Trivia: Like W.C. Fields before him, American comedian Fred Allen hoped to headline in vaudeville as a comic juggler. It was in the early 1920s that Allen found his true forte as a monologist and master of ceremonies, and in this capacity he starred on Broadway with his partner/wife Portland Hoffa in such revues as The Passing Show. In 1932, he hosted his first weekly radio show, but by strictly adhering to the script he came across as stiff and stilted. Allen's true radio personality began coming across in his long-running Town Hall Tonight (1934-41), in which he enjoyed deviating from the script for a wry adlib or satiric barb. So often did Allen "wing it" that he frequently ran overtime, compelling the NBC network to cut him off in mid-sentence to make room for the next program. NBC also had a habit of pulling the plug whenever Allen's wit became too biting--usually at the expense of the sponsor, a special-interest group, or the network itself. It was during this period that Allen launched a desultory film career (he'd already appeared in a handful of short subjects in the early 1930s). In 1935's Thanks a Million, Allen was in his element as the cynical manager of a broken-down theatrical troupe; he was less well served in Sally, Irene and Mary (1938). As a film actor, Allen was rather limited: unlike fellow radio star Bob Hope, Allen's basset-hound face and baggy eyes precluded romantic leads, while his sing-song nasal voice undercut any possibility for serious roles. When Allen returned to films in 1941 it was as "himself" in Love Thy Neighbor, in which he costarred with Jack Benny. The film capitalized on the celebrated Benny-Allen "feud" of the 1936-37 season, which both comedians (actually longtime friends who admired each other's work) would occasionally revive into the 1950s as a means of getting quick laughs. After Love Thy Neighbor, Allen forsook films again to concentrate on his radio work. He left the air due to illness in 1944, then returned with the half-hour "Fred Allen Show" in 1945. One of this series' most popular features was "Allen's Alley," a weekly jokefest in which the star traded witticisms with such regulars as Senator Claghorn(Kenny Delmar), Mrs. Nussbaum (Minerva Pious), and Titus Moody (Parker Fennelly). In 1945, Fred Allen appeared in his fourth feature film It's in the Bag. While the film started out as a traditional comedy (its basic plot was reworked into Mel Brooks' The Twelve Chairs [1969]), the story was abandoned at midpoint for a series of nonsequitir sketches involving a large lineup of guest stars--including Jack Benny. Allen continued his radio program until it was knocked out of the ratings race by CBS' "Stop the Music" in 1949. During the 1950s, Allen worked primarily as a guest star on other comedians' radio and TV series, and from 1955 through 1956 he appeared as a regular "quizzer" on "What's My Line?" He also revitalized his sporadic movie career in 1952 with a brace of 20th Century-Fox all-star films, We're Not Married and O. Henry's Full House. A prolific writer (he penned most of his own radio material), Allen turned out two best-selling memoirs in his last decade, Much Ado About Me and Treadmill to Oblivion. On March 17, 1956, Fred Allen left the New York apartment of a friend, then suddenly collapsed on the sidewalk, the victim of a fatal stroke.

Trivia: Raised in Bronxville, N.Y., the granddaughter of renowned architect Frank Lloyd Wright, Anne Baxter took up acting at the age of 11 with Maria Ouspenskaya, debuting on Broadway two years later (in Seen but Not Heard); she continued working on Broadway until her screen debut at age 17 in Twenty-Mule Team (1940), a minor Western featuring Wallace Beery and Marjorie Rambeau. Charming if not beautiful, she tended to play shy and innocent types and gave a few outstanding performances, such as that with Bette Davis in All About Eve (1950); she and Davis were both nominated for the Best Actress Oscar, but it went to Judy Holliday. Her "breakthrough" film was Orson Welles's The Magnificent Ambersons (1942), leading to many more roles in the next few years. At home in a variety of parts, she won the Best Supporting Actress Oscar in 1946 for her work in The Razor's Edge. Although she has worked with many of Hollywood's most celebrated and accomplished directors (Welles, Hitchcock, Lang, Mankiewicz, Wilder Wellman), after the mid-'50s she tended to get poor roles in mediocre movies. Baxter left Hollywood in 1961 for an isolated cattle station in Australia, an experience she described in her critically-acclaimed book Intermission: A True Story. She made a few more films, but her major work was as Lauren Bacall's replacement as Margo Channing in Applause, the musical version of All About Eve; having played Eve in the film, she now assumed the role earlier held by Davis. Baxter also did some TV work, including a part in the early '80s series Hotel. She was married from 1946-53 to actor John Hodiak, whom she met while filming Sunday Dinner for a Soldier (1944).

Trivia: At age 16, Jeanne Crain won a beauty contest as "Miss Long Beach" and became a model; the next year she was named "Camera Girl of 1942," leading to contacts in Hollywood. She debuted on screen in 1943 in The Gang's All Here, beginning a starring career that lasted through the '50s. She rose to prominence through her performance in Henry Hathaway's Home in Indiana (1944). Crain was frequently cast as the "girl next door," and was generally employed to be a "pretty face" in the midst of light films, but occasionally she got more serious roles, as in Pinky (1949) in which she played a black girl passing for white; for that performance she was nominated for a "Best Actress Oscar," repeating a nomination she got for her role in Margie (1946). Her career waned in the '60s, but she continued to appear in films through the '70s.

Trivia: While still a teenager Farley Granger appeared in a Los Angeles little theater production, where he was spotted by a scout. Sam Goldwyn signed him to a film contract and he debuted onscreen as a Russian youth in The North Star (1943). Typecast as a troubled pretty boy or a vulnerable, sensitive, soulful young hero, Granger appeared in one more film and then served in World War II. After the war, he returned to the screen as an intellectual thrill-killer in Alfred Hitchcock's Rope (1948) Early predictions that Granger would become a major star failed to come true, however; his career was mismanaged and he never lived up to his potential. After making a series of minor Hollywood films, he moved to Italy in the mid '50s and made one film there, then returned to Hollywood for two more movies before giving up his screen career in favor of work on stage, doing repertory theatre and Broadway productions like The Seagull and The Glass Menagerie. In the late '60s Granger returned to Italy and began living there for much of the year, appearing onscreen in little-known Italian productions, and returning to America less frequently to participate in American projects. He eventually played a psychiatrist and head of a family on the TV soap opera One Life to Live, but mainly specialize in horror films and thrillers as the following decades unfolded, appearing in movies like 1974's Death Will Have Your Eyes and 1985's Deathmask. The actor enjoyed a state of semi-retirement as the years went on, however, stepping in front of the camera in the '90s and 2000s mostly as a participant in documentaries about Hollywood and Alfred Hitchcock, like 1995's The Celluloid Closet and 2001's Goldwyn: The Man and His Movies. Granger passed away in March of 2011 at the age of 85.

