Trivia: One of the most glamorous superstars of Hollywood's golden era, Lana Turner was born February 8, 1921, in Wallace, ID. At the age of 15, while cutting school, she was spotted by Hollywood Reporter staffer Billy Wilkinson in a Hollywood drugstore; enchanted by her beauty, he escorted her to the offices of the Zeppo Marx Agency, resulting in a bit part in 1937's A Star Is Born. Rejected by RKO, Fox, and any number of other studios, Turner next briefly showed up in They Won't Forget. Mervin LeRoy, the picture's director, offered her a personal contract at 50 dollars a week, and she subsequently appeared fleetingly in a series of films at Warner Bros. When LeRoy moved to MGM, Turner followed, and the usual series of bit parts followed before she won her first lead role in the 1939 B-comedy These Glamour Girls. Dancing Co-Ed, a vehicle for bandleader Artie Shaw, followed that same year, and after starring in 1940's Two Girls on Broadway, she and Shaw married. Dubbed "the Sweater Girl" by the press, Turner was touted by MGM as a successor to Jean Harlow, but audiences did not take her to heart; she did, however, become a popular pin-up, especially with American soldiers fighting overseas. In 1941 she starred opposite Clark Gable in Honky Tonk, her first major hit. They again teamed in Somewhere I'll Find You the next year. Upon separating from Shaw, Turner married actor Stephen Crane, but when his earlier divorce was declared invalid, a media frenzy followed; MGM chief Louis B. Mayer was so incensed by the debacle that he kept the now-pregnant Turner off movie screens for a year. Upon returning in 1944's Marriage Is a Private Affair, Turner's stardom slowly began to grow, culminating in her most sultry and effective turn to date as a femme fatale in 1946's The Postman Always Rings Twice. The film was a tremendous success, and it made Turner one of Hollywood's brightest stars. Both 1947's Green Dolphin Street and Cass Timberlane were hits, but a 1948 reunion with Gable in Homecoming failed to re-create their earlier sparks. After appearing in The Three Musketeers, she disappeared from screens for over a year, resurfacing in the George Cukor trifle A Life of Her Own. Turner's box-office stock was plummeting, a situation which MGM attempted to remedy by casting her in musicals; while the first, 1951's Mr. Imperium, was an unmitigated disaster, 1952's The Merry Widow was more successful. However, a string of failures followed, and after 1955's Diane, MGM opted not to renew her contract.When Turner's next project, The Rains of Ranchipur, also failed to ignite audience interest, she again took a sabbatical from movie-making. She returned in 1957 with Peyton Place, director Mark Robson's hugely successful adaptation of Grace Metalious' infamous best-seller about the steamy passions simmering beneath the surface of small-town life. Turner's performance won an Academy Award nomination, and the following year she made international headlines when her lover, gangster Johnny Stampanato, was stabbed to death by her teenage daughter, Cheryl Crane; a high-profile court trial followed, and although Crane was eventually acquitted on the grounds of justifiable homicide, Turner's reputation took a severe beating. The 1959 Douglas Sirk tearjerker Imitation of Life was Turner's last major hit, however, and after a string of disappointments culminating in 1966's Madame X, she did not reappear in films for three years, returning with The Big Cube. Also in 1969, she and George Hamilton co-starred in the short-lived television series The Survivors. After touring in a number of stage productions, Turner starred in the little-seen 1974 horror film Persecution, followed in 1976 by Bittersweet Love. Her final film, Witches' Brew, a semi-comic remake of the 1944 horror classic Weird Woman, was shot in 1978 but not widely released until 1985. In 1982, she published an autobiography, Lana: The Lady, the Legend, the Truth, and also began a stint as a semi-regular on the TV soap opera Falcon Crest. After spending the majority of her final decade in retirement, Lana Turner died June 29, 1995, at the age of 74.

