Trivia: The son of a chemical analyst, American actor William Holden plunged into high school and junior college sports activities as a means of "proving himself" to his demanding father. Nonetheless, Holden's forte would be in what he'd always consider a "sissy" profession: acting. Spotted by a talent scout during a stage production at Pasadena Junior College, Holden was signed by both Paramount and Columbia, who would share his contract for the next two decades. After one bit role, Holden was thrust into the demanding leading part of boxer Joe Bonaparte in Golden Boy (1939). He was so green and nervous that Columbia considered replacing him, but co-star Barbara Stanwyck took it upon herself to coach the young actor and build up his confidence -- a selfless act for which Holden would be grateful until the day he died. After serving as a lieutenant in the Army's special services unit, Holden returned to films, mostly in light, inconsequential roles. Director Billy Wilder changed all that by casting him as Joe Gillis, an embittered failed screenwriter and "kept man" of Gloria Swanson in the Hollywood-bashing classic Sunset Boulevard (1950). Wilder also directed Holden in the role of the cynical, conniving, but ultimately heroic American POW Sefton in Stalag 17 (1953), for which the actor won an Oscar. Holden became a man of the world, as it were, when he moved to Switzerland to avoid heavy taxation on his earnings; while traversing the globe, he developed an interest in African wildlife preservation, spending much of his off-camera time campaigning and raising funds for the humane treatment of animals. Free to be selective in his film roles in the '60s and '70s, Holden evinced an erratic sensibility: For every Counterfeit Traitor (1962) and Network (1976), there would be a walk-through part in The Towering Inferno (1974) or Ashanti (1978). His final film role was in S.O.B. (1981), which, like Sunset Boulevard, was a searing and satirical indictment of Hollywood. But times had changed, and one of the comic highlights of S.O.B. was of a drunken film executive urinating on the floor of an undertaker's parlor. Holden's death in 1981 was the result of blood loss from a fall he suffered while alone.

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: With several years' modeling experience to her credit, Victoria Shaw made her screen bow in her native Australia in 1955. Discovered by Bob Hope while he was touring Down Under, Victoria was brought to Hollywood and signed to a contract at Columbia Pictures. Her best showing under the Columbia banner was as the second wife of Tyrone Power in 1958's The Eddie Duchin Story; around the same time, she became the first wife of actor Roger Smith. Victoria Shaw's final appearance on film was the fleeting role of "Medieval Queen" in the 1973 sci-fier Westworld; she died of complications resulting from asthma at the age of 53.

Trivia: A former showgirl and nightclub singer, Janice Rule was signed to a Warner Bros. contract in 1951. It would be nearly ten years before Rule's truly worthwhile roles would outnumber her inconsequential parts. She all but cornered the market in bitter, neurotic socialites in the 1960s, playing such parts as the small-town wealthy shrew who drunkenly swallows a string of valuable pearls in The Chase (1966) and Burt Lancaster's vitriolic ex-mistress in The Swimmer (1968). Playing these profoundly disturbed screen characters must have been cathartic for Ms. Rule, who took time off from acting in the late 1970s to become a professional psychoanalyst. From 1961 through 1979, Janice Rule was married to actor Ben Gazzara.

Trivia: Patrick O'Neal made his first stage appearance in 1944 in his home state of Florida. While still a teenager, O'Neal was assigned to direct Signal Corps training shorts. Following his training at the Actors Studio and Neighborhood Playhouse, O'Neal entered the virgin territory of live TV, making appearances on such early anthologies as Gruen Playhouse. He played the romantic lead in his first film, 1954's The Mad Magician, thereafter settling into stuffed-shirt or villainous roles. It was fun to watch the usually reserved O'Neal make a meal of a mad-killer part obviously intended for Vincent Price in Chamber of Horrors (1966). It was also amusing to watch him bring a reluctant, droopy-eyed approach to the silly secret agentry of the 1967 spy spoof Matchless (1967). After appearing with Doris Day in Where Were You When the Lights Went Out (1966), O'Neal essayed the occasional role of dashing foreign correspondent on TV's The Doris Day Show (1968-73). Additional television assignments for O'Neal included his co-starring stint with Hazel Court in the 1957 comedy-melodrama series Dick and the Duchess (1957), the top-billed role of pathologist Daniel Coffee in the impressively produced videotaped medical series Diagnosis Unknown (1960), the straight-laced supporting role of lawyer Samuel Bennett in Kaz (1978) and the JR-type part of evil businessman Harlan Adams during the first (1983-84) season of Emerald Point NAS (Robert Vaughn took over the role in 1980). Making his Broadway debut in 1961, O'Neal appeared opposite Bette Davis the following year in his favorite part, the discredited, debauched Reverend Shannon in Tennessee Williams' Night of the Iguana. Going public by admitting his alcoholism in the 1970s, O'Neal appeared in a number of public-service announcements on behalf of AA; he also provided voiceovers for innumerable commercial products. When not performing, Patrick O'Neal pursued a successful second career as a restaurateur.

