thief of Bad Gags." After only moderate success on radio and in films, Berle made a spectacular television debut as star of NBC's Texaco Star Theatre in 1948, which was the single most popular comedy/variety series of TV's earliest years and earned the comedian one of the industry's first Emmy Awards. So valuable was Berle to NBC that the network signed him to a 30-year "lifetime contract" in 1951, which paid him 100,000 dollars annually whether he performed or not (Berle managed to outlive the contract). Though his TV stardom waned in the late '50s, Berle was still very much in demand as an emcee, lecturer, author, TV guest star, motion picture character actor, and nightclub comedian -- still using essentially the same material and delivery which made him a star over 60 years ago. Berle died March 27, 2002 of colon cancer, he was 93.

Trivia: The son of a Yonkers restaurant owner, Sid Caesar first discovered he could get laughs by imitating the colorful dialects of his multinational classmates. But Caesar actually wanted to be a musician and to that end studied diligently at Juilliard. He paid for his education by working in various Catskills resorts as a saxophone player, dancer, and comedian. While serving in WWII, Caesar was engaged to perform in a touring musical revue staged by Coast Guard personnel called Tars and Spars. When the show was transformed into a motion picture by Columbia Pictures, Caesar went along for the ride, performing his classic war film monologue intact before the cameras. This led to a brief Columbia contract, which came to an end with Caesar's three-minute cameo appearance in The Guilt of Janet Ames (1947). While appearing in the Broadway revue Make Mine Manhattan in 1949, he was hired to co-star with Imogene Coca in a weekly TV variety series, The Admiral Broadway Revue. This in turn led to Your Show of Shows, one of the true landmarks of television's Golden Age. For five inspired seasons, Caesar and his cohorts Imogene Coca, Carl Reiner, and Howard Morris kept America laughing with an unending stream of brilliant monologues, movie parodies, and various sundry other sketches. Throughout the '50s and early '60s Caesar continued to star on TV in several Show of Shows spinoffs, and in 1963 returned to Broadway in the musical comedy Little Me, playing no fewer than eight roles within the play's two-hour running time. During this period he also returned to films, first as a member of the all-star ensemble in It's a Mad Mad Mad Mad World (1963), then as star of The Busy Body (1967) and The Spirit is Willing (1968). Unfortunately, the pressures of show business, combined with an overabundance of personal problems, led to a dangerous dependency upon alcohol and prescription drugs. So far gone was Caesar during the 1960s and 1970s that, according to his 1982 autobiography Where Have I Been?, there were times that he'd wander on-stage or before the cameras with no idea where he was or what he was saying. He hit rock bottom in 1978, suffering a total nervous breakdown while appearing in a Toronto dinner theater production of The Last of the Red Hot Lovers. Slowly and painfully, Caesar overcame his addictions and a multitude of psychological difficulties and made a near-complete recovery. Modern audiences, to whom Your Show of Shows is but a dim and distant memory, remember Sid Caesar best for his supporting appearances in such films as Silent Movie (1976) (directed by Caesar's onetime gag writer Mel Brooks), Fire Sale (1978), Grease (1982), and National Lampoon's Vegas Vacation (1997). Caesar died in 2014 at age 91.

Trivia: The son of a Brooklyn upholsterer, baby-faced comic actor Buddy Hackett always claimed he was "born to be funny." Hackett was the boy who invariably blew his lines in the Holiday pageants and the overweight teen who accidentally stuck his foot in a water bucket during his first game with the high school football team. It was while serving in the Army that Hackett met the double-talking Chinese waiter who inspired him to create the most famous of his early nightclub routines. Hackett's first stand-up gig in Brooklyn led to additional work on the New York supper club Catskill resort circuits; he also guested on a very early (1945) TV program, Laff Time. His film debut was as the voice of a talking camel in the otherwise straightforward Arabian nights programmer Slave Girl (1947). He was signed to a Universal Pictures contract in 1953, then starred for two years in Broadway comedy Lunatics and Lovers. He played the title role in 1956 TV sitcom Stanley, which served to introduce Carol Burnett to America's televiewers; two years later, he became a regular on Jackie Gleason's Saturday night variety series. Hackett was most active in films during the years 1958 through 1968, appearing primarily in nitwit comedy-relief roles, but also delivering a solid dramatic performance in God's Little Acre. At the same time, his reputation in nightclubs soared, first because of his quick wit and gift for sudden improvisation, then later for his ability to spout out the dirtiest of material with the cherubic ingenuousness of a naughty first-grader. Perhaps it was this veneer of innocence that made Hackett an ideal "family" entertainer in such G-rated pictures as Everything's Ducky (1961), The Music Man (1962), and The Love Bug (1968). As late as 1989, he was still delighting the kiddie trade as the voice of Scuttle in the Disney animated feature The Little Mermaid. Among Buddy Hackett's many television credits was the 1978 biopic Bud and Lou, in which he offered a curiously unsympathetic interpretation of his idol, Lou Costello; ironically, back in 1954 Hackett had replaced an ailing Costello in the Universal slapstick comedy flick Fireman Save My Child.

Trivia: Twenty-two-year-old ex-stenographer and former nightclub singer Ethel Merman achieved overnight superstardom when, in 1930, she first belted out "I Got Rhythm" in the Broadway production of Girl Crazy. Merman's subsequent stage hits included Anything Goes, Red, Hot and Blue, Panama Hattie, Annie Get Your Gun, Call Me Madam, and Gypsy. While her Living Legend status was secure on the Great White Way, Merman was less fortunate in the movies. She was upstaged by Ed Wynn in Follow the Leader (1930), by Bing Crosby and Burns and Allen in We're Not Dressing (1934), by Eddie Cantor in Kid Millions (1934), and -- most ignominiously -- by the Ritz Brothers in Straight, Place and Show (1938). While she was permitted to repeat her stage roles in the movie versions Anything Goes (1936) and Call Me Madam (1954), she had to endure watching Betty Hutton wail her way through the film adaptations Red, Hot and Blue (1949) and Annie Get Your Gun (1950), and withstand the spectacle of a miscast Rosalind Russell misplaying the part of Mama Rose in the 1963 filmization Gypsy. Perhaps Merman's talents were too big and bombastic for the comparatively intimate medium of films; or perhaps she just didn't photograph well enough to suit the Hollywood higher-ups. Merman's best movie work includes the two Irving Berlin catalogues Alexander's Ragtime Band (1938) and There's No Business Like Show Business (1954), and her character role as Milton Berle's behemoth mother-in-law in It's a Mad, Mad, Mad World (1963). Ethel Merman's final film appearance was a cameo in Airplane! (1980): she played the unfortunate Lieutenant Hurwitz, who is confined to the psycho ward because he thinks he's Ethel Merman.

Trivia: A versatile American screen actor and former juvenile star who made up in energy what he lacked in height, Mickey Rooney was born Joe Yule Jr. on September 23, 1920, in Brooklyn, NY. The son of vaudevillians, Rooney first became a part of the family act when he was 15-months-old, and was eventually on-stage singing, dancing, mimicking, and telling jokes. He debuted onscreen at the age of six in the silent short Not to Be Trusted (1926), playing a cigar-smoking midget. His next film was the feature-length Orchids and Ermine (1927). Over the next six years, he starred in more than 50 two-reel comedies as Mickey McGuire (a name he legally adopted), a series based upon a popular comic strip, "Toonerville Folks." In 1932, he changed his name to "Mickey" Rooney when he began to appear in small roles in feature films. He was signed by MGM in 1934 and gave one of the most memorable juvenile performances in film history as Puck in A Midsummer Night's Dream (1935). A turning point in Rooney's career came with his 1937 appearance as Andy Hardy, the wise-cracking son of a small-town judge, in the B-movie A Family Affair. The film proved to be such a success that it led to a string of 15 more Andy Hardy pictures over the next twenty years. The films were sentimental light comedies that celebrated small-town domestic contentment and simple pleasures, and the character became the one with which the actor became most identified. Rooney went on to a memorable role in Boys Town (1938) and several high-energy musicals with Judy Garland. Added to his Andy Hardy work, these performances caused his popularity to skyrocket, and, by 1939, he was America's biggest box-office attraction. Rooney was awarded a special Oscar (along with Deanna Durbin) in 1939 for his "significant contribution in bringing to the screen the spirit and personification of youth, and, as a juvenile player, setting a high standard of ability and achievement." His popularity peaked in the early '40s with his appearances in such films as The Human Comedy (1943) and National Velvet (1944), the latter with a young Elizabeth Taylor. After his World War II service and subsequent military discharge, however, his drawing power as a star decreased dramatically, and was never recovered; suddenly he seemed only acceptable as a juvenile, not a grown man. In the late '40s Rooney formed his own production company, but it was a financial disaster and he went broke. To pay off his debts, he was obliged to take a number of low-quality roles. By the mid-'50s, though, he had reinvented himself as an adult character actor, starring in a number of good films, including the title role in Baby Face Nelson (1957). Rooney continued to perform in both film, television, stage, and even dinner theater productions over the next four decades, and debuted on Broadway in 1979 with Sugar Babies. Although his screen work was relatively erratic during the '90s, he managed to lend his talents to diverse fare, appearing in both Babe: Pig in the City (1998) and the independent Animals (And the Tollkeeper) (1997). In 2006 Rooney was back on the big screen in the comedy hit A Night at the Museum, with a slew of subsequent roles on low-budget fare preceding an appearance in 2011's The Muppets. That same year, Rooney made headlines when he testified before Congress on the issue of elder abuse, and revealing himself as one of many seniors who had been victimized as a result of their age. Rooney continued working until his death in 2014 at age 93.During the course of his career, Rooney received two Best Actor and two Best Supporting Actor Oscar nominations, the last of which for his work in 1979's The Black Stallion. He also won a Golden Globe for the 1981 TV movie Bill. In 1983, while undergoing a well-publicized conversion to Christianity, he was awarded a special Lifetime Achievement Oscar "in recognition of his 60 years of versatility in a variety of memorable film performances." Rooney published his autobiography, Life Is Too Short, in 1991. His eight wives included actresses Ava Gardner and Martha Vickers.

Trivia: Like Sheckey Greene and Guy Marks, Dick Shawn was a nightclub comedian whose talents were highly prized by the members of his profession, but who took quite some time building up a fan following with "civilian" audiences. Beginning his film career with a peripheral role in 1956's The Opposite Sex, Shawn signed a contract with 20th Century Fox in 1960. He starred in an Arabian Nights satire, The Wizard of Baghdad (1960), which may have been too "inside" for fans of that genre. After co-starring with Ernie Kovacs in Wake Me When It's Over (1961), Shawn was generally seen in secondary, plot-motivating comic roles in such films as It's a Mad Mad Mad Mad World (1963) and What Did You Do in the War, Daddy? (1966). He was hysterically funny in Mel Brooks' The Producers (1967), playing an erratic hippie actor named L.S.D. who was cast in the musical play "Springtime for Hitler" as a singing Fuehrer. Outside of The Producers, Shawn was seen to best advantage in his bizarre, stream-of-consciousness nightclub routines. So quirky and unpredictable were his live performances that, when Dick Shawn died of a heart attack while performing before a college crowd in San Diego, many members of the audience assumed his collapse was part of the act.

Trivia: Growing up in the squalid Brownsville section of Brooklyn, Phil Silvers used his excellent tenor voice and facility for cracking jokes to escape a life of poverty. He was discovered as a young teen by vaudevillian Gus Edwards who hired him to perform in his schoolroom act. Silvers' singing career ended when his voice changed at 16, whereupon he took acting jobs in various touring vaudeville sketches. During his subsequent years in burlesque, he befriended fellow comic Herbie Faye, with whom he would work off and on for the rest of his career. While headlining in burlesque, Silvers was signed to star in the 1939 Broadway musical comedy Yokel Boy. This led to film work, first in minor roles, then as comedy relief in such splashy 1940s musicals as Coney Island (1943) and Cover Girl (1944). Silvers became popular if not world famous with his trademark shifty grin, horn-rimmed glasses, balding pate, and catchphrases like "Gladda see ya!" He returned to Broadway in 1947, where he starred as a turn-of-the-century con man in the Jule Styne-Sammy Cahn musical High Button Shoes. In 1950, he scored another stage success as a Milton Berle-like TV comedian in Top Banana, which won him the Tony and Donaldson Awards. From 1955 through 1959, Silvers starred as the wheeling-dealing Sgt. Ernie Bilko on the hit TV series You'll Never Get Rich, for which he collected five Emmy awards. Upon the demise of this series, Silvers stepped into another success, the 1960 Styne-Comden-Green Broadway musical Do Re Mi. The failure of his 1963 sitcom The New Phil Silvers Show marked a low point in his career, but the ever scrappy Silvers bounced back again to appear in films and TV specials. In 1971, he starred in a revival of A Funny Thing Happened on the Way to the Forum (nine years after turning down the original 1962 production because he felt the show "wouldn't go anywhere."). He collected yet another Tony for his efforts -- then suffered a severe stroke in August of 1972. While convalescing, Silvers wrote his very candid autobiography, The Laugh Is on Me. He recovered to the extent that he could still perform, but his speech was slurred and his timing was gone. Still, Silvers was beloved by practically everyone in show business, so he never lacked for work. Phil Silvers was the father of actress Cathy Silvers, best known for her supporting work on the TV series Happy Days.

