Trivia: One of the postwar era's most successful actors, Gregory Peck was long the moral conscience of the silver screen; almost without exception, his performances embodied the virtues of strength, conviction, and intelligence so highly valued by American audiences. As the studios' iron grip on Hollywood began to loosen, he also emerged among the very first stars to declare his creative independence, working almost solely in movies of his own choosing. Born April 5, 1916, in La Jolla, CA, Peck worked as a truck driver before attending Berkeley, where he first began acting. He later relocated to New York City and was a barker at the 1939 World's Fair. He soon won a two-year contract with the Neighborhood Playhouse. His first professional work was in association with a 1942 Katherine Cornell/Guthrie McClintic ensemble Broadway production of The Morning Star. There Peck was spotted by David O. Selznick, for whom he screen-tested, only to be turned down. Over the next year, he played a double role in The Willow and I, fielding and rejecting the occasional film offer. Finally, in 1943, he accepted a role in Days of Glory, appearing opposite then-fiancée Tamara Toumanova. While the picture itself was largely dismissed, Peck found himself at the center of a studio bidding war. He finally signed with 20th Century Fox, who cast him in 1944's The Keys of the Kingdom - a turn for which he snagged his first of many Oscar nods. From the outset, he enjoyed unique leverage as a performer; he refused to sign a long-term contract with any one studio, and selected all of his scripts himself. For MGM, he starred in 1945's The Valley of Decision, a major hit. Even more impressive was the follow-up, Alfred Hitchcock's Spellbound, which co-starred Ingrid Bergman. Peck scored a rousing success with 1946's The Yearling (which brought him his second Academy Award nomination) and followed this up with another smash, King Vidor's Duel in the Sun. His third Oscar nomination arrived via Elia Kazan's 1947 social drama Gentleman's Agreement, a meditation on anti-Semitism which won Best Picture honors. For the follow-up, Peck reunited with Hitchcock for The Paradine Case, one of the few flops on either's resumé. He returned in 1948 with a William Wellman Western, Yellow Sky, before signing for a pair of films with director Henry King, Twelve O'Clock High (earning Best Actor laurels from the New York critics and his fourth Oscar nod) and The Gunfighter. After Captain Horatio Hornblower, Peck appeared in the Biblical epic David and Bathsheba, one of 1951's biggest box-office hits. Upon turning down High Noon, he starred in The Snows of Kilimanjaro. To earn a tax exemption, he spent the next 18 months in Europe, there shooting 1953's Roman Holiday for William Wyler. After filming 1954's Night People, Peck traveled to Britain, where he starred in a pair of features for Rank -- The Million Pound Note and The Purple Plain -- neither of which performed well at the box office; however, upon returning stateside he starred in the smash The Man in the Gray Flannel Suit. The 1958 Western The Big Country was his next major hit, and he quickly followed it with another, The Bravados. Few enjoyed Peck's portrayal of F. Scott Fitzgerald in 1959's Beloved Infidel, but the other two films he made that year, the Korean War drama Pork Chop Hill and Stanley Kramer's post-apocalyptic nightmare On the Beach, were both much more successful. Still, 1961's World War II adventure The Guns of Navarone topped them all -- indeed, it was among the highest-grossing pictures in film history. A vicious film noir, Cape Fear, followed in 1962, as did Robert Mulligan's classic adaptation of To Kill a Mockingbird; as Atticus Finch, an idealistic Southern attorney defending a black man charged with rape, Peck finally won an Academy Award. Also that year he co-starred in the Cinerama epic How the West Was Won, yet another massive success. However, it was to be Peck's last for many years. For Fred Zinneman, he starred in 1964's Behold a Pale Horse, miscast as a Spanish loyalist, followed by Captain Newman, M.D., a comedy with Tony Curtis which performed only moderately well. When 1966's Mirage and Arabesque disappeared from theaters almost unnoticed, Peck spent the next three years absent from the screen. When he returned in 1969, however, it was with no less than four new films -- The Stalking Moon, MacKenna's Gold, The Chairman, and Marooned -- all of them poorly received.The early '70s proved no better: First up was I Walk the Line, with Tuesday Weld, followed the next year by Henry Hathaway's Shootout. After the failure of the 1973 Western Billy Two Hats, he again vanished from cinemas for three years, producing (but not appearing in) The Dove. However, in 1976, Peck starred in the horror film The Omen, an unexpected smash. Studio interest was rekindled, and in 1977 he portrayed MacArthur. The Boys From Brazil followed, with Peck essaying a villainous role for the first time in his screen career. After 1981's The Sea Wolves, he turned for the first time to television, headlining the telefilm The Scarlet and the Black. Remaining on the small screen, he portrayed Abraham Lincoln in the 1985 miniseries The Blue and the Grey, returning to theater for 1987's little-seen anti-nuclear fable Amazing Grace and Chuck. Old Gringo followed two years later, and in 1991 he co-starred in a pair of high-profile projects, the Norman Jewison comedy Other People's Money and Martin Scorsese's remake of Cape Fear. Fairly active through the remainder of the decade, Peck appeared in The Portrait (1993) and the made-for-television Moby Dick (1998) while frequently narrating such documentaries as Wild Bill: Hollywood Maverick (1995) and American Prophet: The Story of Joseph Smith (2000).On June 12, 2003, just days after the AFI named him as the screen's greatest hero for his role as Atticus Finch in To Kill a Mockingbird, Gregory Peck died peacefully in his Los Angeles home with his wife Veronique by his side. He was 87.

