Trivia: American actor John Garfield, when judged by looks and attitude alone, seemed more the pugnacious, defiant urban thug than one of Hollywood's most respected dramatic actors of the '30s and '40s. As evidence of his popularity, despite the fact that many insiders considered Garfield's personal ways and beliefs a bit radical, the attendance at his funeral in 1952 broke the records set at Rudolph Valentino's funeral. He was born Julius Garfinkle, the son of poor Jewish immigrants from New York's Lower-East-Side ghettos. Poverty was the norm there, and life was tough. Young Garfield's juvenile delinquent tendencies landed him in a special school for problem children. Still, it was almost inevitable that he would get involved with neighborhood street gangs. He may have remained on those streets struggling to survive, had Garfield not had a special gift for debate, a talent that won him a state-wide contest sponsored by the New York Times. The ensuing scholarship gained him entrance into the Ouspenskaya Drama School and an apprenticeship in repertory theater. Afterward, Garfield hit the road and became a freight-train-hopping hobo and transient worker, but by the late 1930s he returned home to join the Group Theater.Following a role in Odet's production of Golden Boy, Garfield landed a contract with Warners and made his film debut in the melodramatic tragedy Four Daughters (1938). He played a cynical, embittered piano prodigy who finds redemption through a young woman's love, and for her well-being he makes the ultimate sacrifice. It was a powerful multi-textured performance that led to his receiving a nomination for "Best Supporting Actor." Following that success, he appeared in a brief series based on the film and then continued playing assorted angry young men and ill-fated outsiders in such films as Dust Be My Destiny. Though his appearance and demeanor locked him into playing tough outsiders and anti-heroes, Garfield was a versatile actor who unsuccessfully fought with studio heads to play different kinds of roles to demonstrate his true range. Glimpses of it can be seen in such powerful films as Pride of the Marines (1945) in which he plays a real-life war hero who must cope with his battle-caused blindness back home.Beginning with MGM's classic The Postman Always Rings Twice (1946), Garfield began to establish himself in film noir. He is still considered one of the best actors in that genre, with one of his best films being Force of Evil in which he played a corrupt attorney. Following the end of his Warner's contract, Garfield founded Enterprise Productions and began free-lancing. His distinctly leftist views and staunch support of the working class lead to his being labeled a communist sympathizer by the House Committee on Un-American Activities. He did not cooperate at the official hearings and suddenly found it difficult to find work. Though he returned briefly to the theater, Garfield did not flourish. At the age of 39, he died of coronary thrombosis, a condition that some have attributed to the stress the Committee placed upon him. His two surviving children, Julie Garfield and David Patton Garfield (aka John David Garfield or John Garfield Jr.), both became actors during the 1960s.

Trivia: A leading lady of American plays and film, Neal studied drama in college and worked as a model before debuting on Broadway in The Voice of the Turtle (1946). Her performance in the play Another Part of the Forest got the attention of Hollywood, and she made her screen debut in the light farce John Loves Mary (1949); that same year she was impressive in The Fountainhead opposite Gary Cooper, whom she later said was the great love of her life. After marrying British writer Roald Dahl in 1953 she disappeared from the screen for several years, returning in 1957's A Face in the Crowd, after which she was more selective in choosing her film roles. For her performance in Hud (1963) she won the Best Actress Oscar. In 1965 she suffered a massive series of strokes that left her confined to a wheelchair, semi-paralyzed and nearly unable to speak; she made a remarkable recovery over several years, returning to the screen in The Subject Was Roses (1968), for which she received another Best Actress Oscar nomination. Also in 1968, she was presented by President Johnson with the "Heart of the Year" Award. Neal underwent two other tragedies in her life: as a baby, one of her children was hit by a cab and underwent eight brain operations, and another died of measles at age 13. Later in life, after divorcing Dahl, she underwent a much-publicized conversion to Christianity and published an autobiography, As I Am. Neal died at age 84 in the summer of 2010.

Trivia: The daughter of a Supreme Court judge, Phyllis Thaxter followed the example of her mother, a former actress. Thaxter made her first stage appearance, at the Ogunquit (Maine) Playhouse. In her teens, she received on-the-job training with the Montreal Repertory. On Broadway from 1938, she appeared in such popular plays as What a Life!, There Shall Be No Night, and Claudia. Signed to an MGM contract in 1944, Phyllis was often wasted in traditional faithful-wife roles, but on occasion was permitted a wider acting range in such parts as the schizophrenic heroine of Arch Oboler's Bewitched (1944). While at MGM, Phyllis married James Aubrey, who later ascended to the presidency of CBS-TV (and still later, took over MGM); the union lasted until 1962, producing a daughter, actress Skye Aubrey. Sidelined by an attack of infantile paralysis in 1952, Thaxter made a slow, steady stage, screen and TV comeback in character parts, frequently accepting roles that would challenge her physical limitations. In 1978, after a long absence from the screen, Phyllis Thaxter was cast as Martha Kent, mother of Clark Kent, in Superman: The Movie. She made her last on-camera appearance in a 1992 episode of Murder, She Wrote.

Trivia: Hernandez was one of the first "new style" black screen actors, who neither sang nor danced but played characters just as white actors did. He grew up in Rio de Janeiro. In 1922 he first began performing onstage, working in an acrobatic act. Later he lived in the Caribbean and worked as a professional boxer under the name Kid Curley. He went on to work in a minstrel show, in circuses, and in vaudeville. He debuted on Broadway in 1927 in Show Boat. He played a few bit parts in the black audience-targeted films of Oscar Micheaux, and also worked as a radio scriptwriter. He broke through as a screen actor in Intruder in the Dust (1949), in which he played a proud black man wrongly accused of having killed a white Southerner. He played masculine, sensitive, individualistic men. After getting a number of solid roles, he was obliged to accept lesser roles in most of the films he made from the late '50s on. He continued acting until shortly before his death, working in both films and on TV.