Trivia: For the first three decades of his life, gap-toothed comic actor Terry-Thomas was far from a household name. The London-born performer worked as a clerk, meat salesman, pianist, bandleader, music hall comedian and movie extra before signing with the Royal Signal Corps upon the outbreak of World War II. His film career took off in earnest in 1949, and by 1955 Terry-Thomas was enjoying star billing in a series of officious, twittish roles. Occasionally a sympathetic leading man in such films as Man in the Cocked Hat (1959), the actor was far more effective in roles calling for easily punctured pomposity. Extremely popular in England, Terry-Thomas was comparatively little known in the U.S. outside of the art-house circuit until he starred in the Frank Tashlin-directed farce Bachelor Flat (1961). Though he'd been afforded opportunities to exhibit his versatility in British films, Terry-Thomas was typecast by Hollywood in such broad, unpleasant roles as the jingoistic J. Algernon Hawthorne in It's a Mad Mad Mad Mad World (1963) and the caddish Percival War-Armitage in Those Magnificent Men in Their Flying Machines (1965). On a Tonight Show appearance in the late 1960s, the actor ruefully commented that, while he liked the money he was getting in Hollywood, he wished that his children could see him play a good guy for a change. After 1970, Terry-Thomas accepted whatever parts came his way, with the mediocre outweighing the worthwhile; he was last seen as Dr. Mortimer in a messy parody version of Conan Doyle's Hound of the Baskervilles (1978). Retiring to the Caribbean, he was forced to move back to London when his savings were depleted by his ever-encroaching Parkinson's Disease. The world at large was apprised of the actor's illness and reduced financial circumstance when he was featured on a network-TV documentary about degenerative illnesses. He spent his last painful years living off the charitable contributions of his friends and admirers. Terry-Thomas was the author of two autobiographical books: 1959's Closing the Gap and the posthumously published Terry-Thomas Tells Tales; his mid-1960s comedy record album Terry-Thomas Discovers America is today a much-sought-after collector's item.

Trivia: "Pound for pound, Jonathan Winters is the funniest man on earth." These words, spoken by talk show host Jack Paar in the early '60s, were not chosen lightly. After war service and graduation from Kenyon College, Winters began his career on a radio station in his hometown of Dayton, OH. The rotund comedian was supposed to merely introduce the records and announce the temperature, but ever so gradually his irrepressible ad-libs and improvisations took over the show. His TV career began on CBS's daytime The Garry Moore Show, where he introduced such imperishable characters as freewheeling senior citizen Maude Frickert and doltish Elwood P. Suggins. He was a regular on the 1955 summer series And Here's the Show, and in 1956 landed his own 15-minute NBC series (the first network program to be regularly videotaped). Though never less than side-splittingly funny on camera, Winters was plagued by severe emotional problems in real life, not the least of which was his reliance on what he called "the sauce." After a highly publicized sanitarium stay, a clean and sober Winters returned to TV, though it would be 1967 before any network would take a chance on his headlining a regular weekly show (during the 1964-1965 season, he starred in a group of well-received specials, and was also a frequent guest on The Tonight Show, The Jack Paar Program, and The Andy Williams Show). During the early '60s, Winters' recorded bits began frequently popping up on the NBC radio series Monitor, and in 1963, he made his movie debut in the all-star It's a Mad, Mad, Mad, Mad World (1963). In answer to critics who felt that Winters was tied down by scripted material, the comedian starred in the two-season syndicated weekly The Wacky World of Jonathan Winters (1972-1973), which was completely ad-libbed. Many young comics of the 1970s and 1980s have declared that Winters was a prime influence in their choice of career. No comedian was more vocal in his praise of Winters than Robin Williams, who in 1981 arranged for Winters to be cast as overgrown baby Mearth on Williams' popular sitcom Mork and Mindy. Jonathan Winters remained as funny and active as ever into the 1990s, making uproarious appearances on Jay Leno's Tonight Show and co-starring in such big-budget theatrical films as The Shadow (1994). He played multiple parts in the 2000 big-screen version of The Adventures of Rocky and Bullwinkle, and in 2007 he was the center of Certifiably Jonathan. In 2011 he was tapped to provide the voice of Papa Smurf in the big-screen adaptation of the popular '80s animated show The Smurfs. He reprised his role in the 2013 sequel, but passed away at age 87 in April of that year, before the movie was released.

Trivia: Born Elizabeth Edith Enke, on April 16, 1927, in Kingston, PA, Edie Adams was a graduate of both the Juilliard School of Music and the Columbia School of Drama. She began her career in television, utilizing her singing and comedic talent as a regular on the popular Ernie Kovacs Show in the early '50s. Adams and Kovacs were married in 1955 and remained together until his death in 1962. Before appearing in films, she starred on Broadway in Wonderful Town (1953) and Li'l Abner (1956). Her first major film role was playing Miss Olsen in Billy Wilder's 1960 comedy The Apartment. The film work that followed cast Adams in mostly secondary roles that highlighted her talent for comedy and displayed her spirited presence. Other films include: Lover Come Back (1961), Call Me Bwana (1963), It's a Mad, Mad, Mad, Mad World (1963), Under the Yum Yum Tree (1963), Love With the Proper Stranger (1963), The Best Man (1964), Made in Paris, The Oscar (1966), The Honey Pot (1967), Up in Smoke (1978), and Raquet (1979). Adams also appeared in the documentary Kovacs in 1971. She spent her last few decades making periodic guest appearances on such television programs as Designing Women, Fantasy Island and The Love Boat, and died of pneumonia and cancer in 2008.

Trivia: Blonde, bouncy Dorothy Provine was born in South Dakota to a Seattle-based businessman and his interior decorator wife. While attending the University of Washington, Provine appeared in some 35 amateur and professional stage productions, and was cohost of a Seattle TV quiz program. She headed to Broadway at age 20, but had better luck in Hollywood, where she was given star billing in such low-budgeters as The Bonnie Parker Story (1958) and The 30 Foot Bride of Candy Rock (1959), the latter film representing Lou Costello's last screen work. Signed to a Warner Bros. contract in 1959, Provine starred on two hour-long TV series, The Alaskans and The Roaring 20s. Both programs gave the actress ample opportunity to display her considerable singing and dancing skills, as did her extended cameo in the 1965 Blake Edwards superproduction The Great Race. She also proved an apt comedienne in such films as It's a Mad Mad Mad Mad World (1963), Good Neighbor Sam (1964), and Who's Minding the Mint? (1967); she was less effective as a British secret agent in Kiss the Girls and Make Them Die (1966). Dorothy Provine retired from the screen in 1968 upon marrying cinematographer-director Robert Day, though she continued to show up in commercials and "straw hat" summer theater productions. She died in late april 2010 of emphysema.

Trivia: Ohio-born actor Jim Backus's stage career began in summer stock, where, according to his then-roommate Keenan Wynn, he was as well known for his prowess with the ladies as he was for his on-stage versatility. Backus continued acting in New York, vaudeville, and especially radio in the 1930s and 1940s. He was a regular on radio's The Alan Young Show, portraying Eastern Seaboard snob Hubert Updike III, the prototype for his "Thurston Howell III" characterization on the 1960s TV sitcom Gilligan's Island. In 1949, Backus provided the voice of the nearsighted Mr. Magoo for the first time in the UPA cartoon Ragtime Bear; the actor later claimed that he based this character on his own businessman father. Also in 1949, Backus made his first film appearance in Easy Living, which starred his childhood friend Victor Mature. Backus' most famous screen role was as James Dean's weak-willed, vacillating father in Rebel without a Cause. On television, Backus co-starred with Joan Davis on the I Love Lucy-like 1950s sitcom I Married Joan, and played the leading role of fast-talking news service editor Mike O'Toole on the 1960 syndicated series Hot Off the Wire (aka The Jim Backus Show). In the 1960s, Backus continued to provide the voice of Mr. Magoo in several TV projects, and was seen on-camera in the aforementioned Gilligan's Island, as well as the 1968 TV version of Blondie, wherein Backus played Mr. Dithers. Co-starring as Mrs. Dithers was Backus' wife Henny, who also collaborated with her husband on several amusing volumes of memoirs. Jim and Henny Backus' last two books, Backus Strikes Back and Forgive Us Our Digressions, commented humorously on a deadly serious subject: Parkinson's Disease, the ailment which would eventually cost Backus his life at the age of 76.

Trivia: A lanky, rubber-limbed comedian with a sad face, Ben Blue achieved his effects as much with mime as with dialogue. From age 15 he was on the New York stage and in vaudeville, then beginning in 1926 he appeared in a series of silent short subjects for Warner Brothers, Hal Roach, and other studios. Often appearing in baggy pants, with an eccentric straw hat and cane, he went on during the sound era to work for Paramount, where he was the long-limbed, wistful-eyed funny man in dozens of pictures, tending to put in cameo appearances that stole the show from those with top billing. (One story has it that comedian Red Skelton, after being upstaged by Blue, had a clause put in his contract stating that he would never appear with him again). Blue went on to perform regularly in nightclubs and on TV but dropped out of films in 1948 and spent fifteen years managing the nightclubs he owned. He returned and continued making comedic cameos in films during the '60s (notably in It's a Mad, Mad, Mad, Mad World and The Russians are Coming, the Russians are Coming).

Trivia: Chubby, rubber-faced comedian Alan Carney knocked around vaudeville for years as a comic dialectician. After making his first film, 1941's Convoy, Carney signed a contract at RKO, appearing in choice supporting roles in such films as Mr. Lucky (1943). In 1943, Carney was teamed with Wally Brown (see entry 9048) as RKO's answer to Abbott and Costello. In addition to their inexpensive starring vehicles, Brown and Carney co-starred in Step Lively (1943), a musical remake of the Marx Bros.' Room Service (1938) (Wally played Chico's part, while Carney filled in for Harpo; the "Groucho" role was essayed by, of all people, Adolphe Menjou). Brown and Carney were also featured on a live USO tour arranged by the studio. After 1946's Genius at Work, RKO terminated the team's contracts. Alan Carney continued in films and TV as a supporting player, working prolifically at Disney Studios in the 1960s and 1970s; one of Carney's best latter-day roles was as Mayor Dawgmeat in the 1959 film musical Li'l Abner.

Trivia: Barrie Chase entered movies professionally in the second half of the 1950s, and was the last performer to achieve stardom as a dancer for the next two decades -- until Debbie Allen came along. The daughter of screenwriter and novelist Borden Chase, Barrie was born in 1934 in New York, before her father had made his move to Hollywood (and, in fact, before he was Borden Chase). Her mother was the pianist Lee Keith. Raised in California after her father entered the movie business, she attended the Westlake School and thought there was little special about working in movies. Her main interest from the age of three was dancing and athletics, including swimming, and while still a student at a local ballet school (and barely into her teens), she was picked out of a group of girls to appear in a dance sequence in the MGM Technicolor swashbuckler Scaramouche (1952). The experience left her unimpressed and she ultimately settled on dancing as a career, but her shy nature prevented Chase from pursuing it too diligently. She turned up in the Goldwyn production of Hans Christian Andersen (1952) and the dream sequence in Daddy Long Legs (1955), where she first worked (albeit very briefly) with Fred Astaire. It was director/producer Dick Powell who first took note of Chase and pulled her out of the chorus in The Conqueror and gave her a small role in You Can't Run Away From It (both 1956), his musical remake of It Happened One Night. She was then back in the chorus for the Fred Astaire/Cyd Charisse vehicle Silk Stockings when choreographer Jack Cole came to her and said that Astaire wanted to meet with her. The veteran actor/dancer/singer was preparing his first network television special, An Evening With Fred Astaire. The performing legend was so pleased with the results that he invited Chase to work with him on his next special; in effect, she became Astaire's last dancing partner in a series of broadcasts that were seen by tens of millions. She did a stage act in Las Vegas that was choreographed by no less a figure than Hermes Pan, and 20th Century Fox used her in a short sequence in Mardi Gras (1958) with Pat Boone. After that, she was offered a seven-year contract, which Chase accepted, and she next worked in Can-Can (1960). Alas, Chase had the bad fortune to come to Hollywood just at the point when dancers were becoming unnecessary to most of the productions. She was in The George Raft Story (1961), starring Ray Danton, and that was all she did that year. It fell to Gregory Peck, who had seen her on television, to request Chase for a small part in Cape Fear (1962); Stanley Kramer also used her for a dance number involving Dick Shawn in It's a Mad, Mad, Mad, Mad World (1963). She was in a dream sequence -- and, for all of that, was the only woman in the movie -- in Robert Aldrich's adventure film The Flight of the Phoenix (1965), and did occasional television work, including an episode of Bonanza entitled "The Ballerina," written by her actor/screenwriter brother Frank Chase. She left movies later in the '60s after marrying a wealthy medical entrepreneur, but reappeared in the public eye briefly in the late '70s, when John Travolta -- after watching some of Astaire's TV specials -- approached her about working with him during the making of Grease (1978).

Trivia: Famed for his ratchety voice and cold-fish stare, William Demarest was an "old pro" even when he was a young pro. He began his stage career at age 13, holding down a variety of colorful jobs (including professional boxer) during the off-season. After years in carnivals and as a vaudeville headliner, Demarest starred in such Broadway long-runners as Earl Carroll's Sketch Book. He was signed with Warner Bros. pictures in 1926, where he was briefly paired with Clyde Cook as a "Mutt and Jeff"-style comedy team. Demarest's late-silent and early-talkie roles varied in size, becoming more consistently substantial in the late 1930s. His specialty during this period was a bone-crushing pratfall, a physical feat he was able to perform into his 60s. While at Paramount in the 1940s, Demarest was a special favorite of writer/director Preston Sturges, who cast Demarest in virtually all his films: The Great McGinty (1940); Christmas in July (1940); The Lady Eve (1941); Sullivan's Travels (1942); The Palm Beach Story (1942); Hail the Conquering Hero (1944); Miracle of Morgan's Creek (1944), wherein Demarest was at his bombastic best as Officer Kockenlocker; and The Great Moment (1944). For his role as Al Jolson's fictional mentor Steve Martin in The Jolson Story (1946), Demarest was Oscar-nominated (the actor had, incidentally, appeared with Jolie in 1927's The Jazz Singer). Demarest continued appearing in films until 1975, whenever his increasingly heavy TV schedule would allow. Many Demarest fans assumed that his role as Uncle Charlie in My Three Sons (66-72) was his first regular TV work: in truth, Demarest had previously starred in the short-lived 1960 sitcom Love and Marriage.

Trivia: After having drifted from job to job--with a wife and five children in tow--Baltimore native Paul Ford decided in his late 30s to give acting a try. He worked with the Depression-era W.P.A. agency in a puppet show project and also wrote shows for the Federal Theatre; his biggest break came when he and his co-workers staged a puppet production for the 1939 New York World's Fair. Radio, stage and film work followed, but Ford wouldn't truly hit the big time until 1955, when he was engaged to play the apoplectic Colonel Hall on Phil Silvers' situation comedy You'll Never Get Rich. For four seasons, TV fans were regaled by the efforts of conniving Sgt. Bilko (Silvers) and long-suffering Col. Hall to outsmart one another. During this period, Ford worked steadily in the theatre, recreating his popular stage role as Colonel Purdy in Teahouse for the August Moon when the play was committed to film in 1955. After Phil Silvers' series was cancelled, Ford continued his stage and screen career, scoring a major success in 1965 in the play Never Too Late, in which he played a fiftyish husband who discovered that his middle-aged wife was pregnant. Never Too Late was filmed in 1967, with Ford once again in the starring role; five years and many lucrative acting assignments later, Paul Ford retired.