Trivia: Handlebar-mustached character actor Roger C. Carmel was seen in quite a few stage productions of the 1950s and 1960s, including the original Broadway production of Purlie Victorious. On TV from 1963 on, Carmel is best known to TV fans for his role as villainous Colonel Gumm on Batman and his portrayal of the petulant title character in the "I Mudd" episode of Star Trek. During the first season of the 1967-68 sitcom Mothers-in-Law, Carmel played Kaye Ballard's husband; when he demanded more money for his services, he was promptly replaced by Richard Deacon. Busy in the cartoon voiceover field in the 1970s, Carmel was heard as the voice of Smokey the Bear. After several years' inactivity, Roger C. Carmel was found dead in his Hollywood home, the victim of an apparent drug overdose.

Trivia: American leading man Richard Rust was signed to a Columbia contract in 1958, along with such other Hollywood aspirants as Michael Callan and Yvonne Craig. Rust appeared in such Columbias as The Legend of Tom Dooley (1959), This Rebel Breed (1960), Comanche Station (1960), Homicidal (1961), and Underworld USA (1961). In 1962, he was cast as lawyer Edmond O'Brien's "leg man" Hank Tabor in the weekly TV legal series Sam Benedict. Active in films into the 1970s, Richard Rust returned after a long absence to play a featured role in 1988's Colors.

Trivia: Armed with extensive radio and stage credits, Arthur Franz made his first film appearance in 1948's Jungle Patrol. Franz has been prominently featured in a number of "fantastic" films: he played one-third of the title role in Abbott and Costello Meet the Invisible Man (1951), and had leads in Flight to Mars (1952), Invaders From Mars (1953), and The Atomic Submarine (1960). He has also thrived in military characterizations in films like Sands of Iwo Jima (1949), Submarine Command (1951), and The Caine Mutiny (1954). His finest screen portrayal was as the psychopathic "hero" of Stanley Kramer's The Sniper (1952). Arthur Franz flourished as a character actor into the 1980s, retiring from films after appearing in That Championship Season (1982).

Trivia: A football star in his high school and college days, Donald Barry forsook an advertising career in favor of a stage acting job with a stock company. This barnstorming work led to movie bit parts, the first of which was in RKO's Night Waitress (1936). Barry's short stature, athletic build and pugnacious facial features made him a natural for bad guy parts in Westerns, but he was lucky enough to star in the 1940 Republic serial The Adventures of Red Ryder; this and subsequent appearance as "Lone Ranger" clone Red Ryder earned the actor the permanent sobriquet Donald "Red" Barry. Republic promoted the actor to bigger-budget features in the 1940s, casting him in the sort of roles James Cagney might have played had the studio been able to afford Cagney. Barry produced as well as starred in a number of Westerns, but this venture ultimately failed, and the actor, whose private life was tempestuous in the best of times, was consigned to supporting roles before the 1950s were over. By the late 1960s, Barry was compelled to publicly entreat his fans to contribute one dollar apiece for a new series of Westerns. Saving the actor from further self-humiliation were such Barry aficionados as actor Burt Reynolds and director Don Siegel, who saw to it that Don was cast in prominent supporting roles during the 1970s, notably a telling role in Hustle (1976). In 1980, Don "Red" Barry killed himself -- a sad end to an erratic life and career.

Trivia: The son of actors Harry Carey and Olive Golden, Harry Carey Jr. never answered to "Harry" or "Junior"; to his friends, family and film buffs, he was always "Dobe" Carey. Raised on his father's California ranch, the younger Carey spent his first six adult years in the Navy. While it is commonly assumed that he made his film debut under the direction of his dad's longtime friend John Ford, Carey in fact was first seen in a fleeting bit in 1946's Rolling Home, directed by William Berke. It wasn't until his third film, Three Godfathers (dedicated to the memory of his father) that Carey worked with Ford. Honoring his promise to Harry Sr. that he'd "look after" Dobe, Ford saw to it that the younger Carey was given a starring assignment (along with another of the director's proteges, Ben Johnson), in Wagonmaster (1950). Though he handled this assignment nicely, exuding an appealing earnest boyishness, Carey wasn't quite ready for stardom so far as the Hollywood "higher-ups" were concerned, so he settled for supporting roles, mostly in westerns. John Ford continued to use Carey whenever possible; in 1955's The Long Gray Line, the actor has a few brief scenes as West Point undergraduate Dwight D. Eisenhower. Carey was also featured on the "Spin and Marty" segments of Walt Disney's daily TVer The Mickey Mouse Club (1955-59). In later years, Carey's weather-beaten face was seen in choice character assignments in films ranging from The Whales of August (1987) to Back to the Future III (1990); he was also hired by such John Ford aficionados as Peter Bogdanovich, who cast Carey as an old wrangler named Dobie (what else?) in Nickelodeon (1976), and as an ageing bike-gang member named Red in Mask (1985). In 1994, Harry Carey Jr. published his autobiography, Company of Heroes. Carey died of natural causes at age 91 in late December 2012.

Trivia: Born Howard Cohen, Caine is a character actor onscreen from the 60s.

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: American actor Paul Lukather played supporting roles on television, stage, and in feature films during the '50s and '60s.

