Trivia: Though his popularity rose and fell during his long career, American actor Don Ameche, born Dominic Amici in Kenosha, WI, was one of Hollywood's most enduring stars. He began his acting career in college, where he had been studying law. He had a natural gift for acting and got his first professional opportunity when he filled in for a missing lead in the stock theater production of Excess Baggage. After that, he forewent his law career and became a full-time theatrical actor. He also worked briefly in vaudeville beside Texas Guinan. Following that he spent five years as a radio announcer. He made his screen debut in a feature short, Beauty at the World's Fair (1933). Following this, Ameche moved to Hollywood where he screen-tested with MGM; they rejected him. In 1935, he managed to obtain a small role in Clive of India and this resulted in his signing a seven-year contract with 20th Century Fox. Ameche, with his trim figure, pencil-thin mustache, and rich baritone voice was neither a conventionally handsome leading man nor the dashing hero type. Instead he embodied a wholesomeness and bland honesty that made him the ideal co-lead and foil for the more complex heroes. He played supporting roles for many years before he came into his own playing the leads in light romances and musicals such as Alexander's Rag Time Band (1938), where he demonstrated a real flair for romantic comedy. In 1939, Ameche played the title role in the classic biopic The Story of Alexander Graham Bell. The film was a tremendous success and for years afterward, fans quipped that it was he, not Bell who invented the telephone; for a time the telephone was even called an "ameche." He continued working steadily through the mid-'40s and then his film career ground to an abrupt halt. He returned to radio to play opposite Frances Langford in the long-running and popular series The Bickersons. During the 1950s he worked occasionally on television.He began appearing infrequently in low-budget films during the '60s and '70s, but did not make a comeback proper until 1983, when he was cast as a replacement for the ailing Ray Milland in the comedy Trading Places. The success of this film brought Ameche back in demand. In 1985, the aging actor received a Best Supporting Actor Oscar for his work as a retirement home Casanova in Cocoon. He followed up that role to even more acclaim in 1988's David Mamet-Shel Silverstein concoction Things Change, in which Ameche played the role of a impish shoemaker chosen to take the fall for a mob hit. Before his death in 1993, Ameche rounded out his career with brief but memorable performances in Oscar (1991) and Corrina, Corrina (1994).

Trivia: Fresh out of the University of Chicago, brunette actress Frances Dee began securing extra roles in Hollywood, and by 1930 was co-starring with Maurice Chevalier (at his personal request) in Playboy in Paris. No winsome lass she, Frances truly came to life in parts calling for headstrong, uninhibited behavior. She was at her all-time best in Blood Money (1933), playing a thrill-seeking socialite with a pronounced masochistic streak. Hollywood saw Frances differently, and persisted in casting her in sedate roles that anyone could have played; it was disheartening, for example, to watch her play straight woman to Clifton Webb in Mister Scoutmaster (1953). Offscreen, Frances Dee was, for nearly sixty years, the wife of film star Joel McCrea, and the mother of actor Jody McCrea. In 2004, Dee passed away due to complications from a stroke.

Trivia: Brunette Canadian leading lady Ann Rutherford had the sort of button-cute baby face that allowed her to play ingénues into her thirties. The daughter of an opera tenor and a stage actress, Rutherford was performing on-stage from childhood. She was still a teenager when she made her first film appearances as leading lady to such Western heroes as John Wayne and Gene Autry. At MGM from 1937, Ms. Rutherford gained minor stardom as Polly Benedict in the studio's Andy Hardy series. She was allowed to display her perky comic gifts in a trio of 1940s mystery-comedies co-starring Red Skelton (Whistling in the Dark, Whistling in Dixie, Whistling in Brooklyn), and was quite appealing as Careen O'Hara in Gone With the Wind (1939). She closed out her film career in 1950 to devote more time to her private life; for many years, she was the wife of 20th Century Fox executive William Dozier. Ann Rutherford returned to the screen in 1972 to join several fellow MGM alumni in They Only Kill Their Masters, thereafter confining most of her professional activity to her annual appearances as Suzanne Pleshette's mother on TV's The Bob Newhart Show (1972-1978).