Trivia: The daughter of show folk, Hope Lange was 12 when she appeared in her first Broadway play, Sidney Kingsley's The Patriots. Fourteen years later, with dozens of plays and TV programs to her credit, Lange made her screen debut in Bus Stop (1956), managing to garner critical and audience attention despite her omnipresent co-star Marilyn Monroe (Lange's first husband was Bus Stop leading man Don Murray). Signed to a 20th Century Fox contract, Lange was Oscar nominated for her performance in Peyton Place (1957) and was equally impressive in such films as The Young Lions (1957) and The Best of Everything (1959). In the early 1960s, Lange was briefly linked romantically with Glenn Ford, who insisted that she co-star with him in Pocketful of Miracles, a fact that inspired a stream of published invective from the film's director, Frank Capra, who'd wanted Shirley Jones for the part. Despite Capra's reservations in regards to her acting ability, Lange continued to prosper as a film actress until turning to TV in 1968 as star of the weekly The Ghost and Mrs. Muir, a project that would earn her two Emmys. She then spent three years in a thankless "supportive housewife" part in The New Dick Van Dyke Show. In 1974, Lange received some of her best reviews in years for her work in Death Wish -- in which she spent most of her time in a coma before expiring in Reel Two! Subsequent projects in which Lange was involved included the 1977 play Same Time Next Year and the first of the Nightmare on Elm Street films. Hope Lange was first married to Don Murray, then producer/director Alan J. Pakula.

Trivia: Lee Philips studied playwriting at Adelphi College, and later with Harold Clurman. Originally a stage actor, Phillips made his stage debut in the early '50s and appeared on Broadway in dramas such as Paddy Chayefsky's Middle of the Night, with Edward G. Robinson, Gena Rowlands, Anne Jackson, and Martin Balsam, and The Mandragola, directed by Sanford Meisner and starring Albert Paulsen, John Fiedler, and Mark Rydell. He followed this with television work on Armstrong Circle Theatre, and other dramatic anthology shows, and feature film appearances in movies such as Peyton Place (1958), in which he distinguished himself with an impassioned performance as the earnest school principal. Additionally, he appeared in the television productions of Marty and 12 Angry Men. Phillips turned to directing in the early '60s on sitcoms such as The Dick Van Dyke Show, and followed this with numerous TV movies and occasional feature films, most notably The Girl Most Likely To (1973), a black comedy about a formerly homely girl (Stockard Channing), transformed by plastic surgery, who decides to revenge herself on the high school classmates who tormented her.

Trivia: Diane Varsi started her show-business career by playing the coffee-house circuit as a folksinger. She finally found her true calling when she began taking acting lessons under the aegis of acting coach Jeff Corey. In a twinkling, Varsi was signed to a 20th Century-Fox contract and was cast as Alison McKenzie in the 1957 film version of Grace Metalious' Peyton Place, a performance that earned the 20-year-old novice actress an Oscar nomination. After two years of important roles in major Fox productions, she impulsively ran out on her studio contract, insisting that she was on the verge of a nervous breakdown (which proved to be the case). After several years' retirement in Vermont with her third husband, Varsi decided to give acting a second try. Unfortunately, 20th Century-Fox, still smarting over Varsi's violation of her contract, effectively blocked her chances at renewing her stardom. She was able to pick up roles in low-budget and independent productions, notably as wigged-out Sally LeRoy in the cult favorite Wild in the Streets (1968). After several years of off-and-on screen activity, Varsi retired for good in 1977. Diane Varsi died at the age of 54, of complications ensuing from a respiratory ailment and Lyme Disease.

