Trivia: The jury is still out as to whether or not curly haired Shirley Temple was the most talented child star in movie history; there is little doubt, however, that she was the most consistently popular. The daughter of non-professionals, she started taking singing and dancing classes at the age of three, and the following year began accompanying her mother on the movie audition circuit. Hired by the two-reel comedy firm of Educational Pictures in 1933, she starred in an imitation Our Gang series called the Baby Burlesks, performing astonishingly accurate impressions of Greta Garbo and Marlene Dietrich; she was also featured in the films of Educational's other stars, including Andy Clyde and Frank Coghlan Jr. In 1934 she was signed by Fox Pictures, a studio then teetering on the verge of bankruptcy. After a handful of minor roles she created a sensation by stopping the show with her rendition of "Baby Take a Bow" in Fox's Stand Up and Cheer. She was promptly promoted to her own starring features, literally saving Fox (and its successor 20th Century Fox) from receivership, and earned a special Oscar in 1934 "in grateful recognition to her outstanding contribution to screen entertainment." With such tailor-made vehicles as Bright Eyes (1934), Curly Top (1935), The Little Colonel (1935), Dimples (1936), and Heidi (1937), Temple was not only America's number one box-office attraction, but a merchandising cash cow, inspiring an unending cascade of Shirley Temple dolls, toys, and coloring books. She also prompted other studios to develop potential Shirley Temples of their own, such as Sybil Jason and Edith Fellows (ironically, the only juvenile actress to come close to Temple's popularity was 20th Century Fox's own Jane Withers, who got her start playing a pint-sized villain in Temples' Bright Eyes). Though the Fox publicity mill was careful to foster the myth that Temple was just a "typical" child with a "normal" life, her parents carefully screened her friends and painstakingly predetermined every move she made in public. Surprisingly, she remained an unspoiled and most cooperative coworker, though not a few veteran character actors were known to blow their stacks when little Temple, possessed of a photographic memory, corrected their line readings. By 1940, Temple had outgrown her popularity, as indicated by the failure of her last Fox releases The Blue Bird and Young People. The following year, MGM, who'd originally wanted Temple to play Dorothy in The Wizard of Oz, cast her in Kathleen, another box-office disappointment which ended her MGM association almost before it began. Under the auspices of producers Edward Small and David O. Selznick, Temple enjoyed modest success as a teenaged actress in such productions as 1942's Miss Annie Rooney (in which Dickie Moore gave her first screen kiss) and 1944's Since You Went Away. Still, the public preferred to remember the Shirley Temple that was, reacting with horror when she played sexually savvy characters in Kiss and Tell (1945) and That Hagen Girl (1947). Perhaps the best of her post-child star roles was spunky army brat Philadelphia Thursday in John Ford's Fort Apache (1947), in which she co-starred with her first husband, actor John Agar (the union broke up after four years when Agar began to resent being labeled "Mr. Shirley Temple"). She returned to 20th Century Fox for her last film, Mr. Belvedere Goes to College (1949), in which played second fiddle to star Clifton Webb. Retiring on her trust fund in 1950, she wed a second time to business executive Charles Black, a marriage that would endure for several decades and produce a number of children. In 1958 she made a comeback as host of The Shirley Temple Storybook, a well-received series of children's TV specials. Her final show business assignment was the weekly 1960 anthology The Shirley Temple Show, which though not a success enabled her to play a variety of character roles -- including a toothless old witch in an hour-long adaptation of Babes in Toyland! The staunchly Republican Temple went into an entirely different field of endeavor when she entered politics in the mid-'60s. The bitter taste of an unsuccessful congressional bid was dissipated in 1968 when she was appointed U.S. ambassador to the United Nations. She went on to serve as U.S. ambassador to Ghana (1974-1976) and Czechoslovakia (1989), and during the Ford and Carter years kept busy as the U.S. Chief of Protocol. In the 1980s, she went public with information about her mastectomy, providing hope and inspiration for other victims of breast cancer. Still one of the most beloved figures in the world, Temple seemingly went to great pains to dispel her goody two-shoes image in her candid 1988 autobiography Child Star, in which she cast a frequently jaundiced eye on her lifelong celebrity status, revealing among other things that several well-known Hollywood moguls had tried and failed to force their manhood upon her once she was of legal age (and even before!). Temple received several lifetime achievement awards towards the end of her life, including the Kennedy Center Honors in 1998 and the SAG life achievement award in 2005. She died in 2014, at the age of 85.