Trivia: Tortured but brilliant British actor Charles Laughton's unique performances made him a compelling performer both on stage and in film. After starting his career as an hotel manager, Laughton switched to acting. His performances in London's West End plays brought him early acclaim, which eventually led him to the Old Vic, Broadway and Hollywood. When he repeated his stage success in The Private Life of Henry VIII for Alexander Korda on film in 1933, he won a "Best Actor" Oscar. Known both for his fascination with the darker side of human behavior and for his comic touch, Laughton should be watched as a frightening Nero in Sign of the Cross (1932), the triumphant employee in If I Had a Million (1932), the evil doctor in Island of Lost Souls (1932), the incestuous father in The Barretts of Wimpole Street (1934), the irrepressible Ruggles in Ruggles of Red Gap (1935), the overbearing Captain Bligh in Mutiny on the Bounty (1935), which garnered him another Oscar nomination, and the haunted hunchback in The Hunchback of Notre Dame (1939), with a very young Maureen O'Hara. During the war years, he played some light roles in Tales of Manhattan (1942), Forever and a Day (1943) and The Canterville Ghost (1944), among others. By the late '40s, Laughton sought greater challenges and returned to the stage in The Life of Galileo, which he translated from Bertolt Brecht's original and co-directed. As stage director and/or performer, he made Don Juan in Hell in 1951, John Brown's Body in 1953, The Caine Mutiny Court Martial in 1954, and Shaw's Major Barbara in 1956, all in New York. When he returned to England in 1959, he appeared in Stratford-upon-Avon productions of A Midsummer Night's Dream, and King Lear. Later film appearances include O. Henry's Full House (1952), Hobson's Choice (1954), Witness for the Prosecution (1957) (which gave him another Oscar nomination), Spartacus (1960) and Advise and Consent (1962). Laughton was married from 1929 to his death to actress Elsa Lanchester, with whom he occasionally appeared. His direction of the film The Night of the Hunter (1955) is critically acclaimed.

Trivia: Oscar Levant's mercurial personality can be summed up by two of his most oft-repeated witticisms: the self-aggrandizing "In some moments I was difficult, in odd moments impossible, in rare moments loathsome, but at my best unapproachably great;" and the self-deprecating "I am the world's oldest child prodigy." The son of a Pittsburgh repairman, Oscar Levant went to New York at 16 to study music under such masters as Stojowski, Schoenberg and Schillinger. Before reaching his 20th birthday, he had gained renown as a concert pianist, teacher, band leader and composer. He played a minor role in the stage play Burlesque, repeating this assignment in the 1929 film version The Dance of Life. During his first visit to Hollywood, Levant befriended George Gershwin; his friendship approached idolatry, and by the mid-1930s Levant was perhaps the greatest interpreter of Gershwin's works in the world. The relationship had a profound effect on Levant's own compositions, as witness his "Rhapsody in Blue"-like score for the 1937 film Nothing Sacred. Not that he was limited to any one musical style: he composed a faux Italian opera, Carnival, for the 1936 "B"-picture Charlie Chan at the Opera. A perceptive musical theorist, Levant often wrote upon the art of composing for films; it was he who coined the phrase "Mickey Mousing," in reference to movie scores that slavishly commented upon the action. The longer he stayed in Hollywood, the more he became famous as a "character" rather than a musician. The public first became aware of Levant's acidic erudition when he began popping up on the Information Please radio program. From 1940 onward, he spent more and more time on-screen as an actor. His most fondly remembered film credits include Humoresque (1945), Rhapsody in Blue (1945), The Barkeleys of Broadway (1949) and O. Henry's Full House (1952), in which he co-starred with Fred Allen in the "Ransom of Red Chief" segment. He was at his best in two classic MGM musicals: An American in Paris (1951), wherein he appears in a dream sequence, playing every member of the orchestra in a performance of Gershwin's "Concerto in F;" and The Band Wagon (1953), in which he and Nanette Fabray play characters patterned on Adolph Green and Betty Comden. While he retained his popularity and circle of friends into the 1960s, Levant's mood swings and increasingly erratic behavior began having professional repercussions. He was nearly banned from television after making a few scatological references concerning a prominent film actress during a 1960 telecast of his LA-based talk show. As time went on, only late-night host Jack Paar would risk having Levant as a guest, and when Paar left TV in 1965, so, for all intents and purposes, did Levant. In and out of rest homes and mental institutions during his last two decades (his final film, 1955's Cobweb, was significantly set in a sanitarium), he became dependent upon pain-killers and other prescription drugs. Despite his deteriorating physical and mental condition, he was able to turn out three superb autobiographical works, A Smattering of Ignorance, The Unimportance of Being Oscar and The Memoirs of an Amnesiac. Oscar Levant died of a heart attack in 1972 at the age of 66.

