Trivia: Swedish siren Ann-Margret immigrated to the U.S. with her family at the age of seven, settling in a Chicago suburb and later studying Drama at Northwestern University. Despite an innate bashfulness, the girl set out to become a musical entertainer, making her professional debut as a singer at the age of 17. Fortunately, she was spotted by comedian George Burns, who hired her for his Las Vegas show and arranged for several professional doors to be opened for his protégée. Her first film was Pocketful of Miracles (1961), in which she played Bette Davis' daughter; this was followed by a lead in State Fair the following year. Ann-Margret tended to be withdrawn when interviewed, which earned her the media's "Sour Apple" award as least cooperative newcomer. But she was able to overcome this initial bad press via a show-stopping appearance at the 1962 Academy Awards telecast, which turned her into an "overnight" national favorite and encouraged the producers of Bye Bye Birdie (1963) to build up her role. Perhaps the best indication of her total public acceptance was her animated appearance in a 1963 episode of The Flintstones (as Ann Margrock). Ann-Margret's career faltered in the mid-'60s thanks to a string of forgettable pictures like Made in Paris (1966) and Kitten With a Whip (1964). (One of the few highlights of this period, however, was her appearance in Elvis Presley's Viva Las Vegas in 1964, which led to an offscreen relation with The King.) Her career in doldrums, Ann-Margret marshalled a comeback in the early '70s thanks to the tireless efforts of her husband and manager, former actor Roger Smith. Sold-out Las Vegas and concert performances were part of her career turnabout, although the most crucial aspect was her Oscar nomination for a difficult role in 1971's Carnal Knowledge. But the comeback nearly ended before it began in 1972 when the entertainer was seriously injured in a fall during her Vegas act. With the help of physical rehabilitation and plastic surgery (not to mention the loving ministrations and encouragement of Smith), the actress made a complete recovery and went on to even greater career heights. She received her second Oscar nomination for her bravura performance in the rock-opera film Tommy (1975), where, in one of the high points of '70s cinema bizarre, she sang a number while swimming in baked beans. Ann-Margret was equally impressive (though in a less messy manner) in such powerhouse TV movies as Who Will Love My Children? (1983) and A Streetcar Named Desire (1984). The low point of Ann-Margret's early-80s career doubtless arrived when she agreed to act in Hal Ashby's lousy 1982 gambling drama Lookin' to Get Out (aside a scream-happy Jon Voight) -- and probably regretted it for years afterward. A few triumphs marked the 1980s as well, however, such as the actress's turn as Steffy Blondell in Neil Simon's enjoyably bittersweet comedy-drama I Ought to Be in Pictures, and her role as a barmaid who strikes up an extramarital affair with - and later weds - Gene Hackman, in Bud Yorkin's finely-wrought domestic drama Twice in a Lifetime (1985). After Newsies (1992), Disney's glaringly awful attempt to revive the period musical, Ann-Margret took time out of her packed schedule to write her 1993 autobiography Ann-Margret: My Story, a work revelatory about herself and her own personal demons that nonetheless evinces respect toward her show-business mentors and co-workers. She exuded warmth as the bon vivant who falls in-between bickering Walter Matthau and Jack Lemmon in the 1993 box office hit Grumpy Old Men and its lackluster 1995 sequel, Grumpier Old Men (and played a satisfying straight man throughout). Yet the high profile of the Old Men releases made them exceptions to the actress's output in the mid-late nineties and early 2000s, which - though of varying quality - placed infinitely greater weight on television work than Ann-Margret had at any earlier point in her career. (In fact, for a period of about ten years, she became a veritable telemovie staple on par with Mary Tyler Moore and Meredith Baxter-Birney). These titles include but are not limited to: Nobody's Children (1994), Scarlett (1994), Seduced by Madness: The Diane Borchardt Story, Life of the Party: The Pamela Harriman Story (1998), Happy Face Murders (1999), Blonde (2001) and A Place Called Home (2004). One big-screen exception arrived in the late 1999 football drama Any Given Sunday, where Oliver Stone gave Ann-Margret her meatiest role since Carnal Knowledge, as the alcoholic mother of team owner Christina Pagliacci (Cameron Diaz. It entailed only a small part amid a massive ensemble cast (Dennis Quaid, Al Pacino, Jamie Foxx, James Woods, others), but provided an excellent showcase for the actress's craftsmanship. She landed a bit part as Wendy Meyers, the mother of Jennifer Aniston's character, in the Aniston-Vince Vaughn romantic comedy The Break-Up, and joined Tim Allen and Martin Short for that same year's Buena Vista holiday sequel Santa Clause 3: The Escape Clause. As the new decade began, she continued to appear regularly in projects as diverse as The 10th Kingdom, Taxi, The Break-Up, and Old Dogs. In 2011 she starred in the comedy All's Faire in Love as the queen of a Renaissance fair.

