Trivia: Practiced law in the 1930s before pursuing acting. Perfomed on stage in New York before moving to Los Angeles in 1942 to act in dozens of films during the 1940s and 1950s. Started his stage career using his real name Horace McNally, then changed his stage name to Stephen McNally (name of his son). Was a one-time president of the Catholic Actors Guild. Known for playing hard-hearted characters or villains.

Trivia: Much like Humphrey Bogart before him, Lee Marvin rose through the ranks of movie stardom as a character actor, delivering expertly nasty and villainous turns in a series of B-movies before finally graduating to more heroic performances. Regardless of which side of the law he traveled, however, he projected a tough-as-nails intensity and a two-fisted integrity which elevated even the slightest material. Born February 19, 1924, in New York City, Marvin quit high school to enter the Marine Corps and while serving in the South Pacific was wounded in battle. He spent a year in recovery before returning to the U.S. to begin working as a plumber's apprentice. After filling in for an ailing summer-stock actor, his growing interest in performing inspired him to study at the New York-based American Theater Wing. Upon making his debut in summer stock, Marvin began working steadily in television and off-Broadway. He made his Broadway bow in a 1951 production of Billy Budd and also made his first film appearance in Henry Hathaway's You're in the Navy Now. The following year, Hathaway again hired him for The Diplomatic Courier, and was so impressed that he convinced a top agent to recruit him. Soon Marvin began appearing regularly onscreen, with credits including a lead role in Stanley Kramer's 1952 war drama Eight Iron Men. A riveting turn as a vicious criminal in Fritz Lang's 1953 film noir classic The Big Heat brought Marvin considerable notice and subsequent performances opposite Marlon Brando in the 1954 perennial The Wild One and in John Sturges' Bad Day at Black Rock cemented his reputation as a leading screen villain. He remained a heavy in B-movies like 1955's I Died a Thousand Times and Violent Saturday, but despite starring roles in the 1956 Western Seven Men From Now and the smash Raintree County, he grew unhappy with studio typecasting and moved to television in 1957 to star as a heroic police lieutenant in the series M Squad. As a result, Marvin was rarely seen in films during the late '50s, with only a performance in 1958's The Missouri Traveler squeezed into his busy TV schedule. He returned to cinema in 1961 opposite John Wayne in The Comancheros, and starred again with the Duke in the John Ford classic The Man Who Shot Liberty Valance a year later. Marvin, Wayne, and Ford reunited in 1963 for Donovan's Reef. A role in Don Siegel's 1964 crime drama The Killers followed and proved to be Marvin's final performance on the wrong side of the law.Under Stanley Kramer, Marvin delivered a warm, comic turn in 1965's Ship of Fools then appeared in a dual role as fraternal gunfighters in the charming Western spoof Cat Ballou, a performance which won him an Academy Award. His next performance, as the leader of The Dirty Dozen, made him a superstar as the film went on to become one of the year's biggest hits. Marvin's box-office stature had grown so significantly that his next picture, 1968's Sergeant Ryker, was originally a TV-movie re-released for theaters. His next regular feature, the John Boorman thriller Point Blank, was another major hit. In 1969, Marvin starred with Clint Eastwood in the musical comedy Paint Your Wagon, one of the most expensive films made to date. It too was a success, as was 1970's Monte Walsh. Considering retirement, he did not reappear onscreen for two years, but finally returned in 1972 with Paul Newman in the caper film Pocket Money. After turning down the lead in Deliverance, Marvin then starred in Prime Cut, followed in 1973 by Emperor of the North Pole and The Iceman Cometh.Poor reviews killed the majority of Marvin's films during the mid-'70s. When The Great Scout and Cathouse Thursday -- the last of three pictures he released during 1976 -- failed to connect with critics or audiences, he went into semi-retirement, and did not resurface prior to 1979's Avalanche Express. However, his return to films was overshadowed by a high-profile court case filed against him by Michelle Triola, his girlfriend for the last six years; when they separated, she sued him for "palimony" -- 1,800,000 dollars, one half of his earnings during the span of their relationship. The landmark trial, much watched and discussed by Marvin's fellow celebrities, ended with Triola awarded only 104,000 dollars. In its wake he starred in Samuel Fuller's 1980 war drama The Big Red One, which was drastically edited prior to its U.S. release. After 1981's Death Hunt, Marvin did not make another film before 1983's Gorky Park. The French thriller Canicule followed, and in 1985 he returned to television to reprise his role as Major Reisman in The Dirty Dozen: The Next Mission. The 1986 action tale The Delta Force was Marvin's final film; he died of a heart attack on August 29, 1987, in Tucson, AZ, and was buried in Arlington National Cemetery next to the remains of fellow veteran (and boxing legend) Joe Louis.

