Trivia: The son of a Canadian railroad executive, Glenn Ford first toddled on-stage at age four in a community production of Tom Thumb's Wedding. In 1924, Ford's family moved to California, where he was active in high-school theatricals. He landed his first professional theater job as a stage manager in 1934, and, within a year, he was acting in the West Coast company of Lillian Hellman's The Children's Hour. Although he made his film debut in 20th Century Fox's Heaven With a Barbed Wire Fence (1939), Ford was signed by Columbia, which remained his home base for the next 14 years. After an apprenticeship in such B-movies as Blondie Plays Cupid (1940), Ford was promoted to Columbia's A-list. Outwardly a most ordinary and unprepossessing personality, Ford possessed that intangible "something" that connected with audiences. The first phase of his stardom was interrupted by World War II service in the Marines (he retained his officer's commission long after the war, enabling him to make goodwill visits to Korea and Vietnam). Upon his return, Ford had some difficulty jump-starting his career, but, in 1946, he was back on top as Rita Hayworth's co-star in Gilda. While he insisted that he "never played anyone but [himself] onscreen," Ford's range was quite extensive. He was equally effective as a tormented film noir hero (The Big Heat [1953], Human Desire [1954]) as he was in light comedy (Teahouse of the August Moon [1956], The Gazebo[1959]). Nearly half of his films were Westerns, many of which -- The Desperadoes (1943), The Fastest Gun Alive (1956), 3:10 to Yuma (1957), Cowboy (1958) -- were among the best and most successful examples of that highly specialized genre. He was also quite effective at conveying courage under pressure: While it was clear that his characters in such films as The Blackboard Jungle (1955) and Ransom (1956) were terrified by the circumstances surrounding them, it was also obvious that they weren't about to let that terror get the better of them. In 1958, Ford was voted the number one male box-office attraction. Through sagacious career choices, the actor was able to extend his popularity long after the studio system that "created" him had collapsed. In 1971, he joined such film stars as Shirley MacLaine, Anthony Quinn, and Jimmy Stewart in the weekly television grind. While his series Cade's County ended after a single season, in the long run it was more successful than the vintage-like programs of MacLaine, Quinn, et al., and enjoyed a healthy life in syndication. Ford went on to star in another series, The Family Holvak (1975), and hosted a weekly documentary, When Havoc Struck (1978). He also headlined such miniseries as Once an Eagle (1976) and Evening in Byzantium (1978), and delivered a particularly strong performance as an Irish-American patriarch in the made-for-TV feature The Gift (1979). He continued showing up in choice movie supporting roles into the early '90s; one of the best of these was as Clark Kent's foster father in Superman: The Movie (1978).Although illness sharply curtailed his performing activities after that, Ford was still seemingly on call during the 1980s and '90s whenever a cable TV documentary on Hollywood's Golden Era required an eyewitness interview subject. In 1970, Ford published an autobiography, Glenn Ford, RFD Beverly Hills. His first wife was actress Eleanor Powell; He was also married to Kathryn Hays and Cynthia Hayward. His last film appearance was a cameo in 1993's Tombstone; after a series of strokes later that decade, he died in 2006 at the age of 90.

Trivia: A singer almost from the time she learned to talk, American actress Shirley Jones was entered by her vocal coach in the Miss Pittsburgh contest at age 18. The attendant publicity led Jones to an audition with Rodgers and Hammerstein for potential stage work. Much taken by Jones' beautifully trained voice, the producers cast her as the leading lady in the expensive, prestigious film production of their theatrical smash Oklahoma! (1955). In 1956 Jones starred in another Rodgers and Hammerstein film adaptation, Carousel; this and her first film tended to limit her to sweet, peaches 'n' cream roles for the next several years. Thankfully, and with the full support of director Richard Brooks, Jones was able to break away from her screen stereotype with her role as a vengeful prostitute in Elmer Gantry (1960) -- a powerfully flamboyant performance that won her an Academy Award. Alas, filmgoers preferred the "nice" Shirley, and it was back to goody-goody roles in such films as The Music Man (1962) and A Ticklish Affair (1963) -- though critics heartily praised Jones' performances in these harmless confections. It was again for Brooks that Shirley had her next major dramatic film role, in 1969's The Happy Ending, which represented one of her last movie appearances before her four-year TV stint as the glamorous matriarch of The Partridge Family. This popular series did less for Shirley than it did for her stepson, teen idol David Cassidy, but The Partridge Family is still raking in ratings (and residuals) on the rerun circuit. Her unhappy marriage to the late actor Jack Cassidy long in the past, Jones found domestic stability as the wife of actor/agent Marty Ingels, with whom she wrote a refreshingly candid dual biography. The actress also played a recurring character on The Drew Carey Show (1998-1999), and appeared in numerous documentaries throughout the 2000s. Jones had a supporting role in 2006's Grandma's Boy, and guest roles on shows like Cougar Town and Raising Hope.

