Trivia: Specializing in playing shambling, cantankerous cynics, Walter Matthau, with his jowly features, slightly stooped posture, and seedy, rumpled demeanor, looked as if he would be more at home as a laborer or small-time insurance salesman than as a popular movie star equally adept at drama and comedy. An actor who virtually put a trademark on cantankerous behavior, Matthau was a staple of the American cinema for almost four decades.The son of poor Jewish-Russian immigrants, Matthau was born on October 1, 1920, in New York City and raised in a cold-water flat on the Lower East Side. His introduction to acting came during his occasional employment at the Second Avenue Yiddish Theater, where he sold soda pops during intermission for 50 cents per show. Following WWII service as an Air Force radioman and gunner, Matthau studied acting at the New School for Social Research Dramatic Workshop. Experience with summer stock led to his first Broadway appearances in the 1940s, and at the age of 28 he got his first break serving as the understudy to Rex Harrison's character in the Broadway drama Anne of a Thousand Days. After having his first major Broadway success with A Shot in the Dark, Matthau began working on the screen, usually in small supporting roles that cast him as thugs, villains, and louts in such films as The Kentuckian (1955) and King Creole (1958). Only occasionally did he get to play more sympathetic roles in films such as Lonely Are the Brave (1962). In 1959, he tried his hand at directing with Gangster Story. In addition to his stage and feature-film work, Matthau appeared in a number of television shows. Just when it seemed that he was to be permanently relegated to playing supporting and dark character roles on stage and screen, Matthau won the part of irretrievably slavish sportswriter Oscar Madison in the first Broadway production of Neil Simon's The Odd Couple (1965). Simon wrote the role especially for Matthau, and the show made both the playwright and the actor major stars. In film, Matthau played his first comic role (for which he won a Best Supporting Actor Oscar) in Billy Wilder's The Fortune Cookie (1966). The film also marked the first of many times that Matthau would be paired with Jack Lemmon. The unmistakable chemistry at play between the well-mannered, erudite Lemmon and the sharp-tongued, earthy Matthau exploded when they were paired onscreen, and was on particularly brilliant display in the hit film version of The Odd Couple (1967). Good friends with Lemmon both onscreen and off, Matthau starred in his directorial debut, Kotch (1971), and starred alongside him in The Front Page (1974) and Buddy Buddy, both of which did little for Matthau and Lemmon's careers. As a duo, the two again found success when they played two coots who were too busy feuding to realize that they were best friends in Grumpy Old Men (1993). They reprised their roles in a 1995 sequel and also appeared together in The Grass Harp (1995), Out to Sea (1997), and 1998's The Odd Couple II. On his own, Matthau continued developing his comically cynical persona in such worthy ventures as Plaza Suite (1971), California Suite (1978), and especially The Sunshine Boys (1975), in which he was paired with George Burns. He proved ridiculously endearing as a grizzled, broken-down, beer-swilling little league coach with a marshmallow heart in The Bad News Bears (1976), and further expressed his comic persona in such comedies as 1993's Dennis the Menace, in which he played the cantankerous Mr. Wilson, and the romantic comedy I.Q. (1994), which cast him as Albert Einstein.Though many of his roles were of the comic variety, Matthau occasionally returned to his dramatic roots with ventures such as the crime thriller Charley Varrick (1973) and The Taking of Pelham 1, 2, 3 (1974). In addition to his work in feature films, Matthau also continued to make occasional appearances in made-for-television movies, one of which, Mrs. Lambert Remembers Love (1991), was directed by his son Charles Matthau. Matthau, who had been plagued with health problems throughout much of his adult life, died of a heart attack at the age of 79 on July 1, 2000. The last film of his long and prolific career was Diane Keaton's Hanging Up (2000), a family comedy-drama that cast the actor as the ailing father of three bickering daughters (Lisa Kudrow, Meg Ryan, and Keaton). Coincidentally, when Matthau was hospitalized for an undisclosed condition in April of the same year, he shared a hospital room with none other than longtime friend and director Billy Wilder.

Trivia: A puckish actor/singer, he sprang to national attention when he won the Tony Award for the Abe Burrows/Frank Loesser Broadway hit How to Succeed in Business Without Really Trying, repeating his role in the film version in 1967. His few film appearances include The Matchmaker (1958), The Loved One (1965), Oh Dad, Poor Dad (1966). Morse won another Tony Award in the '90s for his portrayal of Truman Capote in the one-man show, Tru, and has been nominated another handful of times. His television work has been sporadic, although he did star in the unusual musical-comedy TV series That's Life (1968-69).

Trivia: At age 16, Inger Stevens broke into show business in a Kansas City burlesque show. She moved to New York at age 18, working in the garment center and as a chorus girl while studying theater at the Actors Studio and making the rounds of Broadway agents. She appeared in several TV commercials, leading to roles in TV dramas. In 1956 she debuted on Broadway, then made her first film in 1957. She went on to appear in a dozen or so films during the next decade-plus. Stevens achieved some popularity as the star of the '60s TV series "The Farmer's Daughter." After her death at age 36, it was later revealed that she had been secretly married since 1961 to black musician Isaac (Ike) Jones.

Trivia: Born in New Jersey, Sue Ane Langdon was raised in Michigan and 13 other states by her mother, former opera singer Grace Lookhoff. It was Grace who directed the 5-year-old Sue Ane in her stage debut as Tinker Bell in a semi-professional staging of Peter Pan. After attending North Texas State Teachers College and Idaho State, Langdon headed for New York, where she sang in the Radio City Music Hall chorus then danced in a Las Vegas production of The Ziegfeld Follies. In 1962, she was chosen by Jackie Gleason to play Alice Kramden in the "Honeymooners" sketches on Gleason's weekly TVer The American Scene Magazine. It was strictly "oil and water" time on the set, and within a few weeks Langdon and Gleason parted company by mutual agreement, whereupon Gleason jocularly took out a newspaper ad saying he was no longer responsible for his "wife's" debts. Much was made of Langdon's exposure of her attractive epidermis in Playboy magazine and (briefly) in the 1965 film The Rounders, but this sex-symbol image faded when she became firmly established as a comedienne. From 1969 through 1971, Langdon played Herschel Bernardi's wife on the TV sitcom Arnie, winning a Golden Globe for "Best Supporting Actress." Sue Ane Langdon's recent film assignments have included the forbidding task of playing Weird Al Yankovic's aunt in UHF (1989).

Trivia: American supporting or character actress, onscreen from the '50s.