Trivia: The first male film star to be officially labelled a "hunk," Victor Mature was the son of Swiss immigrants. When he arrived in California to study acting at the Pasadena Playhouse, Mature was so broke that he lived in a pup tent in a vacant lot and subsisted on canned sardines and chocolate bars. There was speculation amongst his fellow students that Mature's spartan lifestyle was deliberately engineered to draw publicity to himself; if so, the ploy worked, and by 1938 he'd been signed to a contract by producer Hal Roach. Mature's first starring film role was as Tumack the caveman in Roach's One Million BC (1940), which enabled the fledgling actor to display his physique without being unduly encumbered by dialogue. While still under contract to Roach, Mature made his Broadway debut in the Moss Hart/Kurt Weill musical Lady in the Dark, playing a musclebound male model. In 1941, Mature was signed by 20th Century-Fox as the "beefcake" counterpart to the studio's "cheesecake" star Betty Grable; the two attractive stars were frequently cast together in Fox musicals, where a lack of clothes was de rigeur. Apparently because of his too-handsome features, the press and fan magazines went out of their way to make Mature look ridiculous and untalented. In truth, he had more good film performances to his credit than one might think: he was excellent as the tubercular Doc Holliday in John Ford's My Darling Clementine (1948), and also registered well in Kiss of Death (1947), Cry of the City (1948), The Egyptian (1954), Betrayed (1954), and Chief Crazy Horse (1955). As the slave Demetrius in The Robe (1953), Mature is more understated and credible than the film's "distinguished" but hopelessly hammy star Richard Burton. Nonetheless, and thanks to such cinematic folderol as Samson and Delilah (1949), Mature was still widely regarded as a lousy actor who survived on the basis of his looks. Rather than fight this ongoing perception, Mature tended to denigrate his own histrionic ability in interviews; later in his career, he hilariously parodied his screen image in such films as After the Fox (1966) and Won Ton Ton, the Dog Who Saved Hollywood (1976). Semi-retired from acting in the late 1970s, Victor Mature ran a successful television retail shop in Hollywood, although in 1984 he did appear in a TV remake of Samson and Delilah, effectively portraying Samson's father.

Trivia: A holder of a BA degree from the University of San Francisco, Richard Egan was an Army judo instructor during WorldWar II. While working towards his MA in theatre at Stanford University, the rugged Egan was discovered by a Warner Bros. talent scout. After his apprenticeship in supporting roles, Egan was signed as a leading man by 20th Century-Fox, where he was touted as "another Gable." Most comfortable in brawling adventure films, Egan proved a capable dramatic actor in such films as A View from Pompey's Head (1955). Many of his starring appearances in the 1960s were in such esoterica as Esther and the King (1960) and The 300 Spartans (1962) and in foreign-filmed westerns. In 1962, Egan starred as Jim Redigo, foreman of a sprawling New Mexico ranch, in the contemporary western TV series Empire; for its second season, the series was shortened from one hour to thirty minutes per week, and retitled Redigo. During his last decade, Richard Egan was a prolific dinner-theatre star throughout the U.S., and also appeared as Samuel Clegg II on the TV daytime drama Capitol.