Trivia: The most endlessly talked-about and mythologized figure in Hollywood history, Marilyn Monroe remains the ultimate superstar, her rise and fall the stuff that both dreams and nightmares are made of. Innocent, vulnerable, and impossibly alluring, she defined the very essence of screen sexuality. Rising from pin-up girl to international superstar, she was a gifted comedienne whom the camera adored, a luminous and incomparably magnetic screen presence. In short, she had it all, yet her career and life came crashing to a tragic halt, a Cinderella story gone horribly wrong; dead before her time -- her fragile beauty trapped in amber, impervious to the ravages of age -- Monroe endures as the movies' greatest and most beloved icon, a legend eclipsing all others. Born Norma Jean Mortensen (later Baker) on June 1, 1926, in Los Angeles, she was seemingly destined for a life of tragedy: Her mother spent the majority of her life institutionalized, she was raised in an endless succession of orphanages and foster homes, and she was raped at the age of eight. By 1942, she was married to one Jim Dougherty, subsequently dropping out of school to work in an aircraft production plant; within a year she attempted suicide. When Dougherty entered the military, Baker bleached her hair and began modeling. By 1946, the year of the couple's divorce, she was accredited to a top agency, and her image regularly appeared in national publications. Her photos piqued the interest of the eccentric billionaire Howard Hughes, who scheduled her for a screen test at RKO; however, 20th Century Fox beat him to the punch, and soon she was on their payroll at 125 dollars a week.Rechristened Marilyn Monroe, she began studying at the Actors' Lab in Hollywood; however, when virtually nothing but a bit role in the juvenile delinquent picture The Dangerous Years came of her Fox contract, she signed to Columbia in 1948, where she was tutored by drama coach Natasha Lytess. There she starred in Ladies of the Chorus before they too dropped her. After briefly appearing in the 1949 Marx Brothers comedy Love Happy, she earned her first real recognition for her turn as a crooked lawyer's mistress in the 1950 John Huston thriller The Asphalt Jungle. Good notices helped Monroe win a small role in the classic All About Eve, but she otherwise continued to languish relatively unnoticed in bit parts. While she was now back in the Fox stable, studio chief Darryl F. Zanuck failed to recognize her potential, and simply mandated that she appear in any picture in need of a sexy, dumb blonde. In 1952, RKO borrowed Monroe for a lead role in the Barbara Stanwyck picture Clash by Night. The performance brought her significant exposure, which was followed by the publication of a series of nude photos she had posed for two years prior. The resulting scandal made her a celebrity, and seemingly overnight she was the talk of Hollywood. Zanuck quickly cast her as a psychotic babysitter in a quickie project titled Don't Bother to Knock, and after a series of minor roles in other similarly ill-suited vehicles, Monroe starred in 1953's Niagara, which took full advantage of her sexuality to portray her as a sultry femme fatale. However, lighter, more comedic fare was Monroe's strong suit, as evidenced by her breakout performance in the Howard Hawks musical Gentlemen Prefer Blondes. Like its follow-up How to Marry a Millionaire (just the second film shot in the new CinemaScope process), the picture was among the year's top-grossing ventures, and her newfound stardom was cemented. After starring in the 1954 Western River of No Return, Monroe continued to make headlines by marrying New York Yankees baseball great Joe DiMaggio. She also made a much-publicized appearance singing for American troops in Korea, and -- in a telling sign of things to come -- created a flap by failing to show up on the set of the movie The Girl in Pink Tights. As far back as 1952, Monroe had earned a reputation for her late on-set arrivals, but The Girl in Pink Tights was the first project she boycotted outright on the weakness of the material. The studio suspended her, and only after agreeing to instead star in the musical There's No Business Like Show Business did she return to work. After starring in the 1955 Billy Wilder comedy The Seven Year Itch, Monroe again caused a stir, this time for refusing the lead in How to Be Very, Very Popular. In response, she fled to New York to study under Lee Strasburg at the Actors' Studio in an attempt to forever rid herself of the dumb blonde stereotype. In New York, Monroe met playwright Arthur Miller, whom she wed following the disintegration of her marriage to DiMaggio. In the meantime, her relationship with Fox executives continued to sour, but after pressure from stockholders -- and in light of her own financial difficulties -- she was signed to a new, non-exclusive seven-year deal which not only bumped her salary to 100,000 dollars per film, but also allowed her approval of directors. For her first film under the new contract, Monroe delivered her most accomplished performance to date in Joshua Logan's 1956 adaptation of the William Inge Broadway hit Bus Stop. She then starred opposite Laurence Olivier in 1957's The Prince and the Showgirl. Two years later, she co-starred in Wilder's classic Some Like It Hot, her most popular film yet. However, despite her success, Monroe's life was in disarray -- her marriage to Miller was crumbling, and her long-standing reliance on alcohol and drugs continued to grow more and more serious. After starring in George Cukor's Let's Make Love with Yves Montand, Monroe began work on the Miller-penned The Misfits; the film was her final completed project, as she frequently clashed with director John Huston and co-stars Clark Gable and Montgomery Clift, often failed to appear on-set, and was hospitalized several times for depression. In light of her erratic behavior on the set of the follow-up, the ironically titled Something's Got to Give, she was fired 32 days into production and slapped with a lawsuit. Just two months later, on August 5, 1962, Monroe was dead. The official cause was an overdose of barbiturates, although the truth will likely never be revealed. Her alleged affairs with President John F. Kennedy and his brother, Robert, have been the focus of much speculation regarding the events leading to her demise, but many decades later fact and fantasy are virtually impossible to separate. In death, as in life, the legend of Marilyn Monroe continues to grow beyond all expectation.

Trivia: A onetime schoolteacher, Jean Peters was brought to Hollywood in 1946 upon winning a popularity contest in her home state of Ohio. She was signed to a 20th Century Fox contract and given star billing in her first film, Captain From Castile. With rare exceptions, Peters seldom played conventional ingénues; most of her characters were peppery, combative, and doggedly independent. After 1955's A Man Called Peter, Peters completely retired from films, having recently married billionaire Howard Hughes in a secret ceremony. The union was as bizarre as anything else in Hughes' life; he and Peters lived separately and rarely saw each other, conducting most of their tête-à-tête by telephone or through intermediaries. Only when Peters divorced Hughes in 1971 did she reemerge in the public eye. Two years later, Jean Peters briefly jump-started her acting career with her performance in the PBS TV drama Winesburg, Ohio.

