Trivia: One of the precious few actors of the "pretty boy" school to survive past the 1950s, Robert Wagner was the son of a Detroit steel executive. When his family moved to Los Angeles, Wagner's original intention of becoming a businessman took second place to his fascination with the film industry. Thanks to his dad's connections, he was able to make regular visits to the big studios. Inevitably, a talent scout took notice of Wagner's boyish handsomeness, impressive physique, and easygoing charm. After making his unbilled screen debut in The Happy Years (1950), Wagner was signed by 20th Century Fox, which carefully built him up toward stardom. He played romantic leads with ease, but it wasn't until he essayed the two scene role of a shellshocked war veteran in With a Song in My Heart (1952) that studio executives recognized his potential as a dramatic actor. He went on to play the title roles in Prince Valiant (1954) and The True Story of Jesse James (1956), and shocked his bobby-soxer fan following by effectively portraying a cold-blooded murderer in A Kiss Before Dying (1955). In the early '60s, however, Wagner suffered a series of personal and professional reverses. His "ideal" marriage to actress Natalie Wood had dissolved, and his film career skidded to a stop after The Pink Panther (1964). Two years of unemployment followed before Wagner made a respectable comeback as star of the lighthearted TV espionage series It Takes a Thief (1968-1970). For the rest of his career, Wagner would enjoy his greatest success on TV, first in the mid-'70s series Switch, then opposite Stefanie Powers in the internationally popular Hart to Hart, which ran from 1979 through 1983 and has since been sporadically revived in TV-movie form (a 1986 series, Lime Street, was quickly canceled due to the tragic death of Wagner's young co-star, Savannah Smith). On the domestic front, Wagner was briefly wed to actress Marion Marshall before remarrying Natalie Wood in 1972; after Wood's death in 1981, Wagner found lasting happiness with his third wife, Jill St. John, a longtime friend and co-worker. Considered one of Hollywood's nicest citizens, Robert Wagner has continued to successfully pursue a leading man career into his sixties; he has also launched a latter-day stage career, touring with his Hart to Hart co-star Stefanie Power in the "readers' theater" presentation Love Letters. He found success playing a henchman to Dr. Evil in the Austin Powers movies, and in 2007 he began playing Teddy, a recurring role on the hit CBS series Two and a Half Men.