Trivia: Tommy Noonan was still in his teens when he and his half-brother, John Ireland, made their stage debuts with a New York-based experimental theater. Noonan then returned to his home state of Delaware to launch his own repertory company. After serving in the Navy during WWII, Noonan made his Broadway bow, then was brought to Hollywood with an RKO contract. When his brother, John, married actress Joanne Dru, Noonan befriended Joanne's brother, Peter Marshall. Taking into consideration the success of Martin and Lewis, Noonan and Marshall formed their own comedy team. It was a strictly informal professional association, with the teammates spending as much time apart as together. During one of the team's "down" periods, Noonan established himself as a supporting actor in films; he played Marilyn Monroe's boyfriend in Gentleman Prefer Blondes (1953), Judy Garland's platonic musician friend in A Star Is Born (1954), and the officious floorwalker in Bundle of Joy, the 1956 musical remake Bachelor Mother (1939). In 1959, Noonan reteamed with Marshall for a feature film, The Rookie, which Noonan also wrote and produced. The picture was a disaster, as was its 1961 followup, Swingin' Along. The team broke up for keeps at this point; Peter Marshall went on to become a popular TV game show host, while Noonan gained prominence as the producer/star/"auteur" of two softcore nudie films, Jayne Mansfield's Promises Promises (1963) and Mamie Van Doren's Three Nuts in Search of a Bolt (1964). His last effort as a producer was 1967's Cottonpickin' Chickenpickers, which was also the screen swan song of the estimable Sonny Tufts. Five days short of his 47th birthday, Tommy Noonan died of a brain tumor.

Trivia: Brunette leading lady Margaret Hayes was signed by Paramount after a brief stage career in 1941. At first billed as Dana Dale, Hayes was seen in other-woman and villainess roles in such pictures as The Lady Has Plans (1942) and The Glass Key (1942). She truly blossomed as an actress in the 1950s, thanks largely to her extensive television work, wherein she was usually billed as Maggie Hayes. Her most conspicuous screen assignment of this period was the role of terrified inner-city schoolteacher Lois Hammond in The Blackboard Jungle (1955). After retiring from show business in 1962, Hayes pursued a variety of successful business ventures, ranging from jewelry design to public relations. Margaret Hayes was married twice, to actor Leif Erickson and producer Herbert Bayard Swope Jr.

Trivia: Though descended from a highly respected family of Irish politicians and civil servants, actor J. Carroll Naish played every sort of nationality except Irish during his long career. Naish joined the Navy at age sixteen, and spent the next decade travelling all over the world, absorbing the languages, dialects and customs of several nations. Drifting from job to job while stranded in California, Naish began picking up extra work in Hollywood films. The acting bug took hold, and Naish made his stage debut in a 1926 touring company of The Shanghai Gesture. Within five years he was a well-established member of the theatrical community (the legendary actress Mrs. Leslie Carter was the godmother of Naish's daughter). Naish thrived during the early days of talking pictures thanks to his expertise in a limitless variety of foreign dialects. At various times he was seen as Chinese, Japanese, a Frenchman, a South Seas Islander, Portuguese, an Italian, a German, and a Native American (he played Sitting Bull in the 1954 film of the same name). Many of his assignments were villainous in nature (he was a gangster boss in virtually every Paramount "B" of the late 1930s), though his two Oscar nominations were for sympathetic roles: the tragic Italian POW in Sahara (1943) and the indigent Mexican father of a deceased war hero in A Medal For Benny (1954). Naish continued to flourish on radio and television, at one point playing both a priest and a rabbi on the same anthology series. He starred in both the radio and TV versions of the melting-pot sitcom "Life with Luigi," essayed the title role in 39 episodes of "The New Adventures of Charlie Chan" (1957), and played a comedy Indian on the 1960 sitcom "Guestward Ho." Illness forced him to retire in 1969, but J. Carroll Naish was cajoled back before the cameras by quickie producer Al Adamson for the 1970 ultracheapie Dracula vs. Frankenstein; even weighed down by bad false teeth, coke-bottle glasses and a wheelchair, Naish managed to act the rest of the cast right off the screen.