Trivia: American actress Dorothy McGuire made her stage debut at age 13 in A Kiss For Cinderella in her home town of Omaha, opposite fellow aspiring actor and Omaha native Henry Fonda. McGuire went to Broadway in 1938 to understudy Martha Scott in the role of Emily Webb in Our Town, eventually taking over the part; she also underwent an ingenue's ordeal by fire, acting opposite the dissipated John Barrymore in My Dear Children. Claudia, produced in 1941, was Dorothy's first starring stage vehicle. On the strength of this play, she was put under contract by film producer David O. Selznick, whose first move was to lend the actress out to 20th Century-Fox to recreate her role as the immature newlywed in the 1943 filmization of Claudia. So popular was this film that a followup was made three years later, again starring McGuire, titled Claudia and David (1946). In the meantime she had played a far more mature role as the beleagured wife of alcoholic James Dunn in A Tree Grows in Brooklyn (1945), then finally made a film for Selznick, portraying an imperiled mute girl in The Spiral Staircase (1946). Always a star and never a starlet, McGuire refused to pose for cheesecake stills, turned down attempts to publicize her private life, and vetoed wearing makeup for her role as an extremely homely woman in The Enchanted Cottage (1945), opting (wisely) to convey the homeliness through facial expressions and lighting. The actress was nominated for an Academy Award for her role as Gregory Peck's fiancee in Gentleman's Agreement (1947), but Oscars went instead to supporting actress Celeste Holm and to the picture itself. Alone among actresses her age, McGuire was able to fluctuate from romantic leads in such films as Three Coins in the Fountain (1954) to character parts in films like Friendly Persuasion (1956), relying neither on actor's affectations in the younger roles nor age makeup in the older ones. At age 46, she was still able to successfully portray the Virgin Mary in The Greatest Story Ever Told (1965). Living reclusively with her wealthy husband John Swope, McGuire chose her roles slowly and carefully in the latter part of her career, making quality appearances in such made-for-TV dramas as Rich Man Poor Man (1976) and Little Women (1979).

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

Trivia: American actress Celeste Holm made her first stage appearance in 1936 with a Pennsylvania stock company. Sophisticated and poised beyond her years, Holm was cast shortly afterward in a touring company of the ultra-chic Clare Boothe Luce comedy The Women, then played New York in such high-profile productions as The Time of Your Life. Rodgers and Hammerstein cast her as soubrette Ado Annie in Oklahoma! in 1943; both the production itself and Annie's show-stopping song "I Cain't Say No" affirmed Holm's future stardom. Following her film debut in Three Little Girls in Blue (1946), she was cast by her studio, 20th Century-Fox, in the role of the love-starved fashion editor in the prestige feature Gentlemen's Agreement (1947), for which she won an Academy Award. The important role of Bette Davis' understanding friend in another Oscar-winner, All About Eve (1950), has immortalized Holm amongst the film cultists. Stage, nightclub and television assignments followed (she starred in the short-lived 1950s sitcom Honestly, Celeste), and from the late 1950s onward, Holm was more at home on stage than in films. Her performance in the touring company of Mame won Holm the Sara Siddons Award -- coincidentally the same award presented to the title character at the beginning of All About Eve. Always choosy about her roles, Holm remained active through the early 2000s whenever a good part struck her fancy; one of her most frequently rebroadcast assignments was as a custody court judge in an early-1980s episode of Archie Bunker's Place and she appeared in several episodes of Touched By an Angel. She died in 2012 at the age of 95.