Trivia: Born in Russia during the last days of the Romanoffs, Gregory Ratoff studied law at the University of St. Petersburg and acting and directing at the St. Petersburg Dramatic School. After service in the Czar's army (if his "official" birthdate is to be believed, he must have been a teenager at the time), Ratoff performed with the Moscow Art Theatre. Fleeing his homeland during the Bolshevik revolution, Ratoff resettled in France. It was while he was performing in the 1922 Paris production Revue Russe that Ratoff was brought to the U.S. by Broadway impresario Lee Shubert. After nearly a decade in Shubert productions and Yiddish Theatre presentations, Ratoff made his talking picture bow in RKO's Symphony of Six Million (1932). Though occasionally seen as a villain, Ratoff's most frequent screen characterization was a stereotypical fractured-English theatrical or movie producer, spouting out expletives like "stupendous" and "colossal" in a Borscht-thick accent. While it was professionally expedient for Ratoff to perpetuate the myth that he habitually mangled the English language, the actor could be as articulate as the next fellow when he chose to be -- especially when directing films. Beginning with the 1936 potboiler Sins of the Man, Ratoff became one of Hollywood's busiest directors, tackling everything from delicate romances like Intermezzo (1939) to garish musicals like Carnival in Costa Rica (1947). Ratoff seemed to have lost his touch with his 1956 "vanity" production Abdullah's Harem, but he was back on target with his next (and last) directorial assignment, Oscar Wilde (1960). Gregory Ratoff was married to Stansilavskian actress Eugene Leontovich.

Trivia: Ex-prizefighter Dale Robertson was brought to films by virtue of his vocal and physical resemblance to Clark Gable. After a year of bit parts at Warner Bros., Robertson graduated to leading-man gigs at 20th Century Fox. In 1957, Robertson was cast on the popular TV Western Tales of Wells Fargo which ran until 1962. Since that time, Robertson has starred or co-starred in a number of television weeklies, nearly always Western (both period and contemporary) in nature: The Iron Horse (1966-1968), Dynasty (1980-1982), and J.J. Starbuck (1989). In addition, Dale Robertson has headlined two TV-movie pilots based on the exploits of famed G-Man Melvin Purvis. Robertson made his final screen appearance in Martha Coolidge's 1991 period piece Rambling Rose, passing away from lung cancer over twenty years later at the age of 89.

Trivia: The son of an insurance salesman, David Wayne attended Western Michigan University. While working as a statistician in Cleveland, Wayne became attracted to the local theatrical activity. Auditioning for a Shakespearean repertory company, he won the role of Touchstone in As You Like It, which he performed before an audience for the first time at the 1935 Cleveland Exposition. In 1938, he made his first New York stage appearance in Escape This Night. Classified 4F at the outbreak of World War II, Wayne volunteered for the ambulance corps, subsequently serving as a Red Cross driver in North Africa. His theatrical career really began to pick up steam after the war: cast as Og the Leprechaun in the 1947 musical hit Finian's Rainbow, he became the first actor ever to win a Tony Award. The following year, he created the role of Ensign Pulver in Mister Roberts, and in 1955 he was seen as Okinawan interpreter Sakini in Teahouse of the August Moon. While all of his major stage roles went to other actors in the film versions, Wayne enjoyed a substantial movie career of his own. Though he made his screen debut in 1947's Portrait of Jennie, Wayne was given "and introducing" billing in the Tracy/Hepburn comedy Adam's Rib (1949), in which he played capricious composer Kip Lurie. After playing Joe, cartoonist Bill Mauldin's mud-caked infantryman, in Universal's Up Front (1951), Wayne spent most of his screen time at 20th Century-Fox, where, among other things, he did two co-starring stints with Marilyn Monroe (1952's We're Not Married, 1953's How to Marry a Millionaire), played theatrical impresario Sol Hurok in Tonight We Sing (1953), starred as a tragedy-plagued small-town barber in the underrated Wait Till the Sun Shines Nellie (1953) and portrayed schizophrenic Joanne Woodward's long-suffering husband in Three Faces of Eve (1957). One of Wayne's co-stars during his Fox years was Una Merkel, who once remarked "I loved David Wayne. I think he's one of the finest actors we have. He's so good they don't know what to do with him."One place where they evidently did know what to do with Wayne was television, where he worked steadily from 1948 onward. Besides playing such prominent personages as Andrew Carnegie, Mark Twain and even "Old Scratch" (in a 1961 telecast of The Devil and Daniel Webster), he appeared in classic individual episodes of Alfred Hitchcock Presents and Twilight Zone, played "special guest villain" The Mad Hatter on Batman, and was a regular on the weekly series Norby (1955), The Good Life (1973), Ellery Queen (1975, as Inspector Queen), Dallas (1978), and House Calls (1980). In addition, Wayne appeared with New York's Lincoln Center Repertory, and was one of the hosts of the NBC weekend radio potpourri Monitor. Curtailing his activities in the late 1980s, David Wayne retired altogether in 1993, after the death of his wife of 51 years.

Trivia: The son of a traveling salesman, actor Richard Widmark had lived in six different Midwestern towns by the time he was a teenager. He entered Illinois' Lake Forest College with plans to earn a law degree, but gravitated instead to the college's theater department. He stayed on after graduation as a drama instructor, then headed to New York to find professional work. From 1938 through 1947, Widmark was one of the busiest and most successful actors in radio, appearing in a wide variety of roles from benign to menacing, and starring in the daytime soap opera "Front Page Farrell." He did so well in radio that he'd later quip, "I am the only actor who left a mansion and swimming pool to head to Hollywood." Widmark's first stage appearance was in Long Island summer stock; in 1943, he starred in the Broadway production of Kiss and Tell, and was subsequently top billed in four other New York shows. When director Henry Hathaway was looking for Broadway-based actors to appear in his melodrama Kiss of Death (1947), Widmark won the role of giggling, psychopathic gangster Tommy Udo. And the moment his character pushed a wheelchair-bound old woman down a staircase, a movie star was born. (Widmark always found it amusing that he'd become an audience favorite by playing a homicidal creep, noting with only slightly less amusement that, after the release of the film, women would stop him on the street and smack his face, yelling, "Take that, you little squirt!") The actor signed a 20th Century Fox contract and moved to Hollywood on the proviso that he not be confined to villainous roles; the first of his many sympathetic, heroic movie parts was in 1949's Down to the Sea in Ships. After his Fox contract ended in 1954, Widmark freelanced in such films as The Cobweb (1955) and Saint Joan (1957), the latter representing one of the few times that the actor was uncomfortably miscast (as the childish Dauphin). In 1957, Widmark formed his own company, Heath Productions; its first effort was Time Limit, directed by Widmark's old friend Karl Malden. Widmark spent most of the 1960s making films like The Alamo (1960) and Cheyenne Autumn (1964), so that he could afford to appear in movies that put forth a political or sociological message. These included Judgment at Nuremberg (1961) and The Bedford Incident (1965). A longtime television holdout, Widmark made his small-screen debut in Vanished (1970), the first two-part TV movie. He later starred in a 1972 series based upon his 1968 theatrical film Madigan. And, in 1989, he was successfully teamed with Faye Dunaway in the made-for-cable Cold Sassy Tree. Richard Widmark was married for 55 years to Jean Hazelwood, a former actress and occasional screenwriter who wrote the script for her husband's 1961 film The Secret Ways (1961). Their daughter Anne married '60s baseball star Sandy Koufax. Widmark died at age 93 in 2008, of health complications following a fractured vertebra.

