Trivia: Ava Gardner began her career first as a model, then as a contract player at MGM, where her gawky, unsophisticated demeanor was totally made over by the studio into an image of inaccessible glamour. Gardner toiled in tiny bit roles, finally getting a worthwhile one on loan-out to Universal in The Killers (1946). MGM was never very comfortable with the bad-girl persona she displayed so well in this film, and, thus, most of her starring appearances at her home studio were relatively sympathetic roles in The Hucksters (1947) and Show Boat (1951). Her cinema reputation as The World's Most Beautiful Animal (in the words of a '50s publicity campaign) was once again manifested in loan-out movies like Pandora and the Flying Dutchman (1951) and The Snows of Kilimanjaro (1952). MGM eventually came to terms with the elements that made Gardner popular, notably in the gutsy Mogambo (1953), in which she made an excellent partner to the equally earthy Clark Gable. Director George Cukor was much taken by Gardner and cast the actress in her best and most complex MGM role in Bhowani Junction (1956), in which she was torn not only by love but also clashing East Indian cultural values. Gardner was equally well served in The Barefoot Contessa (1954), which, in many ways, was a replay of her own rags-to-riches personal story. The actress was cast in some of her best parts during the '60s, notably in Seven Days in May and Night of the Iguana (both 1964), but the pace of her jet-setting lifestyle and increasing personal problems began to show. With roles and public appearances steadily decreasing, she died on January 25, 1990. She was married and divorced three times -- to Mickey Rooney, Frank Sinatra, and Artie Shaw.

Trivia: Raft spent his childhood in the tough Hell's Kitchen area of New York, then left home at 13. He went on to be a prizefighter, ballroom dancer, and taxi-driver, meanwhile maintaining close contacts with New York's gangster underworld. He eventually made it to Broadway, then went to Hollywood in the late '20s. At first considered a Valentino-like romantic lead, Raft soon discovered his forte in gangster roles. He was the actor most responsible for creating the '30s cinema image of gangster-as-hero, particularly after his portrayal of coin-flipping Guido Rinaldo in Scarface (1932). He was highly successful for almost two decades, but then bad casting diminished his popularity. By the early '50s he was acting in European films in a vain attempt to regain critical respect, but he was unsuccessful. He starred in the mid-'50s TV series "I Am the Law," a failure that seriously hurt his financial status. In 1959 a Havana casino he owned was closed by the Castro government, further damaging his revenues; meanwhile, he owed a great deal to the U.S. government in back taxes. In the mid '60s he was denied entry into England (where he managed a high-class gambling club) due to his underworld associations. Most of his film appearances after 1960 were cameos. He was portrayed by Ray Danton in the biopic The George Raft Story (1961).

Trivia: A boy soldier during the Boer War, British actor Victor McLaglen later worked as a prizefighter (once losing to Jack Johnson in six rounds) and a vaudeville and circus performer. He served in World War I as a captain with the Irish Fusiliers and as provost marshal of Baghdad. In the early '20s he broke into British films. He soon moved to Hollywood, where he got lead and supporting roles; his basic screen persona was that of a large, brutish, but soft-hearted man of action. He appeared in many John Ford films, often as a military man. McLaglen made the transition to sound successfully, and for his work in Ford's The Informer (1935), he won the Best Actor Oscar. He remained a busy screen actor until the late '50s. Five of his brothers were also film actors: Arthur, Clifford, Cyril, Kenneth, and Leopold. He was the father of director Andrew V. McLaglen.

Trivia: Born in St. Petersburg, Russia, Tom Conway was the son of a British rope manufacturer. After the Bolshevik revolution, Conway's family returned to England, where he attended a succession of boarding schools before graduating from Brighton college. Aimlessly wandering from job to job, Conway was working as a rancher when his older brother, George Sanders, achieved success as a film actor. Deciding this might be suitable work for himself, Conway gleaned some stage experience in a Manchester repertory company. Upon arriving in Hollywood in 1940, Conway was taken under the wing of brother George, who helped him find film work. When George quit the Falcon "B"-picture series at RKO in 1941, he recommended Tom as his replacement; the transition was cleverly handled in The Falcon's Brother (1942), with Tom taking over after George had been "killed." Achieving popularity as the Falcon, Conway continued in private-detective roles, playing Sherlock Holmes on radio and Mark Sabre on television. Though he reportedly amassed a fortune in excess of one million dollars during his Hollywood years, personal problems sent Conway into a downward spiral. Tom Conway died in 1967 at the age of 63; his brother George Sanders committed suicide five years later.

Trivia: Redheaded Jane Nigh was a defense-plant worker when she was discovered for films in 1944. Nigh made her screen debut in the 20th Century Fox musical Something for the Boys, then went on to play both sweet young things and femme fatales for a variety of studios. In 1952, she co-starred as Lorelei on the popular TV series Big Town. The third actress to play this role, Nigh was replaced in 1953 by Beverly Tyler, who in turn was replaced by Trudy Wroe. Jane Nigh's last screen appearance was in the Bowery Boys entry Hold That Hypnotist (1957); her vivid memories of that experience have been duly recorded in David Hayes and Brent Walker's The Films of the Bowery Boys (Citadel, 1984).