Trivia: Anne Revere trained as an actress at the American Laboratory Theater, then did some work in stock. In 1931 she debuted on Broadway; during the '30s she appeared in one film, the screen version of a play in which she had appeared, Double Door (1934). In 1940 she moved to Hollywood and for a decade she appeared as a character actress in many major films; she was nominated three times for Oscars, and won a Best Supporting Actress Oscar for her work in National Velvet (1945). In 1951 she fell victim to the McCarthy-Era witch trials; accused of being a Communist, she plead the Fifth and was blacklisted. She went years without work, then returned to Broadway in 1958 and won a Tony for her work in Toys in the Attic in 1960; she did more stage work and had regular roles on two TV soap operas. In the '70s she returned to the screen in three films. She was married to stage director Samuel Roser.

Trivia: The sister of the notorious stripper Gypsy Rose Lee, with whom she was driven into performance by an ambitious stage mother, June Havoc began playing bits in silent film shorts at age two, eventually appearing in 24 Hal Roach comedies. She was earning $1500 a week as a vaudeville headliner by the time she was five. At age 13, she married the first of three husbands, and in her late teens, during the Depression and the demise of vaudeville, she modeled and participated in dance marathons (she still holds a record for marathon dancing in 1933), then went on to perform in Catskill Mountain resorts and in stock. In 1936 she made her Broadway debut. Four years later, she scored a big success in the 1940 production of Pal Joey, after which she was invited to Hollywood. She debuted onscreen as an adult in 1941, and over the next decade played leads and second leads in many films. However, Havoc never became a top star and found herself cast in routine films; she rarely appeared onscreen after 1952. Her stage work was more successful, and in 1944 she won a Donaldson Award for Mexican Hayride; she also did much work on TV. She wrote and directed the autobiographical Broadway play Marathon 33 (1963), and authored an autobiography, Early Havoc (1959). She was portrayed as a juvenile stage performer in the Broadway show Gypsy and its screen version. She married actor-director William Spier.

Trivia: A graduate of Bowdoin college, Albert Dekker made his professional acting bow with a Cincinnati stock company in 1927. Within a few months he was featured in the Broadway production of Eugene O'Neill's Marco Millions. After a decade's worth of impressive theatrical appearance, Dekker made his first film, 1937's The Great Garrick. Usually cast as villains, Dekker was starred in the Technicolor horror film Dr. Cyclops (1940) and played a fascinating dual role in the 1941 suspenser Among the Living. Dekker's offscreen preoccupation with politics led to his winning a California State Assembly seat in 1944; during the McCarthy era, Dekker became an outspoken critic of the Wisconsin senator's tactics, and as a result the actor found it hard to get work in Hollywood. He returned to Broadway, then made a movie comeback in 1959. During his last decade, Dekker alternated between film, stage and TV assignments; he also embarked on several college-campus lecture tours. In May of 1968, Dekker was found strangled to death in his Hollywood home. His naked body was bound hand and foot, a hypodermic needle was jammed into each arm, and obscenities were scrawled all over the corpse. At first, it seemed that Dekker was a closet homosexual who had committed suicide (early reports suggested that the writings on his body were his bad movie reviews) or had died while having rough sex. While the kinky particulars of the case were never officially explained, it was finally ruled that Albert Dekker had died of accidental asphyxiation.