Trivia: Child actor Lee Aaker began making unbilled bit appearances in films in 1951. His roles increased in size and importance after his impressive showing as the contentious title character in the "Ransom of Red Chief" episode in O. Henry's Full House (1952). One of his better-known screen appearances was as yet another kidnap victim, the son of scientist Gene Barry, in The Atomic City (1952). To anyone born between 1945 and 1960, he will always be remembered as honorary cavalry corporal Rusty on TV's Rin Tin Tin, which ran from 1954 to 1958. After Rin Tin Tin ran its course, Aaker moved into the production end of the business, serving as an assistant to producer Herbert B. Leonard (who'd also been his Rin Tin Tin mentor) on the '60s series Route 66. Like many former child stars, Lee Aaker has occasionally been plagued by impostors claiming to be him; one enterprising phony successful posed as Aaker at several nostalgia conventions of the 1980s before one of the actor's sharper-eyed fans blew the whistle.

Trivia: Supporting actor Richard Rober came to films in 1947 most often playing character bits, frequently unbilled, at 20th Century-Fox. His one-and-only film starring role was as Sheriff Ben Kellogg in United Artists' The Well (1950), a low-budget but well-intentioned plea for racial tolerance. Richard Rober was 46 years old when he was killed in an automobile accident in 1952; he made his last screen appearance five years later, when producer Howard Hughes finally released his 1950 production Jet Pilot.

Trivia: Ohio-born Fred Kelsey was so firmly typed as a comedy cop in Hollywood films that in the 1944 MGM cartoon classic Who Killed Who?, animator Tex Avery deliberately designed his detective protagonist to look like Kelsey -- mustache, heavy eyebrows, derby hat and all. In films from 1909, Kelsey started out as a director (frequently billed as" Fred A. Kelcey"), but by the '20s he was well into his established characterization as the beat cop or detective who was forever falling asleep on the job or jumping to the wrong conclusion. Often Kelsey's dialogue was confined to one word: "Sayyyyy....!" He seemed to be busiest at Warner Bros. and Columbia, appearing in fleeting bits at the former studio (butchers, bartenders, house detectives), and enjoying more sizeable roles in the B-films, short subjects and serials at the latter studio. From 1940 through 1943, Kelsey had a continuing role as dim-witted police sergeant Dickens in Columbia's Lone Wolf B-picture series. Seldom given a screen credit, Fred Kelsey was curiously afforded prominent featured billing in 20th Century-Fox's O. Henry's Full House (1952), in which he was barely recognizable as a street-corner Santa Claus.

Trivia: The inimitable American actress Kathleen Freeman has been convulsing film audiences with portrayals of dowdy, sharp-tongued matrons since she was in her 20s. After stage work, Freeman began taking bit roles in major-studio features in 1948, seldom getting screen credit but always making a positive impression. The best of her earliest roles was in Singin' in the Rain (1952); Freeman played long-suffering vocal coach Phoebe Dinsmore, whose Herculean efforts to get dumb movie star Jean Hagen to grasp the proper enunciation of the phrase "I can't staaaand him" proved uproariously futile. Often cast as domestics, Freeman had a year's run in 1953 as the "spooked" maid on the ghostly TV sitcom Topper. Freeman was a particular favorite of comedian Jerry Lewis, who cast the actress in showy (and billed!) roles in such farces as The Errand Boy (1961), The Nutty Professor (1963) and Who's Got the Action?. As Nurse Higgins in Lewis' Disorderly Orderly (1964), Freeman weeps quietly as Jerry meekly scrapes oatmeal off her face and babbles "Oh, Nurse Higgins...you're all full of...stuff." Lewis so trusted Freeman's acting instincts that he sent her to the set of director William Wyler's The Collector (1965) in order to help build up the confidence of Wyler's nervous young leading lady Samantha Eggar. Throughout the '70s and '80s, Freeman took occasional "sabbaticals" from her movie and TV assignments to do stage work, enjoying a lengthy run in a Chicago production of Ira Levin's Deathtrap. Like many character actors of the '50s, Kathleen Freeman is frequently called upon to buoy the projects of baby-boomer directors: she was recently seen as an hysterical Julia Child clone in Joe Dante's Gremlins 2: The New Batch (1990).

Trivia: Irving Bacon entered films at the Keystone Studios in 1913, where his athletic prowess and Ichabod Crane-like features came in handy for the Keystone brand of broad slapstick. He appeared in over 200 films during the silent and sound era, often playing mailmen, soda jerks and rustics. In The Amazing Dr. Clitterhouse (1938) it is Irving, as a flustered jury foreman, who delivers the film's punchline. In the late 1930s and early 1940s, Irving played the recurring role of Mr. Crumb in Columbia's Blondie series; he's the poor postman who is forever being knocked down by the late-for-work Dagwood Bumstead, each collision accompanied by a cascade of mail flying through the air. Irving Bacon kept his hand in throughout the 1950s, appearing in a sizeable number of TV situation comedies.