Trivia: Few actors were more beloved of audiences across multiple generations -- and from more different fields of entertainment -- than Edward Everett Horton. For almost 70 years, his work delighted theatergoers on two coasts (and a lot of the real estate in between) and movie audiences, first in the silents and then in the talkies, where he quickly became a familiar supporting player and then a second lead, often essaying comically nervous "fuddy-duddy" parts, and transcended the seeming limitations of character acting to rival most of the leading men around him in popularity; he subsequently moved into television, both as an actor and narrator, and gained a whole new fandom for his work as the storyteller in the animated series "Fractured Fairy Tales." Edward Everett Horton was born in Brooklyn, NY, in 1886 -- when it was a separate city from New York City -- the son of Edward Everett Horton and Isabella Diack Horton. His grandfather was Edward Everett Hale, the author of the story The Man Without a Country. He attended Boys High School and later studied at the Brooklyn Polytechnic Institute and at Oberlin College in Ohio, and Columbia University in Manhattan. His path to graduation was thwarted when he joined the university's drama club -- despite his 6'2" build, his first role had him cast as a woman. He never did graduate from Columbia, but he embarked on a performing career that was to keep him busy for more than six decades. In those days, he also sang -- in a baritone -- and joined the Staten Island-based Dempsey Light Opera Company for productions of Michael Balfe's The Bohemian Girl and Gilbert & Sullivan's The Mikado. His singing brought him to the Broadway stage as a chorus member, and he subsequently spent three years with the Louis Mann company honing his acting skills while playing in stock -- Horton made his professional acting debut in 1908 with a walk-on role in The Man Who Stood Still. By 1911, he was working steadily and regularly, and often delighting audiences with his comedic talents, and remained with the Mann company for another two years. He was a leading man in the Crescent Theatre stock company, based in Brooklyn, and spent the remainder of the teens playing leading roles in theater companies across the United States, eventually basing himself in Los Angeles. Horton entered movies in 1918, and became well known to screen audiences with his performance in the 1923 version of Ruggles of Red Gap. He was identified almost entirely with comedic work after that, and by the end of the '20s had starring roles in a string of comedic shorts. It was after the advent of sound, however, that he fully hit his stride on the big screen. Horton's first talking feature was The Front Page (1931), directed by Lewis Milestone, based on the hit play by Ben Hecht and Charles MacArthur, in which he played fidgety reporter Roy Bensinger. Starting in the early '20s, Horton based most of his stage work on the West Coast, producing as well as acting. He leased the Majestic Theater in Los Angeles and found success with works such as The Nervous Wreck, in which he worked with Franklin Pangborn, a character actor who would also -- like Horton -- specialize in nervous, fidgety roles (though Pangborn, unlike Horton, never rose beyond character actor and supporting player status in features). In 1932, he leased the Hollywood Playhouse, which he subsequently operated for a season starring in Benn Wolfe Levy's Springtime for Henry, in which he performed more than 3000 times, making enough money from that play alone to buy his summer home in the Adirondacks. Horton fit in his movie work in between productions of Springtime for Henry (which was filmed in 1934, without Horton), and was always in demand. Amid his many roles over the ensuing decade, Horton worked in a half-dozen of the Fred Astaire/Ginger Rogers musicals at RKO. His other notable roles onscreen during the 1930s included a portrayal of The Mad Hatter in the 1933 Alice in Wonderland, and a neurotic paleontologist (who first appears disguised as a woman) in Frank Capra's Lost Horizon (1937). He worked in at least six movies a year from the early '30s through the end of the 1940s, and there were occasional serious variations in his roles -- Horton played an unusually forceful part in Douglas Sirk's Summer Storm (1944), and he delivered a comedic tour de force (highlighted by a delightful scene with Carmen Miranda) in Busby Berkeley's The Gang's All Here (1943). Horton kept busy for more than 60 years, and not just in acting -- along with his brother George he bought up property in the San Fernando Valley from the 1920s onward, eventually assembling Beleigh Acres, a 23-acre development where he lived with his mother (who passed away at age 102). His hobbies included antiques, and at the time of his death in 1970, he had a collection with an estimated value of a half million dollars. He was busy on television throughout the 1950s and '60s, not only in onscreen work but also voice-overs for commercials, and he even hosted the Westminster Kennel Club dog show at Madison Square Garden. Horton was a regular cast member on the comedy Western series F Troop, playing Roaring Chicken (also referred to as Running Chicken), the Hekawi indian tribe medicine man. But his most enduring work from the 1960s was as the narrator of "Fractured Fairy Tales," the Jay Ward-produced co-feature to Rocky & Bullwinkle, in which he was prominently billed in the opening credits of every episode. That engagement endeared him to millions of baby boomers and their parents, and his work in those cartoons continues to gain Horton new fans four decades after his death. He grew frail in appearance during the 1960s, and was not averse to playing off of that reality on series such as Dennis the Menace, where he did a guest-star spot in one episode as Uncle Ned, a health-food and physical-culture fanatic. Horton never married, and shared a home later in life with his sister, Hannabelle Grant. He was hospitalized weeks before his death from cancer in September 1970, and was so busy that during that hospitalization he showed up as a guest star in two episodes of the sitcom The Governor and J.J., His final big-screen appearance was in the Bud Yorkin/Norman Lear comedy Cold Turkey, which wasn't released until the following year.

Trivia: Although his career lacked the resilience of Charlie Chaplin and Laurel and Hardy, Buster Keaton may well have been the most gifted comedian to emerge from the cinema's silent era. And while his skills as a gag writer and physical comic were remarkable, Keaton was one clown whose understanding of the film medium was just as great as his talent for taking a pratfall. Keaton, however, had a roller-coaster career in which he fell just as far as he rose, though he was fortunate enough to enjoy a comeback in the later years of his life. Joseph Frank Keaton was born on October 4, 1895, to Joseph Hallie Keaton and Myra Cutler Keaton, a pair of vaudeville performers. Spending his childhood on the road with his family, he earned the nickname Buster at the age of six months; as legend has it, after the young Keaton fell down a flight of steps at a theater, a magician on the bill, Harry Houdini, said to the lad's father, "What a buster your kid took!" The name stuck, and, by the age of three, the youngster was appearing as part of his parents act whenever they could evade child labor laws. In vaudeville, Keaton developed remarkable talents as an acrobatic comedian with a superb sense of timing, and became a rising star by his teens. His father, however, had developed a serious drinking problem, which strained his relationship with his son and caused serious problems with their very physical stage act, which, in early 1917, Buster left. He appeared in a Broadway comic revue later that year, but the key to Keaton's future came when he met a fellow vaudeville comedian. Roscoe "Fatty" Arbuckle was starring in a low-budget two-reel screen comedy, The Butcher Boy, and invited Keaton to play a small role in the picture. The two hit it off and became a successful onscreen team, starring in a long string of comic hits. Fascinated by the medium of film, Keaton soon began writing their pictures, and assisted in directing them; Keaton was soon starring in his own films, as well, though he and Arbuckle remained lifelong close friends. Keaton developed a distinctive comic style which merged slapstick with a sophisticated sense of visual absurdity, and often included gags which made the most of the film medium, involving props, sets, and visual trickery that would have been impossible on the vaudeville stage. Keaton also developed his personal visual trademark, an unsmiling deadpan demeanor which made his epic-scale gags even funnier. Beginning with his first solo short subjects in 1920, The High Sign and One Week, Keaton became a major star, and after a series of successful two-reelers, including Cops and The Balloonatic, Keaton moved up to feature-length comedies in 1923 with the farcical The Three Ages. Keaton reached the peak of his craft with the features which followed, including Sherlock Jr., Seven Chances, The Navigator, Steamboat Bill, Jr., and the Civil War comedy The General, now universally regarded as Keaton's masterpiece. Independent producer Joseph M. Schenck was the man behind Fatty Arbuckle's comedies when Keaton came aboard, and they continued to work together when Keaton struck out on his own. Schenck believed in the comic's talent and allowed him to work without interference, resulting in a string of creative and popular triumphs. Then, in 1928 -- and with Keaton's approval -- Schenck sold his contract to the biggest studio in Hollywood, Metro Goldwyn Mayer. While Keaton's first vehicle for MGM, The Cameraman, was up to his usual high standards, he chafed at the studio's interference and insistence that the filmmaker work within the same boundaries as its other employees. With outside writers and directors controlling Keaton with a strong hand, his work suffered tremendously. Coupled with a crumbling marriage (to Natalie Talmadge, whom he wed in 1920), Keaton began to drink heavily. With the advent of sound, MGM seemed to have even less of an idea of what to do with the actor/director, and starred him in a series of second-rate comedies with Jimmy Durante, whose broad style did not mesh well with Keaton. By 1934, Keaton had hit bottom -- MGM fired him, declaring him unreliable after he refused to work on scripts he felt were inferior. His marriage to Talmadge had ended, and he impulsively (and while drunk) married Mae Scriven, a union that would last only three years. The IRS sued him for 28,000 dollars in back taxes. And his alcoholism had become so destructive that he was committed to a sanitarium, where he was placed in a straight jacket. Keaton eventually got his drinking problem under control, but his career in Hollywood was in dire straits. He starred in a series of low-budget short subjects for the tiny Educational Pictures and later Columbia Pictures, none of which made much of an impression. Keaton also appeared on-stage in touring productions of such comedies as The Gorilla, and, ironically, found himself employed as a gag writer and director at MGM, albeit at a fraction of his former salary. He also appeared in a few European comedies, where audiences held him in greater regard than in the U.S. But that began to change in 1949, when a cover story in Life magazine on great clowns of the silent movies reminded audiences of his comic legacy. Keaton began making guest appearances on television shows, and the now sober star made his way back into supporting roles in major movies (most notably Around the World in 80 Days and Charlie Chaplin's Limelight). In 1957, Keaton sold the rights to his life story to Paramount Pictures, who hired him as a technical advisor for The Buster Keaton Story. While the film was a severe disappointment (and had little to do with the facts of his life), the financial windfall was enough for Keaton to buy a new house, where he and his third wife, Eleanor Norris (whom Keaton wed in 1940), lived for the rest of their lives. Keaton found himself in increasing demand in the '60s, appearing in several of American International Pictures' "Beach" musicals (in which he was allowed to work up his own gags) and a number of television ad campaigns. He also starred in a short film created by playwright Samuel Beckett, appearing in a loving tribute to his silent films, The Railrodder, and landed a memorable role in A Funny Thing Happened on the Way to the Forum. Sadly, Keaton's second wave of success came to an end on February 1, 1966, when he lost a lengthy battle with lung cancer.

Trivia: While a still scrawny, undersized pre-teen in Morgantown, WV, Don Knotts dreamed of becoming an entertainer, but was too nervous to offer himself as a "single." Purchasing a dummy named Danny, Knotts worked up a ventriloquist act (admittedly stolen from Edgar Bergen) and headed to New York to seek his fortune. After flunking out twice on Major Bowes' Amateur Hour, Knotts returned to Morgantown. He attended West Virginia University as a speech major, intending to become a teacher. He was given a second opportunity to hone his entertaining skills while in Special Services during World War II. He continued pursuing ventriloquism until the fateful night that he threw his dummy into the ocean: "I wanted to get the laughs," Knotts would explain later. And laughs he got as a monologist from both GI and civilian audiences. Never completely conquering his stage fright, Knotts incorporated his nervousness into his act, impersonating such tremulous creatures as a novice TV weatherman and a tongue-tied sportcaster. In New York after the war, Knotts secured work on a local children's show before spending several years on the daytime soap opera Search for Tomorrow. In 1955, Knotts was cast in two small roles in the Broadway play No Time for Sergeants, which starred another teacher-turned-monologist named Andy Griffith, who would become Knotts' lifelong friend and co-worker. From 1955 through 1960, Knotts was a regular on The Steve Allen Show, provoking uncontrollable bursts of laughter as the bug-eyed, quivering "man on the street." He made his screen debut in the 1958 film version of No Time for Sergeants, re-creating his stage role of the squeaky-voiced coordination therapist. In 1960, he was cast as uptight, self-important, overzealous, magnificently inept deputy Barney Fife on The Andy Griffith Show. This was the role that won Knotts seven Emmies: five during his five-year tenure on the series, and two more when he returned to the show as a guest star in 1966 and 1967. Knotts left the Griffith Show when his contract expired in 1965, hoping to achieve movie stardom. From 1966 through 1971, Knotts ground out a series of inexpensive comedies for Universal (called "regionals" because they played primarily in non-urban and rural theaters). Panned or ignored by the critics on their first release, many of Knotts's starring films, especially The Ghost and Mr. Chicken (1966) and Shakiest Gun in the West (1967), became fan favorites. Arguably, however, the best of Knotts' 1960s films was made at Warner Bros. while he was still an Andy Griffith regular: The Incredible Mr. Limpet, a blend of animation and live-action wherein Knotts was ideally cast as a henpecked husband who metamorphosed into a war-hero fish.In 1970, Knotts starred in his own TV variety series, which opened to good ratings but ran out of gas after a single season. He resumed his film career, first at Disney, then teamed with Tim Conway in a handful of cheap but amusing B-grade features (The Private Eyes, The Prize Fighter). He also returned to television as self-styled roué Mr. Furley on Three's Company (1979-1984) and as gung-ho principal Bud McPherson on the syndicated What a Country! (1986). That same year, Knotts reprised his most venerable role of Deputy Fife in the made-for-TV movie, Return to Mayberry, the last act of which saw the character becoming the sheriff of Mayberry, NC.Despite his advancing age, Knotts' output increased in the 1990s and early 2000s. He appeared as a school principal in the Rick Moranis/Tom Arnold comedy Big Bully (1996). Additional roles included a television repairman in Big scribe Gary Ross's 1998 directorial debut, Pleasantville; the voice of T.W. Turtle in Cats Don't Dance, the voice of Turkey Lurkey in the 2005 Disney comedy Chicken Little, and a turn as "The Landlord" on an episode of That '70s Show that represented a deliberate throwback to Three's Company. Knotts spent much of his final decade teaming up with his old friend and co-star, Tim Conway, on the voiceovers for the Hermie and Friends series, contemporary Christian animated videos about a bunch of colorful insects. The world lost Don Knotts on February 25, 2006; he died in Beverly Hills, CA. In his final years, Knotts's appearances on the big or the small screen were greeted with the sort of appreciative laughter and applause that is afforded only to a genuine television icon.

