Trivia: The son of an opera soprana, he studied drama at Columbia and voice at Juilliard. He began his career as a singer, then did some acting in stock. He moved to Hollywood in 1935, playing leads in a number of Fox musicals by the '40s, often opposite Alice Faye or Betty Grable. Frequently appearing bare-chested, he was very popular with female fans, and for a time he was the top male pin-up. In the '50s, still muscular but no longer boyish, he switched to medium-budget Westerns and action movies. In 1957 he retired from the screen to star in the TV series The Restless Gun and appeared in only two more films. He directed one of his last films, They Ran for Their Lives (1968). He finished his career in a 1973 Broadway revival of the musical Good News, appearing opposite Alice Faye. He became wealthy with shrewd real estate investments in southern California. From 1937-43 he was married to actress Anne Shirley; their daughter is actress Julie Payne. From 1944-50 he was married to actress Gloria DeHaven.

Trivia: Born Randolph Crane, this virile, weathered, prototypical cowboy star with a gallant manner and slight Southern accent enlisted for service in the U.S. Army during World War I at age 19. After returning home he got a degree in engineering, then joined the Pasadena Community Playhouse. While golfing, Scott met millionaire filmmaker Howard Hughes, who helped him enter films as a bit player. In the mid '30s he began landing better roles, both as a romantic lead and as a costar. Later he became a Western star, and from the late '40s to the '50s he starred exclusively in big-budget color Westerns (39 altogether). From 1950-53 he was one of the top ten box-office attractions. Later in the '50s he played the aging cowboy hero in a series of B-Westerns directed by Budd Boetticher for Ranown, an independent production company. He retired from the screen in the early '60s. Having invested in oil wells, real estate, and securities, he was worth between $50-$100 million.

Trivia: Born in Ranelagh, Ireland, near Dublin, Maureen O'Hara was trained at the Abbey Theatre School and appeared on radio as a young girl before making her stage debut with the Abbey Players in the mid-'30s. She went to London in 1938, and made her first important screen appearance that same year in the Charles Laughton/Erich Pommer-produced drama Jamaica Inn, directed by Alfred Hitchcock. She was brought to Hollywood with Laughton's help and co-starred with him in the celebrated costume drama The Hunchback of Notre Dame, which established O'Hara as a major new leading lady. Although she appeared in dramas such as How Green Was My Valley with Walter Pidgeon, The Fallen Sparrow opposite John Garfield, and This Land Is Mine with Laughton, it was in Hollywood's swashbucklers that O'Hara became most popular and familiar. Beginning with The Black Swan opposite Tyrone Power in 1942, she always seemed to be fighting (or romancing) pirates, especially once Technicolor became standard for such films. Her red hair photographed exceptionally well, and, with her extraordinary good looks, she exuded a robust sexuality that made her one of the most popular actresses of the late '40s and early '50s.O'Hara was also a good sport, willing to play scenes that demanded a lot of her physically, which directors and producers appreciated. The Spanish Main, Sinbad the Sailor, and Against All Flags (the latter starring Errol Flynn) were among her most popular action films of the '40s. During this period, the actress also starred as young Natalie Wood's beautiful, strong-willed mother in the classic holiday fantasy Miracle on 34th Street and as John Wayne's estranged wife in the John Ford cavalry drama Rio Grande. O'Hara became Wayne's most popular leading lady, most notably in Ford's The Quiet Man, but her career was interrupted during the late '50s when she sued the scandal magazine Confidential. It picked up again in 1960, when she did one of her occasional offbeat projects, the satire Our Man in Havana, based on a Graham Greene novel and starring Alec Guinness. O'Hara moved into more distinctly maternal roles during the '60s, playing the mother of Hayley Mills in Disney's popular The Parent Trap. She also starred with Wayne in the comedy Western McLintock!, and with James Stewart in the The Rare Breed, both directed by Andrew V. McLaglen. Following her last film with Wayne, Big Jake, and a 1973 television adaptation of John Steinbeck's The Red Pony, O'Hara went into retirement, although returned to the screen in 1991 to play John Candy's overbearing mother in the comedy Only the Lonely, and later appeared in a handful of TV movies. In 2014, she received an Honorary Academy Award, despite having never been nominated for one previously. O'Hara died the following year, at age 95.

Trivia: The daughter of actress Nan Kelly Yorke, she first modeled while still a baby, then went on to play child roles onstage and in over 50 silent films of the '20s. She worked for a time on radio, then returned to films at 17, going on to play leads in both A- and B-movies over the next decade. With her film work drying up she returned to the stage and won a Tony Award and two Sarah Siddons Best Actress Awards. She appeared in only two more films, one of which was the screen version of The Bad Seed (film, 1956), the play for which she'd won her Tony Award; for her work in the film she received a Best Actress Oscar nomination. She continued a successful stage career through the '70s, and occasionally appeared in TV roles. From 1941-42 she was married to actor Edmond O'Brien. Her brother is actor Jack Kelly.