Trivia: Broderick Crawford was the typical example of "overnight" success in Hollywood -- the 1949 release of All the King's Men turned him into one of the most popular "character" leads in Hollywood, a successor to Wallace Beery and a model for such unconventional leading men to come as Ernest Borgnine. His "overnight" success, however, involved more than a decade of work in routine supporting roles in more than 20 movies, before he was ever considered as much more than a supporting player. Crawford was born into a performing family -- both of his maternal grandparents, William Broderick and Emma Kraus, were opera singers, and his mother, Helen Broderick, was a Broadway and screen actress, while his father, Lester Crawford, was a vaudeville performer. Born in Philadelphia, PA, he accompanied his parents on tour as a boy and later joined them on-stage. He attended the Dean Academy in Franklin, MA, and excelled in athletics, including football, baseball, and swimming. Crawford entered show business by way of vaudeville, joining his parents in working for producer Max Gordon. With vaudeville's decline in the later 1920s, he tried attending college but dropped out of Harvard after just three months, preferring to make a living as a stevedore on the New York docks, and he also later served as a seaman on a tanker. Crawford returned to acting through radio, including a stint working as a second banana to the Marx Brothers. He entered the legitimate theater in 1934 when playwright Howard Lindsay selected him for a role in the play She Loves Me Not, portraying a football player in the work's London run -- although the play only ran three weeks, that was enough time for Crawford to meet Alfred Lunt and Lynn Fontanne (then theater's leading "power couple" on either side of the Atlantic) and come to the attention of Noel Coward, who selected him for a role in his production of Point Valaine, in which the acting couple was starring. After a string of unsuccessful plays, Crawford went to Hollywood and got a part as the butler in the comedy Woman Chases Man, produced by Samuel Goldwyn. Crawford's theatrical breakthrough came in 1937 when he won the role of the half-witted Lennie in the theatrical adaptation of John Steinbeck's Of Mice And Men. His performance won critical accolades from all of the major newspapers, and Crawford was on his way, at least as far as the stage was concerned -- when it came time to do the movie, however, the part went to Lon Chaney Jr.. In movies, Crawford made the rounds of the studios in one-off roles, usually in relatively minor films such as Submarine D-1, Undercover Doctor, and Eternally Yours. The murder mystery Slightly Honorable gave him a slight boost in both billing and the size of his role, but before he could begin to develop any career momentum the Second World War intervened. Crawford served in the U.S. Army Air Force and saw action in the Battle of the Bulge. When he returned to civilian life, he immediately resumed his screen career with a series of fascinating films, including The Black Angel and James Cagney's production20of The Time of Your Life. True stardom however, still eluded him. That all changed when director-producer Robert Rossen selected Crawford to portray Willie Stark in All the King's Men. In a flash, Crawford became a box-office draw, his performance attracting raves from the critics and delighting audiences with its subtle, earthy, rough-hewn charm. His portrayal of the megalomaniac political boss of a small state, based on the life and career of Louisiana governor and senator Huey Long, won Crawford the Oscar for Best Actor. He signed a long-term contract with Columbia Pictures in 1949, which resulted in his starring in the comedy hit Born Yesterday (1950). That was to be his last major hit as a star, though Crawford continued to give solid and successful lead performances for much of the next five years, portraying a tough undercover cop in the crime drama T he Mob, and a villainous antagonist to Clark Gable in Vincent Sherman's Lone Star. During the early '50s, Crawford was Hollywood's favorite tough-guy lead or star antagonist, his persona combining something of the tough charm of Spencer Tracy and the rough-hewn physicality of Wallace Beery -- he could be a charming lunkhead, in the manner of Keenan Wynn, or dark and threatening, calling up echoes of his portrayal of Willie Stark. In the mid-'50s at 20th Century Fox, he added vast energy and excitement to such films as Night People and Between Heaven and Hell -- indeed, his performance in the latter added a whole extra layer of depth and meaning to the film, moving it from wartime melodrama into territory much closer to Joseph Conrad's Heart of Darkness, with his character Waco serving as the dramatic stand-in for Kurtz. In 1955, after working on the melodrama Not As a Stranger and Fellini's Il Bidone (his portrayal of the swindler Augusto being one of his best performances), Crawford became one of the biggest Hollywood stars of the era to make the jump to television. He signed to do the series Highway Patrol for Ziv TV, which was a hit for three seasons. In its wake, however, Crawford was never able to get movies or roles of the same quality that he'd been offered in the early '50s. He did two more series, King of Diamonds and The Interns, and did play the title role in Larry Cohen's The Private Files of J. Edgar Hoover (1977), which attracted some offbeat notice; otherwise, Crawford's work during his final 30 years of acting involved roles as routine as the ones he'd muddled through while trying for his break at the other end of his career. One of his most visible screen appearances took place on television, in a 1977 episode of CHiPS that played off of his work in Highway Patrol, with Crawford making a gag appearance as himself, a motorist pulled over and cited for a moving violation by the series' motorcycle police officers.

Trivia: Terry Moore was born Helen Koford; during her screen career she was billed as Helen Koford, Judy Ford, Jan Ford, and (from 1949) Terry Moore. She debuted onscreen at age 11 in 1940 and went on to play adolescent roles in a number of films. As an adult actress, the well-endowed Moore fell into the late-'40s/early-'50s "sexpot" mold, and was fairly busy onscreen until 1960; after that her screen work was infrequent, though she ultimately appeared in more than a half-dozen additional films. She claimed she was secretly wed to billionaire Howard Hughes in 1949, and that they were never divorced; for years she sued Hughes's estate for part of his will, and finally was given an undisclosed sum in an out-of-court settlement. She wrote a book detailing her secret life with Hughes from 1947-56, The Beauty and the Billionaire, in 1984. For her work in Come Back, Little Sheba (1952) she received a "Best Supporting Actress" Oscar nomination. She co-produced the film Beverly Hills Brat (1989), in which she also appeared.