Trivia: Born Sophie Kosow, Sidney was an intense, vulnerable, waif-like leading lady with a heart-shaped face, trembling lips, and sad eyes. The daughter of Jewish immigrants from Russia, she made her professional acting debut at age 16 in Washington after training at the Theater Guild School. The following year she made her first New York appearance and quickly began to land lead roles on Broadway. She debuted onscreen as a witness in a courtroom drama, Through Different Eyes (1929). In 1931 she was signed by Paramount and moved to Hollywood. In almost all of her roles she was typecast as a downtrodden, poor but proud girl of the lower classes -- a Depression-era heroine. Although she occasionally got parts that didn't conform to this type, her casting was so consistent that she had tired of film work by the late '40s and began devoting herself increasingly to the stage; she has since done a great deal of theater work, mostly in stock and on the road. After three more screen roles in the '50s, Sidney retired from the screen altogether; seventeen years later she made one more film, Summer Wishes, Winter Dreams (1973), for which she received a Best Supporting Actress Oscar nomination, the first Oscar nomination of her career. In 1985 she portrayed a dying woman in the TV movie Finnigan, Begin Again. Her first husband was publisher Bennett Cerf and her second was actor Luther Adler.

Trivia: Born Ermes Effron Borgnino in Hamden, CT, to Italian immigrants, Ernest Borgnine spent five years of his early childhood in Milan before returning to the States for his education. Following a long stint in the Navy that ended after WWII, Borgnine enrolled in the Randall School of Dramatic Art in Hartford. Between 1946 and 1950, he worked with a theater troupe in Virginia and afterward appeared a few times on television before his 1951 film debut in China Corsair. Borgnine's stout build and tough face led him to spend the next few years playing villains. In 1953, he won considerable acclaim for his memorable portrayal of a ruthless, cruel sergeant in From Here to Eternity. He was also praised for his performance in the Western Bad Day at Black Rock. Borgnine could easily have been forever typecast as the heavy, but in 1955, he proved his versatility and showed a sensitive side in the film version of Paddy Chayefsky's acclaimed television play Marty. Borgnine's moving portrayal of a weak-willed, lonely, middle-aged butcher attempting to find love in the face of a crushingly dull life earned him an Oscar, a British Academy award, a Cannes Festival award, and an award from both the New York Film Critics and the National Board of Review. After that, he seldom played bad guys and instead was primarily cast in "regular Joe" roles, with the notable exception of The Vikings in which he played the leader of the Viking warriors. In 1962, he was cast in the role that most baby boomers best remember him for, the anarchic, entrepreneurial Quentin McHale in the sitcom McHale's Navy. During the '60s and '70s, Borgnine's popularity was at its peak and he appeared in many films, including a theatrical version of his show in 1964, The Dirty Dozen (1966), Ice Station Zebra (1968) and The Wild Bunch (1969). Following the demise of McHale's Navy in 1965, Borgnine did not regularly appear in series television for several years. However, he did continue his busy film career and also performed in television miniseries and movies. Notable features include The Poseidon Adventure (1972) and Law and Disorder (1974). Some of his best television performances can be seen in Jesus of Nazareth (1977), Ghost on Flight 401 (1978), and a remake of Remarque's All Quiet on the Western Front (1979). In 1984, Borgnine returned to series television starring opposite Jan Michael Vincent in the action-adventure series Airwolf. That series ended in 1986; Borgnine's career continued to steam along albeit in much smaller roles. Between 1995 and 1997, he was a regular on the television sitcom The Single Guy. In 1997, he also made a cameo appearance in Tom Arnold's remake of Borgnine's hit series McHale's Navy.At age 80 he continued to work steadily in a variety of projects such as the comedy BASEketball, the sci-fi film Gattaca, and as the subject of the 1997 documentary Ernest Borgnine on the Bus. He kept on acting right up to the end of his life, tackling one of his final roles in the 2010 action comedy RED. Borgnine died in 2012 at age 95.