Trivia: A professional actor since childhood, Philadelphia-born William Tracy came to Hollywood in his Broadway role as a military school "plebe" in Brother Rat (1938). Kept briefly under contract to Warner Bros, Tracy went on to play Pat O'Brien as a boy in the classic gangster saga Angels with Dirty Faces. The cherub-faced actor then went on to Hal Roach Studios, where he costarred in several "streamliners" (45 minute films, designed for double-feature bills) with Joe Sawyer. In such slick little comedies as Tanks a Million (1941), About Face (1941) and Yanks Ahoy (1942), Tracy played a rookie serviceman with a photographic memory, while Sawyer played his tough topkick. An attempt to recreate the team in 1951 with a pair of Lippert Studios quickies, As You Were! and Mister Walkie Talkie, sank without a trace. Tracy's other big-screen role of note was as Terry Lee in the serialized movie version of Milton Caniff's comic strip Terry and the Pirates (1940). William Tracy spent the remainder of his career in the '50s and '60s in small movie and TV supporting parts, save for a worthwhile costarring stint with John Russell in the popular 1955 syndicated TV adventure show Soldiers of Fortune.

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: Muscular American general-purpose actor Edmund MacDonald entered films in 1933. MacDonald was briefly a 20th Century-Fox contractee in the early 1940s; his best role under the Fox banner was the antagonistic Sgt. Hippo in Laurel & Hardy's Great Guns (1941). At other studios, he was usually cast as plainclothes detectives or minor gangsters. Aficionados of "film noir" will remember Edmund MacDonald as Charles Haskell Jr., the foredoomed motorist who gives Tom Neal a lift in Edgar Ulmer's Detour (1945).

Trivia: Trained in prep school for a career as a businessman, Baltimore-born Russell Hicks chucked his predestined lifestyle for a theatrical career, over the protests of his family. As an actor, Hicks came full circle, spending the bulk of his career playing businessmen! Though he claimed to have appeared in D.W. Griffith's Birth of a Nation (1915) and Intolerance (1916), Hicks' earliest recorded Hollywood job occured in 1920, when he was hired as an assistant casting director for Famous Players (later Paramount). Making his stage debut in It Pays to Smile, Hicks acted in stock companies and on Broadway before his official film bow in 1934's Happiness Ahead. The embodiment of the small-town business booster or chairman of the board, the tall, authoritative Hicks frequently used his dignified persona to throw the audience off guard in crooked or villainous roles. He was glib confidence man J. Frothingham Waterbury in W.C. Fields' The Bank Dick (1940) ("I want to be honest with you in the worst way!"), and more than once he was cast as the surprise killer in murder mysteries. Because of his robust, athletic physique, Hicks could also be seen as middle-aged adventurers, such as one of The Three Musketeers in the 1939 version of that classic tale, and as the aging Robin Hood in 1946's Bandit of Sherwood Forest (1946). Russell Hicks continued accepting film assignments until 1956's Seventh Cavalry.

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: Moonfaced American actor Frank Orth came to films from vaudeville, where he was usually co-billed with wife Ann Codee. Orth and Codee continued appearing together in a series of two-reel comedies in the early '30s, before he graduated to features with 1935's The Unwelcome Stranger. From that point until his retirement in 1959, Orth usually found himself behind a counter in his film appearances, playing scores of pharmacists, grocery clerks and bartenders. He had a semi-recurring role as Mike Ryan in MGM's Dr. Kildare series, and was featured as a long-suffering small town cop in Warners' Nancy Drew films. Orth was an apparent favorite of the casting department at 20th Century-Fox, where he received many of his credited screen roles. From 1951 through 1953, Frank Orth was costarred as Lieutenant Farraday on the Boston Blackie TV series.

Trivia: Trained as a dancer by Marge Champion's father Ernest Belcher, Iris Adrian began her performing career at age 13 by winning a "beautiful back" contest. Working as a New York chorus girl (she briefly billed herself as "Jimmie Joy"), Iris's big break came with the 1931 edition of The Ziegfeld Follies, which led to featured nightclub and comedy revue work in the U.S. and Europe. In the Kaufman/Hart Broadway play The Fabulous Invalid, Adrian raised the temperatures of the tired businessmen in the audiences by performing a strip-tease--this at a time (the late 1930s) when the standard burlesque houses had been banned from New York by Mayor LaGuardia. Brought to films by George Raft, Adrian made her first screen appearance in Raft's 1934 vehicle Rhumba. This led to dozens of supporting roles in subsequent feature films; Iris' standard characterization at this time was the brassy, gold-digging dame who never spoke below a shout. Often appearing in one-scene bits, Adrian received more sizeable roles in Laurel and Hardy's Our Relations (1936), Bob Hope's The Paleface (1948), Milton Berle's Always Leave Them Laughing (1949) and Jerry Lewis' The Errand Boy (1961). Through the auspices of director William Wellman, who had a fondness for elevating character actors to larger roles, Adrian gave a rollicking performance as Bonnie Parker wannabe Two Gun Gertie in 1942's Roxie Hart. She launched her TV career in 1949 on Buster Keaton's LA-based weekly comedy series. Some of her most memorable work for the small screen was on the various TV programs of Jack Benny, Adrian's favorite comedian and co-worker. Throughout the 1960s and 1970s, Iris Adrian kept very active in the comedy films of the Walt Disney studio, including That Darn Cat (1965) and The Love Bug (1968); and in 1978, she was superbly cast in the regular role of the sarcastic secretary for a New York escort service on The Ted Knight Show.