Trivia: Endearing herself to television audiences as the devoted sitcom wife of Robert Young on Father Knows Best, petite brunette actress Jane Wyatt also essayed frequent big-screen roles highlighted by memorable performances in such films as Lost Horizon (1937), in which she plays Sondra, the lover of Robert Conway (Ronald Colman). Born in Campgaw, NJ, on August 12, 1910, to an investment banker father and a drama critic mother, and raised as a Manhattanite from age three, Wyatt received her formal education at the Chapin School and -- very briefly -- at New York City's Barnard College, where she spent two listless years. Following the irresistible call of the stage, Wyatt bucked university life in favor of honing her acting skills at Berkshire Playhouse in the western Massachusetts community of Stockbridge. Shortly after this, she accepted a position as understudy to Rose Hobart in a Broadway production of Trade Winds. Universal soon took note of Wyatt's talents and offered her a film role, in Frankenstein director James Whale's One More River (1934). Wyatt embarked on a lucrative screen career following her impressive debut, and many consider the performance in Lost Horizon her crowning achievement, though additional cinematic work throughout the 1940s proved both steady and rewarding. Following memorable performances in Clifford Odets' None But the Lonely Heart (1944) (alongside Cary Grant) and Elia Kazan's Gentleman's Agreement (1947, with Gregory Peck and Dorothy McGuire), the now-established actress transitioned smoothly into television in the early '50s, given her standing role as the matriarch of the Anderson family (mother of Bud, Princess, and Kitten, and wife of Jim) on the long-running CBS sitcom Father Knows Best. Wyatt deservedly won three Emmys for that role, and remained with the program over the course of its six-year run of original episodes. (Riding the crest of high ratings, CBS stretched prime-time reruns into the spring of 1963.) This marked the only major recurring prime-time role of Wyatt's career, though (alongside the work of others such as Barbara Billingsley and Harriet Nelson) it did much to establish the now-iconic image of the "archetypal 1950s sitcom mother," and earned the actress a beloved spot in American pop-culture history. In addition to this, Wyatt made occasional appearances, during the Father Knows Best run, on a dramatic anthology series headlined by her small-screen husband, Robert Montgomery Presents (NBC, 1950-1957). Six years after new episodes of Father wrapped, Star Trek landed on NBC, and Wyatt turned up occasionally on that program, as Mr. Spock's mother, Amanda Spock. She also made a guest appearance, alongside the late Bob Cummings, on the early-'70s comedic anthology series Love, American Style (the two play parents who are overanxious about their daughter's decision to embark on a European "swingers' holiday" with a boyfriend). If the preponderance of Wyatt's roles in the '70s, '80s, and '90s were largely supporting turns, it certainly said nothing about the actress' talent. She remained in the public eye as a fixture of such made-for-television features as You'll Never See Me Again (1973) and Amelia Earhart (1976). Though she entered semi-retirement in the late '70s, Wyatt later appeared (very infrequently) as an occasional supporting character in television's St. Elsewhere and reprised her role as Spock's mother in Star Trek IV: The Voyage Home (1986).On October 20, 2006, after years of inactivity, Jane Wyatt died of natural causes in her sleep, at her home in Bel Air, CA. She was 96.

Trivia: Fans of the science fiction television series Quantum Leap will know supporting and character actor Dean Stockwell as the scene-stealing, cigar chomping, dry-witted, and cryptic hologram Al. But to view him only in that role is to see one part of a multi-faceted career that began when Stockwell was seven years old.Actually, his ties with show business stretch back to his birth for both of his parents were noted Broadway performers Harry Stockwell and Nina Olivette. His father also provided the singing voice of the prince in Disney's Snow White and the Seven Dwarfs (1931). Stockwell was born in North Hollywood and started out on Broadway in The Innocent Voyage (1943) at age seven. Curly haired and beautiful with a natural acting style that never descended into cloying cuteness, he made his screen debut after contracting with MGM at age nine in Anchors Aweigh (1945) and continued on to play sensitive boys in such memorable outings as The Mighty McGurk (1946), The Boy With Green Hair (1948), and The Secret Garden (1949). He would continue appearing in such films through 1951 when he went into the first of several "retirements" from films. When Stockwell resurfaced five years later it was as a brooding and very handsome 20-year-old who specialized in playing introverts and sensitive souls in roles ranging from a wild, young cowboy in Gun for a Coward (1957) to a murderous homosexual in Compulsion (1958) to an aspiring artist who cannot escape the influence of his domineering mother in Sons and Lovers (1960). Stockwell topped off this phase of his career portraying Eugene O'Neill in Long Day's Journey Into Night (1962). Stockwell would spend the next three years as a hippie and when he again renewed his career it was in such very '60s efforts as Psych-Out (1968) and the spooky and weird adaptation of a Lovecraft story, The Dunwich Horror. During this period, Stockwell also started appearing in television movies such as The Failing of Raymond (1971). In the mid-'70s, the former flower child became a real-estate broker and his acting career became sporadic until the mid-'80s when he began playing character roles. It was in this area, especially in regard to comic characters, that Stockwell has had his greatest success. Though he claims it was not intentional, Stockwell has come to be almost typecast as the king of quirk, playing a wide variety of eccentrics and outcasts. One of his most famous '80s roles was that of the effeminate and rutlhess sleaze, Ben, in David Lynch's Blue Velvet (1986). Stockwell had previously worked with Lynch in Dune and says that when the director gave him the script for Velvet, his character was not specifically mapped out, leaving Stockwell to portray Ben in any way he felt appropriate. The actor's intuition has proven to be one of his greatest tools and helped create one of modern Hollywood's most creepy-crawly villains. Whenever possible, Stockwell prefers working by instinct and actively avoids over-rehearsing his parts. His career really picked up after he landed the part of Al in Quantum Leap. Since the show's demise, Stockwell has continued to appear on screen, starring on series like Battlestar Galactica.

