Trivia: The daughter of a journalist and the niece of former U.S. Postmaster General James Farley, Penny Singleton spent a good portion of her childhood singing "illustrated" songs at Philadelphia movie theaters. After briefly attending Columbia University, Singleton -- billed under her given name, Dorothy McNulty -- made her Broadway debut as the energy-charged soubrette in the popular 1927 musical Good News. She repeated this vivacious performance in the 1930 film version, then settled into "other woman" and gold digger parts, the best of which was in 1936's After the Thin Man. Upon her marriage to dentist Lawrence Singleton, Singleton changed her professional name. When Shirley Deane was unable to play the title role in Columbia's 1938 filmization of Chic Young's comic strip Blondie, Singleton dyed her hair blonde to qualify for the part. She ended up starring in 28 Blondie B-pictures between 1928 and 1950, with Arthur Lake co-starring as hubby Dagwood Bumstead. During this period, she married for the second time to Blondie producer Robert Sparks. When Blondie folded, Singleton returned to the nightclub singing and dancing work that she'd been doing in the mid-'30s. As an officer in the American Guild of Variety Artists (AGVA), Singleton lobbied for better and more equitable treatment of professional chorus dancers, a stance that earned her several powerful enemies in management (and the Mob). Inactive as a performer for several years, Singleton returned to acting in the early '60s, playing a supporting part in The Best Man (1964) and providing the voice of Jane Jetson on the prime-time animated TV series The Jetsons. Penny Singleton later revived her Jane Jetson characterization for several theatrical and made-for-TV animated features, and also appeared in a cameo role on the weekly Angela Lansbury series Murder She Wrote.

Trivia: Truly a single-note man, American actor Arthur Lake spent most of his adult life portraying only one screen role: Dagwood Bumstead. The son of circus acrobats and the brother of character actress Florence Lake (famed for her ongoing portrayal of Mrs. Edgar Kennedy in nearly 100 two-reel comedies), Lake began his professional career as one of the "Fox Kiddies" in a series of silent-film takeoffs of famous fairy tales, featuring casts comprised completely of children. Lake graduated to a succession of collegiate and office boy roles in feature films, gaining a degree of stardom in the late 1920s and early 1930s after appearing in the title role of Harold Teen (1928). The actor's high-pitched voice and Mama's boy features were amusing for a while, but audiences became bored with Lake by 1934, and the actor found himself shunted to supporting parts and bits. An amusing role as a flustered bellboy in Topper (1937) rejuvenated his career, but Lake's comeback wouldn't be complete until Columbia Pictures cast him as woebegone suburbanite Dagwood Bumstead in Blondie (1938), based on Chic Young's internationally popular comic strip. The strip's characterizations were altered to fit the personalities of Lake and his costar Penny Singleton; in the films, Dagwood was the dope and Blondie the brains of the family, precisely the opposite of the comic-strip situation. A few scattered "straight" performances aside, Lake was nothing other than Dagwood in films from 1938 through 1950; he not only starred in 28 "Blondie" pictures, but repeated the role on radio and starred in an unsuccessful 1954 TV series based on the property. Not at all the blithering idiot that he played on screen, Lake was a sagacious businessman in real life, his wise investments increasing the fortune he'd already accumulated by playing Dagwood -- and also bolstering the moneys inherited by his socialite wife, Patricia Van Cleve. Though he often remarked that it would be wonderful to play Dagwood forever, Lake parted company with the role in the mid-1950s; when another Blondie TV series appeared briefly in 1968, it starred Will Hutchins. Appearing publicly only rarely in the 1960s and 1970s (usually in summer theatres and revivals of 1920s musicals like No, No Nanette), Lake retired before his 70th birthday, a far more prosperous and secure man than his alter ego Dagwood Bumstead -- who's still being fired regularly by boss Mr. Dithers in the funny papers - ever would be.

