Trivia: The son of a sales engineer and born in New Orleans, Jeffrey Hunter was raised in Milwaukee, WI. While still in high school, Hunter acted on Milwaukee radio station WTMJ; this led to summer stock work. After serving in the Navy, Hunter attended Northwestern University, where he continued his stage appearances and was featured in the 1950 film version of Julius Caesar, which starred Charlton Heston. Attending U.C.L.A. on a scholarship, Hunter was spotted by a Hollywood agent while starring in a school production of All My Sons. He made his first "mainstream" film appearance in 20th Century Fox's Fourteen Hours, a film which also served as the debut for Grace Kelly. His movie career gained momentum after he co-starred with John Wayne in the Western classic The Searchers (1956). In 1961, Jeffrey Hunter was cast as Jesus Christ in The King of Kings; the actor's youthful appearance prompted industry wags to dub the picture "I Was a Teenaged Jesus," though in fact Hunter was 33 at the time. Few of his post-King of King roles amounted to much, and by 1967 he was one of several former Hollywood luminaries knocking about in European films. From 1950 through 1955, Hunter was married to actress Barbara Rush, who years after the divorce would remember Hunter fondly as the handsomest man she ever met. Jeffrey Hunter died of a concussion at 42, after an accidental fall in his home.

Trivia: Actress Siobhan McKenna was raised in a cultured Belfast household where nothing but Gaelic was spoken. Accordingly, she made her stage debut at Galway's Gaelic Theatre in 1940, then moved on to English-language productions at Dublin's Abbey Theatre. McKenna's first London production was 1947's the White Steed; her Broadway bow, as Miss Madrigal in The Chalk Garden, occurred seven years later. In 1959, McKenna emulated such actresses as Sarah Bernhardt and Judith Anderson by successfully tackling the male role of Hamlet. Explaining her skimpy movie output by noting "It's mostly a theatre bird I am," McKenna nonetheless contributed cherished performances in such films as The King of Kings (1961) (as the Virgin Mary), Playboy of the Western World (1962) and Doctor Zhivago (1965). McKenna's American following was largely predicated on her many appearances on the TV anthology Hallmark Hall of Fame. Siobhan McKenna was long married to fellow Abbey Theatre veteran Dennis O'Dea.