Trivia: Coming to films late in life, towering supporting player Nicholas Joy had studied at London's Royal Academy prior to making his stage debut in 1910. French-born of British parentage, Joy quickly became a popular character actor on both sides of the Atlantic, having made an auspicious Broadway debut in Henry V in 1912. Onscreen from 1947, Joy usually played pompous characters and is perhaps best remembered as the archbishop in Joan of Arc (1948) and as the renowned defense lawyer-turned-murder victim in Abbott and Costello Meet the Killer (1949). Joy, who also played Lynn Bari's father in the short-lived 1952 television situation comedy Boss Lady, retired in the late '50s.

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: Ransom Sherman spent much of his career involved with radio and is best remembered for working on such shows as "Fibber McGee and Molly." Later, he also appeared in television shows and even hosted his own during the '50s. Over the years, Sherman also made the occasional film appearance.

Trivia: Tall, silver-maned character actor Roy Roberts began his film career as a 20th Century-Fox contractee in 1943. Nearly always cast in roles of well-tailored authority, Roberts was most effective when conveying smug villainy. As a hotel desk clerk in Gentleman's Agreement (1947), he suavely but smarmily refused to allow Jews to check into his establishment; nineteen years later, Roberts was back behind the desk and up to his old tricks, patronizingly barring a black couple from signing the register in Hotel (1966). As the forties drew to a close, Roberts figured into two of the key film noirs of the era; he was the carnival owner who opined that down-at-heels Tyrone Power had sunk so low because "he reached too high" at the end of Nightmare Alley (1947), while in 1948's He Walked By Night, Roberts enjoyed one of his few sympathetic roles as a psycho-hunting plainclothesman. And in the 3-D classic House of Wax, Roberts played the crooked business partner of Vincent Price, whose impulsive decision to burn down Price's wax museum has horrible consequences. With the role of bombastic Captain Huxley on the popular Gale Storm TV series Oh, Susanna (1956-1960), Gordon inaugurated his dignified-foil period. He later played long-suffering executive types on The Beverly Hillbillies, Petticoat Junction and The Lucy Show. Roy Roberts last appeared on screen as the mayor in Roman Polanski's Chinatown (1974).

Trivia: British stage actress Kathleen Lockhart made infrequent American film appearances between 1936 and 1954. She was occasionally cast opposite her more famous husband, character actor Gene Lockhart; in 1938 the Lockharts portrayed Mr. and Mrs. Bob Cratchit in MGM's A Christmas Carol (1938). One of her better-known film roles was as the wife of magazine editor Albert Dekker in the Oscar-winning Gentleman's Agreement. After the death of her husband in 1957, Lockhart made no further acting appearances. Kathleen Lockhart was the mother of actress June Lockhart and the grandmother of actress Anne Lockhart.

Trivia: Wiry, solemn-faced American actor Curt Conway interrupted stage work to appear in his first film, Gentleman's Agreement (1947). As Bert McAnny in the Oscar-winning film, Conway was one of many Anglo-Saxon types who opened mouth and inserted foot when Gregory Peck, investigating anti-Semitism, pretended to be Jewish. Conway was a stalwart of television's "live" days of the '50s, at which time he did some directing as well as acting. Twilight Zone fans will remember a heavily made-up Conway in the 1963 episode "He's Alive"; the actor played a shadowy stranger who gives advice to a neo-Nazi activist (Dennis Hopper) on how to get ahead, and who at the end of the episode turns out to be--to everyone's surprise but the audience--Adolph Hitler. Having begun his film career in a movie indictment of race prejudice, Curt Conway ended his career in a film dealing with the same subject, 1971's The Man.