Trivia: A dancer from childhood, Buddy Ebsen headlined in vaudeville in an act with his sister Velma. In 1935, Ebsen was signed by MGM as a specialty performer in The Broadway Melody of 1936, wherein he was shown to good advantage in several solos. He worked in a number of subsequent musicals, including Shirley Temple's Captain January (1936), teaming with Shirley for the delightful number "At the Codfish Ball." MGM assigned Ebsen to the role of the Scarecrow in 1939's The Wizard of Oz, but Ray Bolger, who'd been cast as the Tin Man, talked Ebsen into switching roles. The move proved to be Ebsen's undoing; he found that he was allergic to the silver makeup required for the Tin Man, fell ill, and was forced to bow out of the film, to be replaced by Jack Haley (however, Ebsen's voice can still be heard in the reprises of "We're Off to See the Wizard").Ebsen then returned to the stage, taking time out to provide the dancing model for a electronically operated wooden marionette which later was used at Disneyland. In 1950 Ebsen returned to films as comical sidekick to Rex Allen, gradually working his way into good character parts in "A" pictures like Night People (1955). Walt Disney, who'd remembered Ebsen from the dancing marionette, offered the actor the lead in his 1954 three-part TV production of Davy Crockett, but at the last moment engaged Fess Parker as Davy and recast Buddy as Crockett's pal George Russel. Ebsen continued to pop up in films like 1961's Breakfast at Tiffany's (as Audrey Hepburn's abandoned hometown husband), and in TV westerns, where he often cast his image to the winds by playing cold-blooded murderers. Comfortably wealthy in 1962 thanks to his film work and wise business investments, Ebsen added to his riches by signing on to play Jed Clampett in the TV sitcom The Beverly Hillbillies, which ran for nine years to excellent ratings. A millionaire several times over, Ebsen planned to ease off after Hillbillies, but in 1972 he was back in TV in the title role of Barnaby Jones. Few observers gave this easygoing detective series much of a chance, but they weren't counting on Ebsen's built-in popularity; Barnaby Jones lasted until 1980. The actor now confined himself to special events appearances and occasional guest-star roles, though he did play the recurring part of Lee Horsley's uncle in the final season of the TV mystery show Matt Houston (1983-85). One of Buddy Ebsen's final roles was in the 1993 theatrical film version of The Beverly Hillbillies -- not as Jed Clampett but in a cameo as Barnaby Jones!

Trivia: Born Boris Milanovich, Dexter was a square-jawed supporting player and former lead, often cast in tough character roles. As early as his first film, 1950's The Asphalt Jungle, the talented Dexter found himself overshadowed by the star power of Sterling Hayden, James Whitmore, Louis Calhern and Marilyn Monroe. Occasionally, Dexter was cast in a role that stuck in the memory banks, such as Bugsy Siegel in 1960's The George Raft Story. He also gained a degree of fame as the producer of such worthwhile films as The Naked Runner (1967) and The Lawyer (1970) and Little Fauss and big Halsy(1970); reportedly, he was able to gain a foothold as a producer thanks to Frank Sinatra, whom Dexter once saved from drowning. Brad Dexter married and divorced singer Peggy Lee.

Trivia: Mark Damon majored in literature and business administration at U.C.L.A., but it would be as an actor that he'd enter the professional world. Reaching his Hollywood peak in several Roger Corman productions of the 1960s (notably The Pit and the Pendulum), Damon went on to appear in European adventure films. In 1977, he formed his own production company, Producer Sales Organization; one of his first producing efforts was the movie version of Joseph Wambaugh's The Choirboys. Ten years later, Mark Damon founded another production firm, Vision International.

Trivia: A former physical culture model, handsome, blond Ken Clark (born Kenneth Donovan Clark) gave Richard Egan a run for his money in the beefcake sweepstakes at 20th Century Fox in the mid-'50s. But Clark, who also appeared on such television shows as The Jack Benny Program and Schlitz Playhouse of Stars, was dropped by Fox after Love Me Tender (1956, with Egan and, in his screen debut, Elvis Presley). He then drifted into low-budget fare, including what proved to be his most memorable film, the Roger Corman thriller Attack of the Giant Leeches (1959). After the failure of a proposed TV series -- Brock Callahan, based upon a character in William Campbell Gault's detective novels -- Clark went Europe, where he starred in such fare as Arizona Bill (1964) and as Agent 077 in two 1965 Italian spy movies. He resumed his Hollywood career in the '80s with such productions as Twice in a Lifetime (1985) and the mini-series Invasion (aka Robin Cook's Invasion) in 1997.

Trivia: Brooklyn-born Harvey Lembeck was a nightclub and Broadway comedian at the time of his 1951 film bow in You're in the Navy Now. The roly-poly, nasal-voiced Lembeck was most often cast as the wise-guy comedy relief in war films, most notably Stalag 17 (1953), in which Lembeck and bearlike Robert Strauss repeated their stage roles as "court jesters" in a dismal POW camp (the two actors would later be reteamed in the 1961 Jack Webb picture The Last Time I Saw Archie, not to mention a series of TV commercials in the mid-1960s). Harvey remained in uniform for a four-year hitch as Corporal Barbella on the popular 1950s Phil Silvers sitcom You'll Never Get Rich. In 1963's Beach Party, Lembeck made the first of several sidesplitting appearances as leather-jacketed Brando wannabe Eric von Zipper, whose attempts to prove his toughness to his fellow bikers always came a-cropper; in Beach Blanket Bingo, for example, he was cut in twain by a buzzsaw, moaning "Why Me?" even as his two halves fell bloodlessly to the floor. During the 1970s and early 1980s, Harvey Lembeck directed several TV sitcom episodes, and also operated a training school for aspiring comedians; carrying on the "family business" after Harvey's death was his son, actor/director Michael Lembeck.