Trivia: Carl Reiner knew he wanted to be an actor -- preferably a Shakespearean actor -- from the time he was wearing knee pants. Trained in New York's Works Progress Administration Dramatic Workshop, he spent the war years touring with Maurice Evans' G.I. Hamlet, appearing with another young hopeful, Howard Morris. After the war he accumulated scores of stock company and Broadway credits, then in 1948 made his television debut in the short-lived series Fashion Story. While starring in NBC's 54th Street Revue, he was hired as one of the regulars on Your Show of Shows, appearing on a weekly basis with Sid Caesar, Imogene Coca, and old pal Howie Morris. During the scripting sessions for Show of Shows, Reiner became friends with a bombastic staff writer named Mel Brooks, with whom he improvised a number of wild stream-of-consciousness comedy bits which would eventually crystallize as the classic "2000 Year Old Man" routines. An Emmy winner for his work on the various Sid Caesar programs, he entered films as a character actor in 1959. That same year, he wrote, produced, and starred in the pilot episode for a proposed series about a comedy writer named Rob Petrie, titled Head of the Family. The network executives liked the concept, but vetoed Reiner as the star; swallowing his pride, he retooled the property with another leading man, and that's how the Emmy-winning Dick Van Dyke Show was born. During the series' five-year run, Reiner made innumerable cameo appearances on the program, most memorably as Rob Petrie's mercurial TV-comedian boss Alan Brady. In 1967 he made his film directorial debut with Enter Laughing, an adaptation of his own semi-autobiographical 1958 novel (the book had already been transformed into a Broadway play with Alan Arkin as star). Reiner's later directing assignments included The Comic (1967), a bittersweet farce based on the lives of Stan Laurel, Harry Langdon, and Buster Keaton; the black comedy cult favorite Where's Poppa? (1970); the whimsical fantasy Oh, God (1977); and a popular series of Steve Martin vehicles, among them The Jerk (1978) and Dead Men Don't Wear Plaid (1982). His film output decreased in number and quality in the l980s and 1990s, though critics enjoyed his offbeat 1989 working-class comedy Bert Rigby, You're a Fool and his 1997 Bette Midler starrer That Old Feeling. In 1995, he earned yet another Emmy award for his revival of the Alan Brady character on a memorable episode of TV's Mad About You. And though Reiner appeared to retire from directing following That Old Feeling, he still maintained a notable presence in film and television with roles in Steven Soderbergh's Ocean's Eleven and it's two sequels, House M.D., Hot in Cleveland, and Parks and Rec.Carl Reiner is the father of directors Rob Reiner and Lucas Reiner; his wife Estelle has enjoyed a latter-day career as a night club singer and as a cameo performer in her son Rob's films (she's the lady who says, "I'll have what she's having!" in When Harry Met Sally).

Trivia: One of comedian Joe E. Brown's proudest claims was that he was perhaps the only kid whose parents encouraged him to run away with the circus. In 1902, the 10-year-old Brown joined a circus tumbling act called the Five Marvellous Ashtons, with whom he started his vaudeville career. He toured in burlesque in an acrobatic act, and also briefly played semi-professional baseball. His avid interest in baseball inaugurated a lifelong association with that sport which would included his participation in the National Vaudeville Artists ballteam, his part-ownership of the minor league Kansas City Blues, and his providing pregame "color" for the televised New York Yankees games of the 1950s (Joe's son Joe L. became manager of the Pittsburgh Pirates in 1955). On the verge of his leaving vaudeville for Broadway in 1919, Joe discovered that Actors' Equity had called a strike; with very little hesitation, he grabbed a sign and joined the picket line. In 1920, Brown finally made it to Broadway as a comedian in the all-star review Jim Jam Jems. He went on to star in such New York productions as Captain Jinks and Twinkle Twinkle. In 1928, he began his movie career, uncharacteristically appearing in turgid melodramas until he was signed by Warner Bros. in 1929. In his popular Warners vehicles, Brown alternated between playing naive young men who made good despite impossible odds, or brash braggarts who had to be taken down a peg or two. His trademark was his huge mouth, cavernous grin, and drawn-out yell. Joe's best films were those in which he was permitted to display his athletic prowess, such as his "baseball trilogy" Fireman Save My Child (1932), Elmer the Great (1933) and Alibi Ike (1935). Personally selected by Max Reinhardt to play Flute in the lavish Warners adaptation of Shakespeare's A Midsummer Night's Dream (1935), Brown easily stole the show from such formidable competition as James Cagney, Olivia de Havilland, Victor Jory, and Mickey Rooney. During his Warner years, Brown and his wife began sponsoring promising college athletes: among Joe's proteges were UCLA football star (and later producer) Mike Frankovitch, and Olympic contestant (and future politician) Ralph Metcalfe. After ending his Warners contract in 1936, Brown starred in a series of largely disappointing low-budget comedies for independent producer David Loew. By the early 1940s, Brown's pictures were strictly in the "B" category, though some of them, notably his brace of co-starring assignments with comedienne Judy Canova, had glimmers of the old Brown magic. He worked tirelessly entertaining troops in all corners of the world during World War II; their enthusiastic response enabled Brown to overcome the death of his son, Captain Donald Evans Brown, in a training accident. After the war, Brown devoted most of his energies to stage work, notably in the road companies of Harvey and Show Boat (he would repeat his interpretation of Captain Andy in the 1951 MGM film version of Show Boat). He added television to his long list of accomplishments in the 1950s and 1960s. Most of Joe E. Brown's final film appearances were cameo roles, with the outstanding exception of his portrayal of daffy millionaire Osgood Fielding in Some Like It Hot (1959), wherein Joe, after discovering that his "girlfriend" Jack Lemmon was actually a man, brought down the house by uttering the film's classic punchline: "Well, nobody's perfect."

Trivia: Andy Devine was born in Kingman, Arizona, where his father ran a hotel. During his youth, Devine was a self-confessed hellraiser, and stories of his rowdy antics are still part of Kingman folklore (though they've undoubtedly improved in the telling). His trademarked ratchety voice was the result of a childhood accident, when he fell while carrying a stick in his mouth, resulting in permanent vocal-chord injuries. A star football player at Santa Clara University, Andy decided to break into movies in 1926; he was almost immediately cast in Universal's two-reel series The Collegians. When talkies came, Devine was convinced that his voice was unsuitable for the microphone. He reportedly became so despondent at one point that he attempted to commit suicide by asphyxiation, only to discover that his landlady had turned off the gas! Devine needn't have worried; his voice became his greatest asset, and from 1930 until his retirement, he was very much in demand for bucolic comedy roles. In 1937 he became a regular on Jack Benny's radio program, his howl of "Hiya, Buck!" becoming a national catchphrase. During the late 1940s and early 1950s, he was a popular comedy sidekick in the western films of Roy Rogers. Later film assignments included his atypical performance as a corrupt Kansas City cop in Jack Webb's Pete Kelly's Blues (1955). Most baby boomers retain fond memories of Devine's TV appearances as Jingles Jones on the long-running western series Wild Bill Hickock, and as host of the Saturday morning kid's program Andy's Gang. In his later years, Devine cut down his performing activities, preferring to stay on his Van Nuys (California) ranch with his wife and children. Made a very wealthy man thanks to real estate investments, Andy Devine abandoned moviemaking in 1970, resurfacing only to provide voices for a brace of Disney cartoon features; he remained active in civic and charitable affairs, at one juncture serving as honorary mayor of Van Nuys.

Trivia: Famed for his country-bumpkin features and fruity vocal intonations, American actor Sterling Holloway left his native Georgia as a teenager to study acting in New York City. Working through the Theatre Guild, the young Holloway was cast in the first Broadway production of songwriters Rodgers and Hart, Garrick Gaieties. In the 1925 edition of the revue, Holloway introduced the Rodgers-Hart standard "I'll Take Manhattan;" in the 1926 version, the actor introduced another hit, "Mountain Greenery." Hollywood beckoned, and Holloway made a group of silent two-reelers and one feature, the Wallace Beery vehicle Casey at the Bat (1927), before he was fired by the higher-ups because they deemed his face "too grotesque" for movies. Small wonder that Holloway would insist in later years that he was never satisfied with any of the work Hollywood would throw his way, and longed for the satisfaction of stage work. When talkies came, Holloway's distinctive voice made him much in demand, and from 1932 through the late '40s he became the archetypal soda jerk, messenger boy, and backwoods rube. His most rewarding assignments came from Walt Disney Studios, where Holloway provided delightful voiceovers for such cartoon productions as Dumbo (1941), Bambi (1942), Alice in Wonderland (1951), Ben and Me (1954) and The Jungle Book (1967). Holloway's most enduring role at Disney was as the wistful voice of Winnie the Pooh in a group of mid-'60s animated shorts. On the "live" front, Holloway became fed up of movie work one day when he found his character being referred to as "boy" - and he was past forty at the time. A few satisfactory film moments were enjoyed by Holloway as he grew older; he starred in an above-average series of two reel comedies for Columbia Pictures from 1946 to 1948 (in one of these, 1948's Flat Feat, he convincingly and hilariously impersonated a gangster), and in 1956 he had what was probably the most bizarre assignment of his career when he played a "groovy" hipster in the low-budget musical Shake, Rattle and Rock (1956). Holloway worked prodigiously in TV during the '50s and '60s as a regular or semi-regular on such series as The Life of Riley, Adventures of Superman and The Baileys of Balboa. Edging into retirement in the '70s, Sterling Holloway preferred to stay in his lavish hilltop house in San Laguna, California, where he maintained one of the most impressive and expensive collections of modern paintings in the world.

Trivia: Hatchet-faced character actor Charles Lane has been one of the most instantly recognizable non-stars in Hollywood for more than half a century. Lane has been a familiar figure in movies (and, subsequently, on television) for 60 years, portraying crotchety, usually miserly, bad-tempered bankers and bureaucrats. Lane was born Charles Levison in San Francisco in 1899 (some sources give his year of birth as 1905). He learned the ropes of acting at the Pasadena Playhouse during the middle/late '20s, appearing in the works of Shakespeare, Chekhov, and Noel Coward before going to Hollywood in 1930, just as sound was fully taking hold. He was a good choice for character roles, usually playing annoying types with his high-pitched voice and fidgety persona, encompassing everything from skinflint accountants to sly, fast-talking confidence men -- think of an abrasive version of Bud Abbott. His major early roles included the stage manager Max Jacobs in Twentieth Century and the tax assessor in You Can't Take It With You. One of the busier character men in Hollywood, Lane was a particular favorite of Frank Capra's, and he appeared in Mr. Deeds Goes to Town, Mr. Smith Goes to Washington, Arsenic and Old Lace, It's a Wonderful Life -- with a particularly important supporting part in the latter -- and State of the Union. He played in every kind of movie from screwball comedy like Ball of Fire to primordial film noir, such as I Wake Up Screaming. As Lane grew older, he tended toward more outrageously miserly parts, in movies and then on television, where he turned up Burns & Allen, I Love Lucy, and Dear Phoebe, among other series. Having successfully played a tight-fisted business manager hired by Ricky Ricardo to keep Lucy's spending in line in one episode of I Love Lucy (and, later, the U.S. border guard who nearly arrests the whole Ricardo clan and actor Charles Boyer at the Mexican border in an episode of The Lucy-Desi Comedy Hour), Lane was a natural choice to play Lucille Ball's nemesis on The Lucy Show. Her first choice for the money-grubbing banker would have been Gale Gordon, but as he was already contractually committed to the series Dennis the Menace, she hired Lane to play Mr. Barnsdahl, the tight-fisted administrator of her late-husband's estate during the first season of the show. Lane left the series after Gordon became available to play the part of Mr. Mooney, but in short order he moved right into the part that came very close to making him a star. The CBS country comedy series Petticoat Junction needed a semi-regular villain and Lane just fit the bill as Homer Bedloe, the greedy, bad-tempered railroad executive whose career goal was to shut down the Cannonball railroad that served the town of Hooterville. He became so well-known in the role, which he only played once or twice a season, that at one point Lane found himself in demand for personal appearance tours. In later years, he also turned up in roles on The Beverly Hillbillies, playing Jane Hathaway's unscrupulous landlord, and did an excruciatingly funny appearance on The Odd Couple in the mid-'70s, playing a manic, greedy patron at the apartment sale being run by Felix and Oscar. Lane also did his share of straight dramatic roles, portraying such parts as Tony Randall's nastily officious IRS boss in the comedy The Mating Game (1959), the crusty River City town constable in The Music Man (1962) (which put Lane into the middle of a huge musical production number), the wryly cynical, impatient judge in the James Garner comedy film The Wheeler-Dealers (1963), and portraying Admiral William Standley in The Winds of War (1983), based on Herman Wouk's novel. He was still working right up until the late '80s, and David Letterman booked the actor to appear on his NBC late-night show during the middle of that decade, though his appearance on the program was somewhat disappointing and sad; the actor, who was instantly recognized by the studio audience, was then in his early nineties and had apparently not done live television in many years (if ever), and apparently hadn't been adequately prepped. He seemed confused and unable to say much about his work, which was understandable -- the nature of his character parts involved hundreds of roles that were usually each completed in a matter or two or three days shooting, across almost 60 years. Lane died at 102, in July 2007 - about 20 years after his last major film appearance.