Trivia: Western film star Harry Carey was the Eastern-born son of a Bronx judge. Carey's love and understanding of horses and horsemanship was gleaned from watching the activities of New York's mounted policemen of the 1880s. He worked briefly as an actor in stock, then studied law until a bout of pneumonia forced him to quit the job that was paying for his education. He reactivated his theatrical career in 1904 by touring the provinces in Montana, a play he wrote himself. In 1911, Carey signed with the Bronx-based Biograph film company, playing villain roles for pioneer director D. W. Griffith. Though only in his mid-30s, Carey's face had already taken on its familiar creased, weatherbeaten look; it was an ideal face for westerns, as Carey discovered when he signed with Hollywood's Fox Studios. Under the guidance of fledgling director John Ford, Carey made 26 features and two-reelers in the role of hard-riding frontiersman Cheyenne Harry. Throughout the 1920s, Carey remained an audience favorite, supplementing his acting income with occasional scripting, producing and co-directing assignments. At the dawn of the talkie era, Carey had been around so long that he was considered an old-timer, and had resigned himself to playing supporting parts. His starring career was revitalized by the 1931 jungle epic Trader Horn, in which he appeared with his wife Olive Golden. While he still accepted secondary roles in "A" features (he earned an Oscar nomination for his performance as the Vice President in Frank Capra's Mr. Smith Goes to Washington [1939]), Carey remained in demand during the 1930s as a leading player, notably in the autumnal 1936 western The Last Outlaw and the rugged 1932 serial Last of the Mohicans. In 1940, Carey made his belated Broadway debut in Heavenly Express, following this engagement with appearances in Ah, Wilderness (1944) and But Not Goodbye (1944). By the early 1940s, Carey's craggy face had taken on Mount Rushmore dimensions; his was the archetypal "American" countenance, a fact that director Alfred Hitchcock hoped to exploit. Hitchcock wanted to cast Carey against type as a Nazi ringleader in 1942's Saboteur, only to have these plans vetoed by Mrs. Carey, who insisted that her husband's fans would never accept such a radical deviation from his image. Though Carey and director John Ford never worked together in the 1930s and 1940s, Ford acknowledged his indebtedness to the veteran actor by frequently casting Harry Carey Jr. (born 1921), a personable performer in his own right, in important screen roles. When Carey Sr. died in 1948, Ford dedicated his film Three Godfathers to Harry's memory. A more personal tribute to Harry Carey Sr. was offered by his longtime friend John Wayne; in the very last shot of 1955's The Searchers, Wayne imitated a distinctive hand gesture that Harry Carey had virtually patented in his own screen work.

Trivia: The product of a broken home, Cara Williams was still a preteen when she was taken by her mother from her hometown of Brooklyn to Los Angeles. Williams' first professional acting job was supplying vocal impressions of famous movie stars for animated cartoons. At 17, Williams was signed to a 20th Century Fox contract, but few of her subsequent film roles were large enough to attract notice. Her fortunes improved when she replaced Judy Holliday in the Broadway production of Born Yesterday (1950); thereafter, her film and TV roles increased in size and prominence. She was nominated for an Academy Award for her portrayal of a sex-starved farm woman in The Defiant Ones (1958). By virtue of her flaming red hair and acute comic timing, Williams was touted as "the new Lucille Ball" on the CBS sitcoms Pete and Gladys (1961) and The Cara Williams Show (1964). Her TV efforts were not particularly popular, but she had a powerful ally in the form of actor/producer Keefe Brasselle -- who was the best friend of CBS programming head James Aubrey. When Brasselle fell out of favor and Aubrey's regime toppled, Williams' stardom diminished. She went on to play character roles on-stage and in films, and was briefly a regular on the late-'70s TV series Rhoda. From 1952 through 1959, Cara Williams was the wife of actor John Barrymore Jr., by whom she had a son.