Trivia: Child actor Skip Homeier began acting on radio in his native Chicago, which in the early 1930s was a major network center. Billed as "Skippy," he was one of the kiddie regulars on Let's Pretend, and for a while played the son of the heroine on the long-running soap opera Portia Faces Life. He was also frequently tapped for stage work in both the Midwest and New York. It was Homeier's chilling portrayal of a preteen Nazi in the Broadway production Tomorrow the World that led to his film debut in the 1944 movie version of that play. Typecast as a troublesome teenager thereafter, Homeier was finally permitted a comparatively mature role in Lewis Milestone's The Halls of Montezuma (1950). He worked steadily in westerns and crime films thereafter, occasionally billed as G. V. Homeier. It was back to "Skip" for his 1960 TV series Dan Raven. Alternating between Skip and G. V. Homeier for the rest of his career, the actor went on to co-star as Dr. Hugh Jacoby in the weekly TVer The Interns (1970-71) and to play supporting roles in such films as The Greatest (1977) and the made-for-TV The Wild Wild West Revisited (1979). Homeier died in 2017, at age 86.

Trivia: What do actors Gig Young, Anne Shirley, and L.Q. Jones have in common? All of them lifted their show-biz names from characters they'd portrayed on screen. In 1955, University of Texas alumnus Justice McQueen made his film debut in Battle Cry, playing a laconic lieutenant named L.Q. Jones. McQueen liked his character so much that he remained L.Q. Jones offscreen ever after (though he never made it legal, still listing himself as Justice Ellis McQueen in the 1995 edition of Who's Who). A natural for westerns both vocally and physically, Jones played supporting roles in several big-screen oaters, and was seen on TV as Smitty on Cheyenne (1955-58) and as Belden on The Virginian (1964-67). Jones gained a measure of prominence in the films of Sam Peckinpah, notably Ride the High Country (1961) and The Wild Bunch (1969). Turning to the production side of the business in the early 1970s, L. Q. Jones produced and co-starred in the 1971 film Brotherhood of Satan; he also co-produced, directed, adapted and played a cameo (as a porn-movie actor!) in the fascinating 1975 cinemazation of Harlan Ellison's A Boy and His Dog, a tour de force that won Jones a Hugo Award from America's science fiction writers.

Trivia: Twice in his career, once in the late '30s and again at the end of the 1940s, it seemed as though Tod Andrews was poised for a major career, first in movies and later on Broadway. Somehow, however, he never realized the promise that was shown at those two points in his life. There is much that is mysterious about the early career of this actor who, at one time, bid fair to become another Henry Fonda; beyond the two different names that he worked under in movies, there were multiple years of birth reported, anywhere from 1914 to 1920, different places of birth, and original names ranging from John Buchanan to Ted Anderson. He was definitely raised in California, and initially took up acting (along with journalism) at Washington State College to overcome a neurotic shyness. He later joined the Pasadena Playhouse, specializing in male ingenue roles, and was seen there in the play Masque of Kings by author Maxwell Anderson, who encouraged him to continue in his acting career. He made it to New York and it was in a production of My Sister Eileen, in the role of one of the "six future admirals" from Brazil, that he was spotted by Jack L. Warner, the head of Warner Bros., and offered a screen test. He passed it, was duly signed up, and first began working in movies under the name Michael Ames. He played uncredited parts in such big-budget features as Dive Bomber and They Died With Their Boots On, and got his first screen credit in a small role in the feature International Squadron, which seemed to bode well for his future. His subsequent vehicles, however, were mostly in the B-movie category, including the Warner Bros. crime drama I Was Framed (which seemed like a warmed-over rewrite of the John Garfield vehicle Dust Be My Destiny) and Truck Busters, a cheap remake of a James Cagney vehicle that was more than a decade old. He was cast as Don Ameche's son in the big-budget 20th Century Fox fantasy-comedy Heaven Can Wait but then turned up in a pair of ultra-cheap horror thrillers, Voodoo Man and Return of the Ape Man, playing the callow male heroes in both. By this time, he was using both his Tod Andrews and Michael Ames personae, depending upon the prominence of the production, but after 1944 Michael Ames disappeared entirely. Dispirited by his first experience of Hollywood, Andrews headed for New York, where he was fortunate enough to join the Margo Jones Company, through which, in 1948, he was cast as the lead in the new Tennessee Williams play Summer and Smoke. His career on Broadway seemed headed in directions that Hollywood never afforded him; having outgrown his youthful callowness, he retained a touch of vulnerability and sensitivity that projected well on the stage. Andrews was seen during the run of the Williams play by producer/director Joshua Logan, who made note of the actor's qualities. He returned to Hollywood briefly in 1950 to play a lead role in Ida Lupino's drama Outrage and then Broadway beckoned again, with one of the best parts of the period -- Henry Fonda was set to leave the title role in the stage production of Mr. Roberts. The director, Joshua Logan, remembered Andrews, who inherited the role for the remainder of its Broadway run and the national tour that followed. Six good years followed, in which the actor enjoyed his good fortune on the stage and was never out of work. He also returned to Hollywood once more, for work in the excellent wartime drama Between Heaven and Hell for Fox. And then something bizarre happened in his career -- what it was may never be known, because all of the principals involved are gone -- Andrews, established Broadway and theatrical star, subject of columnists and feature writers, suddenly turned up the following year in the cheap Allied Artists B-horror film From Hell It Came, playing the hero-scientist battling a killer tree stump on a radioactive South Pacific island. He did well enough in the part, but this was not the sort of film -- the whole production budget was smaller than the outlay on film stock alone for Between Heaven and Hell -- that was going to enhance the professional standing of anyone with an actual career. Andrews next turned up on television, playing Colonel John Singleton Mosby in the syndicated adventure series The Gray Ghost, before returning to the theater. He seemed to be doing well enough until 1961, when, days before the opening of a new play appropriately entitled A Whiff of Melancholy, he attempted suicide. He later said that it was a result of stress over the role. He resumed his career after a convalescence and next turned up in movies in 1965, as Captain Tuthill in Otto Preminger's World War II action blockbuster In Harm's Way. He later made a small but impressive appearance as a defense attorney in Ted Post's Hang 'Em High and had an excellent scene in Post's Beneath the Planet of the Apes, as James Franciscus's stricken commanding officer. Andrews' final screen appearances were as the President of the United States in the political thriller The President's Plane Is Missing (1973), and as a doctor in the chiller The Baby, released a year later.