Trivia: To overcome a childhood bout with infantile paralysis, Alex Cord put himself on a rigorous athletic regimen. By the time he reached his late teens, Cord was an accomplished rodeo performer. After preparing for a theatrical career in New York and London, he made his film debut with a small part in 1962's The Chapman Report. Among his American starring features was the 1966 remake of Stagecoach and the 1978 Western Grayeagle, in which he essayed the title role. Most of his biggest and best screen opportunities came his way when he plunged into the European film scene of the 1970s. On television, Alex Cord has played ruthless network programming chief Jack Kiley on W.E.B. (1978), D.A. Mike Holland on the Angie Dickinson starrer Cassie and Company (1982), and the enigmatic, eye-patched Michael Archangel on Airwolf (1984-1986).

Trivia: American actor/singer Bing Crosby acquired his nickname as a child in Washington state. As the legend goes, little Harry Lillis Crosby's favorite comic strip was "The Bingville Bugle," in which the leading character was called Bingo. Hence, the boy was "Bingo" Crosby, with the "O" dropping off as he got older. A restless youth, Crosby tried studying law at Gonzaga University, but spent more time as a drummer and singer in a Spokane band. He and his pal Al Rinker worked up a musical act, and were later joined by Harry Barris. As the Rhythm Boys, the three young entertainers were hired by bandleader Paul Whiteman, who featured them in his nightclub appearances and his film debut, The King of Jazz (1930). Crosby managed to score on radio in 1931, and a series of two-reel comedies made for Mack Sennett helped him launch a screen career; his starring feature debut was in 1932's The Big Broadcast. During this period, he married singer Dixie Lee, with whom he had sons Gary, Dennis, Philip and Lindsay. As one of Paramount's most popular stars of the '30s, and with his carefully cultivated image of an easygoing, golf-happy, regular guy, generous contributor to charities, devoted husband, father, and friend, Crosby became an icon of American values. In 1940, he made the first of several appearances with his golfing buddy Bob Hope, ultimately resulting in seven "Road" pictures which, thanks to the stars' laid-back improvisational style, seem as fresh today as they did at the time. Another milestone occurred in 1944, when director Leo McCarey asked Crosby to play a priest in an upcoming film. Crosby, a devout Catholic, at first refused on the grounds that it would be in bad taste. But McCarey persisted, and Crosby ended up winning an Oscar for his performance in Going My Way (1944). He ushered in a new technological era a few years later when he signed a contract to appear on a weekly ABC variety show provided that it not be live, but tape recorded -- a first for network radio -- so that Crosby could spend more time on the golf course. With the death of his wife Dixie in 1952, the devastated entertainer dropped out of the movie business for a full year; but his life took an upswing when he married young actress Kathryn Grant in 1957. His film roles were few in the '60s, but Crosby was a television fixture during those years, and could be counted on each Yuletide to appear on just about everyone's program singing his signature holiday tune, "White Christmas." Burdened by life-threatening illnesses in the mid-'70s, the singer nonetheless embarked on concert tours throughout the world, surviving even a dangerous fall into an orchestra pit. Crosby died from a heart attack in 1977, shortly after he had finished the 18th hole on a Spanish golf course.

Trivia: American actor Red Buttons, born Aaron Schwatt and raised on New York's Lower East Side, won an amateur night contest at age 12. By age 16 he was working in a Bronx tavern as a bellboy-singer; here he took the name "Red Buttons", in reference to his uniform. He went on to work the Catskills Mountains "Borscht Belt" and to perform as a burlesque comedian. He debuted on Broadway as a supporting player in Vickie in 1942. He served in the Army during World War II, appearing in the play Winged Victory; he played the same role in the film version (1944), marking his big-screen debut. After briefly starring in his own TV show in 1953 he had a weak career until he landed the role of Sargeant Joe Kelly in the film Sayonara (1957), his second movie role; for his work in that film he won a Best Supporting Actor Oscar, going on from there to appear frequently in films, usually as a comedy actor.