Trivia: Howard Da Silva worked the steel mills of Pennsylvania to pay his way through Carnegie Institute. After finishing his acting training, Da Silva went to work for Eva Le Galliene's theatrical troupe. He brought attention to himself by staging a one-man show, Ten Million Ghosts, which led to several years' work with Orson Welles' Mercury Theatre. On Broadway, the stocky, booming-voiced Da Silva created the roles of Jack Armstrong in Abe Lincoln in Illinois (a part he re-created in the 1940 film version) and Jud Frye in Oklahoma. His earliest movie appearance was in the Manhattan-filmed Jimmy Savo vehicle Once in a Blue Moon (1934), but Da Silva didn't gain cinematic prominence until signed by Paramount in the 1940s, where among many other choice assignments he was cast as the bartender in the Oscar-winning The Lost Weekend (1945). As one of most vocal and demonstrative of Hollywood's Left Wing, Da Silva became a convenient target for the House Un-American Activities Commission, and he was blacklisted. Unable to find movie or TV work, DaSilva returned to the stage in the 1950s, not facing the cameras again until 1962's David and Lisa (1962). Among his many memorable portrayals of the 1970s were Benjamin Franklin in stage and film versions of 1776, Nikita Khrushchev in the 3-hour TV drama Missiles of October, and his award-winning supporting performance in PBS' Verna: The USO Girl. Howard Da Silva also appeared in both the 1949 and 1974 versions of The Great Gatsby, playing the tragic garage owner Mr Wilson in the first version, and the Arnold Rothstein-like gambler Meyer Wolfsheim in the second.

Trivia: Gravel-voiced, granite-faced stage actor Charles McGraw made his first film The Moon is Down in 1943. At first it seemed as though McGraw would spend his movie career languishing in villainy, but while working at RKO in the late 1940s-early 1950s, the actor developed into an unorthodox but fascinating leading man. His shining hour (actually 72 minutes) was the role of the embittered detective assigned to protect mob witness Marie Windsor in the 1952 noir classic The Narrow Margin. McGraw continued being cast in the raffish-hero mold on television, essaying the lead in the 1954 syndicated series Adventures of Falcon and assuming the Bogartesque role of café owner Rick Blaine in the 1955 weekly TV adaptation of Casablanca (1955) (his last regular TV work was the supporting part of Captain Hughes on the 1971 Henry Fonda starrer The Smith Family). Active until the mid-1970s, Charles McGraw growled and scowled his way through such choice character roles as gladiator trainer Marcellus in Spartacus (1960), Sebastian Sholes in Hitchcock's The Birds (1963), and The Preacher in the cult favorite A Boy and His Dog (1975).

Trivia: According to her own account, actress ZaSu Pitts was given her curious cognomen because she was named for two aunts, Eliza and Susan. Born in Kansas, Pitts moved with her family to California, where at age 19 she began her film career. Her first starring role was as an ugly duckling who finds true love in 1919's Better Times. Her calculated vagueness and fluttery hand gestures earned Pitts comedy roles from the outset, but director Erich Von Stroheim saw dramatic potential in the young actress. He cast her as the grasping, money-mad wife in his masterpiece Greed (1924), and she rose to the occasion with a searing performance. Except for a couple of later collaborations with Von Stroheim, Pitts returned to predominately comic assignments after Greed. One exception was her portrayal of Lew Ayres' ailing mother in the Oscar-winning All Quiet on the Western Front (1930), a brilliant piece of work that unfortunately fell victim to the editors' scissors when a preview audience, conditioned to Pitts' comedy roles, broke out in loud laughter when she came onscreen (she was replaced by Beryl Mercer in the domestic version of All Quiet, though reportedly her scenes were retained for some European versions). Established as a top character comedian by the '30s (her oft-imitated catchphrase was "Oh, dear, oh my!"), Pitts co-starred with Thelma Todd in a series of Hal Roach two-reelers, was top-billed in such feature programmers as Out All Night (1933) and The Plot Thickens (1935), and showed up in select character roles in A-pictures. During the '40s and '50s, she toured in Ramshackle Inn, a play written especially for her by George Batson. From 1956 through 1960, Pitts played Elvira "Nugey" Nugent on the popular Gale Storm TV sitcom Oh, Susanna. ZaSu Pitts died in 1963, shortly after completing her final film appearance in It's a Mad, Mad, Mad, Mad World (1963) and just a few days after her last TV guest assignment on Burke's Law.

Trivia: Madlyn Rhue, on her own in New York since the mid-'50s, took short-term jobs ranging from cigarette girl to magician's assistant. She made her TV acting debut in 1959, the same year that she appeared in her first film, The Miracle. Not a great beauty by 1960s standards, Rhue's face had an aura of inner resilience, enabling her to portray virtually everything from long-suffering heroines to calculating villainesses. Her busy private life was always a source of interest to gossip columnists; in her heyday, she was squired by such eligibles as Cary Grant and Vic Damone. In the 1980s, Rhue fell victim to a neuromuscular illness which limited her to roles that did not require her to walk or stand up. Eventually, Madlyn Rhue worked just long enough each year to cover her medical expenses; she was most often seen in the recurring role of the Cabot Cove librarian in the weekly TV mystery series Murder She Wrote.

Trivia: A self-described "household face," character actor Jesse White made his first stage appearance as a teenager in his adopted hometown of Akron, OH. Supporting himself with a variety of civilian jobs, White worked the nightclub circuit in Cleveland, then moved on to what was left of vaudeville in the late '30s. White's first Broadway role was in 1942's The Moon is Down; two years later he scored his biggest success as the acerbic sanitarium attendant in Mary Chase's Harvey, a role he would repeat for the 1950 film version (though Harvey is often listed as White's film debut, he can be seen in a bit role as an elevator operator in 1947's Gentleman's Agreement). While he has appeared in some 60 films, White is best known for his TV work, which allowed him to play Runyon-esque gangsters, theatrical agents, neurotic TV talk show hosts, art connoisseurs, toy manufacturers, and whatever else suited his fancy. Two of his longest professional associations were with satirist Stan Freberg (White was featured in several of Freberg's commercials and comedy albums) and comedian/TV mogul Danny Thomas (White played agent Jesse Leeds during the first few seasons of Make Room for Daddy). In the 1970s, White became established as the "lonely" Maytag repairman in a series of well-circulated TV commercials; when he stepped down from this role in the late '80s, the event received a generous amount of press coverage. Jesse White was still in harness into the 1990s. In 1992, he was memorably cast as a sarcastic, cigar-chomping theater chain owner in Joe Dante's Matinee. He passed away at age 79 following complications from surgery on January 8, 1997.

Trivia: The son of American actress Lillian Elliott, Lloyd Corrigan began working in films as a bit actor in the silent era. But Corrigan's heart was in writing and directing during his formative professional years. He was among Raymond Griffith's writing staff for the Civil War comedy Hands Up (1926), and later penned several of Bebe Daniels' Paramount vehicles. Corrigan worked on the scripts of all three of Paramount's "Fu Manchu" films (1929-30) starring Warner Oland; he also directed the last of the series, Daughter of the Dragon (1930). In contrast to his later light-hearted acting roles, Corrigan's tastes ran to mystery and melodrama in most of his directing assignments, as witness Murder on a Honeymoon (1935) and Night Key (1937). In 1938, Corrigan abandoned directing to concentrate on acting. A porcine little man with an open-faced, wide-eyed expression, Corrigan specialized in likable businessmen and befuddled millionaires (especially in Columbia's Boston Blackie series). This quality was often as not used to lead the audience astray in such films as Maisie Gets Her Man (1942) and The Thin Man Goes Home (1944), in which the bumbling, seemingly harmless Corrigan would turn out to be a master criminal or murderer. Lloyd Corrigan continued acting in films until the mid '60s; he also was a prolific TV performer, playing continuing roles in the TV sitcoms Happy (1960) and Hank (1965), and showing up on a semi-regular basis as Ned Buntline on the long-running western Wyatt Earp (1955-61).

Trivia: Best known for his satirical recorded send-ups of everything from popular songs to American history and as the father of funny television commercials, Stan Freberg is truly one of comedy's great geniuses. Born in Pasadena, CA, Freberg felt the performing bug's bite early on. He launched his professional career in 1943 performing vocal impressions on Cliffie Stone's radio program. In the mid-'40s, Freberg made a name for himself as a voice artist for such major animation studios as Warner Bros., Disney, Paramount, and Walter Lantz; he and fellow voice artist Daws Butler were both regulars on the Time for Beany show. During the '50s, Freberg began making his famous song parodies of such hits as "The Yellow Rose of Texas," "The Great Pretender," and "Banana Boat (Day-O)." These and others not only made fun of the tunes, they also skewered pop culture and history, as in his famous "Dragon-Net" send-up of Jack Webb's long-running television show. As an actor, Freberg has only appeared in a couple of feature films making his debut in Callaway Went Thataway (1951). He has also done work on Broadway and continues to occasionally make appearances on television shows such as Roseanne. In 1997, he became a regular on the CBS children's program The Weird Al Show. As a member of the advertising world, Freberg made many inroads toward making commercials genuinely entertaining. His television campaign for Sunsweet Prunes -- "Today the pits; tomorrow the wrinkles" -- is still considered one of the best of the 1970s. In 1988, Freberg published his autobiography, It Only Hurts When I Laugh.

Trivia: Nightclub comedian and character actor, onscreen from 1943.

Trivia: Though typecast as a dull-witted brute, Austrian-born Mike Mazurki was the holder of a Bachelor of Arts degree from Manhattan College. During the 1930s, he was a professional football and basketball player, as well as a heavyweight wrestler. His clock-stopping facial features enabled Mazurki to pick up bit and supporting roles in such films as The Shanghai Gesture (1941) and Dr.Renault's Secret (1943). Larger parts came his way after his indelible portrayal of psychotic brute Moose Malloy in 1944's Murder My Sweet. His trademarked slurred speech was reportedly the result of an injury to his Adam's apple, incurred during his wrestling days. While villainy was his bread and butter, Mazurki enjoyed working with comedians like Jerry Lewis and Lou Costello; he was particularly fond of the latter because the diminutive Costello treated him with dignity and respect, defending big Mike against people who treated the hulking actor like a big dumb lug. Mazurki's many TV appearances included a regular role on the short-lived 1971 sitcom The Chicago Teddy Bears. In 1976, Mike Mazurki was effectively cast as a kindly trapper in the family-oriented "four-waller" Challenge to Be Free, which ended up a cash cow for the veteran actor.

Trivia: Born in Abrud, Romania, and raised in Dayton, OH, actor Nick Stuart was a handsome, athletic leading man in many Hollywood films of the late '20s and early '30s. Before coming to Hollywood as a prop boy in the mid-'20s, Stuart worked as a shipping clerk. He became an actor in 1927 after getting more experience as a script clerk and an assistant cameraman. After leaving films, Stuart led his own orchestra until the early '60s, when he opened a men's clothing store in Biloxi, MS.

Trivia: Known to friends, family and fans as "The Schnozzola" because of his Cyrano-sized nose, American entertainer Jimmy Durante was the youngest child of an immigrant Italian barber. Fed up with his schooling by the second grade, Durante dedicated himself to becoming a piano player, performing in the usual dives, beer halls and public events. He organized a ragtime band, playing for such spots as the Coney Island College Inn and Harlem's Alamo Club. He secured two long-lasting relationships in 1921 when he married Maud Jeanne Olson and formed a professional partnership with dancer Eddie Jackson; two years later Durante and Jackson combined with another dancer, Lou Jackson, to form one of the best-known roughhouse teams of the 1920s. Clayton, Jackson and Durante opened their own speakeasy, the Club Durant (they couldn't afford the "E" on the sign), which quickly became the "in" spot for show-business celebrities and the bane of Prohibition agents. Durante was clearly the star of the proceedings, adopting his lifelong stage character of an aggressive, pugnacious singer, yelling "Stop the music" at the slightest provocation and behaving as though he had to finish his song before the authorities hauled him away for having the nerve to perform. Durante's trio went uptown in the Ziegfeld musical Show Girl in 1929, the same year that Durante made his screen debut in Roadhouse Nights. Though popular in personal appearances, Durante's overbearing performing style did not translate well to movies, especially when MGM teamed the megawatt Durante with stone-faced comedian Buster Keaton. Though Durante and Keaton liked each other, their comedy styles were not compatible. Durante had reached his peak in films by 1934, and was thereafter used only as a specialty or in supporting roles. On stage, however, Durante was still a proven audience favorite: he stopped the show with the moment in the 1935 Billy Rose stage musical Jumbo, wherein, while leading a live elephant away from his creditors, he was stopped by a cop. "What are you doing with that elephant?" demanded the cop. Durante looked askance and bellowed, "What elephant?" In hit after hit on Broadway, Durante was a metropolitan success, expanding his popularity nationwide with a radio program co-starring young comedian Garry Moore, which began in 1943, the year of Durante's first wife's death (she may or may not have been the "Mrs. Calabash" to whom he said goodnight at the end of each broadcast). Virtually out of films by the 1950s, Durante continued to thrive on TV and in nightclubs, finding solace in his private life with his 1960 marriage to Margie Little. By the mid-1960s, Durante was capable of fracturing a TV audience simply by mangling the words written for him on cue cards; a perennial of ABC's weekly Hollywood Palace, he took on a weekly series in his 76th year in a variety program co-starring the Lennon Sisters. Suffering several strokes in the 1970s, Durante decided to retire completely, though he occasionally showed up (in a wheelchair) for such celebrations as MGM's 50th anniversary. Few stars were as beloved as Durante, and even fewer were spoken of so highly and without any trace of jealousy or rancor after his death in 1980; perhaps this adulation was due in part to Durante's ending each performance by finding a telephone, dialing G-O-D, and saying "Thanks!"