Trivia: During the late '50s, John Newland was best known as a television as host of the fantasy series One Step Beyond, which specialized in dramas dealing with difficult-to-explain phenomenon involving telepathy, life after death, and other stuff of fantasy and speculation. He made his first feature film, That Night (1957) -- a daring, ahead-of-its-time story of a businessman's heart attack and its effect on his family -- during that same period. His second movie, The Violators (1957), attracted less attention, and since then Newland has worked largely in television-based material, including The Spy With My Face (1968), an above-average feature film adaptation of a Man From U.N.C.L.E. episode featuring Senta Berger with the usual cast of Robert Vaughn, David McCallum, and Leo G. Carroll, and TV movies such as A Sensitive Passionate Man (1977) and The Suicide's Wife (1979).

Trivia: As a boy growing up in Sacramento, Robert Warwick sang in his church choir. Encouraged to pursue music as a vocation, Warwick studied in Paris for an operatic career. He abandoned singing for straight acting when, in 1903, he was hired by Clyde Fitch as an understudy in the Broadway play Glad of It. Within a few year, Warwick was a major stage star in New York. He managed to retain his matinee-idol status when he switched from stage to screen, starring in such films as A Modern Othello and Alias Jimmy Valentine and at one point heading his own production company. He returned to the stage in 1920, then resumed his Hollywood career in authoritative supporting roles. His pear-shaped tones ideally suited for talkies, Warwick played such characters as Neptune in Night Life of the Gods (1933), Sir Francis Knolly in Mary of Scotland (1936) and Lord Montague in Romeo and Juliet (1936). He appeared in many of the Errol Flynn "historicals" at Warner Bros. (Prince and the Pauper, Adventures of Robin Hood, The Private Lives of Elizabeth and Essex); in more contemporary fare, he could usually be found in a military uniform or wing-collared tuxedo. From The Great McGinty (1940) onward, Warwick was a particular favorite of producer/director Preston Sturges, who was fond of providing plum acting opportunities to veteran character actors. Warwick's best performance under Sturges' guidance was as the brusque Hollywood executive who insists upon injecting "a little sex" in all of his studio's product in Sullivan's Travels (1942). During the 1950s, Warwick played several variations on "Charles Waterman," the broken-down Shakespearean ham that he'd portrayed in In a Lonely Place (1950). He remained in harness until his eighties, playing key roles on such TV series as The Twilight Zone and The Law and Mr. Jones. Robert Warwick was married twice, to actresses Josephine Whittell and Stella Lattimore.

Trivia: For over six decades, Louise Lorimer played character roles on stage, screen and television. She launched her career on Broadway, appearing in I Remember Mama opposite Marlon Brando. Lorimer later worked on My Fair Lady with Rex Harrison. Lorimer made her feature-film debut in Gangster's Boy (1938). She subsequently appeared steadily in feature films through the late 1970s. Her television work includes appearances on Profiles in Courage and Marnie. She also frequently appeared on the Alfred Hitchcock anthology series Hitchcock Presents and on the sitcom Dennis the Menace. On Hopalong Cassidy, Lorimer occasionally played "Stagecoach Sal." Lorimer graduated from the Leland Powers School of Drama in Boston. She served in the USO during WW II. Later in her career, Lorimer became a teacher at the Martha's Vineyard branch of the Leland Powers School of Drama.

Trivia: American general purpose actor Howard Negley made his screen bow as Nelson in 20th Century Fox's Smokey. Negley went on to reasonably prominent character parts in such B-pictures as Charlie Chan in the Trap (1947). For the most part, he played nameless bit parts as police captains, politicians, and reporters. Howard Negley was last seen as the Twentieth Century Limited conductor in Hitchcock's North by Northwest (1959).

Trivia: New Jersey-born Victor Kilian drove a laundry truck before joining a New England repertory company when he was 18. His first break on Broadway came with the original 1924 production of Eugene O'Neill's Desire Under the Elms. After making a few scattered appearance in East Coast-produced films, Kilian launched his Hollywood career in 1936. Often cast as a brutish villain (notably "Pap" in the 1939 version of Huckleberry Finn) Kilian duked it out with some of moviedom's most famous leading men; while participating in a fight scene with John Wayne in 1942's Reap the Wild Wind, Kilian suffered an injury that resulted in the loss of an eye. Victimized by the Blacklist in the 1950s, Kilian returned to TV and film work in the 1970s. Fans of the TV serial satire Mary Hartman Mary Hartman will have a hard time forgetting Kilian as Mary's grandpa, a.k.a. "The Fernwood Flasher." In March of 1979, Victor Kilian was murdered in his apartment by intruders, a scant few days after a similar incident which culminated in the death of another veteran character actor, Charles Wagenheim.