Trivia: Plagued by several severe childhood illnesses, Larry Parks was inspired by the example of his doctors to study medicine at the University of Illinois. But before graduating, Parks had decided to become an actor. He headed for New York, where he ushered at various theaters and movie houses before joining the Group Theater. He signed a movie contract with Columbia Pictures in 1941, appearing in "B"s and bits until selected to play the title role in the big-budget The Jolson Story. Parks was coached in the role by Al Jolson himself, whose singing voice was heard throughout the film (reportedly, this association was a pleasant one until Jolson, incensed that Columbia had not asked him to star in his own biopic, viciously turned on Parks and treated him atrociously). With the exceptions of Jolson Story and its 1949 follow-up, Jolson Sings Again, most of Parks' starring vehicles were easily forgettable. As a result of his brief association with the Communist Party, Parks was ordered by the HUAC to testify in its loyalty hearing in 1951. Though he publicly begged not to be forced to turn stool pigeon by identifying his fellow "Reds" in the movie industry, Parks ended up being strongarmed into doing just that. If he had harbored any hopes that his testimony would save his own career, those hopes were dashed when Parks was dropped by Columbia and unofficially blacklisted from films for ten years. He supported himself during these dark days by appearing in musical stage productions with his wife, actress Betty Garrett. In 1962, the ban was lifted on Larry Parks, and he made his movie comeback in John Huston's Freud; it proved to be his last film.

Trivia: When redheaded band vocalist Martha Jean Lafferty was casting about for a professional name, she chose Janet Blair, claiming that she named herself after her county of birth, Blair County, Pennsylvania. Janet was signed to a Columbia Pictures contract in 1941, appearing in such programmers as Blondie Goes to College (1941) before graduating to the "dish" title role in My Sister Eileen (1942). Her last assignments at Columbia were nondescript leading-lady stints in Red Skelton's The Fuller Brush Man (1948) and the swashbuckling The Black Arrow (1948). She left Hollywood for Broadway in 1950, then toured for many years in the road company of South Pacific, eventually playing the leading role of Nellie Forbush more often than any other actress. She returned to moviemaking in 1957; the best of her later film roles was the suspected sorceress in the British Burn, Witch, Burn (1962). Janet Blair's TV activities included several musical specials of the 1950s and 1960s, one of them based on the exploits of globetrotting journalist Nellie Bly; she also played Sid Caesar's wife in many of the comedian's TV appearances of the 1956-57 season, co-hosted 1959's The Chevy Show with singer John Raitt, and portrayed the wife of detective Henry Fonda on the 1971 "drammedy" The Smith Family.

Trivia: A child model from age two, Larry Simms was discovered by a Hollywood talent scout when he appeared in a 1937 Saturday Evening Post advertisement. The three-year-old, curly haired Simms made his screen debut as the infant son of Jimmy Stewart and Rose Stradner in MGM's The Last Gangster. He was then hired by Columbia to play Baby Dumpling in the 1938 cinemadaptation of Chic Young's comic strip Blondie. Simms remained with the Blondie series until its cessation in 1950, billed onscreen as Baby Dumpling until his character name was formalized as Alexander Bumstead. During this period, he also made a few "outside" appearances in films like Mr. Smith Goes to Washington (1939) and Madame Bovary (1949). Though his career as a child star was a pleasant experience (and, at 750 dollars per week, a lucrative one), Simms wasn't all that interested in acting; the technical end of moviemaking was more fascinating to him. In 1950, he quit show business to join the Navy, then studied aeronautical engineering at California Polytech. Larry Simms was then hired as an engineer at the Jet Propulsion Laboratory in Pasadena, where he remained until his retirement.

Trivia: Once Canadian-born actor Jonathan Hale became well known for his portrayal of well-to-do businessmen, he was fond of telling the story of how he'd almost been a man of wealth in real life--except for an improvident financial decision by his father. A minor diplomat before he turned to acting, Hale began appearing in minor film roles in 1934, showing up fleetingly in such well-remembered films as the Karloff/Lugosi film The Raven (1935), the Marx Brothers' A Night at the Opera (1935) and the first version of A Star is Born (1937). In 1938, Hale was cast as construction executive J. C. Dithers in Blondie, the first of 28 "B"-pictures based on Chic Young's popular comic strip. Though taller and more distinguished-looking than the gnomelike Dithers of the comics, Hale became instantly synonymous with the role, continuing to portray the character until 1946's Blondie's Lucky Day (his voice was heard in the final film of the series, Beware of Blondie, though that film's on-camera Dithers was Edward Earle). During this same period, Hale also appeared regularly as Irish-brogued Inspector Fernack in RKO's "The Saint" series. After 1946, Hale alternated between supporting roles and bits, frequently unbilled (e.g. Angel on My Shoulder, Call Northside 777 and Son of Paleface); he had a pivotal role as Robert Walker's hated father in Hitchcock's Strangers on a Train (1951), though the part was confined to a smidgen of dialogue and a single long-shot. Hale worked prolifically in television in the '50s, with substantial guest roles in such series as Disneyland and The Adventures of Superman. In 1966, after a long illness, Jonathan Hale committed suicide at the age of 75, just months before the TV release of the Blondie films that had won him prominence in the '30s and '40s.