Trivia: American actress Florence Bates had been a moderately successful lawyer for two decades when, as a lark, she started acting at California's Pasadena Playhouse in the mid 1930s. After playing a small role in the 1937 film Man In Blue (1937), Bates was "officially" discovered by Hollywood when she was cast as vainglorious dowager Mrs. Van Hopper in Alfred Hitchcock's Oscar-winning Rebecca (1940). From that point onward, Bates became one of Hollywood's favorite "society dragons," most effectively cast in comedies like Heaven Can Wait (1943), as one of Don Ameche's hell-bound old flames, and in The Secret Life of Walter Mitty (1948), as Danny Kaye's terrifying future mother-in-law. Her most significant "straight" part was in I Remember Mama (1948), as the forbiddingly famous author Florence Dana Morehead, whom Irene Dunne, as Mama, timidly approaches on behalf of Dunne's aspiring-writer daughter. Though in fragile health, Florence Bates entered television with the same forcefulness as she'd invaded movies, providing a welcome touch of professionalism to the otherwise atrocious early 1950s situation comedy The Hank McCune Show.

Trivia: Upon graduating from Nichols College, Charles Ruppert entered the professional world as a salesman. When he decided to switch to acting, Ruppert changed his name to Drake. In films from 1939, Drake was signed to a Warner Bros. contract and appeared in such films as The Man Who Came to Dinner (1941), The Maltese Falcon (1941), Now, Voyager (1942), Dive Bomber (1942), Air Force (1943), and Mr. Skeffington (1944). Freelancing in the mid-'40s, he played the romantic lead in the Marx Brothers flick A Night in Casablanca (1946). Once he moved to Universal in 1949, Drake proved that the fault lay not in himself but in the roles he'd previously been assigned to play. He was quite personable as Dr. Sanderson in Harvey (1950) and thoroughly despicable as the cowardly paramour of dance-hall girl Shelley Winters in Winchester '73 (1950). One of his most unusual performances was as the ostensible hero of You Never Can Tell (1951), who after spending two reels convincing the viewer that he's a prince of a fellow, turns out to be the villain of the piece. Drake did some of his best work at Universal as a supporting player in the vehicles of his offscreen pal Audie Murphy. In 1955, Drake turned to television as one of the stock-company players on Robert Montgomery Presents; three years later, he was star/host of the British TV espionage weekly Rendezvous. Charles Drake prospered as a character actor well into the early 1970s.

Trivia: Dutch-born character actor Charles Judels' expertise with dialects served him well throughout his fifty-year career. After several seasons in vaudeville, Judels made his Broadway debut as a snotty Frenchman in The Ziegfeld Follies of 1912. He went on to provide comedy relief for such stage musicals as Nobody Home (1914) and George M. Cohan's Mary (1920). In films from 1915, Judels was a fixture of the Vitaphone short-subject product in the early 1930s, starring in his own series of 2-reelers and providing support to such comedians as Jack Haley and Shemp Howard. His feature-film assignments found him playing Italians, Greeks, Slavs, Germans and Spaniards (he also served as dialogue director for 1928's Mother Knows Best, which curiously contained no dialect humor whatsoever!) Film buffs will remember Charles Judels as the cheese-store proprietor in Laurel & Hardy's 1938 effort Swiss Miss (his musical number with Stan and Ollie was, alas, left on the cutting room floor), the plot-motivating murder victim in the early "film noir" Stranger on the Third Floor (1940), and the voice of Stromboli and the Coachman in the Disney cartoon feature Pinocchio (1940).

Trivia: Those latter-day historians who deride director D.W. Griffith for his alleged anti-Semitism should take note that one of his most famous protégées was Carmel Myers, the daughter of a San Francisco rabbi. Making her film debut with Griffith's Triangle company in 1916, the bewitchingly beautiful Myers went on to star opposite such luminaries as Douglas Fairbanks, John Barrymore, and Rudolph Valentino. She developed into one of screendom's most alluring "vamps," never more so than as Iras in the 1926 version of Ben-Hur. Surviving the talkie revolution, she played a number of good character parts, notably as Barrymore's cast-off mistress in Svengali (1931). Officially retiring in the mid-'40s, Myers resurfaced as a Los Angeles TV hostess in the 1950s; her 15-minute interview series The Carmel Myers Show was picked up by the ABC network in 1951. She continued sporadically accepting acting roles into the 1970s, showing up as herself on an episode of TV's Sanford and Son, and joining dozens of other movie veterans to play a cameo role in the 1976 feature Won Ton Ton, the Dog Who Saved Hollywood. The sister of screenwriter Zion Myers, Carmel Myers was also the mother of novelist Ralph Blum and actresses Susan Adams Kennedy and Mary Ufland.

Trivia: The pint-sized American actor Jimmy Conlin preceded his film career as a vaudeville headliner on the Keith and Orpheum circuits, where he appeared with his wife Muriel Glass in a song-and-dance turn called "Conlin and Glass." After starring in the 1928 Vitaphone short Sharps and Flats, Conlin began regularly appearing in movie bit roles in 1933. Writer/director Preston Sturges liked Conlin's work and saw to it that the actor received sizeable roles--with good billing--in such Sturges projects as Sullivan's Travels (1941), Hail the Conquering Hero (1944) and Miracle of Morgan's Creek (1944). Conlin's all-time best role was as Wormy, the birdlike barfly who persuades Harold Lloyd to have his first-ever drink in Sturges' The Sin of Harold Diddlebock (1946). When Sturges' fortunes fell in the 1950s, Conlin and his wife remained loyal friends, communicating on a regular basis with the former top director and helping out in any way they could. In 1954, Conlin had a regular role as Eddie in the syndicated TV series Duffy's Tavern. Jimmy Conlin remained a Hollywood fixture until 1959, when he appeared in his last role as an elderly habitual criminal in Otto Preminger's Anatomy of a Murder.

Trivia: Antonutti is an Italian character actor.