Trivia: Czech character actor Steven Geray was for many years a member in good standing of the Hungarian National Theater. He launched his English-speaking film career in Britain in 1935, then moved to the U.S. in 1941. His roles ranged from sinister to sympathetic, from "A" productions like Gilda (1946) to potboilers like El Paso (1949). He flourished during the war years, enjoying top billing in the moody little romantic melodrama So Dark the Night (1946), and also attracting critical praise for his portrayal of Dirk Stroeve in The Moon and Sixpence (1942). Many of Geray's film appearances in the 1950s were unbilled; when he was given screen credit, it was usually as "Steve Geray." Geray's busy career in film and television continued into the 1960s. Steven Geray worked until he had obviously depleted his physical strength; it was somewhat sad to watch the ailing Geray struggle through the western horror pic Jesse James Meets Frankenstein's Daughter (1965).

Trivia: In films from 1951, handsome actor Warren Stevens' better-known roles include the Howard Hughes-ish Kirk Edwards in The Barefoot Contessa (1954) and the authoritative Lieutenant "Doc" Ostrow in Forbidden Planet (1956). A tireless TV performer, Stevens was starred as Lt. William Storm in the 1956 adventure series Tales of the 77th Bengal Lancers; was among the eleven "repertory actors" appearing in the 1963 anthology The Richard Boone Show; and was heard but not seen as movie mogul John Bracken on the 1969 prime-timer Bracken's World (ironically, when Bracken did appear, he was played by Stevens' old Forbidden Planet co-star Leslie Nielsen). In 1972, Warren Stevens was cast as Elliot Carson in the daytime soap opera Return to Peyton Place; nine years later, he played Merritt Madison in Behind the Screen, a short-lived series which took place on the set of a fictional soap opera.

Trivia: A man often referred to as "the Henry Higgins of Hollywood," Robert Easton was one of the most sought-after dialect coaches in the movie industry for decades. In that capacity, he worked with A-list clients including Sir Laurence Olivier, Gregory Peck, Anne Hathaway, Ben Kingsley and Robert Duvall. Easton devoted the rest of his time to supporting character roles, that took advantage of his uncanny ability to slip from one regional or ethnic accent into another.In the beginning, Milwaukee native Easton earned much of his cinematic bread and butter playing Southerners. He first gained national attention as one of the "Quiz Kids" on the radio series of the same name. In films from 1949, the gangling Easton was often seen as a blank-faced, slow-talking hayseed. He appeared in guest spots on series including The Beverly Hillbillies, Get Smart, The Mod Squad and The Bionic Woman, voiced a regular character on the animated program Stingray from 1964 through 1965, and turned up in features such as Pete's Dragon, Working Girl, Pet Sematary II, Needful Things and Primary Colors. Easton died at age 81 in December 2011.

Trivia: Slight, grey-templed, bespectacled actor Harry Hayden was cast to best advantage as small-town store proprietors, city attorneys and minor bureaucrats. Dividing his time between stage and screen work from 1936, Hayden became one of the busiest members of Central Casting, appearing in everything from A-pictures like Mr. Smith Goes to Washington (1939) to the RKO 2-reelers of Leon Errol and Edgar Kennedy. Among his better-known unbilled assignments are horn factory owner Mr. Sharp (his partner is Mr. Pierce) in Laurel and Hardy's Saps at Sea (1940) and Farley Granger's harrumphing boss who announces brusquely that there'll be no Christmas bonus in O. Henry's Full House (1951). Hayden's final flurry of activity was in the role of next-door-neighbor Harry on the 1954-55 season of TV's The Stu Erwin Show (aka The Trouble with Father), in which he was afforded the most screen time he'd had in years -- though he remains uncredited in the syndicated prints of this popular series. From the mid '30s until his death in 1955, Harry Hayden and his actress wife Lela Bliss ran Beverly Hills' Bliss-Hayden Miniature Theatre, where several Hollywood aspirants were given an opportunity to learn their craft before live audiences; among the alumni of the Bliss-Hayden were Jon Hall, Veronica Lake, Doris Day, Craig Stevens, Debbie Reynolds, and Marilyn Monroe.

Trivia: Diminutive, raspy-voiced German actor Fritz Feld first gained prominence as an assistant to Austrian impresario Max Reinhardt. Feld came to the U.S. in 1923 in the touring company of Reinhardt's The Miracle. Once he reached California, Feld formed the Hollywood Playhouse in partnership with Joseph Schildkraut; here he staged hundreds of productions featuring up-and-coming L.A. talent, including his future wife, actress Virginia Christine. In films on a sporadic basis since the 1920s, Feld began working onscreen regularly around 1936, eventually toting up over 400 movie appearances (not to mention his more than 700 TV stints and 1000-plus radio programs). He was cast as Viennese psychiatrists, Italian duellists, Teutonic movie directors, Russian orchestra leaders, and French maitre d's. It was in 1947's If You Knew Susie that Feld developed his signature "schtick": the sharp "Pop!" sound effect created by smacking his open mouth with the flattened palm of his hand. In the 1960s and 1970s, Feld was a favorite of moviemakers who'd grown up watching his vintage screen appearances; he was virtually a regular at the Disney studios, appeared in many of Jerry Lewis' projects, was given fourth billing in Gene Wilder's The World's Greatest Lover (1977), and was seen in Mel Brooks' Silent Movie (1976) (where his trademarked "Pop!" was conveyed via subtitle) and The History of the World, Part One (1981) (as the head waiter at the Last Supper). Among Fritz Feld's least characteristic screen appearances were his performance as a hearty Northwoods trapper in the 1976 "four-waller" Challenge to Be Free and his poignant cameo as the alcoholic who offers down-and-out Faye Dunaway a match in Barfly (1987).