Trivia: Child actor Danny Mummert made his screen debut in 1938 as pesky neighbor kid Alvin Fuddle in the first Blondie picture. Mummert literally grew up before the audience's eyes in the Blondie series, essaying Alvin in virtually all the series' entries including the last, 1950's Beware of Blondie. He made a few side trips to other films in the 1940s, notably as Donna Reed's younger brother in the 1946 Capra classic It's a Wonderful Life. After the cessation of the Blondie series, Danny Mummert showed up in a handful of teenaged roles, retiring from films after his appearance in 1952's Member of the Wedding.

Trivia: Though born in Michigan, Adele Mara exuded enough exotic Latin charm to be hired as a vocalist by bandleader Xavier Cugat. In 1941, she was signed to a Columbia Pictures contract, appearing in large roles and small in everything from 2-reel comedies to "B" features like Alias Boston Blackie (1941). She became a star at Republic Studios in the mid-1940s, appearing in many a Republic musical and melodrama and adorning lockers all over the world in cheesecake pin-ups; among her last assignments at Republic was the big-budget 1949 war epic Sands of Iwo Jima. In the late 1950s, Adele Mara curtailed her screen activities upon her marriage to TV producer Roy Huggins.

Trivia: Working from the ground up in stock companies, Lloyd Bridges was a member of the progressive Actors Lab company in the mid 1930s. He made his Broadway debut toward the end of that decade in a production of Othello. Signed by Columbia in 1941, Bridges appeared in everything the studio assigned him, from Three Stooges 2-reel comedies to such "A" pictures as Here Comes Mr. Jordan (1941), Talk of the Town (1942), and Sahara (1943). He began freelancing in 1945, accepting the prescient role of a deep-sea diver in 1948's 16 Fathoms Deep, among other films. The most memorable of his '50s assignments was the leading role in the cult science-fiction programmer Rocketship X-M (1950) and the part of the look-out-for-number-one deputy in High Noon (1952).Thanks to his earlier involvement in the Actors Lab and his admission at the HUAC hearings that he'd once flirted with communism, Bridges was "graylisted" during the mid-'50s, able to find work only in lesser pictures and TV shows. He was rescued by producer Ivan Tors, who cast Bridges as diver-for-hire Mike Nelson in the TV series Sea Hunt. Filmed between 1957 and 1961, Sea Hunt was the most popular syndicated program of the era, turning Bridges into a millionaire. Alas, neither of his subsequent series of the '60s, The Lloyd Bridges Show (1962) and The Loner (1965), survived their first seasons. Undaunted, Bridges continued working into the '90s, displaying a hitherto untapped flair for zany comedy in such films as Airplane! (1980), Joe vs. the Volcano (1990), and the two Hot Shots films. Bridges was the father of actors Beau Bridges and Jeff Bridges. A committed environmentalist, he was involved in several organizations including the American Oceans Campaign and Heal the Bay, a Los Angeles-based group. Bridges died of natural causes on March 10, 1998. Shortly before his passing, he had completed work on two films, Jane Austen's Mafia and Meeting Daddy; in the latter film, Bridges co-starred with his eldest son Beau.

Trivia: Diminutive, jug-eared comic actor Sid Melton cut his acting teeth in the touring companies of such Broadway hits as See My Lawyer and Three Men on a Horse. Though he once listed his film debut as being 1945's Model Wife, Melton showed up onscreen as early as 1942, playing one of the students in Blondie Goes to College. Mostly showing up in bits and minor roles in big-studio features, Melton enjoyed starring assignments at bargain-basement Lippert Studios, notably the 1951 "sleeper" The Steel Helmet. His film career extended into the 1970s, when he was seen in a sizeable role in the Diana Ross starrer Lady Sings the Blues (1975). Sid Melton's TV credits include the cult-favorite roles of Ichabod Mudd ("with two D's!") on Captain Midnight and nightclub owner Charley Halper on The Danny Thomas Show.