Trivia: The son of a patent medicine manufacturer, American actor Alan Hale chose a theatrical career at a time when, according to his son Alan Hale Jr., boarding houses would post signs reading "No Dogs or Actors Allowed." Undaunted, Hale spent several years on stage after graduating from Philadelphia University, entering films as a slapstick comedian for Philly's Lubin Co. in 1911. Bolstering his acting income with odd jobs as a newspaperman and itinerant inventor (at one point he considered becoming an osteopath!), Hale finally enjoyed a measure of security as a much-in-demand character actor in the 1920s, usually as hard-hearted villains. One of his more benign roles was as Little John in Douglas Fairbanks' Robin Hood (1922), a role he would repeat opposite Errol Flynn in 1938 and John Derek in 1950. Talkies made Hale more popular than ever, especially in his many roles as Irishmen, blusterers and "best pals" for Warner Bros. Throughout his career, Hale never lost his love for inventing things, and reportedly patented or financed items as commonplace as auto brakes and as esoteric as greaseless potato chips. Alan Hale contracted pneumonia and died while working on the Warner Bros. western Montana (1950), which starred Hale's perennial screen cohort Errol Flynn.

Trivia: The son of vaudeville monologist Julius Tannen, Charles Tannen launched his own film career in 1936. For the rest of his movie "life," Tannen was most closely associated with 20th Century Fox, playing minor roles in films both large (John Ford's The Grapes of Wrath) and not so large (Laurel and Hardy's Great Guns). Rarely receiving screen credit, Tannen continued playing utility roles well into the 1960s, showing up in such Fox productions as The Fly (1958) and Voyage to the Bottom of the Sea (1961). Charles Tannen's older brother, William, was also an active film performer during this period.

Trivia: Actor Stanley Andrews moved from the stage to the movies in the mid 1930s, where at first he was typed in steadfast, authoritative roles. The tall, mustachioed Adrews became familiar to regular moviegoers in a string of performances as ship's captains, doctors, executives, military officials and construction supervisors. By the early 1950s, Andrews had broadened his range to include grizzled old western prospectors and ageing sheriffs. This led to his most lasting contribution to the entertainment world: the role of the Old Ranger on the long-running syndicated TV series Death Valley Days. Beginning in 1952, Andrews introduced each DVD episode, doing double duty as commercial pitchman for 20 Mule Team Borax; he also became a goodwill ambassador for the program and its sponsor, showing up at county fairs, supermarket openings and charity telethons. Stanley Andrews continued to portray the Old Ranger until 1963, when the US Borax company decided to alter its corporate image with a younger spokesperson -- a 51-year-old "sprout" named Ronald Reagan.

Trivia: A repertory actor since childhood, Wisconsin-born Richard Lane was singing and dancing in vaudeville by the time he reached his thirteenth birthday. Lane toured europe with a circus "iron jaw" act, then bluffed his way into a dance band job. After more vaudeville work, Lane began securing "legit" gigs on Broadway. He appeared with Al Jolson in the late-'20s musical Big Boy, and was a headliner with George White's Scandals when he was signed to an RKO movie contract in 1937. While at RKO, Lane developed his standard characterization of a fast-talking sharpster, which secured him a recurring role on Al Pearce's popular radio program. He played a variety of detectives, con artists and travelling salesmen throughout the '40s, most often at 20th Century-Fox, Universal and Columbia. He was featured in several Abbott and Costello and Laurel and Hardy comedies during the decade, and costarred as Inspector Farraday in Columbia's Boston Blackie B-series; he also appeared in 11 Columbia 2-reel comedies, teamed with comic actor Gus Schilling. Though most closely associated with breezy, urban characters, Lane was also effective in slow-and-steady dramatic roles, notably the father in the 1940 sleeper The Biscuit Eater and baseball manager Clay Hopper in 1950's The Jackie Robinson Story. A television pioneer, Lane worked at Los Angeles' KTLA-TV as a newsman, sportscaster and used-car pitchman. For over twenty years, he was the mile-a-minute commentator on KTLA's nationally syndicated wrestling and roller derby matches. Significantly, Richard Lane's last screen appearances were in Raquel Welch's roller-derby epic Kansas City Bomber (1978) and Henry Winkler's pro-wrestling spoof The One and Only (1982).