Trivia: The son of a San Francisco shoe factory owner, American actor Lloyd Nolan made it clear early on that he had no intention of entering the family business. Nolan developed an interest in acting while in college, at the expense of his education -- it took him five years to get through Santa Clara College, and he flunked out of Stanford, all because of time spent in amateur theatricals. Attempting a "joe job" on a freighter, Nolan gave it up when the freighter burned to the waterline. In 1927, he began studying at the Pasadena Playhouse, living on the inheritance left him by his father. Stock company work followed, and in 1933 Nolan scored a Broadway hit as vengeful small-town dentist Biff Grimes in One Sunday Afternoon (a role played in three film versions by Gary Cooper, James Cagney, and Dennis Morgan, respectively -- but never by Nolan). Nolan's first film was Stolen Harmony (1935); his breezy urban manner and Gaelic charm saved the actor from being confined to the bad guy parts he played so well, and by 1940 Nolan was, if not a star, certainly one of Hollywood's most versatile second-echelon leading men. As film historian William K. Everson has pointed out, the secret to Nolan's success was his integrity -- the audience respected his characters, even when he was the most cold-blooded of villains. The closest Nolan got to film stardom was a series of B detective films made at 20th Century-Fox from 1940 to 1942, in which he played private eye Michael Shayne -- a "hard-boiled dick" character long before Humphrey Bogart popularized this type as Sam Spade. Nolan was willing to tackle any sort of acting, from movies to stage to radio, and ultimately television, where he starred as detective Martin Kane in 1951; later TV stints would include a season as an IRS investigator in the syndicated Special Agent 7 (1958), and three years as grumpy-growley Dr. Chegley on the Diahann Carroll sitcom Julia (1969-1971). In 1953, Nolan originated the role of the paranoid Captain Queeg in the Broadway play The Caine Mutiny Court Martial, wherein he'd emerge from a pleasant backstage nap to play some of the most gut-wrenching "character deterioration" scenes ever written. Never your typical Hollywood celebrity, Nolan publicly acknowledged that he and his wife had an autistic son, proudly proclaiming each bit of intellectual or social progress the boy would make -- this at a time when many image-conscious movie star-parents barely admitted even having children, normal or otherwise. Well liked by his peers, Nolan was famous (in an affectionate manner) for having a photographic memory for lines but an appallingly bad attention span in real life; at times he was unable to give directions to his own home, and when he did so the directions might be three different things to three different people. A thorough professional to the last, Nolan continued acting in sizeable roles into the 1980s; he was terrific as Maureen O'Sullivan's irascible stage-star husband in Woody Allen's Hannah and Her Sisters (1986). Lloyd Nolan's last performance was as an aging soap opera star on an episode of the TV series Murder She Wrote; star Angela Lansbury, fiercely protective of an old friend and grand trouper, saw to it that Nolan's twilight-years reliance upon cue cards was cleverly written into the plot line of the episode.

Trivia: American actor Arthur Kennedy was usually cast in western or contemporary roles in his films; on stage, it was another matter. A graduate of the Carnegie-Mellon drama department, Kennedy's first professional work was with the Globe Theatre Company touring the midwest in abbreviated versions of Shakespearian plays. From here he moved into the American company of British stage star Maurice Evans, who cast Kennedy in his Broadway production of Richard III. Kennedy continued doing Shakespeare for Evans and agit-prop social dramas for the Federal Theatre, but when time came for his first film, City for Conquest (1940), he found himself in the very ordinary role of James Cagney's musician brother. Throughout his first Warner Bros. contract, Kennedy showed promise as a young character lead, but films like Bad Men of Missouri (1941), They Died with Their Boots On (1942) and Air Force (1943) did little to tap the actor's classical training. After World War II service, Kennedy returned to Broadway, creating the role of Chris Keller in Arthur Miller's All My Sons (1947). This led to an even more prestigious Miller play, the Pulitzer Prize winning Death of a Salesman (1948), in which Kennedy played Biff. Sadly, Kennedy was not permitted to repeat these plum roles in the film versions of these plays, but the close association with Miller continued on stage; Kennedy would play John Proctor in The Crucible (1957) and the doctor brother in The Price (1965). While his film work during this era resulted in several Academy Award nominations, Kennedy never won; he was honored, however, with the New York Film Critics award for his on-target portrayal of a newly blinded war veteran battling not only his handicap but also his inbred racism in Bright Victory (1951). The biggest box office success with which Kennedy was associated was Lawrence of Arabia (1962), wherein he replaced the ailing Edmund O'Brien in the role of the Lowell Thomas character. Working continually in film and TV projects of wildly varying quality, Kennedy quit the business cold in the mid-1980s, retiring to live with family members in a small eastern town. Kennedy was so far out of the Hollywood mainstream in the years before his death that, when plans were made to restore the fading Lawrence of Arabia prints and Kennedy was needed to re-record his dialogue, the restorers were unable to locate the actor through Screen Actor's Guild channels -- and finally had to trace him through his hometown telephone directory.