Trivia: It was his failure as a playwright that led Robert Ryan to a three-decade career as an actor. He was a unique presence on both the stage and screen, and in the Hollywood community, where he was that rarity: a two-fisted liberal. In many ways, at the end of the 1940s, Ryan was the liberals' answer to John Wayne, and he even managed to work alongside the right-wing icon in Flying Leathernecks (1951). The son of a successful building contractor, Ryan was born in Chicago in 1909 and attended Dartmouth College, where one of his fraternity brothers was Nelson Rockefeller. He was a top athlete at the school and held its heavyweight boxing title for four straight years. Ryan graduated in 1932, during the depths of the Great Depression, and intended to write plays. Finding no opportunities available in this field, he became a day laborer; he stoked coal on a ship bound for Africa, worked as a sandhog, and herded horses in Montana, among other jobs. Ryan finally had his chance to write as a member of a theater company in Chicago, but proved unsuccessful and turned to acting. He arrived in Hollywood at the end of the '30s and studied at the Max Reinhardt Workshop, making his professional stage debut in 1940. He appeared in small roles for Paramount Pictures, but Ryan's real film career didn't begin until several years later. He returned east to appear in stock, and landed a part in Clifford Odets' Clash by Night, in which he worked opposite Tallulah Bankhead and got excellent reviews. Ryan came to regard that production and his work with Bankhead as the pivotal point in his career. The reviews of the play brought him to the attention of studio casting offices, and he was signed by RKO. The actor made his debut at the studio in the wartime action thriller Bombardier. It was a good beginning, although his early films were fairly lackluster and his career was interrupted by World War II -- he joined the Marines in 1944 and spent the next three years in uniform. Ryan's screen career took off when he returned to civilian life in 1947. He starred in two of the studio's best releases that year: Jean Renoir's The Woman on the Beach and Edward Dmytryk's Crossfire, the latter an extraordinary film for its time dealing with troubled veterans and virulent anti-Semitism, with Ryan giving an Oscar-nominated performance as an unrepentant murderer of an innocent Jewish man. He continued to do good work in difficult movies, including the Joseph Losey symbolic drama The Boy With Green Hair (1948) and with Robert Wise's The Set-Up (1949). The latter film (which Ryan regarded as his favorite of all of his movies) was practically dumped onto the market by RKO, though the studio soon found itself with an unexpected success when the film received good reviews, it was entered in the Cannes Film Festival, and it won the Best Picture award in the British Academy Award competition. Ryan also distinguished himself that year in Dmytryk's Act of Violence and Max Ophüls' Caught, Nicholas Ray's On Dangerous Ground in 1951, and then repeated his stage success a decade out in Fritz Lang's Clash by Night (1952). Along with Robert Mitchum, Ryan practically kept the studio afloat during those years, providing solid leading performances in dozens of movies. In the late '50s, he moved into work at other studios and proved to be one of the most versatile leading actors in Hollywood, playing heroes and villains with equal conviction and success in such diverse productions as John Sturges' Bad Day at Black Rock (1955), Anthony Mann's God's Little Acre (1958), Wise's Odds Against Tomorrow (1959), and Peter Ustinov's Billy Budd (1962). Even in films that were less-than-good overall, he was often their saving grace, nowhere more so than in Ray's King of Kings (1961), in which he portrayed John the Baptist. Even during the late '40s, Ryan was never bashful about his belief in liberal causes, and was a highly vocal supporter of the so-called "Hollywood Ten" at a time when most other movie professionals -- fearful for their livelihoods -- had abandoned them. He was also a founder of SANE, an anti-nuclear proliferation group, and served on the board of the American Civil Liberties Union. During the early '50s, he'd fully expected to be named in investigations and called by the House Select Committee on Un-American Activities or Senator Joseph R. McCarthy, but somehow Ryan was never cited, despite his public positions. In later years, he attributed it to his Irish last name, his Catholic faith, and the fact that he'd been a marine. Considering his career's focus on movies from the outset, Ryan also fared amazingly well as a stage actor. In addition to Clash by Night, he distinguished himself in theatrical productions of Shakespeare's Coriolanus in 1954 at Broadway's Phoenix Theater and a 1960 production of Antony and Cleopatra opposite Katharine Hepburn at the American Shakespeare Festival. (Hepburn later proposed him for the lead in the Irving Berlin musical Mr. President in 1962.) Ryan's other theatrical credits included his portrayal of the title role in the Nottingham (England) Repertory Theater's production of Othello, Walter Burns in a 1969 revival of The Front Page, and James Tyrone in a 1971 revival of Long Day's Journey Into Night. Not all of Ryan's later films were that good. His parts as the American field commander in Battle of the Bulge and Lee Marvin's army antagonist in The Dirty Dozen were written very unevenly, though he was good in them. He was also a strange choice (though very funny) for black comedy in William Castle's The Busy Body, and he wasn't onscreen long enough (though he was excellent in his scenes) in Robert Siodmak's Custer of the West. But for every poor fit like these, there were such movies as John Sturges' Hour of the Gun and Sam Peckinpah's The Wild Bunch, in which he excelled. His success in Long Day's Journey Into Night was as prelude to his last critical success, as Larry in John Frankenheimer's The Iceman Cometh (1973). Ironically, at the time he was playing a terminally ill character in front of the camera, Ryan knew that he was dying from lung cancer. During this time he also filmed a hard-hitting anti-smoking public service announcement that directly attributed his condition to his long-time heavy use of cigarettes.

Trivia: Though hardly the easiest actor in the world to properly cast, Hurd Hatfield can claim at least two unforgettable film portrayals. Born in New York and educated at Columbia University, Hatfield was trained at England's Chekhov Drama School (Michael Chekhov, not Anton) and made his stage debut in London. He was personally selected by eccentric filmmaker Albert Lewin to play the title role in the 1945 movie version of The Picture of Dorian Gray. It was an astonishing performance, one that proved virtually untoppable for Hatfield; nothing he would do in his sporadic film appearances of the 1940s and 1950s came close to this personal triumph. After several years on stage, Hatfield was cast as Pontius Pilate in Nicholas Ray's filmization of The King of Kings (1961) -- another brilliant, matchless characterization. Perceived as a "cold fish" in his leading-man days, Hatfield was able to use his sang-froid to his advantage in such roles as Paul Bern in Harlow (the 1965 Carol Lynley version) and the middle-aged sex deviate in The Boston Strangler (1968). The best of Hurd Hatfield's most recent screen appearances was his portrayal of an inconvenient and troublesome grandparent in Crimes of the Heart (1986).