Trivia: Tall, muscular Gordon Jones played heroes, villains, comic-relief second bananas, and just about everything in between, in a screen career lasting almost 30 years -- not bad for a fellow who, eight years into that career, admitted to a reporter that he was still learning about acting. Born in 1911, Jones came to movies in his early twenties, not out of any aspirations as an actor but on the basis of his good looks and athletic build. The brawny Iowa-born Jones was well known as a top student athlete and star football guard ("Bull" Jones) at U.C.L.A., and had also played a few seasons of professional football. Jones started doing movie work for the easy money, and got serious about acting when he found that he liked it; he soon began downplaying his football background so that casting agents would take him more seriously. Jones started out playing small roles in Wesley Ruggles' and Ernest B. Schoedsack's The Monkey's Paw and Sidney Lanfield's Red Salute, and by 1937, he had moved on to a contract at RKO. His biggest screen role in terms of billing came in 1940, in the Universal serial The Green Hornet, where he portrayed publisher Britt Reid, the alter ego of the masked hero of the title; Jones also played the Hornet, but when he was in that guise, he was redubbed with the voice of the era's more familiar radio Green Hornet, Al Hodge. Jones had gained some stage experience, particularly in comedy, during the late '30s, and this stood him in good stead when he auditioned for a role in Max Gordon's Broadway adaptation My Sister Eileen while on a visit to New York; the "rambling wreck from Georgia Tech" (billed as the Wreck in the original program) was the role of a lifetime, giving Jones the chance to play exactly what he was, a lovable big lug. He was good enough in the part to repeat it in Alexander Hall's 1942 movie version, produced by Columbia Pictures. Jones wasn't able to follow up on his success in the film, however, due to the outbreak of the Second World War. The actor held a reserve commission in the army and he was called into the service very soon after finishing work on the movie. In contrast to some actors, however (such as Ronald Reagan, who felt war service had damaged his career and resented it deeply), Jones never complained and, indeed, was very active for the next 20 years of his life in encouraging college students to consider the Reserve Officers Training Corps (ROTC). One of his other key roles during 1942 was as Alabama Smith, John Carroll's slightly dim-witted but good-natured sidekick, in Flying Tigers (1943), a John Wayne-starring vehicle that was one of the most popular action films of the war. This picture began Jones' 20-year onscreen association with Wayne, who was also (perhaps not coincidentally) a former football player from U.C.L.A. After resuming his acting career in the late '40s, Jones appeared in prominent roles in the John Wayne features Big Jim McLain and Island in the Sky. By the end of the 1940s, Jones had aged into a somewhat beefier screen presence and into very physical character roles. He would no longer have been considered a leading man, even in serials, but he had developed a very good, slightly over-the-top comic villain persona, strongly reminiscent of Nat Pendleton, Joseph Sawyer, or William Bendix. All of these attributes meshed well with the work of the comedy team of Bud Abbott and Lou Costello; Jones' association with the duo began in The Wistful Widow of Wagon Gap (1947) with the role of the film's heavy, Jake Frame. During the early '50s, when they began their television series The Abbott & Costello Show, Jones was cast as Mike the cop, the hulking, loud-voiced antagonist to the roly-poly Costello (and, thus, succeeded Pendleton, Sawyer, and Bendix, who had played tough, burly foils to the duo in the movies Buck Privates, Buck Privates Come Home, The Naughty Nineties, and Who Done It). The program was only in production for two seasons, but was rerun regularly into the 1980s and became available on DVD in the 21st century, and, thus, has ensured Jones a permanent place in American popular culture. He remained busy in films and on television throughout the 1950s, in pictures as different as the sci-fi chiller The Monster That Challenged the World and the Tony Curtis/Janet Leigh sex comedy The Perfect Furlough, and on series ranging from The Real McCoys to The Rifleman. Jones also appeared in two very successful Disney movies during the early '60s, The Absent-Minded Professor and Son of Flubber, portraying harried school coaches in both pictures. He returned to the John Wayne stock company portraying Douglas, the bureaucrat antagonist to Wayne's G.W. McLintock in the Western comedy McLintock, in the spring of 1963. Jones succumbed to a heart attack on June 20, 1963, five months before the release of that movie. He is remembered, however, by millions of Abbott and Costello and John Wayne fans, and also for his work in serials, and he is given a special mention -- in connection with The Green Hornet -- on the home page of the town of his birth, Alden, IA.