Trivia: During the late '60s and early '70s, Linda Harrison bade fair to be one of the screen's reigning beauty queens; as one of the three young starlets in the series Bracken's World and as the mute woman Nova in the first two Planet of the Apes movies, Harrison was a very attractive and visible young actress. Indeed, had she come along a few years later, when the ancillary market for television- and movie-related posters was more developed, she might've been a rival to the likes of Farrah Fawcett-Majors or Jaclyn Smith. Harrison was born in Berlin, MD, and took an early interest in dance and acrobatics. She won a series of local beauty contests which led to a short stint as a photo model in New York. While in California for a beauty competition, she was spotted by an agent who arranged a screen test for her at 20th Century Fox. She was signed up and immediately put into a small role in the pilot episode of a series called Men Against Evil, which evolved into the police show Felony Squad, with Howard Duff and her future Bracken's World co-star Dennis Cole. She also turned up as a cheerleader in an episode of Batman. It was in the Jerry Lewis comedy Way...Way Out that Harrison made her big-screen debut and she followed this with an appearance in the low-budget comedy The Fat Spy, then turned up in a somewhat more prestigious vehicle, A Guide for the Married Man. It was around that time that she first met Richard Zanuck, a production executive (and the son of legendary mogul Darryl F. Zanuck), who offered her the role of Nova in the film Planet of the Apes. That movie took a long time to get off the ground and before she ever appeared as Nova, Harrison served as a stand-in in the role of Dr. Zira (the part ultimately played by Kim Hunter) in the screen tests and extensive make-up tests through which the project evolved, even participating in a test for Edward G. Robinson in the role of Dr. Zaius (Robinson was forced to withdraw from the project because of a heart condition that prevented him from working under the heavy make-up and in the high altitude location where much of the film was to be made). Although the character of Nova was mute, Harrison made a serious impression on audiences with her long dark hair and big brown eyes, which did most of her acting for her in the absence of any spoken dialogue for her character. The film was a huge hit, earning huge grosses across more than one year of release around the world and eventually yielded a seque. In the interim, Harrison was cast as Paulette, the young aspiring actress in the Fox-produced network series Bracken's World. It was here that she not only reminded television audiences, weekly, of her stunning appearance but proved that she could act, playing a character who was juggling romantic entanglements, studio pressures, and the nagging of her mother (Jeanne Cooper) over her career. In 1970, during the run of Bracken's World, Harrison reprised her role as Nova in Beneath the Planet of the Apes, where her character was, if anything, featured even more prominently -- indeed, it is the death of Nova that leads the Charlton Heston character to the grim notion that the whole world-turned-upside-down should be destroyed. Harrison disappeared from movies for a time, after Beneath the Planet of the Apes and the cancellation of her television series, when she married Richard Zanuck. During the mid-'70s, however, she tried to re-emerge in her profession, which engendered some frustrating moments; she had, and then lost, the role of Roy Scheider's wife in Jaws, when Universal Pictures insisted that it go to Lorraine Gary, the wife of studio chief Sidney Sheinberg. As a consolation prize, she played a part in Airport 1975, working under the pseudonym of Augusta Summerland. She later divorced Zanuck and left the business altogether for a time, to work on raising her family and pursuing her personal spiritual goals. The two remained sufficiently close to each other, however, so that when Harrison resumed studying acting in the 1980s, Zanuck offered her a role in his production of Cocoon, which she reprised in the sequel. She appeared in the movie Wild Bill and participated onscreen in the documentary Behind the Planet of the Apes.

Trivia: Eddie Quillan made his performing debut at age seven in his family's vaudeville act. By the time he was in his teens, Quillan was a consummate performer, adept at singing, dancing, and joke-spinning. He made his first film, Up and At 'Em, in 1922, but it wasn't until 1925, when he appeared in Los Angeles with his siblings in an act called "The Rising Generation," that he began his starring movie career with Mack Sennett. At first, Sennett tried to turn Quillan into a new Harry Langdon, but eventually the slight, pop-eyed, ever-grinning Quillan established himself in breezy "collegiate" roles. Leaving Sennett over a dispute concerning risqué material, Quillan made his first major feature-film appearance when he co-starred in Cecil B. DeMille's The Godless Girl (1929). This led to a contract at Pathé studios, where Quillan starred in such ebullient vehicles as The Sophomore (1929), Noisy Neighbors (1929), Big Money (1930), and The Tip-Off (1931). He remained a favorite in large and small roles throughout the 1930s and 1940s; he faltered only when he was miscast as master sleuth Ellery Queen in The Spanish Cape Mystery (1936). Among Quillan's more memorable credits as a supporting actor were Mutiny on the Bounty (1935), Young Mr. Lincoln (1939), The Grapes of Wrath (1940), and Abbott and Costello's It Ain't Hay (1943). From 1948 through 1956, Quillan co-starred with Wally Vernon in a series of 16 two-reel comedies, which showed to excellent advantage the physical dexterity of both men. Quillan remained active into the 1980s on TV; from 1968 through 1971, he was a regular on the Diahann Carroll sitcom Julia. In his retirement years, Eddie Quillan became a pet interview subject for film historians thanks to his ingratiating personality and uncanny total recall.

Trivia: One of the last of the serial queens, Canadian-born Aline Towne (born Bouchard) played the female lead in no less than five chapter plays between 1950 and 1953, all for Republic Pictures. By the 1950s, however, the once so thriving genre was threatened by television, which basically offered the same kind of juvenile excitement for free; in addition, Towne was less memorable than such earlier Republic cliffhanger stars as Jungle Girl's Frances Gifford and The Leopard Woman's Linda Stirling. To compound matters, Towne's leading men were far from top caliber: Richard Webb (Invisible Monster, 1950), Ken Curtis (Don Daredevil Rides Again, 1951), George Wallace (Radar Men From the Moon, 1952), Judd Holdren (Zombies From the Stratosphere, 1952), and Harry Lauter (Trader Tom of the China Seas, 1953). In 1952, she filmed Republic's 12-episode television sci-fi Commando Cody: Sky Marshal of the Universe, also starring Judd Holdren and created by serial veterans Fred C. Brannon and Franklin Afreon. A series rather than a cliffhanging serial, the project proved a distinct failure and was dumped on the unsuspecting viewing audience as a mid-summer replacement. Undeterred, Towne continued to appear in supporting roles on television and the occasional A-movie until 1970.