Trivia: Tousle-haired juvenile actor Russ Tamblyn began taking up dancing and acrobatics at the age of six. Needing very little prodding from his parents, the eager Tamblyn embarked on his professional career in the late '40s, performing in radio and Los Angeles musical revues. His first "straight" acting assignment was opposite Lloyd Bridges in the 1947 play Stone Jungle. He entered films in 1948, then was given an "introducing" screen credit for his first starring role in The Kid From Cleveland (1949). Signed by MGM, the young actor changed his billing from Rusty to Russ when cast as an army trainee in 1953's Take the High Ground. Beginning with Seven Brides for Seven Brothers, Tamblyn became a popular musical star, playing the title role in Tom Thumb (1958) and co-starring as gang leader Riff in the Oscar-winning West Side Story (1961). He was nominated for an Academy Award for his performance as the teenaged swain of Allison McKenzie (Diane Varsi) in 1958's Peyton Place. By the late '60s, Tamblyn's career had waned, and he was accepting roles in such cheapjack exploitation flicks as Satan's Sadists (1970) and Dracula vs. Frankenstein (1971). Russ Tamblyn stuck it out long enough to make a healthy comeback in the late '80s, notably in the role of psychiatrist Lawrence Jacoby on the cult-TV favorite Twin Peaks (1990).

Trivia: Terry Moore was born Helen Koford; during her screen career she was billed as Helen Koford, Judy Ford, Jan Ford, and (from 1949) Terry Moore. She debuted onscreen at age 11 in 1940 and went on to play adolescent roles in a number of films. As an adult actress, the well-endowed Moore fell into the late-'40s/early-'50s "sexpot" mold, and was fairly busy onscreen until 1960; after that her screen work was infrequent, though she ultimately appeared in more than a half-dozen additional films. She claimed she was secretly wed to billionaire Howard Hughes in 1949, and that they were never divorced; for years she sued Hughes's estate for part of his will, and finally was given an undisclosed sum in an out-of-court settlement. She wrote a book detailing her secret life with Hughes from 1947-56, The Beauty and the Billionaire, in 1984. For her work in Come Back, Little Sheba (1952) she received a "Best Supporting Actress" Oscar nomination. She co-produced the film Beverly Hills Brat (1989), in which she also appeared.

Trivia: Lead actor Barry Coe has appeared in film since 1956.

Trivia: The oldest son of bandleader Ozzie Nelson and songstress Harriet Hilliard Nelson, David Nelson was famous before ever making his professional debut. David and his brother Ricky both "appeared" on their parent's radio sitcom The Adventures of Ozzie and Harriet, albeit portrayed by professional child actors. The boys bugged O and H until their parents relented and allowed David and Ricky to costar in person on the radio series. When Ozzie and Harriet shifted to TV in 1952, the boys went along for the ride. Ricky unexpectedly became a teen idol in the late '50s, while David more or less played "straight" for the rest of the family. Except for a good supporting role as a homicidal trapeze artist in 1959's The Big Circus, David's acting career was colorless enough to encourage him to seek some other form of creative expression (though he'd later occasionally accept guest-star cameos in such projects as 1991's Cry Baby). In the early '60s, he turned to directing, first for the Nelson Family series, and then for several other TV situation comedies. David Nelson worked steadily but unspectacularly as a producer/director in the years to follow: in the early '80s he directed three theatrical films, the most prominent of which was the 1981 George Kennedy starrer The Rare Breed. Nelson, the last surviving member of his family, died of complications from colon cancer at age 74 in January 2011.