Trivia: The younger brother of comic actor Nat Pendleton, Gaylord "Steve" Pendleton entered films in 1923. He was usually cast as collegiate types (undergrads, military school cadets), with a few weaklings and villains thrown in. Fans of Bob Hope and Bing Crosby will remember Pendleton as tuxedoed "other man" Gordon Wycott in Road to Singapore (1940). Active in films until 1960, Gaylord Pendleton was generally confined to minor roles, with a handful of leads and second leads in serials and comedy two-reelers.

Trivia: "I started at 20th Century-Fox in 1902," was Elena Verdugo's flippant response to an interviewer who had the poor taste to ask her age. In truth, Verdugo descended from a Spanish family that had settled in California in 1776, made her first movie appearance as a dancer in Fox's 1940 musical Down Argentine Way after studying Latin-style terpsichore from the age of three. Educated by studio tutors, she spent her teen years playing Mexican peasants, gypsy girls, harem handmaidens and exotic South Sea islanders. Her co-stars ranged from Lou Costello (in 1946's Little Giant) to the Wolfman (aka Lon Chaney Jr. in 1945's House of Frankenstein). Verdugo's comic potential lay largely dormant until 1952, when she replaced Audrey Totter as star of the radio sitcom Meet Millie. She continued to portray Brooklynese secretary Millie Bronson on the subsequent TV version, which ran from 1954 to 1956. Verdugo then went into early retirement, reemerging in 1959 on the straw-hat circuit in such musicals as Oklahoma! and South Pacific. Beginning with her role as hotel manager Gerry in Redigo (1963), she entered into her TV-series supporting player phase; she went on to portray Audrey in The New Phil Silvers Show (1964), Lynn Hall in Many Happy Returns (1964) and Alice Henderson in Mona McCluskey (1965). Elena Verdugo is most fondly remembered as pragmatic but warmhearted nurse Consuelo Lopez on Marcus Welby MD (1969-76).

Trivia: Bald-pated, raspy-voiced stage and vaudeville comedian James C. Morton came to films in 1930. Working almost exclusively in short subjects, Morton spent the better part of his movie career with the Hal Roach and Columbia comedy units. He provided support for such two-reel funsters as Laurel and Hardy, the Three Stooges, Andy Clyde, Charley Chase, ZaSu Pitts, Thelma Todd, Patsy Kelly, Leon Erroll, and Our Gang. His film roles ran the gamut from bartenders to high-ranking military officers; he was frequently decked out with a lavish toupee, which inevitably ended up on the floor in a mangled heap. He was at his best as the cunning woodchopper who talks bandits Laurel and Hardy out of their money in The Devil's Brother (1933); as Paul Pain, "the heartthrob of millions," in Three Stooges' A Pain in the Pullman (1936), and frontier sharpster Quackenbush in Gene Autry's Public Cowboy No. One (1937), one of his handful of Western-feature assignments. Reportedly, James C. Morton served as director of the 1918 film A Daughter of Uncle Sam.

Trivia: Born in Connecticut and raised in Los Angeles, Frank Coghlan Jr. began appearing in films at age 3; his meager income helped to pay his father's way through chiropractic college. Though his mother was reluctant to allow her son to appear before the cameras, young Frank took to performing with ease, playing bits in 2-reel comedies. Placed under contract to Cecil B. DeMille, who considered the boy "the perfect example of a homeless waif," Frank became a popular juvenile performer. Billed as Junior Coghlan, he appeared prominently in such major silent films as The Yankee Clipper (1926), Let 'Er Go Gallegher (1927) and Slide, Kelly, Slide (1927). During the early talkie era, Coghlan was co-starred with fellow child actor Leon Janney in Penrod and Sam (1930) and played James Cagney as a boy in Public Enemy (1931). As a free-lancer, Coghlan appeared in several serials, including 1941's The Adventures of Captain Marvel, in which he was top-billed as the Captain's youthful alter ego Billy Batson. He also showed up in many bit roles, usually playing a Western Union messenger boy. With the onslaught of World War II, Coghlan began his 23-year Navy career as an aviator. He rose to the rank of Commander, and from 1952 through 1954 was in charge of the movie section of the Pentagon's Office of Information, acting as liaison and technical advisor for such films as The Caine Mutiny (1954) and Bridges of Toko-Ri (1955). He was later in charge of the navy's Hollywood office, coordinating official naval cooperation for films like In Harm's Way (1964) and TV series like Hennessey. After retiring from the Navy, Coghlan worked in public relations for the Los Angeles Zoo and the Port of Los Angeles. He also resumed his acting career, spending seven years as commercial spokesman for Curtis Mathes. As of 1995, Frank Coghlan Jr. was still very active on the nostalgia-convention circuit, and still as unfailingly courteous and likeable as ever.