Trivia: Relatively few people remember the name Biff Elliot today, but as an actor, he carved a special place for himself in popular culture during the '50s -- in a role that he spent years living down. Born Leon Shalek in Lynn, MA, a working-class town, he aspired to an acting career and came to New York in pursuit of that goal. He got some stage and television work, mostly playing tough, working-class characters, and then a seemingly big break in Hollywood playing the lead role in the crime thriller I, The Jury (1953), directed by Harry Essex. In the history of popular culture, Ralph Meeker might have earned a place playing Mike Hammer in the best movie ever made from one of Mickey Spillane's books; Spillane himself may have played the best Mike Hammer on the big-screen (and Brian Keith the best Mike Hammer on the small-screen); but Biff Elliot had the honor of being the first actor to portray Mike Hammer anywhere in that 1953 movie (made in 3-D) based on the first of the Hammer books. It should have been a breakthrough role, but the movie ended up being an albatross around his neck. Over the next few years, there were other offers for more roles in which, in the manner of Spillane's hero, he was mostly pummeling other characters. Elliot did get some film work in movies such as Between Heaven and Hell, Good Morning, Miss Dove, and The Enemy Below (as the ship's quartermaster) at Fox, and Pork Chop Hill for Lewis Milestone at United Artists, but mostly he worked in television. In 1959, Elliot got a seemingly good break when playwright Clifford Odets happened to see I, The Jury and offered him a role in The Story on Page One, which Odets wrote and directed. Alas, the latter movie fizzled -- mostly thanks to Odets's convoluted approach to directing -- and did nothing to help the career of anyone in it. Elliot was mostly seen on television over the next decade or so in roles of varying sizes -- in the Star Trek episode "The Devil in the Dark" as Schmitter, the mining colony crewman joking about the anticipated arrival of the Starship Enterprise who is dissolved by the title creature in the pre-credit sequence. During the '70s and '80s, he was once again seen regularly in movies, including the Jack Lemmon vehicles Save the Tiger (1973), The Front Page (1975) and That's Life (1986). Elliot died of natural causes at age 89 in 2012.

Trivia: Tall, stony-faced, white-maned Frank Gerstle is most familiar to the baby-boomer generation for his many TV commercial appearances. In films from 1949 through 1967, Gerstle was generally cast as military officers, no-nonsense doctors and plainclothes detectives. His screen roles include Dr. MacDonald in DOA (1949), "machine" politician Dave Dietz in Slightly Scarlet (1954) and the district attorney in I Mobster (1959). Some of his more sizeable film assignments could be found in the realm of science fiction, e.g. Killers From Space (1953), The Magnetic Monster (1953) and Wasp Woman (1960). A prolific voiceover artist, Frank Gerstle pitched dozens of products in hundreds of TV and radio ads, and was a semi-regular on the 1961 prime-time cartoon series Calvin and the Colonel.