Trivia: Betty Field was a versatile character and lead actress said to have never repeated a characterization. She attended the American Academy of Dramatic Arts before appearing professionally in summer stock in 1933. The following year, Field made her Broadway debut and soon became a popular ingenue in George Abbott's comedies of the late '30s. She made her premiere feature-film appearance in What a Life (1939), reprising her role in a Broadway play of the same name. With her provocative performance in Of Mice and Men (1940), she established herself as a significant actress. Throughout the '40s, Field alternated between Broadway plays and Hollywood films. On screen she tended to play neurotic, hard-bitten women. After only making one film around 1950, Field did not return to steady film work until after 1956, when she became a character actress frequently cast as unkempt but well-meaning mothers. One of her three marriages was to playwright Elmer Rice, who wrote several plays as vehicles for her. Betty Field died of a cerebral hemorrhage in 1973.

Trivia: Educated at Goucher College and at Johns Hopkins and Columbia University, American actress Mildred Dunnock was introduced to films in her stage role as Miss Ronsberry in The Corn Is Green (1945). Her next major assignment was as Willy Loman's long-suffering wife Linda in Arthur Miller's 1948 Pulitzer Prize-winning play Death of a Salesman, a part that she also essayed in the 1952 film version. Dunnock preferred stage work and college lecture tours to the movies, but returned before the cameras occasionally in such films as 1952's Viva Zapata (directed by the director of Salesman, Elia Kazan), Hitchcock's The Trouble with Harry (1955), and Sweet Bird of Youth (1962). One of Dunnock's most spectacular film appearances was her unbilled role in the gangster melodrama Kiss of Death (1948); she was the wheelchair-bound old lady pushed down a flight of stairs by giggling psychopath Richard Widmark!

Trivia: Hollywood's favorite "dear old dad," Leon Ames began his stage career as a sleek, dreamy-eyed matinee idol in 1925. He was still billing himself under his real name, Leon Waycoff, when he entered films in 1931. His best early leading role was as the poet-hero of the stylish terror piece Murders in the Rue Morgue (1932). In 1933, Ames was one of the founding members of the Screen Actors Guild, gaining a reputation amongst producers as a political firebrand--which may have been why his roles diminished in size during the next few years (Ironically, when Ames was president of the SAG, his conservatism and willingness to meet management halfway incurred the wrath of the union's more liberal wing). Ames played many a murderer and caddish "other man" before he was felicitously cast as the kindly, slightly befuddled patriarch in Meet Me in St. Louis (1944). He would play essentially this same character throughout the rest of his career, starring on such TV series as Life With Father (1952-54) and Father of the Bride (1961). When, in 1963, he replaced the late Larry Keating in the role of Alan Young's neighbor on Mr. Ed, Ames' fans were astounded: his character had no children at all! Off screen, the actor was the owner of a successful, high profile Los Angeles automobile dealership. In 1963, he was the unwilling focus of newspaper headlines when his wife was kidnapped and held for ransom. In one of his last films, 1983's Testament, Leon Ames was reunited with his Life With Father co-star Lurene Tuttle.