Trivia: Chanin Hale never really made it in movies, apart from a relative handful in the mid-'60s in which she played prominent supporting roles. But on television as a wholesome-yet-voluptuous blonde, she was a memorable guest star and supporting player for years on programs as diverse as Dragnet and The Red Skelton Show. She was born Marilyn Victoria Chanine Hale Harvey in Dayton, OH, and survived a desperately unhappy childhood in a broken home from where even her adopted younger sister was given up. (According to Hale in a 1969 interview, her sister returned to the orphanage when her parents separated). Hale took her mother's family name. She was a creative and very athletic girl, winning art awards and was very competitive in sports. She was bitten by the performing bug while still in school. After graduating from high school and working as a secretary, she decided to do something about pursuing acting. Some limited work in student and community theater helped, along with dancing and singing lessons, but she felt out of place and somehow "off balance" when it came to performing, until one day she dyed her red hair platinum blonde and suddenly recognized herself. She joined the Dayton Y Players and gained experience in everything from Greek tragedy to low comedy, and enjoyed a taste of success in the title role of Annie Get Your Gun. A move to New York in 1955, at age 18, put her in position to be discovered. During her first six years, she toured in the revue High Time, performed in The Gazebo (with William Bendix), Come Blow Your Horn, and Bus Stop in regional theater. She also worked as a cocktail waitress at the Gaslight Club (a pre-Playboy club institution for the well-heeled man about town), fending off advances from the patrons (and from her employers) when she worked as a stenographer. She also did Annie Get Your Gun on the Canadian side of Niagara Falls and sang at Manhattan's #1 Fifth Avenue, eventually landinga role in Little Mary Sunshine, playing a flirtatious character named Twinkle. Hale also started doing television, playing secretaries, corpses, and everything in between. Her big break came from television in 1963 when she went to Los Angeles to appear in a comedy production at U.C.L.A. and was discovered by Jack Albertson, who offered her an introduction to Red Skelton. The veteran comic was always on the lookout for women with pantomime skills for his show, and after meeting Hale and seeing her work, immediately put her onto his weekly comedy variety show in the pantomime segment. She worked for him as a semi-regular for the next seven years. She also managed to appear in a handful of subsequent feature films, among them Gunn, Synanon, Will Penny, and The Night They Raided Minsky's, and in numerous dramatic television series. The most notable among them was the '60s revival of Dragnet on which she did three episodes -- in one, playing the seductive hostess for a crooked gambling ring, she came convincingly close to melting Jack Webb's by-the-book persona as Sgt. Joe Friday; watching the show today, Hale came off like the '60s answer to Gloria Grahame, and she may have had as good a career if only films were being made that included partly fallen-but-redeemable women in their casts of characters, but it was mostly Anne Francis and, on the much older side, Ava Gardner getting those parts. Hale's other television work includes appearances on Death Valley Days, The Dick Van Dyke Show, Hey Landlord, Hondo, The Donna Reed Show, The Danny Kaye Show, The Beverly Hillbillies, The Dating Game, and Girl Talk (the latter two as herself, out-of-character), as well as television productions of Brigadoon and Alice Through the Looking Glass. Hale was also a regular supporter of the USO and did tours of Vietnam and other overseas locations where American troops were stationed for more than a decade, well into the late '60s, working with John Welsh and John Malpezz on one tour. Indeed, she was one of the last fabulously successful pinups. In early 1969, a quarter century after the heyday of the pinup, when a picture of Hale in a homemade costume as "Eve" appeared in the New York Daily News, it generated so many requests from soldiers overseas that thousands of 8x10s had to be printed up and mailed. She continued working into the '70s on series such as The Mary Tyler Moore Show, Adam-12, and Marcus Welby, M.D.

Trivia: Supporting actor Tommy Farrell first appeared onscreen in 1950. He is the son of actress Glenda Farrell.

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: Kooky, chipper comic actress Jackie Joseph was a chorus dancer when she gained prominence in The Billy Barnes Revue, in which she appeared with her future husband Ken Berry. Not long afterward, Joseph was hired as Los Angeles' first TV weather girl. In films at least since 1955's Ma and Pa Kettle at Waikiki, Joseph's most fondly remembered screen role was pea-brained Audrey Fulquard in the original Little Shop of Horrors (1960). A prolific TV actress, Joseph was a comedy-ensemble player on the first Bob Newhart Show (1961-62) and played dizzy secretary Jackie Parker during the final 1972-73 season of The Doris Day Show. She briefly put her acting career on the back burner in the 1970s to become an LA TV host and tireless animal activist. After her costly, traumatic divorce from Ken Berry, Joseph organized L.A.D.I.E.S., a support group for ex-wives of celebrities. Jackie Joseph resumed her film activities in the 1980s; she was reunited with her Little Shop of Horrors co-star Dick Miller as the ill-fated Futtermans in Gremlins (1984) and Gremlins 2: The New Batch (1989).

Trivia: An exceptionally beautiful brunette, Warrene Ott played supporting roles in more than a dozen films of the 1960s. Ott made her debut in The Phantom Planet (1961).

Trivia: Upon arriving in Hollywood in the 1960s, Omaha-born actress Karen Jensen discovered that there was already a Karen Jensen active in films and TV. Thus it was that Nebraska's Ms. Jensen became Karen Arthur. Under this new billing, she appeared in such films as Guide for the Married Man (1967) and Paul Newman's Winning (1969). Shifting her activities to the other side of the camera, Karen Arthur produced and directed the 1972 incest drama My Sister, My Love (originally released as The Mafu Cage), and later became one of the regular directors on TV's Cagney and Lacey, winning an Emmy for the tense 1984 episode "Heat."

Trivia: George Neise played character roles on stage, screen, and television. Born and raised in Chicago, Neise became an actor following service as a colonel in the Army Air Corps during WWII. Neise made his feature-film debut in They Raid by Night (I942). Though he would specialize in action-dramas and Westerns, Neise appeared in a wide range of roles ranging from comedy to drama to romance. Neise made his final film appearance in The Barefoot Executive (1971). On television, Neise has appeared on The Jackie Gleason Show, The Red Skelton Show, and The Loretta Young Show. Neise passed away in his Hollywood home on April 14, 1996.

Trivia: Versatile American character actor Tim Herbert appeared in several films during the '60s and '70s. He got his start and later also made guest appearances in many television shows and movies.