Trivia: Juvenile performer Carl Switzer and his brother, Harold, began singing at local functions in their Illinois hometown. While visiting an aunt in California, the Switzer boys accompanied their mother to Hal Roach Studios, then proceeded to warble a hillbilly ditty in the Roach cafeteria. This performance won them both contracts at Roach, though only Carl achieved any sort of stardom. Nicknamed "Alfalfa," Carl became a popular member of the Our Gang kids, his performances distinguished by his cowlicked hair, vacuous grin, and off-key singing. Few who have seen The Our Gang Follies of 1938 can ever forget the sight of Alfalfa being pelted with tomatoes as he bravely vocalizes the immortal aria "I'm the Bar-ber of Sevilllllle!" The boy remained with Our Gang when Roach sold the property to MGM in 1938; his last Gang short was 1940's Kiddie Kure. Switzer found it hard to get film roles after his Our Gang tenure, especially when he began to mature. By the early '50s, his movie appearances had dwindled to bits. Switzer's handful of worthwhile adult film roles include a 100-year-old Indian in director William Wellman's Track of the Cat (1954); he was also a semi-regular on Roy Rogers' TV series. Throughout most of the 1950s, he supported himself as a hunting guide and bartender. Miles removed from the lovable Alfalfa, 32-year-old Carl Switzer was killed in a boozy brawl over a 50-dollar debt.

Trivia: One of Hollywood's premiere impressionists and comedians, Frank Gorshin is best remembered for his hypo-manic portrayal of the villainous, green-clad Riddler from the campy Batman television series of the 1960s. Gorshin made his film debut in the 1955 action-drama Hot Rod Girl. As a movie actor, Gorshin has spent the bulk of his career appearing in low-budget fare, but he has also worked in a few major features including Meteor Man (1993) and gave a well-received supporting performance in Terry Gilliam's 12 Monkeys (1996). He has also been on television as a guest star on comedies, dramas, and variety shows. Lovers of the first Star Trek series will know Gorshin from the anti-prejudice episode, "Let That Be Your Last Battlefield." Following the demise of the Batman series, Gorshin continued his film career as a character actor.

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: Ray Montgomery was a gifted character actor who spent his early career trapped behind a too-attractive face, which got him through the studio door in the days just before World War II, but limited him to callow, handsome supporting roles. Born in 1922, Montgomery joined Warner Bros. in 1941 and spent the next two years working in short-subjects and playing small, uncredited parts in feature films, including All Through The Night, Larceny, Inc., Air Force, and Action In The North Atlantic -- in all of which he was overshadowed by lead players such as Humphrey Bogart, Edward G. Robinson, and John Garfield, and the veteran character actors in supporting roles (including Alan Hale, William Demarest, Frank McHugh, Barton McLane, and Edward Brophy) at every turn. And even in The Hard Way as Jimmy Gilpin, he was overshadowed (along with everyone else) by Ida Lupino. Montgomery went into uniform in 1943 and didn't return to the screen until three years later, when he resumed his career precisely where he left off, playing a string of uncredited roles. He got what should have been his breakthrough in 1948 with Bretaigne Windust's comedy June Bride, and his first really visible supporting role -- but again, he was lost amid the presence of such players as Robert Montgomery and Bette Davis and a screwball-comedy story-line. It was back to uncredited parts for the next few years, until the advent of dramatic television. In the early 1950s, after establishing himself on the small-screen as a quick study and a good actor, Montgomery finally got co-starring status in the syndicated television series Ramar of the Jungle, playing Professor Howard Ogden, friend and colleague of the Jon Hall's title-character in the children's adventure series. The show was rerun on local television stations continuously into the 1960s. By then, Montgomery had long since moved on to more interesting parts and performances in a multitude of dramatic series and feature films. He proved much better with edgy character roles and outright bad guys than he had ever been at playing good natured background figures -- viewers of The Adventures of Superman (which has been in reruns longer than even Ramar), in particular, may know Montgomery best for two 1956 episodes, his grinning, casual villainy in the episode "Jolly Roger" and his sadistic brutality in "Dagger Island", where his character convincingly turns on his own relatives (as well as a hapless Jimmy Olsen). He could do comedy as well as drama, and was seen in multiple episodes of The Lone Ranger, The Gale Storm Show, and Lassie, in between movie stints that usually had him in taciturn roles, such as Bombers B-52 (1957) and A Gathering of Eagles (1963). During the 1960s, the now-balding, white-haired Montgomery was perhaps most visible in police-oriented parts, as a tough old NYPD detective in Don Siegel's Madigan (1968) and as an equally crusty (but sensitive) LAPD lieutenant in the Dragnet episode "Community Relations: DR-17". Montgomery's last screen appearance was in the series Hunter -- following his retirement from acting, he opened a notably successful California real estate agency.