Trivia: It is possible that when actor Guy Kibbee portrayed newspaper editor Webb in the 1940 film version of Our Town, he harked back to his own father's experiences as a news journalist. The cherubic, pop-eyed Kibbee first performed on Mississippi riverboats as a teenager, then matriculated to the legitimate stage. The 1930 Broadway play Torch Song was the production that brought Kibbee the Hollywood offers. From 1931 onward, Kibbee was one of the mainstays of the Warner Bros. stock companies, specializing in dumb politicos (The Dark Horse [1932]), sugar daddies (42nd Street [1933]) and the occasional straight, near-heroic role (Captain Blood [1935]). In 1934, Kibbee enjoyed one of his rare leading roles, essaying the title character in Babbitt (1934), a role he seemed born to play. During the 1940s, Kibbee headlined the Scattergood Baines B-picture series at RKO. He retired in 1949, after completing his scenes in John Ford's Three Godfathers. Kibbee was the brother of small-part play Milton Kibbee, and the father of Charles Kibbee, City University of New York chancellor.

Trivia: Onetime dancer June Lang became a blond movie starlet at Fox Studios at the age of 16. For the first two years of her career, she was billed under her given name of Vlasek; her most memorable role during that period was in the elaborate Fox fantasy Chandu the Magician (1932). After "becoming" June Lang in 1934, she appeared with Laurel and Hardy in Bonnie Scotland (1935) with Warner Baxter and Fredric March in The Road to Glory (1936), and as Shirley Temple's mother in Wee Willie Winkie (1937). She also co-starred with brunette Fox contractee Lynn Bari in Meet the Girls (1938), an abortive attempt to launch a series of "smart girl/dumb girl" comedies. After her marriage to convicted mobster John Rosselli, Lang's career spiraled downward. By 1943, she was playing unbilled bits in films like Flesh and Fantasy (1943) and Up in Arms (1944). June Lang's last film was the PRC quickie Lighthouse (1947).

Trivia: A dancer from childhood, Buddy Ebsen headlined in vaudeville in an act with his sister Velma. In 1935, Ebsen was signed by MGM as a specialty performer in The Broadway Melody of 1936, wherein he was shown to good advantage in several solos. He worked in a number of subsequent musicals, including Shirley Temple's Captain January (1936), teaming with Shirley for the delightful number "At the Codfish Ball." MGM assigned Ebsen to the role of the Scarecrow in 1939's The Wizard of Oz, but Ray Bolger, who'd been cast as the Tin Man, talked Ebsen into switching roles. The move proved to be Ebsen's undoing; he found that he was allergic to the silver makeup required for the Tin Man, fell ill, and was forced to bow out of the film, to be replaced by Jack Haley (however, Ebsen's voice can still be heard in the reprises of "We're Off to See the Wizard").Ebsen then returned to the stage, taking time out to provide the dancing model for a electronically operated wooden marionette which later was used at Disneyland. In 1950 Ebsen returned to films as comical sidekick to Rex Allen, gradually working his way into good character parts in "A" pictures like Night People (1955). Walt Disney, who'd remembered Ebsen from the dancing marionette, offered the actor the lead in his 1954 three-part TV production of Davy Crockett, but at the last moment engaged Fess Parker as Davy and recast Buddy as Crockett's pal George Russel. Ebsen continued to pop up in films like 1961's Breakfast at Tiffany's (as Audrey Hepburn's abandoned hometown husband), and in TV westerns, where he often cast his image to the winds by playing cold-blooded murderers. Comfortably wealthy in 1962 thanks to his film work and wise business investments, Ebsen added to his riches by signing on to play Jed Clampett in the TV sitcom The Beverly Hillbillies, which ran for nine years to excellent ratings. A millionaire several times over, Ebsen planned to ease off after Hillbillies, but in 1972 he was back in TV in the title role of Barnaby Jones. Few observers gave this easygoing detective series much of a chance, but they weren't counting on Ebsen's built-in popularity; Barnaby Jones lasted until 1980. The actor now confined himself to special events appearances and occasional guest-star roles, though he did play the recurring part of Lee Horsley's uncle in the final season of the TV mystery show Matt Houston (1983-85). One of Buddy Ebsen's final roles was in the 1993 theatrical film version of The Beverly Hillbillies -- not as Jed Clampett but in a cameo as Barnaby Jones!