Trivia: William Haade spent most of his movie career playing the very worst kind of bully--the kind that has the physical training to back up his bullying. His first feature-film assignment was as the arrogant, drunken professional boxer who is knocked out by bellhop Wayne Morris in Kid Galahad (37). In many of his western appearances, Haade was known to temper villainy with an unexpected sense of humor; in one Republic western, he spews forth hilarious one-liners while hacking his victims to death with a knife! William Haade also proved an excellent menace to timorous comedians like Laurel and Hardy and Abbott and Costello; in fact, his last film appearance was in Abbott and Costello Meet the Keystone Kops (55).

Trivia: Born in Colorado and raised in Oregon, actor Walter Sande was a music student from age six. He dropped out of college to organize his own band, then for many years served as musical director for the West Coast Fox Theater chain. In 1937, Sande entered films with a small role in Goldwyn Follies (1938). He fluctuated thereafter between bits in films like Citizen Kane (1941), in which he played one of the many reporters, and supporting roles in films like To Have and Have Not (1944), in which he portrayed the defaulting customer who is punched out by a boat-renting Humphrey Bogart. On television, Walter Sande played Horatio Bullwinkle on Tugboat Annie (1958) and Papa Holstrum on The Farmer's Daughter (1963-1966).

Trivia: American actor James Flavin was groomed as a leading man when he first arrived in Hollywood in 1932, but he balked at the glamour treatment and was demonstrably resistant to being buried under tons of makeup. Though Flavin would occasionally enjoy a leading role--notably in the 1932 serial The Airmail Mystery, co-starring Flavin's wife Lucille Browne--the actor would devote most of his film career to bit parts. If a film featured a cop, process server, Marine sergeant, circus roustabout, deckhand or political stooge, chances are Jimmy Flavin was playing the role. His distinctive sarcastic line delivery and chiselled Irish features made him instantly recognizable, even if he missed being listed in the cast credits. Larger roles came Flavin's way in King Kong (1933) as Second Mate Briggs; Nightmare Alley (1947), as the circus owner who hires Tyrone Power; and Abbott and Costello Meet the Killer, Boris Karloff (1949), as a long-suffering homicide detective. Since he worked with practically everyone, James Flavin was invaluable in later years as a source of on-set anecdotes for film historians; and because he evidently never stopped working, Flavin and his wife Lucille were able to spend their retirement years in comfort in their lavish, sprawling Hollywood homestead.

Trivia: American actor Hugh Beaumont originally studied for the clergy, remaining busy as a lay minister throughout his acting career. After stage experience, Beaumont arrived in Hollywood in 1940. While most of the draftable leading men were away during World War II, Beaumont enjoyed a brief spell of stardom; his faint resemblance to actor Lloyd Nolan enabled Beaumont to inherit Nolan's screen role of detective Michael Shayne in a series of inexpensive programmers. After the war, Beaumont returned to character parts, contributing memorable moments to such films as The Blue Dahlia (1946) and The Guilt of Janet Ames (1947). He also played quite a few villains during this period; fans of Beaumont's later television work are in for a jolt as they watch the affable Hugh connive and murder his way through 1948's Money Madness. During the early 1950s, Beaumont frequently popped up in uncredited featured roles at 20th Century-Fox, most prominently in Phone Call From a Stranger (1952) as the doctor killed by drunken driver Michael Rennie, and in The Revolt of Mamie Stover as the Honolulu cop who advises goodtime girl Jane Russell to get out of town. In 1957, Beaumont was cast as philosophy-dispensing suburban dad Ward Cleaver on the popular sitcom Leave It to Beaver (he replaced Casey Adams, who played Ward in the 1955 pilot). While he despaired that the series might ruin his chances for good film roles, Beaumont remained with Beaver until its cancellation in 1963. Hugh Beaumont retired from show business in the late 1960s, launching a second career as a successful Christmas tree farmer.

Trivia: Her cultured Mayfair accent notwithstanding, frosty blonde actress Hillary Brooke was born on Long Island. After attending Columbia University, Hillary launched a modelling career, which led to film work in 1937. Though a handful of her screen portrayals were sympathetic, Hillary's talents were best utilized in roles calling for sophisticated truculence: "other women," murderesses, wealthy divorcees and the like. She is also known for her extensive work with the comedy team of Abbott and Costello. First appearing with the team in 1949's Africa Screams, she was briefly nonplused by their ad-libs and prankishness, but soon learned to relax and enjoy their unorthodox working habits. Retiring in 1960 upon her marriage to MGM general manager Ray Klune, Hillary Brooke has devoted much of her time since to religious and charitable work.

Trivia: Brunette starlet Patricia Farr worked as an usherette at a Los Angeles movie theater when she signed with Paramount. After numerous bit parts, she was awarded the female lead in Universal's 12-chapter action serial Tailspin Tommy, about gangsters attempting to gain control of Three Point Airlines. Although pretty and vivacious, the studio nevertheless replaced her with blonde Jean Rogers in the 1935 sequel Tailspin Tommy in the Great Air Mystery. Rogers went on to immortality as Dale Arden in the Flash Gordon serials. Farr starred or co-starred in such forgotten fare as Speed to Spare (1937) and All-American Sweetheart (1938).