Trivia: Pop-eyed British comic actor Bernard Bresslaw appropriately played Popeye, a dimbulbed private on the popular BBC-TV comedy series The Army Game (1957-62). This led to the revitalization of a film career that had begun somewhat ignominiously in 1954's Men of Sherwood Forest. Bresslaw was starred in the tacky but undeniably funny film farce I Only Arsked! (1958) and provided comic support in such films as Too Many Crooks (1959) and The Ugly Duckling (1965). Coming to grips with encroaching baldness, Bresslaw could be seen in older character parts in films like Morgan (1966) and Moon Zero Two (1969). His bag of comic tricks running on empty in the mid 1960s, Bernard Bresslaw sustained his film career by becoming a member of the lunatic "Carry On" ensemble in 14 movies with titles like Carry on Cowboy (1965), Carry on Doctor (1968) and Carry on Dick (1975); he also showed up briefly plying his laugh-grabbing trade in Disney's One of Our Dinosaurs is Missing (1975) and the Monty Pythonesque Jabberwocky (1979).

Trivia: Hugh Burden was a British playwright and actor, most prolific in the latter category in movie character parts. Born in Ceylon and educated in England, Burden made his stage debut in 1933. Nine years later he appeared in his first film, One of Our Aircraft is Missing (1941), perhaps the best showcase up to its time for male British talent. The quality of Hugh Burden's films ranged from the heights of No Love for Johnnie (1961) and Funeral in Berlin (1966) to the depths of The House in Nightmare Park (1973), but the actor never stinted in giving every role his best shot.

Trivia: British actor Percy Herbert was launched on a stage career through the auspices of theatrical legend Dame Sybil Thorndike. In his earliest screen appearances, Herbert specialized in talkative cockneys; as he grew older, the Bow-Bells dialect lapsed and he often as not was seen as a Scotsman or American. An ideal "military" type, Herbert was well cast in such films as The Baby and the Battleship (1955), Bridge on the River Kwai (1957), and, best of all, Tunes of Glory (1960). He was also a perennial in British-based horror and fantasy films, notably Curse of the Demon (1957), Enemy from Space (1957) and a brace of Harryhausen pictures, Mysterious Island (1961, as a hammy Confederate soldier) and One Million Years BC (1966). In 1967, Percy Herbert was seen as deputy McGregor on the 90-minute TV western Cimmaron Strip.

Trivia: On-stage from 1927, slight, sharp-featured British actress Joan Hickson began appearing in films in 1933, playing character roles in such productions as The Man Who Could Work Miracles and Love From a Stranger (both 1937). She spent the next five decades essaying unstressed but memorable performances as cooks, housekeepers, landladies, and in-laws. Just before turning 80, she achieved stardom as busybody amateur sleuth Miss Marple in a series of British TV productions based on the works of mystery writer Dame Agatha Christie. Joan Hickson made her final appearance as Miss Marple in 1992, as sprightly as ever at age 86.

Trivia: The younger brother of stage and film star Leslie Howard, Arthur Howard began his own screen career in 1947. Never as big a name as his brother, Howard was generally seen in minor roles as clerks, schoolmasters, and the like. Undoubtedly his best film opportunity was as Arthur Ramsden in the droll Ealing comedy The Happiest Days of Your Life (1950). He also enjoyed a measure of fame as fussy Professor Pettigrew on the BBC radio and TV comedy series Whack-O. Arthur Howard continued popping up in fleeting cameos in films like Another Country (1984) until the early '90s.

Trivia: British comic actor Roy Kinnear received his training at the Theatre Workshop, and made his film debut in 1962's Tiara Tahiti. Short and already balding in his 20s, Kinnear resigned himself early on to character roles; his comic gifts enabled the actor to expand his range as a writer/performer on the fabled early-'60s British TV satirical series That Was the Week That Was. Kinnear became an American favorite for his role as mad scientist Victor Spinetti's harried assistant in the 1965 Beatles film Help!. It was the launching pad of a film career comprised mostly of comic relief and cameo roles. One of Kinnear's most popular film appearances was a two-minute bit specially written for him in A Funny Thing Happened on the Way to the Forum (1967), wherein the actor played a trainer of Roman gladiators who conducted his classes in the manner of a golf instructor. Richard Lester, director of both Help! and Forum, cast Kinnear as long-suffering lackey Planchet in the star-studded 1974 filmization of The Three Musketeers, and its sequel (shot simultaneously) The Four Musketeers (1974). With virtually every cast member -- especially Raquel Welch -- clowning it up in the Musketeers films, Kinnear's routines for the first time seemed intrusive. After a decade of variable roles, Kinnear was cast as The Common Man in the 1987 Charlton Heston remake of A Man for All Seasons; it was a brilliant tour de force, with Kinnear displaying a full and versatile range from low comedy to subtle pathos. While recreating his Planchet role in Return of the Musketeers, filmed on location in Spain, Roy Kinnear fell from a horse during a comic chase scene, suffered a heart attack, and died at the age of 54; that film premiered in 1989. Kinnear had completed work on his penultimate feature -- doing one of the voices for the kiddie cartoon The Princess and the Goblin -- not long before his death. It wrapped production in 1992 and took its stateside bow in 1994.