Trivia: Mississippi-born Stella Stevens was a wife, mother, and divorcée before she was 17. While studying medicine at Memphis State College, Stevens became interested in acting and modeling. The notoriety of her nude spread in Playboy magazine was quickly offset by the public's realization that she had genuine talent, particularly in the comedy field. Stevens' many delightful comic characterizations include Apassionata von Climax in the movie version of Li'l Abner (1959), Glenn Ford's drum-playing girlfriend in Courtship of Eddie's Father (1963), and the klutzy heroine in the Matt Helm opus The Silencers (1966). She also showed up in a brace of 1960s cult favorites: Elvis Presley's Girls! Girls! Girls! (1962) and Jerry Lewis' Nutty Professor (1963), her presence in the latter film was celebrated by Lewis' utilization of the Victor Young musical piece "Stella by Starlight." Despite consistently good work, Stevens never achieved the full stardom that she deserved: When she posed again for Playboy in 1968, she admitted that it was purely to get people to attend her films. Stevens worked steadily on television since the late '50s, appearing regularly on the Flamingo Road series from 1981 to 1982. She switched to the other side of cameras in the 1980s, producing the documentary The American Heroine and directing the inexpensive Canadian feature The Ranch (1989). Stella Stevens is the mother of actor Andrew Stevens, and was very briefly the mother-in-law of actress Kate Jackson.

Trivia: Stocky comedic actor Jerry Van Dyke -- the younger brother by several years of actor Dick Van Dyke -- achieved some of the success of his older sibling, albeit with a somewhat lower profile and his own distinct persona. Time and again, Jerry specialized in portrayals of flustered, befuddled, and slightly klutzy goofballs who projected grating angst. (His typical characterizations could be contrasted with the "laid-back everyman" qualities and smoothness required by many of Dick's roles.) Raised in Danville, IL -- a community about 130 miles south of Chicago -- Van Dyke evinced a flair for comedic buffoonery and loved to entertain audiences as early as high school, then spent several years touring the country and performing in every comedy club he could find that agreed to book him. His career only began to take off, however, following his decision to join the Air Force Special Services in 1952 (during the Korean War) -- which, in turn, provided him with the opportunity to travel around the world and entertain the troops. His act soon caught the eye of Ed Sullivan, who booked Jerry for two popular engagements on his iconic variety series, and in the mid-'60s he began appearing alongside his brother on The Dick Van Dyke Show (conveniently playing Rob Petrie's brother, Stacey Petrie). In the years that followed, Jerry Van Dyke began associations with two key television producers -- relationships that would serve him well in the years to come. The first -- a collaboration with Grant Tinker (off-camera husband of Mary Tyler Moore from The Dick Van Dyke Show) led to Van Dyke's starring role in the 1965 fantasy-tinged sitcom My Mother the Car, which cast him as Dave Crabtree, a fellow revisited by his deceased mother -- in the form of an automobile. That program failed within a year, but the actor and producer would team up again nearly a decade later when Tinker and Co. cast Van Dyke in a brief multi-episode stretch of The Mary Tyler Moore Show as Wes Callison, an ex-boyfriend of Mary Richards who is plagued by complications when he happens to take a job in the same newsroom as Mary. During the same decade, Van Dyke also turned up as a guest star on series including That Girl, Love, American Style, and Fantasy Island. Van Dyke then tried out for the role of dim-witted Vermont handyman George Utley on the seminal '80s sitcom Newhart. Producer/creator Barry Kemp felt that the actor would be the wrong choice for the part (and eventually handed it to Tom Poston instead), but also felt so impressed by Van Dyke's talents that he both cast the actor in a guest-starring role on a season-one episode of that series (he played a flustered travel agent named Roy Herzog), and promised Van Dyke a more substantial recurring assignment on a sitcom. Kemp realized that promise five years later, by enlisting Van Dyke to play spaced-out assistant football coach Luther Van Dam on the top-tiered sitcom Coach (1989-1997). For that portrayal, the actor received numerous Emmy nominations. In subsequent years, Van Dyke continued his television work (he enjoyed a lengthy run on the sitcom Yes, Dear as Big Jimmy Hughes), did standup comedy bookings around the country, and emceed advertisements for various brands, products, and companies, including Big Lots.