Trivia: She was billing herself under her given name of Dorothy Davis when she made a name for herself as the "Chesterfield Girl." The well-proportioned young photographer's model won a Gateway to Hollywood contest in 1939, but opted instead for a marriage to star hockey player Lynn Patrick. When she finally did begin making films in 1946, the blonde beauty had changed her professional and personal name to Dorothy Patrick. After a brief flurry of stardom in such Republic programmers as Blonde Bandit (1949) and Destination Big House (1950), Dorothy Patrick settled into decorative walk-on roles in major releases like The Bad and the Beautiful (1952) and Singin' in the Rain (1952), before retiring in the late '50s.

Trivia: Born Boris Milanovich, Dexter was a square-jawed supporting player and former lead, often cast in tough character roles. As early as his first film, 1950's The Asphalt Jungle, the talented Dexter found himself overshadowed by the star power of Sterling Hayden, James Whitmore, Louis Calhern and Marilyn Monroe. Occasionally, Dexter was cast in a role that stuck in the memory banks, such as Bugsy Siegel in 1960's The George Raft Story. He also gained a degree of fame as the producer of such worthwhile films as The Naked Runner (1967) and The Lawyer (1970) and Little Fauss and big Halsy(1970); reportedly, he was able to gain a foothold as a producer thanks to Frank Sinatra, whom Dexter once saved from drowning. Brad Dexter married and divorced singer Peggy Lee.

Trivia: After making his film debut in Naked City (1948), Raymond Greenleaf was nearly always cast as a judge, most memorably as conscience-stricken, suicide-prone Judge Stanton in the 1949 Oscar-winner All the King's Men. Usually a supporting player, he was afforded top billing as a dedicated county prosecutor in Republic's When Gangland Strikes (1956). Raymond Greenleaf once more donned judicial robes for his final screen appearance in Judgement at Nuremberg (1961).

Trivia: Donna Corcoran was the second oldest child of MGM studio policeman Bill Corcoran. When the call went out for child extras for an upcoming MGM production, Corcoran sent Donna down to audition, thereby launching his daughter's six-year film career. Reportedly, screenwriter Dorothy Kingsley selected Corcoran for the important role of Bridget White in Angels in the Outfield (1951) after sitting behind the girl at Mass. Outside of Angels, Corcoran's showiest film assignment was on loan-out to 20th Century Fox, in Don't Bother to Knock in which the poor child was jeopardized by psychotic baby-sitter Marilyn Monroe. After that, her screen roles dwindled in importance. One of her last appearances, as a Quaker child in Fox's Violent Saturday (1955), went uncredited. Featured in that film with Corcoran were her siblings Kevin Corcoran, who went on to a sizeable career at Disney under the nickname of "Moochie," and Noreen Corcoran, who would play John Forsythe's niece in the popular TV sitcom Bachelor Father (1957-1963). By the late '50s, Donna Corcoran decided to retire from show business altogether, leaving the field open to her brothers, Kevin, Brian, and Hugh, and her sisters, Noreen and Kerry (her older brother, Bill Corcoran Jr., became a dentist after briefly pursuing his own acting career).