Trivia: Left fatherless at the age of four, American actress Lucille Ball developed a strong work ethic in childhood; among her more unusual jobs was as a "seeing eye kid" for a blind soap peddler. Ball's mother sent the girl to the Chautauqua Institution for piano lessons, but she was determined to pursue an acting career after watching the positive audience reaction given to vaudeville monologist Julius Tannen. Young Ball performed in amateur plays for the Elks club and at her high school, at one point starring, staging, and publicizing a production of Charley's Aunt. In 1926, Ball enrolled in the John Murray Anderson American Academy of Dramatic Art in Manhattan (where Bette Davis was the star pupil), but was discouraged by her teachers to continue due to her shyness. Her reticence notwithstanding, Ball kept trying until she got chorus-girl work and modeling jobs; but even then she received little encouragement from her peers, and the combination of a serious auto accident and recurring stomach ailments seemed to bode ill for her theatrical future. Still, Ball was no quitter, and, in 1933, she managed to become one of the singing/dancing Goldwyn Girls for movie producer Samuel Goldwyn; her first picture was Eddie Cantor's Roman Scandals (1933). Working her way up from bit roles at both Columbia Pictures (where one of her assignments was in a Three Stooges short) and RKO Radio, Ball finally attained featured billing in 1935, and stardom in 1938 -- albeit mostly in B-movies. Throughout the late 1930s and '40s, Ball's movie career moved steadily, if not spectacularly; even when she got a good role like the nasty-tempered nightclub star in The Big Street (1942), it was usually because the "bigger" RKO contract actresses had turned it down. By the time she finished a contract at MGM (she was dubbed "Technicolor Tessie" at the studio because of her photogenic red hair and bright smile) and returned to Columbia in 1947, she was considered washed up. Ball's home life was none too secure, either. She'd married Cuban bandleader Desi Arnaz in 1940, but, despite an obvious strong affection for one another, they had separated and considered divorce numerous times during the war years. Hoping to keep her household together, Ball sought out professional work in which she could work with her husband. Offered her own TV series in 1950, she refused unless Arnaz would co-star. Television was a godsend for the couple; and Arnaz discovered he had a natural executive ability, and was soon calling all the shots for what would become I Love Lucy. From 1951 through 1957, it was the most popular sitcom on television, and Ball, after years of career stops and starts, was firmly established as a megastar in her role of zany, disaster-prone Lucy Ricardo. When her much-publicized baby was born in January 1953, the story received more press coverage than President Eisenhower's inauguration. With their new Hollywood prestige, Ball and Arnaz were able to set up the powerful Desilu Studios production complex, ultimately purchasing the facilities of RKO, where both performers had once been contract players. But professional pressures and personal problems began eroding the marriage, and Ball and Arnaz divorced in 1960, although both continued to operate Desilu. Ball gave Broadway a try in the 1960 musical Wildcat, which was successful but no hit, and, in 1962, returned to TV to solo as Lucy Carmichael on The Lucy Show. She'd already bought out Arnaz's interest in Desilu, and, before selling the studio to Gulf and Western in 1969, Ball had become a powerful executive in her own right, determinedly guiding the destinies of such fondly remembered TV series as Star Trek and Mission: Impossible. The Lucy Show ended in the spring of 1968, but Ball was back that fall with Here's Lucy, in which she played "odd job" specialist Lucy Carter and co-starred with her real-life children, Desi Jr. and Lucie. Here's Lucy lasted until 1974, at which time her career took some odd directions. She poured a lot of her own money in a film version of the Broadway musical Mame (1974), which can charitably be labeled an embarrassment. Her later attempts to resume TV production, and her benighted TV comeback in the 1986 sitcom Life With Lucy, were unsuccessful, although Ball, herself, continued to be lionized as the First Lady of Television, accumulating numerous awards and honorariums. Despite her many latter-day attempts to change her image -- in addition to her blunt, commandeering off-stage personality -- Ball would forever remain the wacky "Lucy" that Americans had loved intensely in the '50s. She died in 1989.

Trivia: Though born in a Chicago hospital, entertainer Jack Benny was a Waukegan boy through and through. The son of a Polish immigrant haberdasher, Benny studied the violin from an early age (he really could play, though he was certainly no virtuoso), and managed to find work in local theatre orchestras. As a teenager, Benny gave vaudeville a try with a musical act in partnership with pianist Cora Salisbury, but this first fling at show business was only fitfully successful. During World War I, Benny was assigned to the Great Lakes Naval Training Center, where, while appearing in camp shows, he first began telling jokes in between violin selections. Benny returned to vaudeville with a comedy act, slowly building himself up into a headliner. He made his first radio appearance on Ed Sullivan's interview show on March 29, 1932; within a year he had his own show, which would evolve over the next two decades into one of radio's most popular programs. He met with equal success when he moved into television in 1950. There are few comedy fans in existence who aren't familiar with the character Benny played on the air: The vain, tone-deaf, penny-pinching, eternal 39-year-old who spent his life being flustered and humiliated by his supporting cast (Mary Livingstone, Eddie "Rochester" Anderson, Dennis Day, Frank Nelson, Mel Blanc, Don Wilson et. al.); nor need his fans be reminded that this character developed gradually, rather than springing full-blown upon the world way back in 1932. What is usually de-emphasized in the many accounts of Benny's life and career is his sizeable body of movie work. Benny himself insisted that most of his films were no good, and many casual viewers have been willing to accept his word on this. Actually, Benny's films, while not all classics, were by and large moneymakers, and never anything to be truly ashamed of. His first feature appearance was as the wisecracking emcee of MGM's The Hollywood Revue of 1929. He followed this with a comic-relief role in Chasing Rainbows (1930) and an uncharacteristic straight part in the low-budget The Medicine Man (1930). He was a perfectly acceptable semicomic romantic lead in It's in the Air (1935), Artists and Models (1936), Artists and Models Abroad (1936), and in his appearances in Paramount's College and Big Broadcast series. Whenever Benny expressed displeasure over his film career, he was usually alluding to those pictures that insisted upon casting him as Benny the Famous Radio Comedian rather than a wholly different screen character. Transatlantic Merry-Go-Round (1934), Man About Town (1939) and Buck Benny Rides Again (1940), though enjoyable, are totally reliant upon Benny's pre-established radio character and "schtick" for their laughs, and as such aren't nearly as effective as his actual radio appearances. His most disappointing movie vehicle was Love Thy Neighbor (1940), designed to cash in on his phony feud with fellow radio humorist Fred Allen. Not only was the film uninspired, but also outdated, since the feud's full comic value had pretty much peaked by 1937. Many of Benny's best films were made during his last four years in Hollywood. 1941's Charley's Aunt was a lively adaptation of the old Brandon Thomas theatrical chestnut (though it did have to work overtime in explaining why a man in his forties was still an Oxford undergraduate!); 1942's George Washington Slept Here, likewise adapted from a stage play (by George S. Kaufman and Moss Hart), was a reasonably funny comedy of frustration; and yet another stage derivation, 1943's The Meanest Man in the World (based on a George M. Cohan farce), allowed Benny to go far afield from his truculent radio persona by playing a man who is too nice for his own good. Benny's finest film, bar none, was the Ernst Lubitsch-directed To Be or Not to Be (1942), in which the comedian was superbly cast as "that great, great Polish actor" Joseph Tura. Benny's final starring feature, the much maligned Horn Blows at Midnight (1945), was an enjoyable effort, and not by any means the unmitigated disaster he used to joke about on radio. The film's problem at the box-office was that it was a comedy fantasy, and audiences in 1945 had had their fill of comedy fantasies. After Horn Blows at Midnight, Benny's theatrical film appearances were confined to guest spots and unbilled gag bits (e.g. The Great Lover and Beau James). In 1949, Benny produced a Dorothy Lamour movie vehicle, The Lucky Stiff; in addition, his J&M Productions, which produced his weekly television series from 1950 through 1965, was also responsible for the moderately popular TV adventure series Checkmate (1960-62). In 1974, Benny was primed to restart his long-dormant movie career by appearing opposite Walter Matthau in the 1975 film adaptation of Neil Simon's play The Sunshine Boys; unfortunately, he died of cancer before filming could begin, and the film ultimately starred George Burns and Matthau.