Trivia: Actor Clint Ritchie became a familiar face to daytime audiences when he joined the cast of the long-running soap opera One Life to Live in 1979, playing Clinton Buchanan. In one memorable storyline, Ritchie's character traveled back in time to the Old West, where he visited his cowboy ancestors. This was familiar territory for Ritchie, who began his career with appearances on TV westerns like Wild, Wild West. It was the role of Clint Buchanan that would earn him a rabid fan base, however, and the actor became so heavily associated with the role that even when he was critically hurt in a tractor accident in 1993, he still returned to the series following his recovery, making intermittent appearances until 2004. Ritchie passed away in 2009, at the age of 71.

Trivia: American actor Barry Atwater was tall enough but not handsome enough to be a leading man, so his film and TV career found him playing villains, authority figures and medical men. A stage and TV veteran, Atwater's first film appearance was in Hitchcock's The Wrong Man (1956) though you'd never know it from the opening credits. Longtime fans of the ABC daytime drama General Hospital will recall Atwater's performances as Dr. John Prentice, who married nurse Jessie Brewer (Emily McLaughlin) and later was unceremoniously murdered. Barry Atwater's most spectacular acting assignment was as Janos Skorzeny, the modern-day vampire terrorizing Las Vegas in the classic made-for-TV chiller The Night Stalker (1956).

Trivia: African- American entertainer Scatman Crothers supported himself as a drummer throughout his high-school years. He formed a popular dance band, playing successful engagements even in the whitest of white communities, regaling audiences with his free-form "scat singing." In the formative years of television, Crothers became the first black performer to host a TV musical program in Los Angeles. He made his movie debut in the 1951 minstrel-show pastiche Yes Sir, Mr. Bones (1951). The best of his 1950s film appearances was as Dan Dailey's medicine-show partner in Meet Me at the Fair (1952). For the next three decades, Crother's movie roles varied in size; he was seen to best advantage as the concerned handyman in Stanley Kubrick's The Shining (1980). Adult TV fans will remember Scatman Crothers as Louie the garbageman on the 1970s sitcom Chico and the Man; Crothers also did voice-over work in the title role of the Saturday morning cartoon series Hong Kong Phooey.

Trivia: Appropriately nicknamed "Google Eyes" by his childhood friends, African-American actor Mantan Moreland joined a carnival at 14 and a medicine show a year later - and both times was dragged home by juvenile authorities. Most of Moreland's early adult years were spent on the "Chitlin Circuit," the nickname given by performers to all-black vaudeville. After a decade of professional ups and downs, Moreland teamed with several comics (notably Benny Carter) in an act based on the "indefinite talk" routine of Flournoy and Miller, wherein each teammate would start a sentence, only to be interrupted by the other teammate ("Say, have you seen...?" "I saw him yesterday. He was at..." "I thought they closed that place down!"). Moreland's entered films in 1936, usually in the tiny porter, waiter and bootblack roles then reserved for black actors. Too funny to continue being shunted aside by lily-white Hollywood, Moreland began getting better parts in a late-'30s series of comedy adventures produced at Monogram and costarring white actor Frankie Darro. The screen friendship between Mantan and Frankie was rare for films of this period, and it was this series that proved Moreland was no mere "Movie Negro." Moreland stayed with Monogram in the '40s as Birmingham Brown, eternally frightened chauffeur of the Charlie Chan films. The variations Moreland wrought upon the line "Feets, do your duty" were astonishing and hilarious, and though the Birmingham role was never completely free of stereotype, by the end of the Chan series in 1949 Monogram recognized Moreland's value to the series by having Charlie Chan refer to "my assistant, Birmingham Brown" - not merely "my hired man." Always popular with black audiences (he was frequently given top billing in the advertising of the Chan films by Harlem theatre owners), Moreland starred in a series of crude but undeniably entertaining comedies filmed by Toddy Studios for all-black theatres. The actor also occasionally popped up in A-pictures like MGM's Cabin in the Sky, and worked steadily in radio. Changing racial attitudes in the '50s and '60s lessend Moreland's ability to work in films; in the wake of the Civil Rights movement, a frightened black man was no longer considered amusing even by Mantan's fans. Virtually broke, Moreland suffered a severe stroke in the early '60s, and it looked as though he was finished in Hollywood. Things improved for Moreland after 1964, first with a bit in the oddly endearing horror picture Spider Baby (1964), then with a pair of prominent cameos in Enter Laughing (1968) and The Comic (1969), both directed by Carl Reiner. With more and more African Americans being hired for TV and films in the late '60s, Moreland was again in demand. He worked on such TV sitcoms as Love American Style and The Bill Cosby Show, revived his "indefinite talk" routine for a gasoline commercial, and enjoyed a solid film role was as a race-conscious counterman in Watermelon Man (1970). In his last years, Mantan Moreland was a honored guest at the meetings of the international Laurel and Hardy fan club "The Sons of the Desert," thanks to his brief but amusing appearance in the team's 1942 comedy A-Haunting We Will Go (1942).

Trivia: Supporting actor Pedro Regas appeared in Hollywood features for over 50 years. A native of Greece, he got his start on the stage. In film, he usually played foreigners. His brother, George Regas, is also an actor.