Trivia: One of seven children of MGM studio policeman Bill Corcoran, Kevin Corcoran was five years old when he followed the lead of his older siblings, Bill Jr., Noreen, Donna, and Hugh, by becoming an actor. Corcoran's first film appearance, in the company of his sisters, Noreen and Donna, was as one of Quaker farmer Ernest Borgnine's children in Violent Saturday. In 1957, he was featured in Adventures in Dairyland, a serialized component of Walt Disney's daily TVer The Mickey Mouse Club. Corcoran's character name was Moochie, a tag that stuck when he was signed to a Disney contract. One of the busiest child actors of the late '50s, Corcoran was co-starred in such Disney theatrical features as Old Yeller (1957), The Shaggy Dog (1960), Pollyanna (1960), and Savage Sam (1963). He also played the title role in 1960's Toby Tyler, and was top-billed in the Disney TV projects Moochie of the Little League (1959), Moochie of Pop Warner Football (1961), and Johnny Shiloh (1963). After outgrowing his natural cuteness, Corcoran found roles harder to come by, and called it quits after a minor role in Blue (1968). Upon attaining adulthood, Corcoran returned to Disney as an associate producer, working on such films as Superdad (1977) and Pete's Dragon (1977). Kevin Corcoran's brother, Brian, and sister, Kerry, also showed up in several films and TV programs of the 1950s and 1960s.After retiring from acting, Corcoran moved behind the camera, beginning as an associate producer on Return from Witch Mountain in 1978. He continued his Disney association by producing fare Herbie Goes Bananas and on the '80s TV show Herbie, the Love Bug. Corcoran also worked extensively as an assistant director on series such as Scarecrow and Mrs. King, Baywatch, Murder, She Wrote and Providence. In later year, he turned to more mature fare, producing The Shield and Sons of Anarchy. He was honored as a Disney Legend in 2006. Corcoran died in 2015, at age 66.

Trivia: Noreen Corcoran was born in Quincy, MA, in 1943, but soon after, her family moved to Santa Monica, CA, where her father took a job as maintenance chief at one of the studios. It was a few years later that two of her siblings, Kevin Corcoran and Donna Corcoran, began getting extra work in movies, and not long after that Donna earned a speaking role in Angels in the Outfield (1947). Within a few years, all of the Corcoran children were studying dramatics, dance, and anything else that could further their careers -- Kevin became successful as a Disney alumnus during the 1950s, playing Moochie in the Spin and Marty series, and later worked behind the camera as well. Noreen Corcoran made her screen debut in a small role in the movie Wait 'Til the Sun Shines, Nellie at 20th Century Fox, but her real break came when she was pressed into service on the MGM musical I Love Melvin (1953), when her sister Donna was unable to work in two movies at the same time. More movies followed, including Band of Angels (1957), along with appearances on television programs such as Circus Boy (starring Micky Dolenz) and a part in the short-lived series The World of Mr. Sweeney, with Charlie Ruggles. Then, in 1957, with a little help from Ronald Reagan -- who was working at the same studio and happened to see the screen tests for the show, and recommended Corcoran over a rival actress -- she won the starring role in the situation comedy Bachelor Father. For the next five years, Corcoran was practically the archetypal American girl, almost a distaff Beaver Cleaver in the role of Kelly Gregg, the orphaned 13-year-old being raised by her bachelor uncle Bentley Gregg (John Forsythe). In some ways, the program was the precursor to the mid- to late-'60s series Family Affair, deriving much of its humor from the notion of single, man-about-town Bentley and his valet Peter (Sammee Tong) learning to adjust to life with a teenager in their midst. She made the cover of magazines and became a popular young actress of the period, as America watched Corcoran's character grow up from a gregarious, slightly awkward teenager into a poised and sophisticated young woman, with the series ending just as Kelly entered college. Corcoran later played a supporting role in Paul Wendkos' Gidget Goes to Rome (1963) and starred in William Witney's The Girls on the Beach, Paramount's attempt to emulate American International Pictures' "Beach Party" movies, with Corcoran essentially taking the Annette Funicello role. The movie had little to offer beyond some very attractive girls and some great performance clips featuring the Beach Boys and the post-Buddy Holly Crickets, among other acts; the performance scenes, along with the campy dialogue surrounding them, have actually allowed the movie to keep an audience some 40 years hence. Corcoran also played guest-starring roles in such series as Gunsmoke and The Big Valley. She left acting after 1965 to pursue a more private personal life and a career behind the scenes in theater and dance.