Trivia: A radio performer from the age of 14, Polly Bergen went the summer stock-nightclub route before heading for Hollywood in 1949. During her first months in the entertainment capitol, Bergen married actor Jerome Courtland, a union that was over virtually before it began; her later marriage to agent Freddie Fields endured for nearly 20 years. Though she could take some pride in having survived three Martin and Lewis films (At War With the Army, That's My Boy and The Stooge), Bergen chafed at the nondescript movie parts being offered her, and in 1953 walked out of a very lucrative studio contract. She headed for New York, where, while headlining in the Broadway revue John Murray Anderson's Almanac, she strained her voice and was forced to undergo a painful throat operation. Another serious career set-back occurred in 1959 when, while starring in the musical First Impressions, she nearly lost her life during a difficult pregnancy. Gamely surviving these and other personal travails, Bergen rose to stardom via her stage performance, her one-woman cabaret act, and her many TV appearances, notably her Emmy-winning turn in The Helen Morgan Story (1957). In 1962, she gave films a second chance when she played a North Carolina housewife threatened with rape by rampaging ex-con Robert Mitchum in Cape Fear (1962) (over 20 years later, she and Mitchum played husband and wife in the popular TV miniseries The Winds of War and War and Remembrance). Her bravura portrayal of a mental patient in The Caretakers (1963) was quite an eye-opener for those familiar with Bergen only through her appearances on TV's To Tell the Truth. Less aesthetically successful was Kisses for My President (1964), in which Bergen starred as the first female Chief Executive. Though busy with her show-business activities into the 1990s (she co-starred in the network sitcom Baby Talk), it is interesting to note that, in her Who's Who entry, Bergen listed herself as a business executive first, an actress second. There is certainly plenty of justification for this; for over 40 years, she maintained successful business ventures as Polly Bergen Cosmetics, Polly Bergen Jewelry, and Polly Bergen Shoes; she was also active as part-owner of and pitch person for Oil-of-the-Turtle cosmetics. Equally busy in nonprofit organizations, she served with such concerns as the National Business Council and Freedom of Choice. She also authored three books: Fashion and Charm (1960), Polly's Principles (1974), and I'd Love to, but What'll I Wear? (1977).In later years, Bergen had recurring roles on Commander in Chief and Desperate Housewives, and was nominated for an Emmy for Guest Actress in a Comedy Series in 2008. Bergen died in 2014 at age 84.

Trivia: Nightclub comedian Joey Bishop managed to get a lot of mileage out of a dour facial expression, an air of perpetual doom-and-gloom, and the mumbled catchphrase "Son of a gun!" Bishop climbed on the Philadelphia nightclub carousel as one of the Bishop Brothers, a singing group comprised of three friends who were neither Bishops nor brothers. As a solo comic in the early 1950s, Bishop caught the eye of Frank Sinatra, whose influence enabled Joey to secure bigger and better club engagements. Bishop was signed to a Warner Bros. movie contract in 1956; his best showing during this period was as the ill-fated Jewish army private in The Naked and the Dead (1957). He continued accepting occasional film roles into the 1990s in such productions as Texas Across the River (1966) and Betsy's Wedding (1990). In 1961, Bishop starred as put-upon press agent Joey Barnes on an episode of The Danny Thomas Show titled "Everything Happens to Me"; this served as the pilot for The Joey Bishop Show, which lasted from 1961 through 1965, weathering numerous cast, concept and network changes. Having proven himself a suitable substitute host for such late-night gurus as Jack Paar and Johnny Carson, Bishop emceed ABC's nightly The Joey Bishop Show, with Regis Philbin as Joey's "Ed McMahon" and an endless stream of borscht-belt comics and "Rat Pack" intimates as guest stars. After The Joey Bishop Show closed out its two-year run in 1969, Bishop returned to the guest-star treadmill; in later years, he popped up on everything from infomercials to home-shopping programs. Bishop died in October 2007 at the age of 89.

Trivia: The son of a Yonkers restaurant owner, Sid Caesar first discovered he could get laughs by imitating the colorful dialects of his multinational classmates. But Caesar actually wanted to be a musician and to that end studied diligently at Juilliard. He paid for his education by working in various Catskills resorts as a saxophone player, dancer, and comedian. While serving in WWII, Caesar was engaged to perform in a touring musical revue staged by Coast Guard personnel called Tars and Spars. When the show was transformed into a motion picture by Columbia Pictures, Caesar went along for the ride, performing his classic war film monologue intact before the cameras. This led to a brief Columbia contract, which came to an end with Caesar's three-minute cameo appearance in The Guilt of Janet Ames (1947). While appearing in the Broadway revue Make Mine Manhattan in 1949, he was hired to co-star with Imogene Coca in a weekly TV variety series, The Admiral Broadway Revue. This in turn led to Your Show of Shows, one of the true landmarks of television's Golden Age. For five inspired seasons, Caesar and his cohorts Imogene Coca, Carl Reiner, and Howard Morris kept America laughing with an unending stream of brilliant monologues, movie parodies, and various sundry other sketches. Throughout the '50s and early '60s Caesar continued to star on TV in several Show of Shows spinoffs, and in 1963 returned to Broadway in the musical comedy Little Me, playing no fewer than eight roles within the play's two-hour running time. During this period he also returned to films, first as a member of the all-star ensemble in It's a Mad Mad Mad Mad World (1963), then as star of The Busy Body (1967) and The Spirit is Willing (1968). Unfortunately, the pressures of show business, combined with an overabundance of personal problems, led to a dangerous dependency upon alcohol and prescription drugs. So far gone was Caesar during the 1960s and 1970s that, according to his 1982 autobiography Where Have I Been?, there were times that he'd wander on-stage or before the cameras with no idea where he was or what he was saying. He hit rock bottom in 1978, suffering a total nervous breakdown while appearing in a Toronto dinner theater production of The Last of the Red Hot Lovers. Slowly and painfully, Caesar overcame his addictions and a multitude of psychological difficulties and made a near-complete recovery. Modern audiences, to whom Your Show of Shows is but a dim and distant memory, remember Sid Caesar best for his supporting appearances in such films as Silent Movie (1976) (directed by Caesar's onetime gag writer Mel Brooks), Fire Sale (1978), Grease (1982), and National Lampoon's Vegas Vacation (1997). Caesar died in 2014 at age 91.