Trivia: Born Krekor Ohanian, American actor Mike Connors was born and raised in the heavily Armenian community of Fresno, California. He studied law at UCLA, but distinguished himself in sports (he'd gotten in on a basketball scholarship). While in the Air Force, Connors switched his career goals to acting on the advice of producer/director William Wellman, who'd remembered Connors' college athletic activities. Hollywood changed young Mr. Ohanian's last name to Connors, and since this was the era of "Rocks" and "Tabs" it was decided that the actor needed a suitably rugged first name. So Connors spent his first few acting years as Touch Connors, a nickname he'd gotten while playing college football. His first picture was the Joan Crawford vehicle Sudden Fear (1952) but handsome hunks were a glut on the market in the early '50s, so Connors found himself in "B" pictures, mostly at bargain-basement American International studios. Renaming himself "Mike," Connors was able to secure the lead role as an undercover agent on the 1959 detective series Tightrope. The series was a hit but was dropped from the network due to complaints about excessive violence, though it cleaned up in syndication for years afterward. After a few strong but non-starring roles in such films as Good Neighbor Sam (1963) and Where Love Has Gone (1964), Connors landed the title role in Mannix (1967), a weekly TV actioner about a trouble-prone private eye. For the next eight high-rated seasons, Connors' Joe Mannix was beaten up, shot at, cold-cocked and nearly run over in those ubiquitous underground parking lots each and every week. The series ran in over 70 foreign countries, allowing Connors a generous chunk of profits percentages in addition to his lofty weekly salary-- which became loftier each time that the actor announced plans to retire. Mike Connors has starred in the 1981 series Today's FBI and filmed a cop-show pilot titled Ohanian (playing a character with his own real name), but nothing has quite captured the public's fancy, or been as lucrative in reruns, as Connors' chef d'ouevre series Mannix.

Trivia: American actor Robert Cummings studied for an engineer's degree at several colleges before concentrating his energies at the American School of Dramatic Arts. After returning from a trip to England, he became possessed with the notion that he could best conquer Hollywood if he passed himself off as a British actor, so for a brief uncomfortable period he called himself Blade Stanhope Conway. The best he could get was an extra part in Laurel and Hardy's Sons of the Desert (1933); after that, he renamed himself Brice Hutchens, under which name he played on Broadway with a magic act in Ziegfeld Follies of 1934. As plain old Robert Cummings, the actor made his film debut in Paramount's So Red the Rose (1935), in which he was killed off in the Civil War before the first reel was over. He finally got a meaty hysteria scene as a condemned prisoner in The Accusing Finger (1936) -- but thereafter played almost nothing but comedy at Paramount. Stronger dramatic roles came Cummings' way in Kings Row (1941) and Hitchcock's Saboteur (1942). By the early 1950s, the formerly callow Cummings had matured enough to be convincing as the "other man" in the Hitchcock thriller Dial M for Murder (1954), and in the difficult role of the compassionate Juror Number 8 in the original 1955 TV production of Twelve Angry Men. He also gained valuable off-camera prestige as an officer in the Air Force Reserves (he'd been a licensed pilot since age 17). Still, Cummings' main reputation in this decade rested on two lighthearted TV situation comedies: My Hero, which lasted 39 episodes in 1952, and the more famous Bob Cummings Show, a.k.a. Love That Bob, which ran from 1955 through 1958. Playing glamour photographer Bob Collins in the latter series, Cummings perpetuated public TV reputation as an eternally youthful ladies' man (though the biggest laughs went to supporting actress Ann B. Davis (as Schultzy). Newspaper and magazine articles of the period made much of Cummings' seeming agelessness, which the actor chalked up to careful dieting, plenty of vitamins and exercise. That anyone would find it unusual that a 50-year-old man could retain his looks and sex appeal is astonishing in these days of such over-50 movie idols as Harrison Ford and Sean Connery, but such was the state of press agentry in the Love That Bob days. Two later TV series didn't do so well for Cummings, nor did his performances in such 1960s films as The Carpetbaggers (1963); still, critics would marvel at how well the now sixtyish actor was "holding up." Unfortunately, Cummings fell victim to Parkinson's disease in the 1980s, and the once-virile actor deteriorated rapidly both in mind and body before his death at age 82. In his prime, however, Cummings was one of those rare film actors who managed to retain his fame and popularity even though he made relatively few films of importance.

Trivia: The son of an Oklahoma dentist, Van Heflin moved to California after his parents separated. Drawn to a life on the sea, Heflin shipped out on a tramp steamer upon graduating from high school, returning after a year to attend the University of Oklahoma in pursuit of a law degree. Two years into his studies, Heflin was back on the ocean. Having entertained thoughts of a theatrical career since childhood, Heflin made his Broadway bow in Channing Pollock's Mister Moneypenny; when the play folded after 61 performances, Heflin once more retreated to the sea, sailing up and down the Pacific for nearly three years. He revitalized his acting career in 1931, appearing in one short-lived production after another until landing a long-running assignment in S. N. Behrmann's 1936 Broadway offering End of Summer. This led to his film bow in Katharine Hepburn's A Woman Rebels (1936), as well as a brief contract with RKO Radio. Katharine Hepburn requested Heflin's services once more for her Broadway play The Philadelphia Story, and while the 1940 MGM film version of that play cast James Stewart in Heflin's role, the studio thought enough of Heflin to sign him to a contract. One of his MGM roles, that of the alcoholic, Shakespeare-spouting best friend of Robert Taylor in Johnny Eager (1942), won Heflin a "Best Supporting Actor" Oscar. After serving in various Army film units in World War II, Heflin resumed his film career, and also for a short while was heard on radio as Raymond Chandler's philosophical private eye Philip Marlowe. He worked in both Hollywood and Europe throughout the 1950s. In 1963, he was engaged to narrate the prestigious TV anthology The Great Adventure. He was forced to pull out of this assignment when cast as the Louis Nizer character in the Broadway play A Case of Libel. Heflin's final film appearance was in the made-for-TV speculative drama The Last Child; he died of a heart attack at the age of 61. Van Heflin was married twice, first to silent film star Esther Ralston, then to RKO contract player Frances Neal (who should not be confused with Heflin's actress sister Frances Heflin).