Trivia: Though of the same era as her Swedish compatriots Greta Garbo and Ingrid Bergman, talented and beautiful leading lady of stage and screen Viveca Lindfors never achieved their superstar status due in large part to working in movies that inadequately displayed the full extent of her ability and charismatic personality. Still, she earned accolades and awards from critics and film societies around the world, including two awards from the prestigious Berlin Film Festival. Born Elsa Viveca Torstensdotter Lindfors in Uppsala, Sweden, she learned to act at the Royal Dramatic Theater in Stockholm. She made her Swedish film debut in Snurriga Familjen (1940). For the next six years, she would appear in more films and establish a stage career. Moving to Hollywood in 1946, she contracted herself to Warner Bros. studios and two years later starred opposite Errol Flynn in The Adventures of Don Juan (1948); however, in 1947, she appeared in Night Unto Night, Ronald Reagan's first starring role, but the film was not released until 1949. The following year, she debuted in her first French film, Singoalla. She made her first Broadway appearance playing the lead in Anastasia. Other memorable stage roles include Miss Julie (1955), Brecht on Brecht (1961), and I Am Woman (1973), a one-woman show. For her filmwork, Lindfors won her first Best Actress Award from the BFF in 1951 for Die Vier im Jeep (Four in a Jeep). Her second BFF Best Actress Award was for her role in Huis Clos (No Exit) (1962). In her personal life, Lindfors was renowned for her numerous romantic liaisons -- this in a decade when such behavior was considered shocking. She claims to have married the first of her four husbands just to prove that a promiscuous woman could indeed marry a decent man. Unlike many actresses for whom the aging process marks the death of their careers, Lindfors grew gracefully into her latter years, gaining a dignified beauty and an even more commanding presence in such films as Welcome to L.A. and Robert Altman's A Wedding (1978). In 1985, she made her debut as a screenwriter and director with Unfinished Business. Lindfors made her final film appearance in Henry Jaglom's Last Summer in the Hamptons (1995). She died in October that year of complications from rheumatoid arthritis in her home town of Uppsala.

Trivia: Street-smart leading actor Harry Guardino entered films in 1952 after several years of knocking around the New York stages. The best of his early film roles was Cary Grant's comic handyman in 1958's Houseboat. Guardino worked extensively in European productions in the 1960s, playing such parts as Barabbas in 1961's King of Kings. Among Harry Guardino's many TV assignments were the title role in the 1964 New York-based series The Reporter and the "Bogart/Bond" hero on the syndicated 1971 weekly Monty Nash. He made his final film appearance in Fist of Honor (1991).