Trivia: Richard Crane was recruited by Hollywood in his early twenties, making his screen debut in the 1940 Joan Crawford vehicle Susan and God (1940). Crane coasted on his good looks and pleasant personality throughout the war years, while most of Hollywood's top leading men were in uniform, appearing in 20th Century Fox's Happy Land (1943) and A Wing and a Prayer (1944). By 1951, he was accepting make-work jobs along the lines of the Columbia serial Mysterious Island. His film career in almost total eclipse, Crane briefly rallied as star of the popular syndicated sci-fi TV series Rocky Jones, Space Ranger (1953). He was later seen in the supporting role of Lt. Gene Plethon on TV's Surfside Six (1961-1962). Richard Crane's last big-screen appearance was in Surf Party (1964).

Trivia: One of the most prolific actors in television history -- with starring roles in 11 different television series under his belt -- Harry Morgan is most closely identified with his portrayal of Colonel Sherman Potter on M*A*S*H (1975-83). But his credits go back to the 1930s, embracing theater and film as well as the small screen. Born Harry Bratsberg in Detroit, Michigan, in 1915, he made his Broadway debut with the Group Theatre in 1937 as Pepper White in the original production of Golden Boy, alongside Luther Adler, Phoebe Brand, Howard Da Silva, Lee J. Cobb, Morris Carnovsky, Frances Farmer, Elia Kazan, John Garfield, Martin Ritt, and Roman Bohnen. His subsequence stage appearances between 1939 and 1941 comprised a string of failures -- most notably Clifford Odets' Night Music, directed by Harold Clurman; and Robert Ardrey's Thunder Rock, directed by Elia Kazan -- before he turned to film work. Changing his name to Henry Morgan, he appeared in small roles in The Shores of Tripoli, The Loves of Edgar Allen Poe, and Orchestra Wives, all from 1942. Over the next two years, he essayed supporting roles in everything from war movies to Westerns, where he showed an ability to dominate the screen with his voice and his eyes. Speaking softly, Morgan could quietly command a scene, even working alongside Henry Fonda in the most important of those early pictures, The Ox-Bow Incident (1943). Over the years following World War II, Morgan played ever-larger roles marked by their deceptive intensity. And even when he couldn't use his voice in a role, such as that of the mute and sinister Bill Womack in The Big Clock (1948), he was still able to make his presence felt in every one of his scenes with his eyes and his body movements. He was in a lot of important pictures during this period, including major studio productions such as All My Sons (1948), Down to the Sea in Ships (1949), and Madame Bovary (1949). He also appeared in independent films, most notably The Well (1951) and High Noon (1952). One of the more important of those roles was his portrayal of a professional killer in Appointment With Danger (1951), in which he worked alongside fellow actor Jack Webb for the first time. Morgan also passed through the stock company of director Anthony Mann, working in a brace of notable outdoor pictures across the 1950s. It was during the mid-1950s, as he began making regular appearances on television, that he was obliged to change his professional name to Harry Morgan (and, sometimes, Henry "Harry" Morgan), owing to confusion with another performer named Henry Morgan, who had already established himself on the small screen and done some movie acting as well. And it was at this time that Morgan, now billed as Harry Morgan, got his first successful television series, December Bride, which ran for five seasons and yielded a spin-off, Pete and Gladys. Morgan continued to appear in movies, increasingly in wry, comedic roles, most notably Support Your Local Sheriff (1969), but it was the small screen where his activity was concentrated throughout the 1960s.In 1966, Jack Webb, who had become an actor, director, and producer over the previous 15 years, decided to revive the series Dragnet and brought Morgan aboard to play the partner of Webb's Sgt. Joe Friday. As Officer Bill Gannon, Morgan provided a wonderful foil for the deadpan, no-nonsense Friday, emphasizing the natural flair for comic eccentricity that Morgan had shown across the previous 25 years. The series ran for four seasons, and Morgan reprised the role in the 1987 Dragnet feature film. He remained a busy actor going into the 1970s, when true stardom beckoned unexpectedly. In 1974, word got out that McLean Stevenson was planning on leaving the successful series M*A*S*H, and the producers were in the market for a replacement in the role of the military hospital's commanding officer. Morgan did a one-shot appearance as a comically deranged commanding general and earned the spot as Stevenson's replacement. Morgan worked periodically in the two decades following the series' cancellation in 1983, before retiring after 1999. He died in 2011 at age 96.