Trivia: Though he spoke most of his movie dialogue in a slow Western drawl, actor Slim Pickens was a pure-bred California boy. An expert rider from the age of four, Pickens was performing in rodeos at 12. Three years later, he quit school to become a full-time equestrian and bull wrangler, eventually becoming the highest-paid rodeo clown in show business. In films since 1950's Rocky Mountain, Pickens specialized in Westerns (what a surprise), appearing as the comic sidekick of Republic cowboy star Rex Allen. By the end of the 1950s, Pickens had gained so much extra poundage that he practically grew out of his nickname. Generally cast in boisterous comedy roles, Pickens was also an effectively odious villain in 1966's An Eye for an Eye, starting the film off with a jolt by shooting a baby in its crib. In 1963, director Stanley Kubrick handed Pickens his greatest role: honcho bomber pilot "King" Kong in Dr. Strangelove. One of the most unforgettable of all cinematic images is the sight of Pickens straddling a nuclear bomb and "riding" it to its target, whooping and hollering all the way down. Almost as good was Pickens' performance as Harvey Korman's henchman in Mel Brooks' bawdy Western spoof Blazing Saddles (1974). Slim Pickens was also kept busy on television, with numerous guest shots and regular roles in the TV series The Legend of Custer, B.J. and the Bear, and Filthy Rich.

Trivia: Born Stefania Federkiewicz, she is a lead actress of routine Hollywood films of the '60s and '70s. Soon after graduating from Hollywood High, she debuted onscreen in 1961; early in her career she was billed as Taffy Paul. She starred in the TV series Girl from U.N.C.L.E. and Hart to Hart. From 1966-74 she was married to actor Gary Lockwood, then she became the constant companion of aging actor William Holden; following his death in 1981, she continued being active with the William Holden Wildlife Foundation, which worked to create a big-game preserve and study center in Kenya.

Trivia: Actor Keenan Wynn was the son of legendary comedian Ed Wynn and actress Hilda Keenan, and grandson of stage luminary Frank Keenan. After attending St. John's Military Academy, Wynn obtained his few professional theatrical jobs with the Maine Stock Company. After overcoming the "Ed Wynn's Son" onus (his father arranged his first job, with the understanding that Keenan would be on his own after that), Wynn developed into a fine comic and dramatic actor on his own in several Broadway plays and on radio. He was signed to an MGM contract in 1942, scoring a personal and professional success as the sarcastic sergeant in 1944's See Here Private Hargrove (1944). Wynn's newfound popularity as a supporting actor aroused a bit of jealousy from his father, who underwent professional doldrums in the 1940s; father and son grew closer in the 1950s when Ed, launching a second career as a dramatic actor, often turned to his son for moral support and professional advice. Wynn's film career flourished into the 1960s and 1970s, during which time he frequently appeared in such Disney films as The Absent-Minded Professor (1960) and The Love Bug (1968) as apoplectic villain Alonso Hawk. Wynn also starred in such TV series as Troubleshooters and Dallas. Encroaching deafness and a drinking problem plagued Wynn in his final years, but he always delivered the goods onscreen. Wynn was the father of writer/director Tracy Keenan Wynn and writer/actor Edmund Keenan (Ned) Wynn.

Trivia: John Gabriel was 19 when he made his first brief film appearance in 1950. He went on to play nondescript secondary roles in such films as South Pacific (1958), finally attaining co-starring parts in the mid-'60s Westerns Stagecoach and El Dorado. He was far more successful on television, especially in the specialized world of the soap opera: He spent several fruitful years playing such daytime drama roles as Seneca Beaulac in Ryan's Hope and Zack Conway in Loving. John Gabriel harbors no regrets for the one plum role he didn't land: The Professor in Gilligan's Island (1964-1967), a part he essayed in the pilot episode before he was replaced by Russell Johnson.