Trivia: Rip Torn may qualify as a "character actor" in the broadest sense of the term -- he typically fleshes out variations on the same role again and again, typecast as genially earthy, volatile, and loudmouthed good old boys. But, love him or hate him, Torn's roles over the course of more than half a century are distinct and pronounced enough to have elevated him above many of his contemporaries, into a veritable staple of American cinematic pop culture.Born Elmore Rual Torn, Jr. in Temple, TX, on February 6, 1931, and nicknamed "Rip" by his father, Torn attended Texas A&M as an undergraduate and studied animal husbandry. He intended to establish himself as a rancher after graduation, but first opted to pursue an acting career as a means to buy a ranch, mistakenly believing that he would hit Hollywood and achieve instant stardom. Instead, Torn scrounged around Los Angeles for several years as a dishwasher and short-order cook, but continued to pursue acting in his off time. Torn's persistence paid off, and he eventually landed several bit parts in movies and television series. He moved to Manhattan in the late '50s, where he formally studied acting under Lee Strasberg and danced under the aegis of Martha Graham; a wealth of movie roles followed over the next several decades, beginning with that of Brick in Actors Studio associate Elia Kazan's controversial classic Baby Doll (1956, with a script by Tennessee Williams) and, a few years later, the role of Finley in another Williams drama, the Richard Brooks-directed Sweet Bird of Youth (for which Torn received a great deal of notoriety). Additional supporting roles throughout the late '60s and early '70s included Slade in Norman Jewison's The Cincinnati Kid (1965), I.H. Chanticleer in Francis Ford Coppola's You're a Big Boy Now (1966), and Sgt. Honeywell in Cornel Wilde's Beach Red (1967).In the late '60s, two key (albeit temporary) shifts occurred in Torn's career. First, he went counterculture (and arthouse) with an unofficial trilogy of experimental roles. In the most pronounced -- Joe Glazer in Milton Moses Ginsberg's Coming Apart (1969, opposite Andy Warhol regular Sally Kirkland) -- Torn plays a nutty psychiatrist who specializes in female neuroses and decides to film all of his sessions, then his own mental breakdown. (Ginsberg films all of the action as reflected in a mirror.) The X-rated picture -- which features graphic sequences of Kirkland performing fellatio on Torn -- was (and is still) widely derided as spectacularly bad. Variety hit the proverbial nail on the head in 1969 when it concluded, "The problem with Coming Apart is that while it suggests some interesting ideas, it can't deliver any of them in cogent form....The results are not satisfactory." Neither are the second or third installments in Torn's "experimental" phase: roles in the first and third features directed by literary giant Norman Mailer, Beyond the Law (1967) and Maidstone (1970). Of Law -- an improvisational, comic piece set in a precinct house (with Torn as a character called Popcorn), The Motion Picture Guide sneered, "Barney Miller may have been inspired by this movie," and Roger Ebert declared it unintentionally funny, but those were the kindest reactions. Maidstone -- a fragmented, barely coherent drama -- stars only Mailer, as a politician-cum-film director, and Torn. This partially improvised picture became notorious for an on-camera sequence in which Torn (playing Mailer's half-brother) attacks Mailer with a hammer (allegedly for real), sans forewarning, bloodying up the author's face while the actress playing his wife screams in the background. Some wrote the scene off as a fake, but many others dissented. Variety observed in 1970: "[Torn] states he had to do it to make his character real and for the film. But he claims he pulled the hammer and had never drawn blood before while acting. The Mailer character is furious and vindictive. Mailer would not disclose whether it was real or not, but it did look ferociously authentic...."The second "shift" of Torn's career in the early '70s yielded infinitely greater success: a pair of rare leads in A-list features. He played Henry Miller opposite Ellen Burstyn in Joe Strick's marvelous, picaresque adaptation of that author's novel, Tropic of Cancer, and the abusive, booze and pill-addled country singer Maury Dann in Daryl Duke's harrowing drama Payday (1973). The pictures opened to generally spectacular reviews and raves over Torn's portrayals; Variety, for one, termed his performance in the Duke picture "excellent."While these lead roles showcased limitless dramatic ability, they unfortunately marked exceptions to the rule, and for the remainder of the '70s, '80s, and '90s, Torn contented himself with an endless (albeit impressive) array of colorful supporting turns -- dozens of them. High points include Nathan Bryce in The Man Who Fell to Earth (1976); Dr. George in Coma (1978); the boozing, hell-raising, and philandering Senator Kittner in Jerry Schatzberg's The Seduction of Joe Tynan (1979); longhaired record producer Walter Fox in Paul Simon's One Trick Pony (1980); the pirate-like Scully in Carl Reiner's Summer Rental (1985); Buford Pope in Robert Benton's sex farce Nadine (1987); the none-too-gifted afterlife attorney Bob Diamond in Albert Brooks' fantasy Defending Your Life (1991); Zed in Men in Black (1997); acid-mouthed coach Patches O'Houlihan in the Ben Stiller comedy Dodgeball: A True Underdog Story (2004); and King Louis XV in Sofia Coppola's much-ballyhooed tertiary directorial outing, Marie Antoinette (2006). His low point undoubtedly arrived in 2001, when he played Tom Green's father, Jim Brody, in the controversial comedian's yuck-fest Freddy Got Fingered (2001). (A very low point; the film's comic highlight has Torn being showered with fake elephant ejaculate.)In addition to his film work, Torn made a series of critically acclaimed contributions to the small screen throughout the '80s and '90s, most vividly as Artie on HBO's Larry Sanders Show, for which he gleaned two Cable Ace awards, three Emmy nominations, and an Emmy for Best Supporting Actor in a Comedy Series. Torn did direct one feature, the 1988 Whoopi Goldberg vehicle The Telephone, which opened and immediately closed to devastating critical reviews and dismal box office.Torn was married to actress Ann Wedgeworth from 1956 until their divorce in 1961 and Geraldine Page from 1961 until her death in 1987, and is currently married to actress Amy Wright. He is the cousin of actress Sissy Spacek.