Trivia: Courtly character actor Minor Watson made his stage debut in Brooklyn in 1911. After 11 years of stock experience, Watson made his Broadway bow in Why Men Leave Home. By the end of the 1920s he was a major stage star, appearing in vehicles specially written for him. Recalling his entree into films in 1931, Watson was fond of saying, "I'm a stage actor by heart and by profession. I was a movie star by necessity and a desire to eat." Though never a true "movie star" per se, he remained gainfully employed into the 1950s in choice character roles. Often called upon to play show-biz impresarios, he essayed such roles as E.F. Albee in Yankee Doodle Dandy (1942) and John Ringling North in Trapeze (1956). One of Minor Watson's largest and most well-rounded screen assignments was the part of cagey Brooklyn Dodgers manager Branch Rickey in 1950's The Jackie Robinson Story.

Trivia: At age one he debuted onscreen (playing John Barrymore as a baby) in The Beloved Rogue (1927), then appeared in a number of films as a toddler. He stayed onscreen through his childhood and adolescence, becoming one of Hollywood's favorite child stars. He appeared in many Our Gang comedy shorts and more than 100 feature films. He was less successful as a teenage actor and young adult, and he retired from the screen in the early '50s. He went on to teach and write books about acting, edit Equity magazine, perform on Broadway, in stock, and on TV, write and direct for TV, produce an Oscar-nominated short film (The Boy and the Eagle), and produce industrial shows; he wrote the book Twinkle, Twinkle, Little Star (But Don't Have Sex or Take the Car) (1984), an insider's account of the hazards of being a child star. He was married to actress Jane Powell from 1988 until his death, at age 89, in 2015.

Trivia: American stage-actor Oscar O'Shea made his first screen appearance in the 1937 MGM musical Rosalie. O'Shea spent most of the rest of his movie career as an MGM utility player. One of his best-remembered roles, however, was for producer Hal Roach: O'Shea appeared as the ranch boss in 1939's Of Mice and Men. Otherwise, Oscar O'Shea was generally consigned to one- or two-scene roles, usually as salty sea captains.

Trivia: Adeline Reynolds launched her acting career on-stage at age 70, two years after she graduated from college. Nine years later, in the early '40s, she debuted in films and became the oldest thespian in films during the '50s.

Trivia: "I'm not a comic," insisted Mary Wickes. "I'm an actress who plays comedy." True enough; still Wickes was often heaps funnier than the so-called comics she supported. The daughter of a well-to-do St. Louis banker, Wickes was an excellent student, completing a political science degree at the University of Washington at the age of 18. She intended to become a lawyer, but she was deflected into theatre. During her stock company apprenticeship, Wickes befriended Broadway star Ina Claire, who wrote the young actress a letter of introduction to powerful New York producer Sam Harris. She made her Broadway debut in 1934, spending the next five seasons in a variety of characterizations (never the ingenue). In 1939, she found time to make her film bow in the Red Skelton 2-reeler Seein' Red. After a string of Broadway flops, Wickes scored a hit as long-suffering Nurse Preen (aka "Nurse Bedpan") in the Kaufman-Hart comedy classic The Man Who Came to Dinner. She was brought to Hollywood to repeat her role in the 1941 film version of Dinner. After a brief flurry of movie activity, Wickes went back to the stage, returning to Hollywood in 1948 in a role specifically written for her in The Decision of Christopher Blake. Thereafter, she remained in great demand in films, playing an exhausting variety of nosy neighbors, acerbic housekeepers and imperious maiden aunts. Though her characters were often snide and sarcastic, Wickes was careful to inject what she called "heart" into her portrayals; indeed, it is very hard to find an out-and-out villainess in her manifest. Even when she served as the model for Cruella DeVil in the 1961 animated feature 101 Dalmations, Cruella's voice was dubbed by the far more malevolent-sounding Betty Lou Gerson. Far busier on TV than in films, Wickes was a regular on ten weekly series between 1953 and 1985, earning an Emmy nomination for her work on 1961's The Gertrude Berg Show. She also has the distinction of being the first actress to essay the role of Mary Poppins in a 1949 Studio One presentation. Throughout the 1960s, 1970s and 1980s, Wickes did a great deal of guest-artist work in colleges and universities; during this period she herself went back to school, earning a master's degree from UCLA. Maintaining her professional pace into the 1990s, Wickes scored a hit with modern moviegoers as Sister Mary Lazarus in the two Sister Act comedies. Mary Wickes' final performance was a voiceover stint as one of the gargoyles in Disney's animated Hunchback of Notre Dame; she died a few days before finishing this assignment, whereupon Jane Withers dubbed in the leftover dialogue.