Trivia: American actor Frank Wilcox had intended to follow his father's footsteps in the medical profession, but financial and personal circumstances dictated a redirection of goals. He joined the Resident Theater in Kansas City in the late '20s, spending several seasons in leading man roles. In 1934, Wilcox visited his father in California, and there he became involved with further stage work, first with his own acting troupe and then with the Pasadena Playhouse. Shortly afterward, Wilcox was signed to a contract at Warner Bros., where he spent the next few years in a wide range of character parts, often cast as crooked bankers, shifty attorneys, and that old standy, the Fellow Who Doesn't Get the Girl. Historian Leslie Haliwell has suggested that Wilcox often played multiple roles in these Warners films, though existing records don't bear this out. Frank Wilcox was still working into the 1960s; his most popular latter-day role was as Mr. Brewster, the charming banker who woos and wins Cousin Pearl Bodine (Bea Benaderet) during the inaugural 1962-1963 season of TV's The Beverly Hillbillies.

Trivia: In films from 1945, Wilton Graff carved a screen career out of playing judges, doctors, DAs and the like. Graff's movie assignments ranged from bits in "A" pictures to sizeable supporting roles in programmers. He could be seen as the maitre d' in the crucial Gregory Peck-John Garfield restaurant scene in Gentleman's Agreement (1947), and as Baron Fitzwalter, Robin Hood's father-in-law, in Rogues of Sherwood Forest (1950). Wilton Graff's only starring role was as Dr. Belleau, the crazed sportsman who hunted human quarry in the 1961 Most Dangerous Game knock-off Bloodlust.

Trivia: Morgan Farley made his first Broadway appearance in 1918 as one of the supporting players in Booth Tarkington's Seventeen. He gained prominence in the 1920s, starring in such stage productions as Candida and An American Tragedy. After a brief flurry of film activity in 1929-1930, he returned to the stage where he remained until interrupting his career to serve in WWII. Back in films as a character actor and dialogue coach in 1946, Morgan Farley went on to essay minor roles in such films as Joseph L. Mankiewicz's Julius Caesar (1953), in which he was seen in the expository part of Artimedorus. He made his last screen appearance in 1967.

Trivia: A narrow-faced supporting actor from Sweden, dark-haired Mauritz Hugo (born Mauritz Hugo Ekelöv) was especially effective in action serials of the 1940s and 1950s, and was perhaps at his very best as Barnett, the villainous saloon-keeper in one of Republic's final chapterplays, The Man with the Steel Whip (1954). The son of a pioneer movie theater proprietor, the adventurous Hugo emigrated to the United States at the tender age of 15. After a stint as a salesman, Hugo became a stock company player and may have been in Hollywood films as early as 1938. He was firmly established as a competent supporting actor by 1943 and, having dropped any trace of an accent along the way, was never cast as a "foreigner." Often appearing in Westerns, Hugo was equally proficient in serials, of which he did at least seven. One of the first actors to embrace television, the dapper actor played an important guest-star role in a dual episode of Commando Cody: Sky Marshal of the Universe and also appeared on such programs as The Cisco Kid, Sky King, Wanted: Dead or Alive, Bewitched, and Family Affair. He retired around 1970 and died at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: Olive Deering was a very busy actress in theater, radio, and television from the early '30s until the 1970s. The sister of actor/director Alfred Ryder, she was born in New York and educated at the Professional Children's School, and made her stage debut in 1933, at the age of 15, with a mute walk-on role in a production of Girls in Uniform. She played a key role in Moss Hart's wartime stage piece Winged Victory (though not in the film version in which, ironically, her brother had a part). Her notable stage performances included working opposite Paul Muni in a revival of Elmer Rice's play Counselor-at-Law, with Maurice Evans in Richard II, and in Marc Blitzstein's No for an Answer. She also received excellent notices for her work in a Los Angeles production of Tennessee Williams' Suddenly, Last Summer. Deering's movie work was sporadic, starting with an uncredited role in Elia Kazan's Gentleman's Agreement; she appeared in John Cromwell's Caged, but her most visible work was in a pair of Cecil B. DeMille epics, Samson and Delilah and The Ten Commandments, and was in movies as late as 1972. Much of Deering's career off the stage, however, was focused on radio -- she played hundreds of roles in that medium -- and on television, on which she was playing dramatic roles as early as 1948, on anthology series such as Philco Television Playhouse, Goodyear Television Playhouse, and Alcoa Presents. She also did episodes of Perry Mason, Sam Benedict, and Ben Casey, though her most memorable and visible work (thanks to home video) was as the hysterical runaway wife in The Outer Limits episode "The Zanti Misfits." Deering died of cancer in 1986.