Trivia: Ron Randell was engaged in radio and stage work in his native Australia from his teens. Randell's first leading film role was as a real-life aviation hero in Smithy (1946). In Hollywood, Randell starred as fictional detectives Bulldog Drummond and the Lone Wolf, at the tail end of both of those characters' long-running B-picture series. He spent the 1950s fluctuating between American and British productions; he was featured as Cole Porter in Kiss Me Kate (1958) and starred in the 1957 TV espionage series O.S.S. Ron Randell continued his stage career into the 1990s, going on to join Tony Randall's National Actors Theater.

Trivia: Though Rita Gam was her real name, the Pittsburgh-born actress was castigated in some ill-informed circles for dreaming up a "nom de film" that alluded to her legs. Perhaps in response, she went to great lengths seeking out roles that relied on her talent rather than her looks. After tallying up some impressive credits on Broadway and live television, Gam made her motion-picture debut in director/star Ray Milland's no-dialogue feature The Thief (1951). Her subsequent Hollywood roles were largely unrewarding, so Gam went to Europe in search of worthwhile assignments. Her performance in the 1962 filmization of Sartre's No Exit won the actress several festival awards. She returned to America, where she played small roles in such New York-based films as Klute (1971) and Law and Disorder (1974) before inaugurating a second career as a documentary filmmaker. At one time, Rita Gam was married to director Sidney Lumet and was also a bridesmaid at Grace Kelly's wedding to Prince Rainier. Gam passed away in 2016, at age 88.

Trivia: Brigid Bazlen only ever made three movies, but because two of them -- King of Kings and How the West Was Won -- remain perennially popular early-'60s blockbusters, she is seen quite regularly in those parts by millions of viewers every year. Bazlen was dubbed "the next Elizabeth Taylor" when she was all of 15 years old, by which time she had nearly a decade under her belt as a professional actress. The daughter of Arthur Bazlen, a retail chain executive, and Maggie Daly, a newspaper columnist from Chicago, her aunts were the performing Daly Sisters, Maureen, Kay, and Sheila. Brigid Bazlen was first discovered at the age of seven, when she was seen by an executive from NBC while waiting for the school bus in front of her house. At the time, the network was in the process of casting a then-groundbreaking soap opera called Hawkins Falls, to be produced in Chicago, and this man asked to test her for the role of the daughter of the principal couple, played by Maurice Copeland and Bernadine Flynn. Her mother initially refused but later relented and allowed the girl to have a walk-on part -- she tested so well with the sponsors and audiences that she became a regular on the show for two seasons; on surviving kinescopes, even at that age, Bazlen looks hauntingly beautiful and beguiling in the role. After Hawkins Falls was cancelled two years later, Bazlen became the star of a children's program called The Blue Fairy, broadcast by WGN of Chicago, which won a Peabody Award in 1958. By that time, columnist Hedda Hopper had declared her "the Celtic Alice in Wonderland," and work was hers for the asking. Paddy Chayefsky wanted her for his Broadway play The Dybbuk of Woodlawn (which her mother declined) and Otto Preminger asked for her in a role in his planned shooting of Exodus, while Richard Rodgers and Oscar Hammerstein wanted her for a co-starring role with Mary Martin in a theatrical production, The Sound of Music. All of those offers were turned down by her mother, but the now-14-year-old Bazlen was cast by producer David Susskind in the live network drama Too Young to Go Steady. At five-foot-four and weighing 87 pounds, with haunting dark amber eyes, she was a precociously attractive teenager, which is how Bazlen came to enter into movies, at age 16, when she was cast as Salome in Samuel Bronston's production of King of Kings. The choice was probably not a wise one, for although there were some good elements in the movie, expecting the 16-year-old Bazlen to make a mark in a role as significant as that was absurd and her work was ridiculed in many critical circles (and in his memoirs by composer Miklos Rozsa, who had to score her dance sequence), along with many other aspects of the film. Bazlen's movie career seemed to sputter at that point, possibly also due to an ineffectual campaign by MGM to promote her as "the new American Bardot." In 1962, she was cast as the temptress daughter of river pirate Walter Brennan in How the West Was Won and that same year finally moved up to co-starring status, alongside Steve McQueen, in The Honeymoon Machine, a caper comedy. Bazlen never made another movie but frequently appeared on stage in Chicago until 1966, when she married singer Jean-Paul Vignon and gave up performing. The couple later divorced after having one child, Marguerite Vignon. Her mother later said that Bazlen had lost interest in acting as she grew older. The former actress died of cancer in 1989, several years after moving to Seattle, WA.