Trivia: Born in Germany, actor Sig Rumann studied electro-technology in college before returning to his native Hamburg to study acting. He worked his way up from bits to full leads in such theatrical centers as Stettin and Kiel before serving in World War I. Rumann came to New York in 1924 to appear in German-language plays. He was discovered simultaneously by comedian George Jessel, playwright George S. Kaufman, and critic Alexander Woollcott. He began chalking up an impressive list of stage roles, notably Baron Preysig in the 1930 Broadway production of Grand Hotel (in the role played by Wallace Beery in the 1932 film version). Rumann launched his film career at the advent of talkies, hitting his stride in the mid 1930s. During his years in Hollywood, he whittled down his stage name from Siegfried Rumann to plain Sig Ruman. The personification of Prussian pomposity, Rumann was a memorable foil for the Marx Brothers in A Night at the Opera (1935), A Day at the Races (1937), and A Night in Casablanca (1946). He also was a favorite of director Ernst Lubitsch, appearing in Ninotchka (1939) as a bombastic Soviet emissary and in To Be or Not to Be (1942) as the unforgettable "Concentration Camp Ehrardt." With the coming of World War II, Ruman found himself much in demand as thick-headed, sometimes sadistic Nazis. Oddly, in The Hitler Gang (1944), Rumann was cast in a comparatively sympathetic role, as the ailing and senile Von Hindenburg. After the war, Rumann was "adopted" by Lubitsch admirer Billy Wilder, who cast the actor in such roles as the deceptively good-natured Sgt. Schultz in Stalag 17 (1953) and a marinet doctor in The Fortune Cookie (1966); Wilder also used Rumann's voice to dub over the guttural intonations of German actor Hubert von Meyerinck in One, Two, Three (1961). In delicate health during his last two decades, Rumann occasionally accepted unbilled roles, such as the kindly pawnbroker in O. Henry's Full House (1952). During one of his heartier periods, he had a recurring part on the 1952 TV sitcom Life with Luigi. Rumann's last film appearance was as a shoe-pounding Russian UN delegate in Jerry Lewis' Way... Way Out (1967).

Trivia: Actor Frank Jaquet's screen career extended from 1934 to the mid-1950s. Seldom playing a major role, Jaquet essayed dozens of bit parts as senators, judges, doctors, and politicians. As a pompous small-town mayor, he served as a "human punch line" in the 1938 "Our Gang" comedy Party Fever. Among his larger assignments was the part of murder suspect Paul Hawlin in the 1944 Charlie Chan entry Black Magic. One of Frank Jaquet's last roles was the kindly butcher in the "Gift of the Magi" sequence in O. Henry's Full House (1952).

Trivia: A former professional baseball player, Pat Flaherty was seen in quite a few baseball pictures after his 1934 screen debut. Flaherty can be seen in roles both large and small in Death on the Diamond (1934), Pride of the Yankees (1942), It Happened in Flatbush (1942), The Stratton Story (1949, as the Western All-Stars coach), The Jackie Robinson Story (1950) and The Winning Team (1952, as legendary umpire Bill Klem). In 1948's Babe Ruth Story, Flaherty not only essayed the role of Bill Corrigan, but also served as the film's technical advisor. Outside the realm of baseball, he was usually cast in blunt, muscle-bound roles, notably Fredric March's taciturn male nurse "Cuddles" in A Star is Born (1937). One of Pat Flaherty's most unusual assignments was Wheeler and Woolsey's Off Again, On Again (1937), in which, upon finding his wife (Patricia Wilder) in a compromising position with Bert Wheeler, he doesn't pummel the hapless Wheeler as expected, but instead meekly apologizes for his wife's flirtatiousness!

Trivia: In films from 1941, American character actor Norman Leavitt spent much of his career in uncredited bits and supporting roles. Leavitt can briefly be seen in such "A" pictures of the 1940s and 1950s as The Inspector General (1949) and Harvey (1950). His larger roles include Folsom in the 1960 budget western Young Jesse James. Three Stooges fans will immediately recognize Norman Leavitt from The Three Stooges in Orbit (1962), in which he player scientist Emil Sitka's sinister butler--who turned out to be a spy from Mars!

Trivia: No relation to stage actor Frank Mills (1870-1921), character actor Frank Mills made his film debut in 1928. Though usually unbilled, Mills was instantly recognizable in such films as Golddiggers of 1933, King Kong (1933) and Way Out West (1937), to mention but a few. He played reporters, photographers, barkers, bartenders, bums, cabbies, kibitzers, soldiers, sailors...in short, he played just about everything. In addition to his feature-film appearances, he showed up with frequency in short subjects, especially those produced by the Columbia comedy unit between 1935 and 1943. As late as 1959, Frank Mills was popping up in bits and extra roles in such TV series as Burns and Allen and Lassie.

Trivia: Former radio actress Martha Wentworth played the Duchess, Allan Lane's robust-looking aunt, in seven of Republic Pictures' popular Red Ryder Westerns from 1946-1947. The original Duchess, Alice Fleming, had left the series along with William Elliott, who was being groomed for Grade-A Westerns. As the new Duchess, Wentworth joined Lane, Elliott's replacement, and little Bobby Blake (later Robert Blake), the former Our Gang star, who played Indian sidekick Little Beaver in all the Republic Red Ryder films. For a great majority of the series' fans, the Lane-Wentworth-Blake combination turned out the quintessential Red Ryder films, the trio becoming one of the most successful combinations in B-Western history. Republic sold the Red Ryder franchise to low-budget Eagle-Lion in 1948 and four additional films were produced, but Wentworth was replaced with former silent-action heroine Marin Sais. In her later years, Wentworth did quite a bit of voice-over work for Walt Disney.

Trivia: The brunette daughter of British-born writer-producer Leon Gordon (Freaks [1932], Mrs. Parkington [1944]), Gloria Gordon began her decade-long screen career playing bits in her father's productions of The Green Years (1946) and That Forsyte Woman (1949). The highlight of her screen career was a supporting role in the Florida-lensed Cinemascope adventure Beneath the 12-Mile Reef (1953). She is not to be confused with another, much older Gloria Gordon, who died in 1962 and was the mother of actor Gale Gordon (Dennis the Menace).

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: Character actor, onscreen from 1951.