Trivia: White-haired, patriarchal Canadian actor Lorne Greene attended Queen's University in pursuit of a chemical engineering degree. Amateur college theatricals whetted his appetite for the stage, and upon graduation he decided upon a performing career. He started out on radio, eventually emerging as Canada's top newscaster, designated "the voice of the CBC" (For a while, Greene managed a mail-order announcer's school; one of the "pupils" was Leslie Nielsen). Moving to New York in 1950, Greene became a stage, film and TV actor, co-starring on Broadway with Katherine Cornell in Prescott Proposals and in films with the likes of Paul Newman, Ginger Rogers and Joan Crawford, generally in villainous roles. In 1959, Greene was cast as Ben Cartwright, owner of the Ponderosa ranch and father of three headstrong sons, in TV's Bonanza. He would hold down this job until 1972; during the series' run, Greene unexpectedly became a top-ten recording artist with his hit single "Ringo." Upon the cancellation of Bonanza, Greene vowed he'd retire, but within one year he was playing a private detective on the brief TV weekly Griff. Five years later, he starred on the network sci-fier Battlestar Gallactica. Active as chairman of the National Wildlife Foundation, Greene put forth the organization's doctrine in his popular syndicated TV series Lorne Greene's Last of the Wild. His final weekly television appearance was on the 1980 adventure series Code Red. In 1987, Lorne Greene was all set to recreate Ben Cartwright for the 2-hour TV movie Bonanza: The Next Generation, but he died before shooting started and was replaced by John Ireland.

Trivia: British actor Robert Harris is best known for his ability to bring Shakespearean roles to life. Though most of his career was spent on stage, Harris also appeared in many feature films and occasionally on television. A graduate of the Royal Academy of Dramatic Art, the London-born Harris took his first professional bow at the Westminister Theater following a 1932 production of J.M. Barrie's The Will. Harris made his Broadway debut in Noel Coward's Easy Virtue. Harris's film credits include The Fuzzy Pink Nightgown (1957), The Alamo (1960), The Life and Death of Colonel Blimp (1943).

Trivia: Staats Cotsworth is scarcely remembered today by anybody outside of the acting profession, and even then, they'd need to be very old actors to recall him. He had only three feature-film appearances to his credit, and didn't do too much theater work either, nor did he need to: For much of the 1940s, he was radio's busiest actor, performing continuing roles in as many as ten series at any given time, including Lone Journey, Stella Dallas, and Mr. and Mrs. North, and starring in Casey, Crime Photographer. Born in Oak Park, IL, in 1908, Cotsworth entered the acting profession as a member of Eva Le Gallienne's repertory company in New York. His arrival in the city coincided with the boom in radio, which became the dominant mass medium of the 1930s and was centered in New York. Although he was a classically trained actor with experience in Shakespearean roles, Cotsworth gravitated toward the new medium, which seemed to offer vast opportunities, and it was there that he made his name and his fortune. By the mid-'40s, when the average American's salary was 3,000 dollars a year, Cotsworth earned over 50,000 dollars a year on radio. It was only in the mid-'50s, with the medium's decline, that he began working on television, first on anthology series such as Studio One out of New York, and later on programs such as Dr. Kildare and Bonanza from Hollywood. During the 1960s, he was also a regular on As the World Turns and The Edge of Night, and also played the avuncular male lead in "Go Fight City Hall," a failed pilot for a proposed series that was to have starred Irene Dunne as a widowed mother who enters local politics. By that time, in his late fifties and sixties, he slipped easily into dignified older male character roles, often playing judges, senators, and similar parts. Cotsworth made his first feature-film appearance in Peyton Place (1957), playing Charles Partidge, and later appeared in Anthony Harvey's New York-filmed comedy They Might Be Giants (1971) (he was one of a group of old-time players, including Worthington Miner, Sudie Bond, and Frances Fuller, who appeared in the film). He also did a voice-over role in the 1973 horror movie Silent Night, Bloody Night.