Trivia: As a screen performer, Vinton Hayworth had an evolution similar to that of his older contemporary, Ernest Truex, beginning in weasley and milquetoast roles (often as good-natured but conniving husbands) and aging into dignified character parts; screen work, however, was only a small part of his career. Born Vinton Haworth in Washington, D.C., in 1906, he began acting in his late teens. Possessed of a melodious voice, he was a pioneering radio announcer in the early '20s, first in Washington, later in New York, and then in Chicago, where he became familiar to the public as one of the first identifiable newscasters in the new medium. Subsequently, he also appeared on numerous radio programs in various roles. Hayworth entered movies in 1933, under the stage name Jack Arnold (not to be confused with the movie director of that name), and made appearances in small roles under that name, as well as under his real name. He usually played comically good-natured, sneaky characters, such as nervous husbands trying to get a night out away from the wife. His appearances as Jack Arnold ended in the early '40s and he did a two-year stint on Broadway, from 1942 to 1944, in the cast of Doughgirls before returning to California. His appearances in film from the late '50s onward, usually in crafty but dignified roles, were under his own name, to which he added the "y" to the spelling in the mid-'60s. By that time, Hayworth, sporting a dignified moustache and thinning, elegant silvery hair, had settled into avuncular character parts, in anthology series such as Alfred Hitchcock Presents and on programs like Gunsmoke, Perry Mason, Dennis The Menace, Petticoat Junction, Hazel, and The Munsters. On Green Acres, he played Dr. Faber, the long-suffering New York phyisican to Eddie Albert's Oliver Wendell Douglas. He is best remembered for his portrayal of General Schaeffer, Tony Nelson's commanding officer in I Dream of Jeannie for the series' final two seasons. Haworth, who had been a leading anti-communist spokesman for his profession during the 1930's and 1940's, became notorious during the early/mid-1950s for his participation in the blacklist while an officer of AFTRA and also a leader of Aware, Inc., an anti-communist "screening" organization that regularly named members of the acting profession as suspect. He and the slate that he headed within the union organized against accused and alleged communists and also moderates who were opposed to the warfare between the right and the left, and Haworth became so well-known for his political activities that he was considered unemployable by many producers, this in a time when anti-communism was in the ascent. His career recovered somewhat in the 1960's as the passions over this issue died down. Haworth passed away in 1970, at the age of 63. His wife, the former Jean Owens, was the aunt of actress Ginger Rogers.

Trivia: Working in virtual anonymity throughout his film career, the sharp-featured, gangly character actor Harry Strang was seldom seen in a feature film role of consequence. From 1930 through 1959, Strang concentrated on such sidelines characters as soldiers, sentries, beat cops and store clerks. He was given more to do and say in 2-reel comedies, notably in the output of RKO Radio Pictures, where he appeared frequently in the comedies of Leon Errol and Edgar Kennedy. Harry Strang will be remembered by Laurel and Hardy fans for his role as a desk clerk in Block-Heads (1938), in which he was not once but twice clobbered in the face by an errant football.

Trivia: Appropriately moon-faced and often sporting a rather timid-looking Fu Manchu mustache, Chester Gan played hundreds of rickshaw boys, cooks, café owners, and the ubiquitous Chinese laundry proprietors. Although of Korean descent, Gan more often than not portrayed enemy Japanese during World War II, Hollywood of course counting on the fact that few non-Asians could tell the difference.

Trivia: American character actor Frank Sully worked as a vaudeville and Broadway comedian before drifting into movies in 1935. Often typecast as musclebound, doltish characters, the curly-haired, lantern-jawed Sully was seen in a steady stream of hillbilly, GI and deputy sheriff roles throughout the '40s and '50s. He was prominently cast as Noah in John Ford's memorable drama The Grapes of Wrath (1940), one of the few times he essayed a non-comic role. During the '50s, Sully accepted a number of uncredited roles in such westerns as Silver Lode (1954) and was a member in good standing of the Columbia Pictures 2-reel "stock company," appearing as tough waiters, murderous crooks and jealous boyfriends in several short comedies, including those of the Three Stooges (Fling in the Ring, A Merry Mix-Up etc.) Frank Sully's last screen appearance was a bit as a bartender in Barbra Streisand's Funny Girl (1968).