Trivia: Bespectacled American actor Walter Baldwin was already a venerable stage performer at the time he appeared in his first picture, 1940's Angels over Broadway. With a pinched Midwestern countenance that enabled him to portray taciturn farmers, obsequious grocery store clerks and the occasional sniveling coward, Baldwin was a familiar (if often unbilled) presence in Hollywood films for three decades. Possibly Baldwin's most recognizable role was as Mr. Parrish in Sam Goldwyn's multi-Oscar winning The Best Years of Our Lives (1946), for which the actor received thirteenth billing. He also had a prime opportunity to quiver and sweat as a delivery man whose truck is commandeered by homicidal prison escapee Robert Middleton in The Desperate Hours (1955). Seemingly ageless, Walter Baldwin made his last film appearance three years before his death in 1969's Hail Hero.

Trivia: Handsome British stage actor Tom Stevenson had played the homicidal husband in the stage version of Gaslight before making his screen debut as the gravedigger in The Wolf Man (1941). Freelancing, Stevenson played minor supporting roles at almost every Hollywood studio, often portraying supercilious headwaiters or forbidding military officers. When MGM filmed Gaslight in 1944, Stevenson played Williams, the constable, and he was Reverend Hyslip in Bette Davis's Mr. Skeffington later that year. Stevenson, who also appeared in early television shows, returned to the legitimate stage in 1950.

Trivia: Born into wealth, American actress Aileen Pringle was educated in San Francisco (her home town), Paris, and London. Married to a titled Englishman before the age of twenty, Pringle defied the wishes of her husband and her family to take on a stage career in 1915. The actress worked on stage and in non-Hollywood films until 1922, when she was awarded a major-studio movie contract. She was personally selected by romance novelist Elinor Glyn (one of the great poseurs of the '20s) to star in the 1942 film adaptation of Glyn's steamy Ruritanian bodice-ripper Three Weeks (1924). An apocryphal story popped up during the making of this film, wherein Pringle, being carried into the boudoir by co-star Conrad Nagel, play-acted deep passion while actually whispering to Nagel, "If you drop me, you bastard, I'll break your neck." (Something like this did happen on the set of another film that starred neither Pringle or Nagel). Not well liked by coworkers due to her haughty attitude, Aileen nonetheless became Hollywood's unofficial "Darling of the Intelligentsia," and was regularly sent out by the studios to greet such literary wits as H.L. Mencken upon their arrival in Tinseltown. Indeed, Pringle's second husband was a celebrated writer, James M. Cain (Double Indemnity, The Postman Always Rings Twice), though hardly one of the intellectual elite. Behaving as contrarily as possible due to her disdain of filmmakers, Pringle sabotaged her chances at continuing her starring career in talking pictures; by 1942, she was played unbilled bits in such films as They Died with Their Boots On (1942). Comeback attempts in the '50s were thwarted because of Aileen Pringle's condescention and outspokenness; if the extremely wealthy actress truly wanted stardom, she sure didn't actively court it.