Trivia: Once there was a film historian who opined that Wallace Ford was in more movies than any other character actor of his prominence. This is unlikely, but Ford was certainly kept busy in roles of all shapes and sizes during his 35-year movie career. Orphaned in infancy, Ford grew up in various British orphanages and foster homes (his search in the mid-1930s for his natural parents drew worldwide headlines). He first set foot on stage at age 11, playing in vaudeville and music halls before working his way up to Broadway. His inauspicious feature-film debut was in Swellhead (1931), a baseball melodrama which lay on the shelf for nearly five years before its release. He went on to play wisecracking leading roles in such "B"s as Night of Terror (1933), The Nut Farm (1935) and The Mystery of Mr. Wong (1935); the critics paid no heed to these minor efforts, though they always showered Ford with praise for his supporting roles in films like John Ford's The Informer (1935) and Alfred Hitchcock's Shadow of a Doubt (1943). He occasionally took a leave of absence from films to accept a stage role; in 1937, he created the part of George in the original Broadway production of Of Mice and Men (1937). As he grew balder and stockier, he remained in demand for middle-aged character roles, often portraying wistful drunks or philosophical ne'er-do-wells. Wallace Ford ended his film career with his powerful portrayal of Elizabeth Hartman's vacillating father in A Patch of Blue (1965).

Trivia: Chinese/American actor Victor Sen Yung would always be limited by stereotype in his selection of film roles, but it cannot be denied that he did rather well for himself within those limitations. Billed simply as Sen Yung in his earliest films, the actor was elevated to semi-stardom as Jimmy Chan, number two son of screen sleuth Charlie Chan. He first essayed Jimmy in 1938's Charlie Chan in Honolulu, replacing number one son Keye Luke (both Luke and Yung would co-star in the 1948 Chan adventure The Feathered Serpent). Not much of an actor at the outset, Yung received on-the-job training in the Chan films, and by 1941 was much in demand for solid character roles. With the absence of genuine Japanese actors during World War II (most were in relocation camps), Yung specialized in assimilated, sophisticated, but nearly always villainous Japanese in such films as Across the Pacific (1942). Remaining busy into the '50s, Yung co-starred in both the stage and screen versions of Rodgers and Hammerstein's Flower Drum Song. His longest-lasting assignment in the '60s was as temperamental cook Hop Sing on the TV series Bonanza. Victor Sen Yung died in his North Hollywood home of accidental asphyxiation at the age of 65.

Trivia: Stage actor Peter Brocco made his first film appearance in 1932's The Devil and Deep. He then left films to tour in theatrical productions in Italy, Spain and Switzerland. Returning to Hollywood in 1947, Brocco could be seen in dozens of minor and supporting roles, usually playing petty crooks, shifty foreign agents, pathetic winos and suspicious store clerks. His larger screen roles included Ramon in Spartacus (1960), The General in The Balcony (1963), Dr. Wu in Our Man Flint (1963), and the leading character in the Cincinnati-filmed black comedy Homebodies (1974). The addition of a fuzzy, careless goatee in his later years enabled Brocco to portray generic oldsters in such films as One Flew Over the Cuckoo's Nest (1977), The One and Only(1977), Throw Momma From the Train (1989) and War of the Roses (1983). In 1983, Peter Brocco was one of many veterans of the Twilight Zone TV series of the 1950s and 1960s to be affectionately cast in a cameo role in Twilight Zone: The Movie (1983).

Trivia: Whenever actor Ed Platt blew one of his lines in his role of "The Chief" in the TV comedy series Get Smart, star Don Adams would cry out "Is John Doucette available?" Adams was kidding, of course, but he was not alone in his high regard for the skill and versatility of the deep-voiced, granite-featured Doucette. In films on a regular basis since 1947 (he'd made his official movie debut in 1943's Two Tickets to London), Doucette was usually cast in roles calling for bad-tempered menace, but was also adept at dispensing dignity and authority. He was equally at home with the archaic dialogue of Julius Caesar (1953) and Cleopatra (1963) as he was with the 20th-century military patois of 1970's Patton, in which he played General Truscott. John Doucette's many TV credits include a season on the syndicated MacDonald Carey vehicle Lock-Up (1959), and the role of Captain Andrews on The Partners (1971), starring Doucette's old friend and admirer Don Adams.

Trivia: Sharp-featured character actor James Griffith set out in life to be a professional musician. He eased into acting instead, working the little-theatre route in his hometown of Los Angeles. In 1939, Griffith appeared in his first professional production, They Can't Get You Down. Following World War II service, he made his first film, Black Ice (1946). Steadily employed in westerns, James Griffith was generally cast as an outlaw, save for a few comparative good-guy assignments such as Sheriff Pat Garrett in The Law vs. Billy the Kid (1954).

Trivia: The stepdaughter of TV director Montgomery Pittman, Sherry Jackson made her first film in 1950, at age 8. Jackson played Susie Kettle in a few of Universal's Ma and Pa Kettle entries, and was co-starred in a handful of Warner Bros. films, most prominently as John Wayne's daughter in Trouble Along the Way. In 1953, she was hired to play Danny Thomas' daughter Terry on the long-running TV sitcom Make Room for Daddy. Having outgrown the role by 1959, she free-lanced throughout the 1960s, showing up in guest-star assignments in such TV series as The Twilight Zone and Star Trek. Sporadically active into the 1990s, Sherry Jackson was most recently seen in the 1992 production Daughters of the Dust.