Trivia: Like Dick Wilson (Mr. Whipple) and Jan Miner (Madge), actor House Peters, Jr. attained most widespread recognition via his iconic role in American television commercials, plugging a domestic product -- in his case, Procter & Gamble's "Mr. Clean" line of household cleaners. Peters set himself apart from the pack, however, for actually playing the brand's nominal character, replete with his barrel chest, bald pate (courtesy of a latex cap and makeup), and trademark gold earring. The New Rochelle, NY, native also built up a fairly substantial litany of dramatic roles alongside his promotional work. After growing up in Beverly Hills, CA, Peters signed for roles in such projects as the television series Flash Gordon and the features Public Cowboy No. 1 and Hot Tip. After a brief service in the Army Air Corps during World War II, he hearkened back to Los Angeles, commenced occasional stage work, and resumed work in features, specializing in supporting roles in dozens of westerns such as Oklahoma Badlands (1948) and Cow Town (1950). Small portrayals in the Hollywood classics The Day the Earth Stood Still (1951) and Rebel Without a Cause (1955) represented a significant step up for Peters in terms of profile and recognition, though he continued to be most commonly associated with Mr. Clean, an assignment held from the late '50s into the early '60s. As the years rolled on, Peters did additional television work via guest spots on shows including The Twilight Zone and Perry Mason, then retired in the late '60s and spent the next four decades off-camera. Peters died of pneumonia in 2008, at the age of 92.

Trivia: American actor Henry Slate was an Army private when he made his first film appearance in 1944, repeating his stage performance as one of the Andrews Sisters in the all-serviceman drama Winged Victory. He went on to play supporting roles in a number of major Hollywood productions, often cast as military officers and working stiffs. From 1960 to 1961, he was seen as the colorfully yclept Bulldog Lovey on TV's Adventures in Paradise. Henry Slate spent the latter stages of his screen career playing character bits in a steady stream of Disney pictures.

Trivia: A film actor from 1925, Norway native Harry Tenbrook usually played such functionary roles as shore patrolmen, sailors, gangsters, and bartenders. The names of Tenbrook's screen characters ran along the lines of Limpy, Spike, and Squarehead. With his supporting appearance in The Informer (1935), the actor became a member of director John Ford's stock company. Harry Tenbrook's association with Ford ended with 1958's The Last Hurrah.

Trivia: "Maybe he's only a little crazy, like painters or artists, or those men in Washington," Philip Tonge's apprehensive toy-department head, Mr. Shellhammer, pleaded in defense of Kris Kringle (Edmund Gwenn) in the holiday perennial Miracle on 34th St. (1947), perhaps the veteran stage actor's most memorable screen assignment. Tonge was a former child performer and lifelong friend and associate of Noël Coward (who publicly claimed to have had his initial sexual encounter with him at the age of 13). The British-born actor had originated the part of Dr. Bradman in the initial Broadway production of Blithe Spirit in 1941, a role he would re-create for an early television presentation five years later. Noticeable by his prominent proboscis and a receding chin, Tonge also added memorable moments to such diverse films as Witness for the Prosecution (1957) as the inspector, and the sci-fi thriller Invisible Invaders (1959). He ended his long career playing the recurring role of General Amherst on television's Northwest Passage (1958-1959).

Trivia: From 1930 to 1934, American actress Ruth Warren was a contractee at Fox Studios. A slight woman with wide eyes and pursed lips, Warren essayed sizeable character roles in such Fox films as Lightnin' (1930), Six Cylinder Love (1931), and Zoo in Budapest (1933). She played bit roles from 1935 until her retirement in 1958. Laurel and Hardy buffs will remember Ruth Warren as the gossip-dispensing Mrs. Addlequist in Our Relations (1936).

Trivia: American small-part player Billy Wayne was active from 1935 to 1955. Wayne spent most of his film career at Universal, with a few side trips to Fox and Paramount. He was often cast as a chauffeur, usually an all-knowing or sarcastic one. Billy Wayne also played more than his share of cabbies, sailors, reporters, photographers, and assistant directors (vide W.C. Fields' Never Give a Sucker an Even Break).

Trivia: Brunette Donna Lee Hickey danced at New York's Copacabana nightclub at the age of 17 and played bit parts at 20th Century Fox (1952-1953). She tested for the role of Alma in From Here to Eternity (1953) but lost out to the more established Donna Reed. Instead she played May Wynn, Robert Francis' love interest in The Caine Mutiny (1954), and adopted the character's name as her own. Subsequent film roles were uninteresting, however, and a stint as the secretary on Jack Webb's veterinarian series Noah's Ark (1956) proved short-lived when the television show was canceled after one season on NBC. May Wynn was at one point married to Jack Kelly, her co-star in They Rode West (1954) and four other films.

Trivia: Steadfast leading man Warner Baxter was born in Ohio and raised in San Francisco by his widowed mother. He worked as a farm implement salesmen in his late teens before turning his hobby of amateur theatricals into a lifelong profession. Alternating between stock-company assignments and "civilian" jobs during the World War I years, Baxter reportedly made his first film in 1914, though he'd later list 1922's Her Own Money as his official screen debut. After one last stage stint in A Tailor Made Man, Baxter became a full-time movie leading man, though full stardom would not be his until his first talkie, In Old Arizona (1929). Armed with a thick Mexican accent and a surfeit of roguish charm, Baxter won an Academy Award for his portrayal of O. Henry's Cisco Kid in this film. His roles became more sophisticated in nature during the 1930s; sporting a rakish mustache and decked out in evening clothes, Baxter cut quite a suave figure in such films as To Mary--With Love (1936) and Wife, Doctor and Nurse (1938). In the '40s he starred in the popular Crime Doctor "B"-picture series at Columbia. One year after completing his final film, 1950's State Penitentiary, Warner Baxter died as a result of cranial surgery, which was intended to relieve his long struggle with arthritis.

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: A tall Texas native with a lanky frame, Robert Cherry began acting professionally as a teenager and parlayed his distinct looks into a career as a character actor. Cherry made his film debut at 15 with an uncredited role in the Alexander Hall-directed comedy Good Girls Go To Paris (1939) and went on to play bit parts in numerous films. Memorable appearances include parts in a pair of Abbott & Costello episodes and a role as a zombie in Revenge of the Zombies, starring John Carradine. Cherry's final role was the uncredited part of a bus passenger in Jacques Tourneur's film noir Nightfall (1957).

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