Trivia: A bona fide member of the American aristocracy (her father was Wall Street magnate E.F. Hutton and her mother, Marjorie Merriweather Post, was heiress to a huge cereal fortune), Dina Merrill (born Nedinia Hutton) dropped out of George Washington University in the 1940s to study at the American Academy of Dramatic Arts and become an actress. She spent ten years on-stage, including Broadway, performed on television, and made her Hollywood debut in Desk Set (1957). The cool, sophisticated, blonde supporting actress was typically cast as an heiress or socialite. She married actor Cliff Robertson in 1966 and took a decade off, but for a few television movie appearances, to raise a family until returning to films in 1975. In 1988, she launched Pavilion, an entertainment development and production company with her new lover, investment banker Ted Hartley. The two married in 1989. After the late '80s, Merrill started appearing more frequently in features and television movies.

Trivia: Professionally, Ron Howard has come a long way from the tousle-haired, barefoot sheriff's son who trod the byways of idyllic Mayberry to reside in the heady company of Hollywood's most elite directors. Howard's films are pure entertainment; they are well-crafted efforts, frequently technically challenging from a production standpoint, and aimed at mainstream audiences. Though some of his lesser works have been criticized for possessing formulaic scripts, Howard's films approach even hackneyed subjects in fresh ways. Though he does not characterize himself as a risk taker, he loves the challenge of exploring different genres; therefore, his filmography includes B-movie actioners, domestic comedies, fantasies, sci-fi, suspense-thrillers, historical dramas, and big-budget action films. The son of actors Rance and Jean Howard, he made his theatrical debut at age two in a Baltimore production of The Seven Year Itch. He made his screen debut at age five in the suspenseful political drama The Journey (1959). The youngster became a hot property after that and appeared in several features, including The Music Man and The Courtship of Eddie's Father (both 1962). Through this period his father was a strong ally who kept Howard from being exploited by filmmakers. In a November 1996 interview with the Detroit News, Howard describes an incident in which he was six years old and during rehearsal could not cry on cue (Howard doesn't name the production), causing the director to threaten to flog him. Other children may have been terrified, but Howard felt secure because his father was on the set and would protect him. When producer Sheldon Leonard approached Rance Howard about casting Ronny (as he was billed during childhood) as Opie, the son of widowed sheriff Andy Taylor in The Andy Griffith Show (1960-1968), the elder Howard stipulated that his son be allowed time off for a normal childhood. It was as the mischievous but guileless Opie that Ronny Howard became famous. During the popular show's long run, Howard occasionally appeared in other feature films. While a series' demise often signals the death of a child actor's career, particularly if that child is obviously maturing, Howard managed the transition gracefully and continued working steadily. He was cast in a new television series, The Smith Family, in 1971 and starred opposite Henry Fonda, who became one of Howard's mentors, encouraging Howard to strive for creative growth and to take periodic risks to keep himself vital. The series lasted one season, but again Howard landed on his feet, making a bigger name for himself starring as a callow youth in George Lucas' smash hit American Graffiti (1973). The film spawned Garry Marshall's long-running hit, the '50s revival sitcom Happy Days (1974). Essentially reprising his role from the film, Howard (now billed as Ron Howard) starred as all-American youth Richie Cunningham. Again, Howard also worked simultaneously in films, notably in The Shootist (1976), where he played a teen who worshipped dying gunslinger John Wayne. Though playing a teenager on the series, Howard was in his early twenties and felt it was time to follow his longtime dream of