Trivia: The screen's premier "comic gangster," Allen Jenkins studied at the American Academy of Dramatic Arts and worked several years in regional stock companies and on Broadway before talking pictures created a demand for his talents in Hollywood. One of his first films was Blessed Event (1932), in which Jenkins played the role he'd originated in the stage version. This and most subsequent Allen Jenkins films were made at Warner Bros., where the actor made so many pictures that he was sometimes referred to as "the fifth Warner Brother." As outspoken and pugnacious off screen as on, Jenkins was a member in good standing of Hollywood's "Irish Mafia," a rotating band of Hibernian actors (including James Cagney, Pat O'Brien, Matt McHugh and Jimmy Gleason) who palled around incessantly. Popular but undisciplined and profligate with his money, Jenkins was reduced to "B" films by the 1940s and 1950s, including occasional appearances in RKO's Falcon films and the Bowery Boys epics at Monogram; still, he was as game as ever, and capable of taking any sort of physical punishment meted out to his characters. TV offered several opportunities for Jenkins in the 1950s and 1960s, notably his supporting role on 1956's Hey Jeannie, a sitcom starring Scottish songstress Jeannie Carson, and 30 weeks' worth of voice-over work as Officer Dibble on the 1961 animated series Top Cat. Going the dinner theater and summer stock route in the 1960s, Jenkins was as wiry as ever onstage, but his eyesight had deteriorated to the point that he had to memorize where the furniture was set. Making ends meet between acting jobs, Jenkins took on work as varied as tool-and-die making for Douglas Aircraft and selling cars for a Santa Monica dealer. Asked in 1965 how he felt about "moonlighting", Jenkins (who in his heyday had commanded $4000 per week) growled, "I go where the work is and do what the work is! Moonlighting's a fact. The rest is for the birds." Towards the end of his life, Jenkins was hired for cameo roles by directors who fondly remembered the frail but still feisty actor from his glory days; one of Jenkins' last appearances was as a telegrapher in the final scene of Billy Wilder's The Front Page (1974).

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: Wacky comic actor Doodles Weaver started appearing in films in the late '30s, usually playing country-bumpkin bits. He rose to fame as a musician/comedian with the Spike Jones Orchestra, regaling audiences with his double-talk renditions of such tunes as "The Man on the Flying Trapeze" and "The Whiffenpoof Song." His most popular routine was his mile-a-minute parody of an overly excited sports announcer ("And the winnerrrrrrrr....Bei-del-baum!!!!). So valuable was Weaver to Jones' aggregation that Doodles was the only member of the group who was allowed to drink while on tour. This indulgence, alas, proved to be Weaver's undoing; though he'd scaled the heights as a radio and TV star in the 1940s and 1950s, Doodles had lost most of his comic expertise by the 1960s thanks to his fondness for the bottle. A bitter, broken man in his last years, Weaver died of an apparently self-inflicted gunshot wound at the age of 71. Doodles Weaver was the brother of TV executive Sylvester "Pat" Weaver, and the uncle of actress Sigourney Weaver.

Trivia: American actor Tom Kennedy at first entertained no notions of becoming a performer. An honor student in college, Tom excelled as an athlete; he played football, wrestled, and won the national amateur heavyweight boxing title in 1908. Eschewing a job with the New York City police force for a boxing career, Kennedy didn't have anything to do with movies until he was hired as Douglas Fairbanks Sr.'s trainer in 1915. Shortly afterward, he was hired for small parts at the Keystone Studios and remained primarily a bit actor throughout the silent period. Graduating to supporting roles in talkies, he was often cast as a dumb cop or an easily confused gangster. In 1935, Kennedy achieved star billing by teaming with comedian Monty Collins in a series of 11 Columbia two-reelers. In most of these, notably the hilarious Free Rent (1936), Tom was cast as a lummox whose density caused no end of trouble to the sarcastic Collins. Outside of his short subject work, Tom's most memorable screen appearances occured in Warner Bros' Torchy Blaine B-pictures, in which he was cast as the cretinous, poetry-spouting detective Gahagan. Tom Kennedy stayed active in films into the early '60s, looking and sounding just about the same as he had in the '30s; his most conspicuous screen bits in his last years were in Billy Wilder's Some Like It Hot (1959) and Stanley Kramer's It's a Mad, Mad, Mad, Mad World (1963).

Trivia: Don C. Harvey's screen acting career was launched when he signed a Columbia contract in 1949. An all-purpose villain, Harvey showed up in most of Columbia's serials of the era, including Atom Man vs. Superman (1949), Adventures of Sir Galahad (1949), Batman and Robin (1949), Captain Video (1950), and the studio's final chapter play, Blazing the Overland Trail (1956). He also appeared in Columbia's "A" product (Picnic), "B" pictures (Women's Prison) and two-reel comedies (the Three Stooges' Merry Mavericks). Fans of 1950s horror films may recall Harvey as Mac in Revenge of the Creature (1955) and Lester Banning in Creature with the Atom Brain (1955). Don C. Harvey was married to actress June Harvey.

Trivia: Though born in a Chicago hospital, entertainer Jack Benny was a Waukegan boy through and through. The son of a Polish immigrant haberdasher, Benny studied the violin from an early age (he really could play, though he was certainly no virtuoso), and managed to find work in local theatre orchestras. As a teenager, Benny gave vaudeville a try with a musical act in partnership with pianist Cora Salisbury, but this first fling at show business was only fitfully successful. During World War I, Benny was assigned to the Great Lakes Naval Training Center, where, while appearing in camp shows, he first began telling jokes in between violin selections. Benny returned to vaudeville with a comedy act, slowly building himself up into a headliner. He made his first radio appearance on Ed Sullivan's interview show on March 29, 1932; within a year he had his own show, which would evolve over the next two decades into one of radio's most popular programs. He met with equal success when he moved into television in 1950. There are few comedy fans in existence who aren't familiar with the character Benny played on the air: The vain, tone-deaf, penny-pinching, eternal 39-year-old who spent his life being flustered and humiliated by his supporting cast (Mary Livingstone, Eddie "Rochester" Anderson, Dennis Day, Frank Nelson, Mel Blanc, Don Wilson et. al.); nor need his fans be reminded that this character developed gradually, rather than springing full-blown upon the world way back in 1932. What is usually de-emphasized in the many accounts of Benny's life and career is his sizeable body of movie work. Benny himself insisted that most of his films were no good, and many casual viewers have been willing to accept his word on this. Actually, Benny's films, while not all classics, were by and large moneymakers, and never anything to be truly ashamed of. His first feature appearance was as the wisecracking emcee of MGM's The Hollywood Revue of 1929. He followed this with a comic-relief role in Chasing Rainbows (1930) and an uncharacteristic straight part in the low-budget The Medicine Man (1930). He was a perfectly acceptable semicomic romantic lead in It's in the Air (1935), Artists and Models (1936), Artists and Models Abroad (1936), and in his appearances in Paramount's College and Big Broadcast series. Whenever Benny expressed displeasure over his film career, he was usually alluding to those pictures that insisted upon casting him as Benny the Famous Radio Comedian rather than a wholly different screen character. Transatlantic Merry-Go-Round (1934), Man About Town (1939) and Buck Benny Rides Again (1940), though enjoyable, are totally reliant upon Benny's pre-established radio character and "schtick" for their laughs, and as such aren't nearly as effective as his actual radio appearances. His most disappointing movie vehicle was Love Thy Neighbor (1940), designed to cash in on his phony feud with fellow radio humorist Fred Allen. Not only was the film uninspired, but also outdated, since the feud's full comic value had pretty much peaked by 1937. Many of Benny's best films were made during his last four years in Hollywood. 1941's Charley's Aunt was a lively adaptation of the old Brandon Thomas theatrical chestnut (though it did have to work overtime in explaining why a man in his forties was still an Oxford undergraduate!); 1942's George Washington Slept Here, likewise adapted from a stage play (by George S. Kaufman and Moss Hart), was a reasonably funny comedy of frustration; and yet another stage derivation, 1943's The Meanest Man in the World (based on a George M. Cohan farce), allowed Benny to go far afield from his truculent radio persona by playing a man who is too nice for his own good. Benny's finest film, bar none, was the Ernst Lubitsch-directed To Be or Not to Be (1942), in which the comedian was superbly cast as "that great, great Polish actor" Joseph Tura. Benny's final starring feature, the much maligned Horn Blows at Midnight (1945), was an enjoyable effort, and not by any means the unmitigated disaster he used to joke about on radio. The film's problem at the box-office was that it was a comedy fantasy, and audiences in 1945 had had their fill of comedy fantasies. After Horn Blows at Midnight, Benny's theatrical film appearances were confined to guest spots and unbilled gag bits (e.g. The Great Lover and Beau James). In 1949, Benny produced a Dorothy Lamour movie vehicle, The Lucky Stiff; in addition, his J&M Productions, which produced his weekly television series from 1950 through 1965, was also responsible for the moderately popular TV adventure series Checkmate (1960-62). In 1974, Benny was primed to restart his long-dormant movie career by appearing opposite Walter Matthau in the 1975 film adaptation of Neil Simon's play The Sunshine Boys; unfortunately, he died of cancer before filming could begin, and the film ultimately starred George Burns and Matthau.

Trivia: Perhaps no popular film artist in history inspired quite so many conflicting opinions and emotions as actor/comedian Jerry Lewis. Often reviled in his native United States but worshipped as a genius throughout much of Europe and especially France, Lewis took slapstick comedy to new realms of absurdity and outrageousness, his anarchic vision dividing audiences who found him infantile and witless from those who applauded the ambitions of his sight gags, his subversions of standard comedic patterns, and his films' acute criticisms of American values. Regardless of opinion, he was not only one of the biggest stars of the postwar era but also one of the most powerful, and as the writer, director, and producer of many of his features, he qualified as a comic auteur firmly in the tradition of Chaplin and Keaton.Born Joseph Levitch in Newark, NJ, on March 16, 1926, he was the son of borscht-belt comics, spending the majority of his childhood living with relatives but joining his parents each summer as they performed in the Catskills. From the age of five on, Lewis occasionally performed in his parents' act, and later quit high school in order to travel with his own comedy routine, which consisted primarily of mocking famous entertainers while their records were played off-stage. His early years as a performer were lean, and he often resorted to work as a soda jerk, a theater usher, an office clerk, or any one of a number of short-lived jobs. During the summers, he too made the rounds of the Catskills' borscht circuit, but otherwise enjoyed little success.In 1946, Lewis met another struggling performer, a handsome singer named Dean Martin. Later that year, while playing Atlantic City's 500 Club, another act abruptly quit the show, and Lewis suggested Martin to fill the void. Initially the two performed separately, but one night they threw out their routines and teamed on-stage, a Mutt-and-Jeff combo whose wildly improvisational comedy quickly made them a star attraction along the Boardwalk. Within months, Martin and Lewis' salaries rocketed from 350 to 5,000 dollars a week, and by the end of the 1940s, they were the most popular comedy duo in the nation. In 1949, they made their film debut in George Marshall's My Friend Irma, and their supporting work proved so popular with audiences that their roles were significantly expanded for the sequel, the following year's My Friend Irma Goes West. With 1951's At War With the Army, Martin and Lewis earned their first star billing. The picture established the basic formula of all of their subsequent movie work, with Martin the suave straight man forced to suffer the bizarre antics of the manic fool Lewis. Critics often loathed the duo, but audiences couldn't get enough. In all, they made 13 comedies for Paramount, among them 1952's Jumping Jacks, 1953's Scared Stiff, and 1955's Artists and Models, a superior effort directed by Frank Tashlin. For 1956's Hollywood or Bust, Tashlin was again in the director's seat, but the movie was the team's last; after Martin and Lewis' relationship soured to the point where they were no longer even speaking to one another, they announced their breakup following the conclusion of their July 25, 1956, performance at the Copacabana, which celebrated to the day the tenth anniversary of their first show.Working again as a solo performer, Lewis also served as producer on his first post-Martin star vehicle, 1957's The Delicate Delinquent. Reviews were good, and later that same year he starred in The Sad Sack. With 1958's Rock-a-Bye Baby, he teamed again with Tashlin, the first of six Lewis comedies the director helmed; they next united for The Geisha Boy. Under Norman Taurog, Lewis returned in 1959 with Don't Give up the Ship. At the time of its release, he signed an exclusive contract with Paramount for ten million dollars and 60 percent of his box-office profits, the biggest payday of its kind in Hollywood history; at its peak, his popularity was so great that he even starred in a DC Comics book. Lewis celebrated his success by making another feature for Taurog, 1960's Visit to a Small Planet, before returning to work under Tashlin for Cinderfella.With 1960's The Bellboy, Lewis made his directorial debut. Here his comic vision began to truly take flight, with only a bare-bones plot and virtually no dialogue to best serve his ambitious gags. He also directed and produced 1961's The Ladies' Man, a lavishly filmed, vicious satire on American femininity, followed by The Errand Boy, another collection of sight gags which earned favorable comparison to the work of Jacques Tati. Under Tashlin, Lewis next starred in 1962's It's Only Money. Returning to the director's chair, he filmed his masterpiece, The Nutty Professor, a comic retelling of the Dr. Jekyll and Mr. Hyde tale which, while dismissed by American critics, solidified his following among European filmgoers, especially the staff of the influential Cahiers du Cinema.In between 1963's Who's Minding the Store? and 1964's The Disorderly Orderly, both written and directed by Tashlin, Lewis also helmed The Patsy, his most ambitious work to date. In 1965's The Family Jewels, he not only wrote and directed, but also played seven different roles. The picture was among his first not to become a major box-office success. He subsequently traveled to France to star in John Rich's Boeing Boeing. There "Le Roi du Crazy" (as he was dubbed) was met by adoring fans and critics with a three-week film festival, as well as a complete retrospective at the Cinematheque Francais. However, the feature was Lewis' last for Paramount, who found his insistence upon complete artistic control to be at odds with the increasingly disappointing box-office showings of his films.In 1966, after landing at Columbia to direct and star in Three on a Couch, Lewis hosted his first Labor Day telethon to raise funds in support of the Muscular Dystrophy Association. The star-studded event quickly became an institution, annually bringing in millions upon millions in charitable contributions. Lewis next starred in the Gordon Douglas space comedy Way, Way Out, followed by 1967's The Big Mouth, which he directed and co-wrote. He next appeared in Jerry Paris' Don't Raise the Bridge, Lower the River and George Marshall's Hook, Line and Sinker, subsequently directing (but, for the first and only time, not starring) in 1969's One More Time. None of the movies found favor with audiences or critics, however, and after the failure of 1970's Which Way to the Front?, Lewis' career in Hollywood was in grave condition. While seeking funding for his next project, in 1971 he wrote a book, The Total Filmmaker. With financing from the Swedish-based Cinema and Film Enterprises, in 1972 Lewis mounted The Day the Clown Cried, a disturbing tale focusing on a famous clown forced by the Nazis to lead children to their deaths in the gas chambers. Widely speculated to be either a transcendent masterpiece or an obscene failure, the radical feature was never released, remaining trapped in legal limbo. Lewis spent the remainder of the decade out of film, appearing instead in the disastrous Broadway production Helzapoppin' as well as in concert and on the lecture circuit. Finally, in 1979 he wrote, directed, and starred in Hardly Working; though not released until two years later because of financial entanglements, the movie proved to be a major success, grossing over 50 million dollars in North America alone.In late 1982, Lewis was declared clinically dead after suffering a massive heart attack. He was miraculously revived, and the excessive lifestyle that led to his near-death experience became the subject of his 1983 feature Smorgasbord, which later premiered on HBO as Cracking Up before finally bowing in theaters in 1985. In the meantime, Lewis garnered some of the best reviews of his career for his work in Martin Scorsese's The King of Comedy, but his performance did not lead to work in other major Hollywood productions. As a result, he traveled to France, appearing in the 1984 comedies To Catch a Cop and Par Ou T'es Rentre? on T'a Pas Vue Sortir. The dismal Slapstick of Another Kind also arrived in 1984, with only small roles in the 1987 telefilm Fight for Life and Susan Seidelman's 1989 effort Cookie, as well as an extended supporting turn in the television series Wiseguy. By the 1990s, Lewis experienced something of a resurgence. Although he remained unable to secure directorial work, he did appear in the major studio films Mr. Saturday Night and Funny Bones. Additionally, he starred on Broadway in a successful revival of Damn Yankees and in 1996, The Nutty Professor was remade by Eddie Murphy.