Trivia: American actor Joseph Crehan bore an uncanny resemblance to Ulysses S. Grant and appeared as Grant in a number of historical features, notably They Died With Their Boots On (1941) and The Adventures of Mark Twain (1944). Appearing in hundreds of other films as well, the short, snappish actor's field-commander personality assured him authoritative roles as police chiefs, small-town mayors and newspaper editors. Because he never looked young, Joseph Crehan played essentially the same types of roles throughout his screen career, even up until 1961's Judgment at Nuremberg. Perhaps Joseph Crehan's oddest appearance is in a film he never made; in West Side Story (1961), it is Crehan's face that appears on those ubiquitous political campaign posters in the opening Jets vs. Sharks sequences.

Trivia: Born and educated in Pennsylvania, John Hamilton headed to New York in his twenties to launch a 25-year stage career. Ideally cast as businessmen and officials, the silver-haired Hamilton worked opposite such luminaries as George M. Cohan and Ann Harding. He toured in the original company of the long-running Frank Bacon vehicle Lightnin', and also figured prominently in the original New York productions of Seventh Heaven and Broadway. He made his film bow in 1930, costarring with Donald Meek in a series of 2-reel S.S.Van Dyne whodunits (The Skull Mystery, The Wall St. Mystery) filmed at Vitaphone's Brooklyn studios. Vitaphone's parent company, Warner Bros., brought Hamilton to Hollywood in 1936, where he spent the next twenty years playing bits and supporting roles as police chiefs, judges, senators, generals and other authority figures. Humphrey Bogart fans will remember Hamilton as the clipped-speech DA in The Maltese Falcon (1941), while Jimmy Cagney devotees will recall Hamilton as the recruiting officer who inspires George M. Cohan (Cagney) to compose "Over There" in Yankee Doodle Dandy (1942). Continuing to accept small roles in films until the mid '50s (he was the justice of the peace who marries Marlon Brando to Teresa Wright in 1950's The Men), Hamilton also supplemented his income with a group of advertisements for an eyeglasses firm. John Hamilton is best known to TV-addicted baby boomers for his six-year stint as blustering editor Perry "Great Caesar's Ghost!" White on the Adventures of Superman series.

Trivia: Though no relation to comedian Chester Conklin, Charles "Heinie" Conklin spent his early film years at Chester's alma mater, Mack Sennett's Keystone studios; in later years, Heinie claimed to be one of the original Keystone Kops. Heinie's silent-screen makeup consisted of heavy eyebrow lining and a thinnish, upside-down, painted-on variation of Kaiser Wilhelm's moustache. In areas where anti-German sentiments still ran high during the post-World War 1 era, Conklin was billed on screen as Charlie Lynn. One of Conklin's first talkie appearances was as the addled military hospital patient in All Quiet on the Western Front (1930). He spent most of his sound career in microscopic bit roles, often appearing at Columbia studios in support of such 2-reeler stars as The Three Stooges, Andy Clyde, Hugh Herbert and Harry Langdon. Significantly, Heinie Conklin's last billed performance was in 1955's Abbott and Costello Meet the Keystone Kops.

Trivia: After getting out of reform school, he took up boxing at age 12; one of his early coaches was future screen star George Raft. He won the New York State heavyweight amateur title, then turned professional; for four years in the early '30s he held the light-heavyweight world championship. Damon Runyon, then a sportswriter, nicknamed him "Slapsie" on account of the slapping style of his punches. In the mid '30s he began appearing as a Runyonesque comedic character actor in Hollywood films, and was fairly busy onscreen for about a decade; after 1945 his film work was intermittent. He usually played dim-witted, punchdrunk characters with a tendency toward malapropisms.

Trivia: One look at Alan Hale Jr. and no one could ever assume he was adopted; Hale Jr. so closely resembled his father, veteran character actor Alan Hale Sr., that at times it appeared that the older fellow had returned to the land of the living. In films from 1933, Alan Jr. was originally cast in beefy, athletic good-guy roles (at 6'3", he could hardly play hen-pecked husbands). After the death of his father in 1950, Alan dropped the "Junior" from his professional name. He starred in a brace of TV action series, Biff Baker USA (1953) and Casey Jones (1957), before his he-man image melted into comedy parts. From 1964 through 1967, Hale played The Skipper (aka Jonas Grumby) on the low-brow but high-rated Gilligan's Island. Though he worked steadily after Gilligan's cancellation, he found that the blustery, slow-burning Skipper had typed him to the extent that he lost more roles than he won. In his last two decades, Alan Hale supplemented his acting income as the owner of a successful West Hollywood restaurant, the Lobster Barrel.

Trivia: American character actor Pat McVey had several seasons' worth of stage experience to his credit when he made his film bow in 1944. Though he seldom rose above the supporting player ranks onscreen, he had better luck on television. From 1950 to 1954 he starred as crusading newspaper editor Steve Wilson in the long-running TV series Big Town. Patrick McVey's later video assignments include the syndicated Western Boots and Saddles (1957) and the San Diego-based cop drama Manhunt (1959), in which he co-starred with Victor Jory.