Trivia: The daughter of stage and film actress Charlotte Walker, Sara Haden's own theatrical work included several seasons with Walter Hampden's Shakespearean Repertory Company. She entered films in 1934 with a character role in the Katharine Hepburn vehicle Spitfire. The majority of her screen characterizations were as stern schoolteachers, town gossips and harried secretaries. Sara Haden is most familiar to filmgoers for her portrayal of spinsterish, ever-disapproving Aunt Millie in MGM's Andy Hardy series of the 1930s and 1940s; indeed, her final screen appearance was in the 1958 "revival" picture Andy Hardy Comes Home.

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

Trivia: Silver-haired, aristocratic American actress Nella Walker was a salesgirl in her native Chicago before touring in vaudeville with her husband, entertainer Wilbur Mack. After her talking-picture debut in Vagabond Lover (1929), Ms. Walker joined the ranks of the "lorgnette and old lace" character actresses. Nearly always a society matron in her film appearances, Nella was virtually unsurpassed in her ability to summon up disdain for all those born "beneath" her, and to haughtily enunciate such lines as "The very idea!" and "My dear, it just isn't being done." By providing so easily deflatable a target, Ms. Walker was an ideal foil for such low comedians as Laurel and Hardy (Air Raid Wardens [1943]) and Abbott and Costello (In Society [1944]). Nella Walker remained a member in good standing of moviedom's "upper crust" until her final appearance in Billy Wilder's Sabrina (1954), in which she played the mother of both Humphrey Bogart and William Holden.

Trivia: Actor and director George Irving gained fame on both the Broadway stage and in feature films. Before launching his professional career, Iriving graduated from New York's City College and the American Academy of Dramatic Arts. He then went on to play the leads in numerous Broadway shows before breaking into film in 1913, where he played many different character roles.

Trivia: Brawny character actor James Farley made his entree into films in 1918. Best-served in roles calling for authority backed by muscle, Farley can be seen as Southern General Thatcher in Buster Keaton's The General (1926) and as the executioner in Cecil B. DeMille's The King of Kings (1927). He spent most of the talkie era in small roles as detectives, patrolmen and night watchman. James Farley's credits are sometimes confused with those of another actor by the same name who acted in "regional" productions of the 1960s.

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

Trivia: After years on the circus and vaudeville circuits, Si Jenks came to films in 1931. Virtually always cast as a grizzled, toothless old codger, Jenks was a welcome presence in dozens of westerns. In Columbia's Tim McCoy series of the early 1930s, Jenks was often teamed with another specialist in old-coot roles, Walter Brennan (17 years younger than Jenks). In non-westerns, Si Jenks played town drunks, hillbillies and Oldest Living Citizens usually with names like Homer and Zeke until his retirement at the age of 76.

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

Trivia: Oklahoma-born William Benedict is fondly remembered by fans for his shock of unkempt blond hair; ironically, he lost his first job at a bank because he refused to use a comb. Stagestruck at an early age, the skinny, ever-boyish Benedict took dancing lessons while in high school and appeared in amateur theatricals. After phoning a 20th Century-Fox talent scout, the 17-year-old Benedict hitchhiked to Hollywood and won a film contract (if for no other reason than nerve and persistence). He appeared in the first of his many office-boy roles in his debut film, $10 Raise (1935), and spent the next four decades popping up in bits as bellboys, caddies, hillbillies, delivery men and Western Union messengers. He portrayed so many of the latter, in fact, that Western Union paid tribute to Benedict by giving him his own official uniform -- an honor bestowed on only one other actor, Benedict's lifelong friend Frank Coghlan Jr. (the two actors costarred in the 1941 serial The Adventures of Captain Marvel). In 1939, Benedict played a bicycle messenger in the Little Tough Guys film Call a Messenger; four years later he appeared with another branch of the Little Tough Guys clan, the East Side Kids, in Ghosts on the Loose. He remained with the Kids as "Skinny," then stayed on when the East Siders transformed into the Bowery Boys in 1946. As "Whitey," Benedict was the oldest member of the team, a fact occasionally alluded to in the dialogue -- though Leo Gorcey, two months younger than Benedict, was firmly in charge of the bunch. Benedict left the Bowery Boys in 1951, gradually easing out of acting; for several years, he worked as an assistant designer of miniature sets for movie special-effects sequences. He returned to performing in the 1960s, still playing the newsboy and delivery man roles he'd done as a youth. Film and TV fans of the 1970s might recall Billy Benedict as a world-weary croupier in the early scenes of The Sting (1973), and in the regular role of Toby the Informant on the 1975 TV series The Blue Knight.