becoming a director. Producer Roger Corman, who had recently starred Howard in Eat My Dust! (1976), let Howard helm the similarly themed Grand Theft Auto (1977). Howard also co-wrote the screenplay with his father and starred in the film. While not exactly an original masterpiece, the film earned praise for its fast-paced, high-energy action scenes. After leaving Happy Days in 1980, he directed Bette Davis in a television movie, Skyward, and managed to earn the great lady's respect with his filmmaking skills. Howard had his first big hit in 1982 with the black comedy Nightshift. It was to be the first of many instances in which he would work with producer Brian Grazer, who eventually became his partner and the co-founder of Howard's production company, Imagine Films Entertainment (established in 1985), and screenwriters Lowell Ganz and Babaloo Mandel, who formerly wrote for Happy Days. Howard had even greater success with the Tom Hanks/Darryl Hannah vehicle Splash (1984), which launched Disney's Touchstone Pictures and became the company's most successful live-action film to date. He followed this up with sentimental favorite Cocoon (1985). He had his first misstep after hitting it big with Willow, a George Lucas-produced fantasy extravaganza that never clicked with audiences, though it has since developed a devoted cult following. During the early '90s, Howard worked on a series of big-budget films such as Backdraft (1991) and Far and Away (1992), and Apollo 13 (1995), a gripping account of a failed moon mission. Apollo 13 was a huge international hit, nominated for nine Oscars (it won for Best Sound and Best Editing), and earned Howard the coveted Director's Guild award. In 1996, Howard attempted a new genre with the violent, bloody thriller Ransom, starring Mel Gibson. While an effective suspense thriller in it's own right, Ransom didn't darken Howard's sensibilities in any permanent terms, and after a few stints as producer on both the small screen (Felicity, Sports Night and the silver screen (Inventing the Abbots (1997) and Beyond the Mat (1999)), Howard was back in the director's chair for Ed TV in 1999, but itsuffered immediate and fatal comparisons to the more popular and strikingly similar Jim Carrey vehicle, The Truman Show. Undaunted, Howard next teamed with the rubber-faced star of Truman for How the Grinch Stole Christmas, which became a box-office smash. Once again turning back to reality after the marked departure of The Grinch, Howard helmed the sensitive real-life tale of paranoid schizophrenic mathematician turned Nobel Prize winning genius John Forbes Nash Jr. in A Beautiful Mind (2001). With Russel Crowe essaying the role of Nash and Jennifer Connelly as his faithful and enduring wife, the film gained generally positive reception upon release, and only seemed to cement Howard's reputation as one of the most versatile and gifted director's of his generation as the film took the Best Picture award at both the that year's Golden Globes and Oscars. Academy Award night proved to be an even bigger night for Howard as the film also took home awards for Best Actress, Best Adapted Screenplay and, of course, Best Director. Howard followed up his Oscar wins with the dark Western drama The Missing starring Tommy Lee Jones and Cate Blanchett. Unfortunately, neither critics or audiences were too fond of the over-long film. Lucky for Howard, his next project would see him re-team with A Beautiful Mind's Russell Crowe. The Depression-era boxing film Cinderella Man starred Crowe as real-life boxer Jim Braddock and was released in 2005 to positive reviews and Oscar-buzz. Next, he helmed the adaptation of Dan Brown's novel The Da Vinci Code, casting his old Splash leading man Tim Hanks in the lead. The film was as big a worldwide success as the book that inspired it. Howard followed the massive success with an adaptation of Peter Morgan's hit play Frost/Nixon. The film captured five Academy Award nominations including Best Picture, Best Actor, and Best Editing, as well as a nod for Howard's direction.As the 2000's continued to unfold, Howard would remain an extremely active filmmaker, helming movies like The Dilemma.