Trivia: Trained as a musician, Virginia Gregg drew her first professional paychecks with the Pasadena Symphony. Gregg was sidetracked into radio in the 1940s, playing acting roles in an abundance of important California-based network programs. Her extensive radio credits include Gunsmoke, Suspense, Yours Truly Johnny Dollar, and Richard Diamond. Her first film was 1946's Notorious, directed by Alfred Hitchcock, who last cast Gregg as the voice of "Mother" in his classic chiller Psycho (1960). Virginia Gregg was most closely associated with the output of actor/producer/director Jack Webb: she co-starred in both of Webb's film versions of his popular radio and TV series Dragnet, and guest-starred in virtually every other episode of the 1967-70 Dragnet TV revival.

Trivia: A self-described "household face," character actor Jesse White made his first stage appearance as a teenager in his adopted hometown of Akron, OH. Supporting himself with a variety of civilian jobs, White worked the nightclub circuit in Cleveland, then moved on to what was left of vaudeville in the late '30s. White's first Broadway role was in 1942's The Moon is Down; two years later he scored his biggest success as the acerbic sanitarium attendant in Mary Chase's Harvey, a role he would repeat for the 1950 film version (though Harvey is often listed as White's film debut, he can be seen in a bit role as an elevator operator in 1947's Gentleman's Agreement). While he has appeared in some 60 films, White is best known for his TV work, which allowed him to play Runyon-esque gangsters, theatrical agents, neurotic TV talk show hosts, art connoisseurs, toy manufacturers, and whatever else suited his fancy. Two of his longest professional associations were with satirist Stan Freberg (White was featured in several of Freberg's commercials and comedy albums) and comedian/TV mogul Danny Thomas (White played agent Jesse Leeds during the first few seasons of Make Room for Daddy). In the 1970s, White became established as the "lonely" Maytag repairman in a series of well-circulated TV commercials; when he stepped down from this role in the late '80s, the event received a generous amount of press coverage. Jesse White was still in harness into the 1990s. In 1992, he was memorably cast as a sarcastic, cigar-chomping theater chain owner in Joe Dante's Matinee. He passed away at age 79 following complications from surgery on January 8, 1997.

Trivia: Nineteen-year-old Leander Berg billed himself as Gene Berg when he made his professional debut as a skater in Sonja Henie's LA-based ice show. He was still Gene Berg when, while serving in World War II, he was featured as a dancer in the 1942 Broadway revue This is the Army. It wasn't until the 1948 stage musical Lend an Ear that Gene Berg reemerged as Gene Nelson. Signed to a 20th Century-Fox contract in 1947, Nelson co-starred in several of that studio's Technicolor song-and-dance fests, then moved on to the musical unit at Warner Bros. His best-known filmusical assignment was as high-kickin' cowpoke Will Parker in the 1955 superproduction Oklahoma. After briefly attempting to establish himself in dramatic roles, Nelson turned to directing. He called the shots in several Sam Katzman productions of the 1960s, notably the Elvis Presley vehicles Kissin' Cousins (1963) and Harum Scarum (1965), and the 1965 Hank Williams Sr. biopic Your Cheatin' Heart. He also directed dozens of TV episodes, working on such weeklies as The Rifleman, The Donna Reed Show and Mod Squad. There was talk that a serious injury in the mid-1950s had forced Gene Nelson to forego dancing in favor of directing; if so, he was sufficiently recovered in the 1970s, displaying his still-impressive terpsichorean skills in the Broadway musicals Follies and Good News.

Trivia: Olive Carey began her long career acting in silent films under the name Olive Golden. She made her film debut in 1913 with The Sorrowful Shore. She later became one of D.W. Griffith's original stock players. Golden married cowboy star Harry Carey in 1916 and went on to play the female lead in many of his silent westerns. She is said to have had a role in helping illustrious director John Ford get his start; she even worked as his manager. From the '30s through 1947, she was semi-retired, but following her husband's death in 1947, she staged a comeback using her married name. She is best remembered for appearing opposite John Wayne in The Searchers and The Alamo.