Trivia: Though Art Carney would grow up to become a shy, retiring, self-effacing man, he was quite the class clown in school. HIs grades never rising above mediocre, Carney excelled in mimicry, performing astonishingly accurate imitations of Franklin D. Roosevelt, Fred Allen, Ned Sparks, and other 1930s luminaries. This skill enabled him to win a number of New York-based amateur contests, and in 1938 landed him a spot as musician/comedian with the Horace Heidt orchestra. Extensive radio work followed, notably Heidt's weekly quiz show Pot of Gold, which when made into a film in 1941 featured Carney in an uncredited role. While serving in WWII, Carney endured a serious leg wound which left him with a permanent limp. Fortunately this infliction did not impede his postwar radio work; he acted on such dramatic programs as Gangbusters and Dimension X, and appeared as a comedy foil for such major stars as Bert Lahr and Henry Morgan. He moved into television in 1948, playing a comic waiter on The Morey Amsterdam Show. Full-fledged stardom came his way in 1951 when he was hired as supporting player for a roly-poly comedian named Jackie Gleason on the Dumont TV Network's Cavalcade of Stars. Though they were never any more than fast friends off-stage, Gleason and Carney immediately developed a warm on-camera rapport that was to remain intact until Gleason's death in 1987. When Gleason moved from Dumont to CBS in 1952, Carney joined him, playing a remarkable array of sharply defined characters on The Jackie Gleason Show, the most famous of which was goofy, gesticulating sewer worker Ed Norton in the series' classic Honeymooners sketches. Ultimately, Carney was to win six Emmy awards, not only for his work on the Gleason show but also for his dramatic performances in such projects as the 1984 TV movie Terrible Joe Moran. He made a successful transition to the Broadway stage in 1959's The Rope Dancers, subsequently appearing in such stage hits as Take Her She's Mine, The Odd Couple (originating the role of Felix Unger), and Lovers. He returned to films in 1965, and nine years later won an Academy Award for his portrayal of an irascible senior citizen in Harry and Tonto. Even at the height of his popularity and activity, Carney suffered from profound emotional problems; a quiet, introspective sort not given to venting anger or displeasure, he assuaged his rage and insecurities with liquor. His alcoholic intake eventually impaired his ability to perform, forcing him to periodically dry out and take stock in himself in various sanitariums and clinics. Though Art Carney was eventually able to overcome his difficulties, he became more reclusive and less active as the years rolled on. The 1980s proved Carney's final active decade in front of the camera, and following roles in St. Helens, The Muppets Take Manhattan, and Firestarted (not to mention numerous small-screen appearances) Carney called it quits following an appearance in the 1993 action flop The Last Action Hero. His subsequent retirement proving a restful departure from the high energy entertainment industry, the beloved Honeymooners star died of natural causes in November of 2003.

Trivia: American actor Wally Cox looked and played the role of the bespectacled, introverted intellectual both before the cameras and in life. Fascinated with all things scientific and devoted to the study of insects, Cox seemed as unlikely a candidate for major stardom as he was an improbable roommate for Marlon Brando. In fact, he was both. While building his reputation in small clubs as a monologist, Cox shared quarters with Brando, his best friend since childhood. Cox didn't really tell jokes in his club act; he would relate the offbeat exploits of his boyhood pal Dufo or do a dead-on imitation of his humorless, doltish Army drill sergeant; these were characterizations rather than routines, a gentler version of the sort of work done years later by Whoopi Goldberg. Playing occasional small parts on TV (he appeared very briefly as a baker in the 1952 film The Sniper, minus his familiar eyeglasses), Cox was tapped by producer Fred Coe to appear in a 1952 summer-replacement comedy series on NBC, Mr. Peepers, where he played Robinson Peepers, the shy, knowledgeable high school teacher at Jefferson High. Mr. Peepers garnered excellent ratings and won numerous awards, including an Emmy for Cox. As big a star as he would ever be, Cox was rushed into numerous nightclub engagements, which unfortunately fell flat because of inappropriate bookings and because audiences didn't want to see Cox as anyone other than Peepers. A 1955 sitcom, The Adventures of Hiram Holliday, starred Wally as an unlikely globe-trotting adventurer; alas, it was scheduled directly opposite ABC's powerhouse Disneyland. Cox would spend most of the rest of his career playing variations of Peepers on other star's sitcoms and variety series, occasionally breaking the mold by playing a murderer or bon vivant. He also tried his hand as a playwright, a field in which he displayed considerable skill. Once again under contract to NBC in the mid '60s, Cox became a regular on the comedy quiz show Hollywood Squares, where he adopted the image of a bored know-it-all. It is this Wally Cox that most viewers remember, not the brilliant comic actor who convinced his '50s fans that he was Mr. Peepers, not just a man playing a part. Wally Cox died of a sudden heart attack in 1973; he was cremated, and his ashes were discreetly scattered at an undisclosed spot (and in defiance of municipal laws) by his old friend and ex-roommate Marlon Brando.

Trivia: Born Vera Jane Palmer, Jayne Mansfield was the daughter of a lawyer who died when Mansfield was six, at which time her mother moved the family from Pennsylvania to Dallas. While attending Southern Methodist University, the 16-year-old Palmer married student Paul James Mansfield. Lacking the funds for day-care service, Jayne attended acting classes in Los Angeles with her infant daughter strapped on her back like a papoose. After briefly working as a candy vendor in an L.A. theater, Mansfield caught the eye of a TV producer. It was difficult for Mansfield, whose measurements were 40-21-35, not to gain attention in her subsequent TV and film works. More famous as a cheesecake model than an actress, by 1955 Mansfield first gained critical plaudits for her classic performance as a Monroe-like movie starlet in George Axelrod's Broadway play Will Success Spoil Rock Hunter. This role won her a contract at 20th Century Fox, where she fell within the sphere of comedy director Frank Tashlin, who regarded Mansfield as a "living cartoon" and directed her accordingly in the film version of Rock Hunter and in 1956's The Girl Can't Help It. Despite good dramatic performances in such films as The Wayward Bus (1957), Kiss Them for Me (1957), and The Burglar (1957), Mansfield was forever typed as a parody Marilyn Monroe. When not acting, the publicity-hungry Mansfield aggressively sought out any press agent or photo op that was handy, as did her second husband, muscleman Mickey Hargitay, to whom she was married from 1958 through 1963 (their daughter, Mariska Hargitay, became a busy actress in her own right). Mansfield's third husband, Matt Cimber, became her agent, and guided her through a series of increasingly tawdry projects like Promises, Promises (1963), wherein Mansfield became the first major actress to appear nude onscreen. Her later career dwindled into cheap European films, slapped-together American quickies like Single Room Furnished (1965), and plenty of nightclub and summer-theater work. While driving to a club engagement in New Orleans, 34-year-old Jayne Mansfield was killed (but not decapitated, contrary to popular belief) in an automobile accident.