Trivia: Actress Erin O'Brien-Moore's many Broadway credits included Makropolous Secret, Street Scene, Tortilla Flat and State of the Union. O'Brian-Moore made her first film appearance in a 1930 short subject; her feature debut came four years later. She spent several years at Warner Bros., where her most famous part was the worn-out trollop Nana in The Life of Emile Zola (1937). Her hopes for screen stardom were tragically dashed in 1939, when she was seriously burned in a restaurant fire. After extensive plastic surgery, she resumed her Broadway career as a character actress. She later appeared on TV Charlie Ruggles' wife in the 1949 comedy sitcom The Ruggles, and as Nurse Choate in the 1960s nighttime serial Peyton Place (she'd played a different character in the 1957 film version of the Grace Metalious novel). Her last movie role was an uncredited cameo as Rudy Vallee's sister in How to Succeed in Business Without Really Trying (1967). Erin O'Brien-Moore was at one time married to theatre critic Mark Barron.

Trivia: American actor Tom Greenway appeared in numerous films between the late '40s and early '60s. He got his start on Broadway where he appeared in a number of productions before serving in the U.S. Air Force during WW II. While flying a mission he was shot down, and he spent over a year in Italian and German POW camps. Following his release, Greenway launched his film career.

Trivia: Ray Montgomery was a gifted character actor who spent his early career trapped behind a too-attractive face, which got him through the studio door in the days just before World War II, but limited him to callow, handsome supporting roles. Born in 1922, Montgomery joined Warner Bros. in 1941 and spent the next two years working in short-subjects and playing small, uncredited parts in feature films, including All Through The Night, Larceny, Inc., Air Force, and Action In The North Atlantic -- in all of which he was overshadowed by lead players such as Humphrey Bogart, Edward G. Robinson, and John Garfield, and the veteran character actors in supporting roles (including Alan Hale, William Demarest, Frank McHugh, Barton McLane, and Edward Brophy) at every turn. And even in The Hard Way as Jimmy Gilpin, he was overshadowed (along with everyone else) by Ida Lupino. Montgomery went into uniform in 1943 and didn't return to the screen until three years later, when he resumed his career precisely where he left off, playing a string of uncredited roles. He got what should have been his breakthrough in 1948 with Bretaigne Windust's comedy June Bride, and his first really visible supporting role -- but again, he was lost amid the presence of such players as Robert Montgomery and Bette Davis and a screwball-comedy story-line. It was back to uncredited parts for the next few years, until the advent of dramatic television. In the early 1950s, after establishing himself on the small-screen as a quick study and a good actor, Montgomery finally got co-starring status in the syndicated television series Ramar of the Jungle, playing Professor Howard Ogden, friend and colleague of the Jon Hall's title-character in the children's adventure series. The show was rerun on local television stations continuously into the 1960s. By then, Montgomery had long since moved on to more interesting parts and performances in a multitude of dramatic series and feature films. He proved much better with edgy character roles and outright bad guys than he had ever been at playing good natured background figures -- viewers of The Adventures of Superman (which has been in reruns longer than even Ramar), in particular, may know Montgomery best for two 1956 episodes, his grinning, casual villainy in the episode "Jolly Roger" and his sadistic brutality in "Dagger Island", where his character convincingly turns on his own relatives (as well as a hapless Jimmy Olsen). He could do comedy as well as drama, and was seen in multiple episodes of The Lone Ranger, The Gale Storm Show, and Lassie, in between movie stints that usually had him in taciturn roles, such as Bombers B-52 (1957) and A Gathering of Eagles (1963). During the 1960s, the now-balding, white-haired Montgomery was perhaps most visible in police-oriented parts, as a tough old NYPD detective in Don Siegel's Madigan (1968) and as an equally crusty (but sensitive) LAPD lieutenant in the Dragnet episode "Community Relations: DR-17". Montgomery's last screen appearance was in the series Hunter -- following his retirement from acting, he opened a notably successful California real estate agency.

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: 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: Mike Lally started in Hollywood as an assistant director in the early 1930s. Soon, however, Lally was steadily employed as a stunt man, doubling for such Warner Bros. stars as James Cagney and Pat O'Brien. He also played innumerable bit roles as reporters, court stenographers, cops and hangers-on. Active until 1982, Mike Lally was frequently seen in functionary roles on TV's Columbo.