Trivia: Irish-born Matt Moore was the youngest of Hollywood's acting Moore brothers. After siblings Owen and Tom Moore had established themselves, Moore gave movies a try in 1913, and was almost immediately cast as one of the leads in the notorious Traffic in Souls (1913). His appeal fell somewhere in-between his brothers: he didn't have the charisma of Owen, but he was a far better actor than Tom. By avoiding the pitfalls of stardom, Matt Moore survived in Hollywood into the late '50s, though his leading-man days were over by 1930 and he had to be content with character parts. RKO's 1929 talkie Side Street gives modern viewers a rare opportunity to see all three Moore brothers in the same picture -- with Matt, the youngest, appearing to be the most mature of the group.

Trivia: American actress Darla Hood is best remembered for being the adorable childhood sweetheart of "Alfalfa" (played by Carl Switzer) in the mid 1930s version of the "Our Gang" series of comedy shorts. She got her start in the series in 1935 when she was only four and went on to appear and occasionally sing in dozens of episodes for the next ten years. Hood also sometimes got roles in feature films such as Born to Sing (1942). She left films at age 14. Later she had a career singing television commercial jingles. She also occasionally took tiny roles in feature films.

Trivia: Over her long career, Lillian Bronson played numerous small character roles in a wide variety of films. The New York City native made her screen debut in The Happy Land (1943) starring Don Ameche. After many film appearances, she branched out into television, working as a regular on shows like Kings Row, where she played Grandma from 1955 to 1956, and Date With the Angels between 1957 and 1958. Bronson also guest starred on numerous television shows, especially Westerns like The Rifleman, Have Gun Will Travel, and The Guns of Will Sonnett.

Trivia: In films from 1933, American character actor Ferris Taylor excelled in "official" roles. Taylor played the Mayor in a couple of Paramount's Henry Aldrich films, and elsewhere was cast as governors, senators, and at least one president. His bombastic characterizations were enhanced by the patently phony toupee he wore on occasion. Ferris Taylor spent his last few film years in short subjects, overacting to his heart's content, opposite the likes of Andy Clyde and the Three Stooges.

Trivia: Though born in Germany, Paul Weigel generally played French and Spanish aristocrats during the silent era. Active in films from 1917 to 1943, Weigel spent most of the talkie era portraying kindly ministers. Every so often he would show up in a comedy, notably the 1925 Our Gang two-reeler Boys Will Be Joys. Paul Weigel's best-remembered talkie assignment was the philosophical Jewish ghetto-dweller Mr. Agar in Chaplin's The Great Dictator (1940).

Trivia: American character actor Joe Bernard has worked on stage, screen and television. He has also worked as a drama coach and occasionally directs and writes scripts.

Trivia: The father of actors Houseley Stevenson Jr. and Onslow Stevens, Houseley Stevenson Sr. was one of the founders and principal directors of the famed Pasadena Playhouse. After a four-decade-plus stage career, Stevenson came to films in 1936. At first, he played bits, but as he moved into his sixties the size of his roles increased. The hollow-cheeked, stubble-chinned actor was especially adept at playing elderly derelicts whose dialogue usually ran along the lines of "Whatsa matter, son? Hidin' from the law?" Houseley Stevenson was at his very best in two Humphrey Bogart films: In Dark Passage (1947), he played the seedy plastic surgeon Dr. Coley, while in Knock on Any Door he was seen as the philosophical rummy "Junior."

Trivia: Billed Baby Jane in her earliest films, this Hollywood-born-and-bred moppet actress was the sister of 1940s teenage star Rita Quigley. Although the younger of the two, Juanita entered films first, usually playing the leading lady as a young girl. But unlike Bette Davis' psychotic former child star, this Baby Jane left films to enter a convent. After several years as a nun, Quigley realized that she had made a mistake, left the vocation, and married. She returned to the entertainment industry as an adult and can be spotted as an extra in (of all things) Porky's II: The Next Day (1983).