Trivia: Louis (pronounced Louie) Nye was an American comic actor equally at home in theatre, movies or television. His basic characterization as a somewhat fey country-club bon vivant was established when he was a regular on the various '50s TV programs starring Steve Allen. Nye's chipper "Hi, ho, Steverino" became a national catchphrase, and his ability to reduce Allen to helpless giggles with in-joke adlibs remains among the treasured memories of TV's golden age. At the height of his popularity, Nye recorded a few comedy LPs, in which he essayed a variety of characterizations (he was just as persuasive at playing tough hoodlums and peppery senior citizens as he was portraying effeminate swingers). Movies seldom utilized Nye for more than a few minutes at a time, reasoning perhaps that a little of him went a long way; still, he had some prime vignettes in The Facts of Life (1960), The Last Time I Saw Archie (1961), and especially Good Neighbor Sam (1963), in which he played a gadget-laden private eye. Outside of his extensive work with Steve Allen, Nye had regular TV stints on The Ann Sothern Show (1958-61) as dentist Delbert Gray; on Happy Days (1970), not the famous Fonzie-ized sitcom but a summer variety series spoofing the '30s; and on Needles and Pins (1973), as the intrusive brother-in-law of series star Norman Fell. In 1985, Louis Nye popped up as The Carpenter (as in "The Walrus and...") in the all-star TV movie adaptation of Alice in Wonderland.

Trivia: Carl Reiner knew he wanted to be an actor -- preferably a Shakespearean actor -- from the time he was wearing knee pants. Trained in New York's Works Progress Administration Dramatic Workshop, he spent the war years touring with Maurice Evans' G.I. Hamlet, appearing with another young hopeful, Howard Morris. After the war he accumulated scores of stock company and Broadway credits, then in 1948 made his television debut in the short-lived series Fashion Story. While starring in NBC's 54th Street Revue, he was hired as one of the regulars on Your Show of Shows, appearing on a weekly basis with Sid Caesar, Imogene Coca, and old pal Howie Morris. During the scripting sessions for Show of Shows, Reiner became friends with a bombastic staff writer named Mel Brooks, with whom he improvised a number of wild stream-of-consciousness comedy bits which would eventually crystallize as the classic "2000 Year Old Man" routines. An Emmy winner for his work on the various Sid Caesar programs, he entered films as a character actor in 1959. That same year, he wrote, produced, and starred in the pilot episode for a proposed series about a comedy writer named Rob Petrie, titled Head of the Family. The network executives liked the concept, but vetoed Reiner as the star; swallowing his pride, he retooled the property with another leading man, and that's how the Emmy-winning Dick Van Dyke Show was born. During the series' five-year run, Reiner made innumerable cameo appearances on the program, most memorably as Rob Petrie's mercurial TV-comedian boss Alan Brady. In 1967 he made his film directorial debut with Enter Laughing, an adaptation of his own semi-autobiographical 1958 novel (the book had already been transformed into a Broadway play with Alan Arkin as star). Reiner's later directing assignments included The Comic (1967), a bittersweet farce based on the lives of Stan Laurel, Harry Langdon, and Buster Keaton; the black comedy cult favorite Where's Poppa? (1970); the whimsical fantasy Oh, God (1977); and a popular series of Steve Martin vehicles, among them The Jerk (1978) and Dead Men Don't Wear Plaid (1982). His film output decreased in number and quality in the l980s and 1990s, though critics enjoyed his offbeat 1989 working-class comedy Bert Rigby, You're a Fool and his 1997 Bette Midler starrer That Old Feeling. In 1995, he earned yet another Emmy award for his revival of the Alan Brady character on a memorable episode of TV's Mad About You. And though Reiner appeared to retire from directing following That Old Feeling, he still maintained a notable presence in film and television with roles in Steven Soderbergh's Ocean's Eleven and it's two sequels, House M.D., Hot in Cleveland, and Parks and Rec.Carl Reiner is the father of directors Rob Reiner and Lucas Reiner; his wife Estelle has enjoyed a latter-day career as a night club singer and as a cameo performer in her son Rob's films (she's the lady who says, "I'll have what she's having!" in When Harry Met Sally).

Trivia: Growing up in the squalid Brownsville section of Brooklyn, Phil Silvers used his excellent tenor voice and facility for cracking jokes to escape a life of poverty. He was discovered as a young teen by vaudevillian Gus Edwards who hired him to perform in his schoolroom act. Silvers' singing career ended when his voice changed at 16, whereupon he took acting jobs in various touring vaudeville sketches. During his subsequent years in burlesque, he befriended fellow comic Herbie Faye, with whom he would work off and on for the rest of his career. While headlining in burlesque, Silvers was signed to star in the 1939 Broadway musical comedy Yokel Boy. This led to film work, first in minor roles, then as comedy relief in such splashy 1940s musicals as Coney Island (1943) and Cover Girl (1944). Silvers became popular if not world famous with his trademark shifty grin, horn-rimmed glasses, balding pate, and catchphrases like "Gladda see ya!" He returned to Broadway in 1947, where he starred as a turn-of-the-century con man in the Jule Styne-Sammy Cahn musical High Button Shoes. In 1950, he scored another stage success as a Milton Berle-like TV comedian in Top Banana, which won him the Tony and Donaldson Awards. From 1955 through 1959, Silvers starred as the wheeling-dealing Sgt. Ernie Bilko on the hit TV series You'll Never Get Rich, for which he collected five Emmy awards. Upon the demise of this series, Silvers stepped into another success, the 1960 Styne-Comden-Green Broadway musical Do Re Mi. The failure of his 1963 sitcom The New Phil Silvers Show marked a low point in his career, but the ever scrappy Silvers bounced back again to appear in films and TV specials. In 1971, he starred in a revival of A Funny Thing Happened on the Way to the Forum (nine years after turning down the original 1962 production because he felt the show "wouldn't go anywhere."). He collected yet another Tony for his efforts -- then suffered a severe stroke in August of 1972. While convalescing, Silvers wrote his very candid autobiography, The Laugh Is on Me. He recovered to the extent that he could still perform, but his speech was slurred and his timing was gone. Still, Silvers was beloved by practically everyone in show business, so he never lacked for work. Phil Silvers was the father of actress Cathy Silvers, best known for her supporting work on the TV series Happy Days.