Trivia: Excelling in baseball while at Phillips-Exeter academy, American comic actor Andrew Tombes determined he'd make a better living as an actor than as a ballplayer. By the time he became a headliner in the Ziegfeld Follies, Tombes had performed in everything from Shakespeare to musical comedy. He received star billing in five editions of the Follies in the '20s, during which time he befriended fellow Ziegfeldite Will Rogers. It was Rogers who invited Tombes to Hollywood for the 1935 Fox production Doubting Thomas. An endearingly nutty farceur in his stage roles, Tombes' screen persona was that of an eternally befuddled, easily aggravated business executive. The baldheaded, popeyed actor remained at Fox for several years after Doubting Thomas, playing an overabundance of police commissioners, movie executives, college deans, and Broadway "angels." Tombes' problem was that he arrived in talkies too late in the game: most of the larger roles in which he specialized usually went to such long-established character men as Walter Catlett and Berton Churchill, obliging Tombes to settle for parts of diminishing importance in the '40s. Most of his later screen appearances were unbilled, even such sizeable assignments as the would-be musical backer in Olsen and Johnson's Hellzapoppin' (1941) and the royal undertaker's assistant in Hope and Crosby's Road to Morocco (1942). Still, Tombes was given ample opportunity to shine, especially as the secretive, suicidal bartender in the 1944 "film noir" Phantom Lady. Andrew Tombes last picture was How to Be Very Very Popular (1955), which starred a colleague from his busier days at 20th Century-Fox, Betty Grable.

Trivia: American actress Esther Dale concentrated her cinematic efforts on portraying warm-hearted aunts, mothers, nurses, neighbors and shopkeepers--though there were a few domineering dowagers along the way. She began her career on a semi-professional basis with a New England stock troupe operated by her husband, Arthur Beckhard. Esther was the resident character actress in stage productions of the late '20s and early '30s featuring such stars-to-be as Henry Fonda and Margaret Sullavan. She first appeared before the cameras in 1934's Crime Without Passion, filmed in Long Island. Esther then moved to Hollywood, where she popped up with increasing frequency in such films as The Awful Truth (1937) (as Ralph Bellamy's mother), Back Street (1941), Margie (1946) and The Egg and I (1947). Her participation in the last-named film led to a semi-regular stint in Universal's Ma and Pa Kettle series as the Kettles' neighbor Birdie Hicks. Esther Dale's last film, made one year before her death, was the John Wayne vehicle North to Alaska (1960), in which she had one scene as "Woman at Picnic."

Trivia: It is misleading to label film-actor Bill Goodwin as a "former radio announcer," since he never truly left announcing. Signed on the basis of his radio credentials to a Paramount movie contract in 1942, Goodwin seldom rose above "hero's best friend" roles, though he was allowed to play the nominal hero in the Universal scarefest House of Horrors (1946). The biggest movie success with which Goodwin was associated was The Jolson Story (1946), in which he played Al Jolson's (fictional) agent Tom Baron; he repeated the characterization in the 1949 sequel, Jolson Sings Again. Even while pursuing his film career, Goodwin remained a familiar radio presence. For many years, he was the announcer on The Burns and Allen Show, his fictional persona being that of a skirt-chasing bachelor. He remained with Burns and Allen during their first season on television, leaving the series in 1951 to host his own local New York TV program. Later, Goodwin emceed the 1955 summer-replacement quiz show Penny to a Million, and in 1956 he was the announcer for the first prime-time network cartoon series, Gerald McBoing Boing. Bill Goodwin died of a heart attack in 1958 at the age of 47.

Trivia: It is perhaps superfluous to note that actor Philip Morris was no relation to the cigarette-manufacturing family of the same name. In films from 1935 to 1948, Morris was generally cast as a cop, doorman, cabbie, or truck driver. He can be glimpsed near the end of The Magnificent Ambersons (1942) as the traffic cop investigating George Minafer's auto accident, and in High, Wide and Handsome (1937) as one of the sweating teamsters. One of Philip Morris' few screen characters to be given a name was Howard Ross in the 1948 Western Whirlwind Raiders.