Trivia: Milton Kibbee was the younger brother of prominent stage and screen character actor Guy Kibbee. Looking like a smaller, skinnier edition of his brother, Milton followed Guy's lead and opted for a show business career. The younger Kibbee never reached the professional heights enjoyed by Guy in the '30s and '40s, but he was steadily employed in bit parts and supporting roles throughout the same period. Often cast as desk clerks, doctors and park-bench habitues, Milton Kibbee was most frequently seen as a pencil-wielding reporter, notably (and very briefly) in 1941's Citizen Kane.

Trivia: With his silvery hair and dignified bearing, American actor John Dilson was a natural for "executive" roles. In films from 1935, Dilson was usually seen playing doctors, lawyers and newspaper editors. Occasionally, however, he played against type as sarcastic working stiffs, as witness his bit as an unemployment-office clerk in The Monster and the Girl (1941). John Dilson's larger screen roles can be found in Republic serials like Robinson Crusoe on Clipper Island (1936), and Dick Tracy (1937) and in such two-reel efforts as MGM's "Crime Does Not Pay" series.

Trivia: Although a strong presence in the (still extant) Oscar Micheaux drama Symbol of the Unconquered (1920), gaunt-looking African-American performer Leigh Whipper had to wait 23 years for a second screen role truly worthy of his not inconsiderable talents, that of the preacher Sparks in The Ox-Bow Incident. Whipper, who has been credited with being the first black member of Actors Equity and the founder of the Negro Actors Guild, had done much better on Broadway, where he starred in the 1929 revival of Porgy, wrote and starred in the short-lived Yeah Man (1932), and originated the part of Crooks in Of Mice and Men (1937), a role that he re-created in the 1939 screen version. Arguably the finest African-American actor of his generation -- and one of the finest performers in the history of American theater -- Leigh Whipper was awarded the prestigious Oscar Micheaux Award in 1974. In the 1990s, The Philadelphia International Film Festival instituted an award in his honor.

Trivia: A former dentist, Robert Dudley began appearing in small supporting roles on screen around 1917 (he played a clerk in the first screen version of the mystery-comedy Seven Keys to Baldpate) and would appear in literally hundreds of films until his retirement in 1951. Often cast as jurors, shopkeepers, ticket agents, and court clerks, the typical Dudley character displayed a very short fuse. Of all his often miniscule performances, one in particular stands out: the apartment-hunting "Wienie King" in Preston Sturges' hilarious The Palm Beach Story (1942).

Trivia: Born to Russian-immigrant parents, Natalie Wood made her first film appearance at age four as an extra in Happy Land (1943). When she was promoted to supporting roles, the young Wood was well prepared for the artistic discipline expected of her: She'd been taking dancing lessons since infancy. By 1947, she earned up to a thousand dollars per week for such films as Miracle on 34th Street. She made a reasonably smooth transition to grown-up roles, most notably as James Dean's girlfriend in Rebel Without a Cause (1955) and Warren Beatty's steady in Splendor in the Grass (1961). She was also a regular on the 1953 sitcom Pride of the Family, playing the teenaged daughter of Paul Hartman and Fay Wray. Despite being romantically linked with several of her leading men, Wood settled down to marriage relatively early, wedding film star Robert Wagner in 1957. The union didn't last, and she and Wagner were divorced in 1962. Continuing to star in such important films as West Side Story (1961), Gypsy (1963), Inside Daisy Clover (1967), and Bob and Carol and Ted and Alice (1969), Wood always managed to bounce back from her numerous career setbacks, and in 1971, after an interim marriage to screenwriter Richard Gregson, Wood remarried Robert Wagner, this time for keeps. Opinions of her acting ability varied: Her adherents felt that she was one of Hollywood's most versatile stars, while her detractors considered her to be more fortunate than talented. The Oscar people thought enough of Wood to nominate her three times, for Rebel Without a Cause, Splendor in the Grass, and Love With the Proper Stranger (1963). In the midst of filming the 1981 sci-fier Brainstorm, 43-year-old Natalie Wood drowned in a yachting accident just off Catalina Island. Among her survivors was her sister, actress Lana Wood.