Trivia: American actor Chick Chandler was an army brat, the son of a much-travelled military surgeon. Chandler was groomed for a career in uniform, but he dropped out of military school and headed for Hollywood. He worked as a prop man and gopher before making his first film appearance in 1925's Red Love. Polishing his craft in vaudeville and legitimate theatre, Chandler was much in demand once the movies began to talk in 1929. He starred in his own series of two-reelers at RKO, and also made feature-film appearances in such RKO features as Melody Cruise and Murder on a Honeymoon. By the mid-1930s, Chandler was an accomplished monologist and hoofer, enabling him to attain a 20th Century-Fox contract. Perhaps too brash and abrasive to make it as a leading man, Chandler nonetheless thrived as a supporting actor. Once in a while he'd play the romantic lead, but it was usually in poverty-row items like PRC's Seven Doorways to Death (1943). While he remained in films until the late 1960s, it was television that afforded Chick Chandler his most substantial latter-day assignments: he co-starred with John Russell on the 1955 syndicated adventure weekly Soldiers of Fortune, and was a regular as the hero's father on the 1961 "newlywed" sitcom One Happy Family.

Trivia: A specialist in hard-boiled dame roles, Barbara Pepper made her first film appearances as a Goldwyn Girl; she was prominent among the nubile slaves who were garbed only in floor-length blonde wigs in Goldwyn's Roman Scandals (1933). Pepper's one shot at stardom came in King Vidor's Our Daily Bread, in which she played the sluttish vamp who led hero Tom Keene astray; unfortunately, the film was not successful enough, nor her performance convincing enough, to lead to larger parts. She spent the next 30 years in supporting roles and bits, most often playing brassy goodtime girls. A radical weight gain in the 1950s compelled Pepper to alter her screen image; she quickly became adept at portraying obnoxious middle-aged tourists, snoopy next-door neighbors, belligerent landladies, and the like. Pepper's best friend in Hollywood was Lucille Ball, another alumna of the Goldwyn Girl ranks. At one point in 1951,Pepper was a candidate for the role of Ethel Mertz on I Love Lucy. In her last decade, Barbara Pepper gained a whole new crop of fans thanks to her recurring appearances as Doris Ziffel on the TV sitcom Green Acres.

Trivia: Cliff Norton was a former disc jockey from Chicago who segued into television during the peak era of the variety show. He found fame with his unique brand of sketch comedy before establishing himself in such classic television series as Studio One and Kraft TV Theater. Norton's early successes included radio's "Fibber McGee and Molly." He would subsequently serve as a World War II bombardier in the Army Air Corps before returning stateside to continue his career in radio. Despite his success in this medium, the talented funnyman's appearances on Garroway at Large lead Norton to New York and eventually a stage and screen career. Films Norton appeared in include It's a Mad Mad Mad Mad World (1963), The Ghost and Mr. Chicken (1966), and Funny Lady (1975). In January of 2003, Cliff Norton died in Los Angeles, CA, following a brief illness. He was 84.

Trivia: Tall, silver-maned character actor Roy Roberts began his film career as a 20th Century-Fox contractee in 1943. Nearly always cast in roles of well-tailored authority, Roberts was most effective when conveying smug villainy. As a hotel desk clerk in Gentleman's Agreement (1947), he suavely but smarmily refused to allow Jews to check into his establishment; nineteen years later, Roberts was back behind the desk and up to his old tricks, patronizingly barring a black couple from signing the register in Hotel (1966). As the forties drew to a close, Roberts figured into two of the key film noirs of the era; he was the carnival owner who opined that down-at-heels Tyrone Power had sunk so low because "he reached too high" at the end of Nightmare Alley (1947), while in 1948's He Walked By Night, Roberts enjoyed one of his few sympathetic roles as a psycho-hunting plainclothesman. And in the 3-D classic House of Wax, Roberts played the crooked business partner of Vincent Price, whose impulsive decision to burn down Price's wax museum has horrible consequences. With the role of bombastic Captain Huxley on the popular Gale Storm TV series Oh, Susanna (1956-1960), Gordon inaugurated his dignified-foil period. He later played long-suffering executive types on The Beverly Hillbillies, Petticoat Junction and The Lucy Show. Roy Roberts last appeared on screen as the mayor in Roman Polanski's Chinatown (1974).

Trivia: African American comic actor Eddie Anderson was born into a show-business family: his father was a minstrel performer, and his mother a circus tightrope walker. Anderson entered show business at 14, teaming with his brother Cornelius in a song-and-dance act. His movie career began with a lengthy uncredited part as Lowell Sherman's valet in 1932's What Price Hollywood? The best of his earliest film assignments was the part of Noah in the 1936 cinemazation of Marc Connelly's all-black Broadway production The Green Pastures. On Easter Day of 1937, Anderson was engaged to play a one-shot role as a railway porter nicknamed Rochester on radio's The Jack Benny Program. Response was so overwhelmingly positive to Anderson's sandpaper voice and razor-sharp comic timing that the actor was hired as a regular on Benny's program, cast as Jack's know-it-all butler; it was an association which would last until Benny's death in 1974. In addition to his weekly radio duties, Anderson was co-starred with Benny in such films as Man About Town (1939), Buck Benny Rides Again (1940) Love Thy Neighbor (1941) and The Meanest Man in the World (1942); he also continued in the Rochester role on Benny's TV series, which ran until 1965. Outside of his work with Benny, Anderson played various tremulous chauffeurs and handymen in many other films, sometimes in a stereotypical fashion, but nearly always on equal footing with his white co-stars; indeed, his relationship with his screen "boss" Dennis O'Keefe in 1945's Brewster's Millions was so casual that the film was banned in lily-white Mississippi. In 1943, Anderson was afforded top billing in the MGM musical Cabin in the Sky, sharing screen time with such stellar black talent as Lena Horne, Ethel Waters, Rex Ingram and Louis Armstrong. One of the wealthiest black entertainers in the business, Anderson enhanced his film, radio and TV earnings with shrewd real estate investment. He suffered a stroke in the early 1960s which forced him to cut down his activities, though he was always available to work with Jack Benny in the latter's television specials. A prized "social awareness" moment occurred on a Benny special of the late 1960s when Jack invited "Rochester" to portray his servant once more. "But, boss," Eddie Anderson raspily responded, "we don't do that any more!"

Trivia: Best known as the rumpled television detective Columbo, character actor Peter Falk also enjoyed a successful film career, often in association with the groundbreaking independent filmmaker John Cassavetes. Born September 16, 1927, in New York City, Falk lost an eye at the age of three, resulting in the odd, squinting gaze which later became his trademark. He initially pursued a career in public administration, serving as an efficiency expert with the Connecticut Budget Bureau, but in the early '50s, boredom with his work sparked an interest in acting. By 1955, Falk had turned professional, and an appearance in a New York production of The Iceman Cometh earned him much attention. He soon graduated to Broadway and in 1958 made his feature debut in the Nicholas Ray/Budd Schulberg drama Wind Across the Everglades.A diminutive, stocky, and unkempt presence, Falk's early screen roles often portrayed him as a blue-collar type or as a thug; it was as the latter in 1960's Murder Inc. that he earned a Best Supporting Actor Oscar nomination, a major career boost. He was nominated in the same category the following year as well, this time as a sarcastic bodyguard in Frank Capra's Pocketful of Miracles. In 1962, Falk won an Emmy for his work in the television film The Price of Tomatoes, a presentation of the Dick Powell Theater series. The steady stream of accolades made him a hot property, and he next starred in the 1962 feature Pressure Point. A cameo in Stanley Kramer's 1963 smash It's a Mad, Mad, Mad, Mad World preceded Falk's appearance in the Rat Pack outing Robin and the Seven Hoods, but the film stardom many predicted for him always seemed just out of reach, despite lead roles in 1965's The Great Race and 1967's Luv.In 1968, Falk first assumed the role of Columbo, the disheveled police lieutenant whose seemingly slow and inept investigative manner masked a steel-trap mind; debuting in the TV movie Prescription: Murder, the character was an immediate hit, and after a second telefilm, Ransom for a Dead Man, a regular Columbo series premiered as part of the revolving NBC Mystery Movie anthology in the fall of 1971, running for seven years and earning Falk a second Emmy in the process. In the meantime, he also continued his film career, most notably with Cassavetes; in 1970, Falk starred in the director's Husbands, and in 1974 they reunited for the brilliant A Woman Under the Influence. In between the two pictures, Falk also returned to Broadway, where he won a Tony award for his performance in the 1972 Neil Simon comedy The Prisoner of Second Avenue. In 1976, Cassavetes joined him in front of the camera to co-star in Elaine May's Mikey and Nicky, and directed him again in 1977's Opening Night.After Columbo ceased production in 1978, Falk starred in the Simon-penned mystery spoof The Cheap Detective, followed by the William Friedkin caper comedy The Brink's Job (1978). After 1979's The In-Laws, he starred two years later in ...All the Marbles, but was then virtually absent from the screen for the next half decade. Cassavetes' 1986 effort Big Trouble brought Falk back to the screen (albeit on a poor note; Cassavetes later practically disowned the embarrassing film) and and in 1987 he starred in Happy New Year along with the Rob Reiner cult favorite The Princess Bride. An appearance as himself in Wim Wenders' masterful Wings of Desire in 1988 preceded his 1989 resumption of the Columbo character for another regular series; the program was to remain Falk's focus well into the next decade, with only a handful of film appearances in pictures including 1990's Tune in Tomorrow and a cameo in Robert Altman's The Player. After the cancellation of Columbo, he next turned up in Wenders' Desire sequel Far Away, So Close before starring in the 1995 comedy Roommates. Falk continued to work in both film and television for the next decade and a half, starring in various Columbo specials through 2003, appearing with Woody Allen in the made-for-TV The Sunshine Boys in 1997, and playing a bar owner caught up in mafia dealings in 1999's The Money Kings. Other projects included the Adam Sandler-produced gangster comedy Corky Romano (2001), the Dreamworks animated family film A Shark Tale (as the voice of Ira Feinberg), and the Paul Reiser-scripted, Raymond de Felitta-directed comedy-drama The Thing About My Folks (2005). In 2007, Falk starred opposite Nicolas Cage and Julianne Moore in Lee Tamahori's sci-fi thriller Next. That same year, Falk announced to the public that he had Alzheimer's disease. He died in June 2011 at age 83.

Trivia: The shortest and most pugnacious of the original Dead End Kids, American actor Leo Gorcey was the son of character player Bernard Gorcey. The elder Gorcey encouraged Leo to audition as one of the tough street gang in the 1935 stage production of Sidney Kingsley's Dead End, which Leo did reluctantly; he was content with his apprentice job at his uncle's plumbing shop. When he temporarily lost that position, Leo was cast in a bit role in Dead End, eventually working his way up to the important part of Spit, the gang stool pigeon. Producer Samuel Goldwyn decided to make Dead End into a movie in 1937, further deciding to hire Leo and his fellow "kids" Billy Halop, Huntz Hall, Gabriel Dell, Bernard Punsley and Bobby Jordan for the movie version. The six streetwise hooligans scored an immediate hit with the public, paving the way for several films starring or featuring "The Dead End Kids", the best of which was Angels With Dirty Faces (1938).In 1939, the kids splintered off into subgroups, some of them heading for Universal Studios as the "Little Tough Guys". The following year, Leo Gorcey was signed by bargain-basement Monogram Pictures for a new series of "B" pictures produced by Sam Katzman--"The East Side Kids". Gorcey assumed the leading role of Muggs McGuiness, and by the time the series had run its course after 22 pictures in 1945, he'd been joined by his old Dead End buddies Huntz Hall, Bobby Jordan and Gabe Dell. Determined to get a bigger piece of the financial pie and to have more say over production, Gorcey and Hall teamed with their agent Jan Grippo to reorganize the East Side Kids as the less scruffy but no less trouble-prone "Bowery Boys". In 1946, the first Bowery Boy picture, Live Wires, was released, launching a lucrative series of low-budget features that lasted for 48 installments. Despite the furious pace of production on those two films series, Gorcey also took on outside acting jobs during the first decade or so of his career -- he turned up in supporting roles of varying sizes in a multitude of movies, including the drama Out Of the Fog, the Nancy Drew-style programmer Down in San Diego (both 1941), the musical Born To Sing (1942), the World War II action film Destroyer (1943), and the comedy So This Is New York (1948), the latter the first movie produced by Stanley Kramer (who would use Gorcey in a bit role in his gargantuan comedy It's A Mad, Mad, Mad, Mad World some 15 years later). The Bowery Boys personnel fluctuated in size and prominence over the next twelve years, but Leo Gorcey as malaprop-spouting, two-fisted Slip Mahoney and Huntz Hall as lame-brained Sach Jones were clearly the stars. Gorcey stayed with the series until the 1955 death of his father Bernard, who'd been cast in the supporting role of gullible sweet-shop proprietor Louie Dumbrowski in most of the films. Too grief stricken to continue, Leo bowed out of the series with Crashing Las Vegas (1956), leaving Huntz Hall to co-star in the remaining six "Bowery Boys" films with Stanley Clements. Working in films only fitfully over the next 14 years, Leo was content with managing his land holdings. He also missed the chance for some fresh pop-culture immortality on the original cover of the Beatles' 1967 Sergeant Pepper album -- Gorcey and Huntz Hall were originally depicted side-by-side in the cover design, but Gorcey's insistence upon being paid resulted in his image being airbrushed out. By the time of his death in 1969, Leo Gorcey was financially secure thanks to TV residual payments from his 42 "Bowery Boys" features.