Trivia: For the first three decades of his life, gap-toothed comic actor Terry-Thomas was far from a household name. The London-born performer worked as a clerk, meat salesman, pianist, bandleader, music hall comedian and movie extra before signing with the Royal Signal Corps upon the outbreak of World War II. His film career took off in earnest in 1949, and by 1955 Terry-Thomas was enjoying star billing in a series of officious, twittish roles. Occasionally a sympathetic leading man in such films as Man in the Cocked Hat (1959), the actor was far more effective in roles calling for easily punctured pomposity. Extremely popular in England, Terry-Thomas was comparatively little known in the U.S. outside of the art-house circuit until he starred in the Frank Tashlin-directed farce Bachelor Flat (1961). Though he'd been afforded opportunities to exhibit his versatility in British films, Terry-Thomas was typecast by Hollywood in such broad, unpleasant roles as the jingoistic J. Algernon Hawthorne in It's a Mad Mad Mad Mad World (1963) and the caddish Percival War-Armitage in Those Magnificent Men in Their Flying Machines (1965). On a Tonight Show appearance in the late 1960s, the actor ruefully commented that, while he liked the money he was getting in Hollywood, he wished that his children could see him play a good guy for a change. After 1970, Terry-Thomas accepted whatever parts came his way, with the mediocre outweighing the worthwhile; he was last seen as Dr. Mortimer in a messy parody version of Conan Doyle's Hound of the Baskervilles (1978). Retiring to the Caribbean, he was forced to move back to London when his savings were depleted by his ever-encroaching Parkinson's Disease. The world at large was apprised of the actor's illness and reduced financial circumstance when he was featured on a network-TV documentary about degenerative illnesses. He spent his last painful years living off the charitable contributions of his friends and admirers. Terry-Thomas was the author of two autobiographical books: 1959's Closing the Gap and the posthumously published Terry-Thomas Tells Tales; his mid-1960s comedy record album Terry-Thomas Discovers America is today a much-sought-after collector's item.

Trivia: A lanky, rubber-limbed comedian with a sad face, Ben Blue achieved his effects as much with mime as with dialogue. From age 15 he was on the New York stage and in vaudeville, then beginning in 1926 he appeared in a series of silent short subjects for Warner Brothers, Hal Roach, and other studios. Often appearing in baggy pants, with an eccentric straw hat and cane, he went on during the sound era to work for Paramount, where he was the long-limbed, wistful-eyed funny man in dozens of pictures, tending to put in cameo appearances that stole the show from those with top billing. (One story has it that comedian Red Skelton, after being upstaged by Blue, had a clause put in his contract stating that he would never appear with him again). Blue went on to perform regularly in nightclubs and on TV but dropped out of films in 1948 and spent fifteen years managing the nightclubs he owned. He returned and continued making comedic cameos in films during the '60s (notably in It's a Mad, Mad, Mad, Mad World and The Russians are Coming, the Russians are Coming).

Trivia: The son of a sales engineer and born in New Orleans, Jeffrey Hunter was raised in Milwaukee, WI. While still in high school, Hunter acted on Milwaukee radio station WTMJ; this led to summer stock work. After serving in the Navy, Hunter attended Northwestern University, where he continued his stage appearances and was featured in the 1950 film version of Julius Caesar, which starred Charlton Heston. Attending U.C.L.A. on a scholarship, Hunter was spotted by a Hollywood agent while starring in a school production of All My Sons. He made his first "mainstream" film appearance in 20th Century Fox's Fourteen Hours, a film which also served as the debut for Grace Kelly. His movie career gained momentum after he co-starred with John Wayne in the Western classic The Searchers (1956). In 1961, Jeffrey Hunter was cast as Jesus Christ in The King of Kings; the actor's youthful appearance prompted industry wags to dub the picture "I Was a Teenaged Jesus," though in fact Hunter was 33 at the time. Few of his post-King of King roles amounted to much, and by 1967 he was one of several former Hollywood luminaries knocking about in European films. From 1950 through 1955, Hunter was married to actress Barbara Rush, who years after the divorce would remember Hunter fondly as the handsomest man she ever met. Jeffrey Hunter died of a concussion at 42, after an accidental fall in his home.

Trivia: A standup comedian turned agent, Marty Ingels is also an occasional film actor. He made his feature-film debut in Armored Command (1969). Ingels also appeared on television and has done voice characterizations for animated television shows. He continued to make TV show appearances in the latter part of his career, including guest spots on shows like ER, CSI and New Girl. In 1977, Ingels married actress Shirley Jones. They remained married until Ingels death in 2015, at age 79.

Trivia: Nature obviously intended for Sam Jaffe to spend much of his screen career playing eccentric scientists and peppery little old men. As a child, Jaffe appeared in Yiddish stage productions with his mother, a prominent actress. He gave up the theater to study engineering at Columbia University, then served for several years as a mathematics teacher in the Bronx. He returned to acting in 1915 and never left, despite efforts by the more rabid communist-hunters of the 1950s to prevent the gently liberal-minded Jaffe from earning a living. Jaffe's now-familiar shock of wild, white hair was first put on view before the cameras in 1934's The Scarlet Empress, in which he played the insane Grand Duke Peter (several critics compared Jaffe's erratic behavior and bizarre appearance to Harpo Marx). Still only in his mid-40s, Jaffe went on to play the centuries-old High Lama in Capra's Lost Horizon (1937). In 1939, he essayed the title character in Gunga Din, though Hollywood protocol dictated that top billing go to Cary Grant, Victor McLaglen and Douglas Fairbanks Jr. Jaffe was Oscar-nominated for his performance as Doc, the "brains" in the 1950 crime film The Asphalt Jungle. His resemblance to Albert Einstein (minus the bushy moustache, of course) led to Jaffe being cast in Einsteinlike roles in Gentleman's Agreement (1947) and The Day the Earth Stood Still (1951). Jaffe was the lifelong best friend of Edward G. Robinson, with whom he appeared in the made-for-TV film The Old Man Who Cried Wolf (1971). TV viewers with long memories will recall Sam Jaffe as snowy-haired father-figure Dr. Zorba on the 1960s TV series Ben Casey, in which Jaffe was co-starred with his second wife, Bettye Ackerman.

Trivia: A University of Florida football star, Dale Van Sickel entered films in the very early '30s as an extra. Playing hundreds of bit parts at almost every studio in Hollywood, Van Sickel earned his true fame as one of Republic Pictures' famous stuntmen, specializing in fisticuffs and car stunts. He appeared in nearly all the studio's serials in the 1940s, including The Tiger Woman (1944), The Purple Monster Strikes (1945), and The Black Widow (1947), almost always playing several bit roles as well. Often the studio cast their leading men because of their resemblance to Van Sickel and the other members of the serial stunt fraternity that included Tom Steele, Dave Sharpe, and Ted Mapes. A founding member and the first president of the Stuntmen's Association of Motion Pictures, Van Sickel later performed in innumerable television shows as well as such diverse feature films as Spartacus (1960), It's a Mad Mad Mad Mad World (1963), and The Love Bug (1969).