Trivia: Lead actress, onscreen from 1970.

Trivia: Bantam-weight Scotsman John Laurie abandoned a career in architecture when he first stepped on stage in 1921. Laurie spent most of the next five decades playing surly, snappish types: the taciturn farmer who betrays fugitive Robert Donat in Hitchcock's The 39 Steps (1935), the repugnant Blind Pew in Disney's Treasure Island (1950) et. al. A friend and favorite of Laurence Olivier, Laurie showed up in all three of Olivier's major Shakespearean films. He played Captain Jamie in Henry V (1944), Francisco ("For this relief, much thanks") in Hamlet (1948) and Lord Lovel in Richard III (1955). Intriguingly, Olivier and Laurie portrayed the same historical character in two entirely different films. Both portrayed the Mahdi, scourge of General "Chinese" Gordon: Laurie essayed the part in The Four Feathers (1939), while Olivier played the role in Khartoum (1965). Millions of TV fans worldwide have enjoyed Laurie in the role of Fraser on the BBC sitcom Dad's Army. One of John Laurie's few starring assignments was in the 1935 film Edge of the World, set on the remote Shetland isle of Foula; 40 years later, a frail-looking Laurie was one of the participants in director Michael Powell's "reunion" documentary Return to the Edge of the World (1978).

Trivia: Breaking into show business at 16 as the assistant to a "drunken magician" British character actor Peter Madden held down jobs ranging from race-car driver to stand-up comedian before settling into acting. He was frequently cast as slightly tattered politicians, as witness Nothing but the Best (1964) and Dr. Zhivago (1965). His deadpan portrayal of a Tibetan lama was one of the highlights of the otherwise patchy Hope-Crosby vehicle Road to Hong Kong (1962). Espionage fans will remember Peter Madden as Hobbs, John Drake's (Patrick McGoohan) immediate superior, on the mid-1960s TVer Secret Agent.

Trivia: British character actor, onscreen from the '50s.

Trivia: Though he regularly worked on screen, stage, and television, veteran British actor Jon Pertwee may best be remembered for playing the third Dr. Who in the long-running British sci-fi television series of the same name from 1970 to 1974. The son of actor Roland Pertwee, he started out on-stage and then made his feature film debut in A Yank at Oxford (1937). A string of popular films followed, but Pertwee temporarily abandoned movies to serve with the British Navy during WWII. Upon his return, he reestablished his film career and subsequently proved himself a gifted and multi-talented artist; while appearing in a series of Carry On films, he was compared to Danny Kaye. After leaving the Dr. Who series, Pertwee appeared in several London West End musicals and also returned to feature films such as One of Our Dinosaurs Is Missing and The House That Dripped Blood (1971). In 1978, Pertwee became the homeless but lovable bum Worzel Gummedge on the children's show Worzel Gummedge. Up until the time of his death on May 20, 1996, Pertwee enjoyed making guest appearances at Dr. Who conventions.

Trivia: South African actor Wensley Pithey played character roles on stage, radio, television, and in many feature films in his native country and in Great Britain. He is especially noted for his convincing impersonations of Winston Churchill.

Trivia: Born in New Zealand, comic actor Clive Revill attended that country's Rongotai College, then made his first stage appearance in Auckland at age 20. After appearing on Broadway in the 1952 musical Mr. Pickwick, Revill spent three years with Britain's Ipswich Repertory. He was nominated for Tony Awards for his performances in Broadway's Irma La Douce and Oliver!; his later New York appearances included the starring roles of Sheridan Whiteside in Sherry, the 1972 musicalization of The Man Who Came to Dinner, and playwright/critic Max Beerbohm in The Incomparable Max. In films, Revill essayed "campy" characterizations in such 1960s projects as Modesty Blaise (1966), Fathom (1967) and The Private Life of Sherlock Holmes (1969); on television, he was brilliantly cast as Charlie Chaplin in the 1980 TV movie The Scarlet O'Hara Wars, and portrayed "black arts" purveyor Vector in the 1983 series Wizards and Warriors. Clive Revill's most recent credits include a cameo as the Sherwood Forest fire marshal in Mel Brooks' Robin Hood: Men in Tights, and the voice of Alfred the Butler on the Fox Television Network's Batman: The Animated Series (1992- ).