Trivia: Owl-eyed, adenoidal character actor Marvin Kaplan became an English teacher after studying at New York University and Brooklyn College. Following World War II service, Kaplan attended playwrighting classes at USC, which led to his participation in community theatre. It was Katharine Hepburn who selected Kaplan for the small but telling role of the hapless court stenographer in Adam's Rib (1949). He continued accepting movie and TV supporting parts in the 1950s, usually playing bookish, bespectacled milquetoasts. He is best known to TV sitcom fans as Henry Beesemeyer on the weekly yockfest Alice (1976-1985). Two generations of cartoon fans remember Marvin Kaplan as the voice of Choo Choo on the Hanna-Barbera series Top Cat, a role he has continued to reprise on such animated series as Yogi's Treasure Hunt and Wake, Rattle and Roll into the 1990s.

Trivia: American actor Arnold Stang was a professional almost all his life -- but unlike other "professional kids," he actively sought a career and wasn't strong-armed into it by ambitious parents. Winning an audition at age nine on radio's Horn and Hardart's Children's Hour, Stang launched a two-decade stint as one of radio's most stalwart supporting players. He appeared as a regular on Let's Pretend, and later was generously featured on Gertrude Berg's serialized family drama The Goldbergs. As his skills increased, Stang discovered he could get laughs, and worked steadily with such comedians as Eddie Cantor, Jack Benny, and especially Milton Berle, with whom Stang continued his association on television. On the satirical Henry Morgan Show, Stang was a regular member of the comedy stock company, most often as a nerdy teenager named Gerard. Stang started doing cartoon voiceovers in the '40s, beginning with Popeye the Sailor's pal Shorty, then moving into a lengthy hitch as "Hoiman" the mouse in Paramount's Herman and Katnip series; he also performed in 24 episodes of Hanna-Barbera's 1961 cartoon series Top Cat, playing the title role in a "Phil Silvers" manner until the sponsors demanded less of Silvers and more of Stang. In films since 1942's My Sister Eileen, Stang had his best movie role in Man with the Golden Arm (1955) where he played Frank Sinatra's skuzzy but loyal pal Sparrow - a characterization eerily reminiscent of Dustin Hoffman's Ratso Rizzo in the much-later film Midnight Cowboy (1969). During the '50s, Stang was the TV spokesman for Chunky candy, fondly remembered by today's baby boomers for his enthusiastic "Chunky...what a chunk o' chocolate!" Still active in the '90s, the owlish, bespectacled Arnold Stang delighted his long-time fans with an amusing character role in the John Hughes film Dennis the Menace (1993). Stang died at age 91 in December 2009.

Trivia: Though moral dilemma initially left actor Nick Stewart slightly uncomfortable about his decision to portray Lightnin' on the Amos and Andy show, the role shot the actor to superstardom, providing him with ample funding to found his labor of love, the Los Angeles Ebony Showcase Theater, a theater which shattered stereotypes by providing black artists a medium to create meaningful, serious-minded drama.A native of Harlem, NY, Stewart initiated his show-business career as a multi-talented entertainer in such legendary institutions as the Hoofer's Club and the Cotton Club. Stewarts' film career was given a thankful boost when Mae West cast him in the role of Nicodemus in the classic Go West, Young Man (1936). A noted radio performer throughout the 1940s, Stewart would go on to find fame in such popular films as She Wouldn't Say Yes (1945) and Carmen Jones (1954), though it was Disney's infamous take on the tales of Joel Chandler Harris, Song of the South (1946) (in the voice-role of Br'er Bear), that left an audible impression on many audiences of the era.Though Stewart appeared regularly in film throughout the 1940s and '50s, his roles would decline in consistency through the '70s and '80s, taking minor roles in such films as Silver Streak and Hollywood Shuffle. Nick Stewart died at his son's Los Angeles home at the age of 90.

Trivia: A prolific character player whose lived-in face was his fortune, Norman Fell attended Temple University, served in World War II, then took acting lessons at the American Academy of Dramatic Art and the Actors' Studio. Fell entered films in 1959, playing such peripheral roles as the radio technician in Inherit the Wind (1960) until achieving a measure of fame as a detective named Meyer Meyer on TV's 87th Precinct (1961). His meatier film assignments included the role of Mr. McCleery in The Graduate (1967) and a pushy American tourist in If It's Tuesday, It Must Be Belgium (1969). In 1966, Fell was cast as the second lead in the pilot for the Girl From UNCLE series, but "skewed old" and was replaced by Noel Harrison. Fell finally achieved TV stardom as the sex-obsessed landlord Mr. Roper in the popular 1970s sitcom Three's Company, which resulted in a spin-off vehicle for Fell titled The Ropers (both series were based on British TV originals; the English equivalent of The Ropers was George and Mildred). A later video vehicle for Fell, 1982's Teachers Only, was less successful. Norman Fell made his final film appearance in the independent feature The Destiny of Marty Fine (1996).

Trivia: Flinty character actor Paul Birch was strictly a Broadway performer until switching to films in 1952. It didn't take long for Birch to be typecast in science fiction films after playing one of the three "vaporized" locals at the beginning of 1953's The War of the Worlds. Birch's more memorable cinema fantastique assignments included The Beast With a Million Eyes (1955), The Day the World Ended (1956), The 27th Day (1957), and Queen of Outer Space (1958). In 1957, he played the melancholy leading role in Roger Corman's Not of This Earth (1957). Not exclusively confined to flying-saucer epics, Paul Birch was also seen in such roles as the Police Chief in Rebel Without a Cause (1955) and the Mayor in The Man Who Shot Liberty Valance (1962).

Trivia: American actor Stanley Clements pursued a showbiz career immediately upon graduation from Brooklyn's PS 49, appearing in vaudeville and in radio. After a lean year in which he supported himself as a panhandler, Clements was signed by 20th Century-Fox in 1941, earning choice juvenile roles from his first film (Accent on Love) onward. Stan's most memorable teenage role was as the tough kid "humanized" by Bing Crosby and encouraged to organize a boy's choir in the Oscar-winning Going My Way (1944). Due to his small stature, he was most often cast as jockeys, even as late as 1952's Boots Malone. In 1956, Clements was hired by Allied Artists to replace Leo Gorcey in the "Bowery Boys" B-picture series; though compelled to take second billing to comic patsy Huntz Hall, Stanley was ostensibly the group's leader, fast-talking wiseguy Duke Covaleske. Clements played Duke in six pictures, included the final Bowery Boys installment, In the Money (1958). After that, Stanley Clements concentrated on movie and TV supporting roles, including a characteristic appearance as a shifty shoe salesman on an early '60s installment of Leave It to Beaver.

Trivia: Craggy character actor Roy Engel made his first film appearance in the 1949 noir classic D.O.A. He quickly established himself as a regular in such science fiction films as The Flying Saucer (1950), Man From Planet X (1951), and The Colossus of New York (1958). When not dealing with extraterrestrials, he could be seen playing sheriffs, bartenders, and the like in such Westerns as Three Violent People (1955) and Tribute to a Bad Man (1956). Among Roy Engel's last films was Kingdom of the Spiders (1977) which combined elements of both sci-fi and Westerns.

Trivia: The "middle stooge" in the various incarnations of the Three Stooges, Larry Fine was most recognizable across his four decades in show business by his eccentric frizzed out hair. He occupied the awkward and often ill-defined position of "middle man," his presence necessary to give a gag body and a boost of action, and to keep it going to its conclusion. As an actor in the group's sketches, he was most often characterized as the wide-eyed nebbish, often nearly as surprised as any by-stander character by the physical comedy (and mayhem) taking place. His most memorable catch-phrases included "Moe, I didn't mean it" (usually followed by a slap from Moe), and "I'm a victim of circumstance" (which was used by Curly on occasion as well).And "victim of circumstance" might define his whole entre to the world of performing. He was born Louis Feinberg in Philadelphia, the son of a jeweler. One day while at his father's shop, an accident took place that resulted in his forearm being badly burned with aqua regia, the acid used to test the purity of gold. The doctor who treated him warned his parents that he would have to do something to strengthen the arm or he would lose it. That led to his taking up the violin, an instrument at which he became so proficient that the family considered sending him to Europe for advanced study, a plan that fell apart with the advent of the First World War He began playing the violin in vaudeville under the name Larry Fine, developing a routine in which he would play from a nearly sitting, knees-bent position, kicking his legs alternately. In 1925, he crossed paths with Moe Howard, who was already working, in tandem with his brother Shemp Howard as part of a comedy act with Ted Healy. He became part of the act and remained when Shemp left, to be replaced by another Howard brother, Curly (aka Jerome). The trio eventually left Healy's employ and struck out on their own as the Three Stooges. Over the course of 25 years and 190 short films at Columbia Pictures, they became one of the longest running movie comedy acts (if not always the most respected or beloved, especially by women) in history. Larry Fine's contribution was a mix of violin virtuosity (on display at various times across their history, from Punch Drunks, Disorder In The Court, and "Violent Is The Word For Curly" in the early/middle 1930s to Sweet And Hot in the late 1950s) and zany cluelessness, mixed with an occasional out-of-left-field ad-lib. Larry usually played the wide-eyed middle-stooge, but occasionally the plots of the trio's movies would allow him some variation on this characterization. In "Sweet And Hot," he plays a small-town boy who has made good as a stage producer, and whose intervention sets the plot (focused on characters played by Muriel Landers and Joe Besser) in motion; and in Rockin' In The Rockies, a full-length feature, as a result of a plot that split Moe Howard's character off from the trio, Larry plays the aggressive "head stooge," and is surprisingly good at it. But he was best known as the clueless middle stooge, often referred to by Moe as "porcupine" because of his hair-style. He kept on with the Stooges into the 1960s, but was forced to retire as his health -- damaged by a series of strokes -- deteriorated later in the decade. He passed away in 1975. He was so familiar, that in 1980, five years after his death, his name still turned up in popular culture. In episode two of the sitcom Bosom Buddies, when women's hotel manager Lucille Benson finds Tom Hanks' Kip Wilson in a female tenant's room, she pulls him by the ear down the hall, causing him to exclaim, "Who am I -- Larry Fine?" And in 1983, SCTV presented "Give 'Em Hell, Larry," a short bit (done as a TV promo spot) in which Joe Flaherty portrays James Whitmore (who had previously enjoyed major success playing President Harry Truman in the one-man show "Give 'Em Hell, Harry") performing the one-man show as Larry Fine -- it was among the funniest 60 seconds of television that season.

Trivia: See "Three Stooges"

Trivia: Joe DeRita, sometimes known as "Curly Joe DeRita," was the last of the six members of the Three Stooges to join that august comedic trio. Born Joseph Wardell in Philadelphia in 1909, he came from a show business family, his mother a dancer and his father a stage hand. DeRita accompanied his parents on tour from the age of seven, and he soon had a dancing act with his sister. He continued working as a single after she married and their parents had retired, and his comedic specialty involved lots of dancing, which would serve him in good stead when he later joined the Three Stooges. He worked in burlesque comedian from the early '20s until 1942, when he went out to California to headline a show. He got a film contract out of the trip, and in 1944 made his screen debut at Warner Bros. in The Doughgirls starring Ann Sheridan. In 1946, following appearances in two more comedy features, DeRita jumped to Columbia Pictures for a series of comedy shorts. He also entertained the troops during World War II, touring with Randolph Scott, a good friend with whom he did a comedy act. After World War II, DeRita returned to the stage and also began working on radio. In 1958, he made his return to movies in his only non-comedic acting role, playing the phony, murderous hangman in Henry King's Western chase-drama The Bravados. He also began showing up on television occasionally in comedy roles on series such as Bachelor Father. That same year, fate would take a hand in his career with the crisis affecting the Three Stooges -- the 30-year-old comedy team had reached an impasse with the decision by Joe Besser, the fat "third" stooge who'd come in to succeed Shemp Howard following the latter's death in 1955, to leave the act. Partners Moe Howard and Larry Fine needed a new partner with none in sight, and that was when Fine happened to go to Las Vegas and caught DeRita's act in a revue called Minsky's Follies of 1958. He was impressed and duly informed Moe Howard, who was similarly enthusiastic after meeting DeRita and testing him in performances at different nightclubs. In October of 1958, Joe DeRita -- christened "Curly Joe" because of his resemblance to the group's most famous member, Curly Howard -- made his debut as a member of the trio. DeRita may have missed the trio's busiest years, but he got in on their most profitable era, appearing as the comically goofy member of the trio in six full-length feature film in which they starred, as well as two more movies, It's a Mad, Mad, Mad, Mad World and Four for Texas, in which the group had bit parts. Beyond that, however, were innumerable personal appearances, lots of merchandising, and television work by the trio, all of which was enough to keep DeRita busy and solvent for the rest of his life. With his goofy physiognomy and dancer's agility, DeRita was the sparkplug for much of the trio's physical comedy during this period, as well as some of its zaniest moments; he had an acrobat's grace, reminiscent of Curly Howard, but also a childlike innocence and good-nature that made younger audience members love him as well as laugh at him -- this was especially true in Have Rocket, Will Travel, the all-important 1959 feature that established the trio in full-length movies. He remained with the Three Stooges until Moe Howard's retirement in the mid-'70s. Such was his relationship with Howard that the oldest surviving Stooge, who controlled the group's name, broke precedent and gave DeRita permission to put together a new, very short-lived group of Three Stooges. That project didn't last, however, and DeRita retired in the 1970s. The youngest of the Three Stooges, he passed away after all of the others, in 1993.