Trivia: A veteran of vaudeville and Broadway, Harry Seymour came to films with extensive credits as a composer and musical-comedy star. Unfortunately, Seymour made his movie debut in 1925, at the height of the silent era. When talkies came in, he was frequently employed as a dialogue director with the Warner Bros. B-unit. From 1932 to 1958, Harry Seymour also essayed bit roles at Warners and 20th Century Fox, most often playing pianists (Irish Eyes Are Smiling, Rhapsody in Blue, A Ticket to Tomahawk, etc.).

Trivia: Character actor, onscreen from 1952.

Trivia: Not to be confused with the later 20th Century-Fox contract player of the same name, silent screen actor Harry Carter had appeared in repertory with Mrs. Fiske and directed The Red Mill for Broadway impresario Charles Frohman prior to entering films with Universal in 1914. Often cast as a smooth villain, the dark-haired Carter made serials something of a specialty, menacing future director Robert Z. Leonard in The Master Key (1914); playing the title menace in The Gray Ghost (1917); and acting supercilious towards Big Top performers Eddie Polo and Eileen Sedgwick in Lure of the Circus (1918). In addition to his serial work, Carter played General Von Kluck in the infamous propaganda piece The Kaiser, the Beast of Berlin (1918). It was back to chapterplays in the 1920s, where he menaced Claire Anderson and Grace Darmond in two very low-budget examples of the genre: The Fatal Sign (1920) and The Hope Diamond Mystery (1921).

Trivia: American actress Dorothy Phillips played leads in numerous Hollywood silent films and was once known as "the Kid Nazimova" because she was so good at imitating the star. Phillips was born Dorothy Gwendolyn Strible in Baltimore. She frequently worked in films directed by her husband, Alan Holubar. After the mid-'20s, her film appearances became sporadic and considerably smaller.

Trivia: A B-Western starlet, Virginia Carroll (née Broberg) sometimes played the heroine -- Oklahoma Terror (1939), opposite Jack Randall, and Johnny Mack Brown's Triggerman (1948) -- but more often than not appeared further down the cast list as the leading lady's sister or a saloon belle. Carroll did her fair share of serials, including G-Men vs. the Black Dragon (1943) and The Crimson Ghost (1946) but, again, never played the heroine. In fact, she was Martha Kent in the 15-chapter Superman (1948). Carroll continued to appear in small roles through 1959. She was married to actor Ralph Byrd, the screen's original Dick Tracy.

Trivia: After his 1948 film debut in Columbia's The Dark Past, American general purpose actor Robert Osterloh was signed to a Warner Bros. contract. During his Warners tenure, Osterloh was spotted in such fleeting roles as the prisoner whose mail is censored into oblivion in the 1949 James Cagney classic White Heat (1949). He then went into his "officer" period, wearing many uniforms and bearing several ranks over the next decade. Among Robert Osterloh's 1950s film assignments were Major White in The Day the Earth Stood Still (1951), Colonel Robert E. Lee in Seven Angry Men (1955) and Lieutenant Claybourn in I Bury the Living (1958).

Trivia: Expert horseman Boyd "Red" Morgan entered films as a stunt man in 1937. Morgan was justifiably proud of his specialty: falling from a horse in the most convincingly bone-crushing manner possible. He doubled for several top western stars, including John Wayne and Wayne's protégé James Arness. He could also be seen in speaking roles in such films as The Amazing Transparent Man (1959), The Alamo (1960), True Grit (1968), The Wild Rovers (1969) and Rio Lobo (1970). According to one report, Boyd "Red" Morgan served as the model for the TV-commercial icon Mister Clean.