Trivia: Forceful Australian stage actor Frank Thring averaged about one movie appearance per year after his 1958 debut in A Question of Adultery. Eminently suited for Biblical roles--especially those calling for a touch of weary condescension--Thring was seen as Pontius Pilate in Ben Hur (1959) and as Herod Antipas in The King of Kings. Later on, he brought a tattered dignity to the character of "The Collector" in Mel Gibson's Mad Max movies. Children of the sixties will remember Frank Thring as the hissable sometimes villain in the Australian TV series Skippy, the Bush Kangaroo (1969).

Trivia: After sampling such professions as race-car driving and boxing, Briton Guy Rolfe turned actor in his early twenties. Rolfe made his first stage appearance in 1936, and that same year appeared fleetingly in his first film, Knight Without Armour (1936). The goateed, saturnine Rolfe alternated with ease between heroes and villains; he also brought as much commitment to such important roles as Caiphas in The King of Kings (1961) and Prince Grigory in Taras Bulba (1962) as he did to such negligible projects as Mister Sardonicus and Snow White and the Three Stooges (both 1961). Late in life, Guy Rolfe became a favorite of the slasher-movie crowd by appearing as insane puppet manufacturer Andre Toulon in the two Puppetmaster horror opuses.

Trivia: French character actor Maurice Marsac, in films since 1944's To Have and Have Not, has played dozens of maitre d's and concierges; he plays the waiter in The Jerk (1978) who must deflect Steve Martin's complaint that his plate of escargot is covered with snails. Less typical Maurice Marsac roles include Nicodemus in 1961's The King of Kings and Charles DeGaulle in the 1982 TV biopic Jacqueline Bouvier Kennedy. Marsac's catchphrase was "how you say," as in "Monsieur, I have a gun. I am going to--how you say?--'scram' with zee loot." Marsac died of cardiac arrest on May 6, 2007 in Santa Rosa, California. He was 92.

Trivia: Cadaverous, hollow-eyed Royal Dano made his theatrical entree as a minor player in the Broadway musical hit Finian's Rainbow. Born in New York City in 1922, he manifested a wanderlust that made him leave home at age 12 to travel around the country, and even after he returned home -- and eventually graduated from New York University -- he often journeyed far from the city on his own. He made his acting debut while in the United States Army during World War II, as part of a Special Services unit, and came to Broadway in the immediate postwar era. In films from 1950, he received his first important part, the Tattered Soldier, in John Huston's 1951 adaptation of Stephen Crane's The Red Badge of Courage. Thereafter, he was often seen as a Western villain, though seldom of the cliched get-outta-town variety; in Nicholas Ray's Johnny Guitar (1954), for example, he fleshed out an ordinary bad-guy type by playing the character as a compulsive reader with a tubercular cough. He likewise did a lot with a little when cast as Mildred Natwick's deep-brooding offspring in Hitchcock's The Trouble With Harry. With his deep, resonant speaking voice and intense eyes, Dano could make a recitation of the telephone book sound impressive and significant, and some of his non-baddie characters include the prophet Elijah, who predicts the destruction of the Pequod and the death of Ahab, in Huston's Moby Dick (1956), Peter in The King of Kings (1961) and Mayor Cermak in Capone (1975); in addition, he played Abraham Lincoln in a multipart installment of the mid-'50s TV anthology Omnibus written by James Agee. On the small screen, the producers of The Rifleman got a huge amount of mileage out of his talent in five episodes in as many seasons, most notably in "Day of Reckoning" as a gunman-turned-preacher. He also appeared in memorable guest roles in the high-rent western series The Virginian, The Big Valley, and Bonanza, and had what was probably his best television role of all as the tragically insensitive father in the two-part Little House On The Prairie episode "Sylvia." Toward the end of his life, Royal Dano had no qualms about accepting questionable projects like 1990's Spaced Invaders, but here as elsewhere, he was always given a chance to shine; one of Dano's best and most bizarre latter-day roles was in Teachers (1982), as the home-room supervisor who dies of a heart attack in his first scene -- and remains in his chair, unnoticed and unmolested, until the fadeout.

Trivia: Edric Connor was one of the more prominent black actors in England from the early '50s until his death in 1968. Born in Mayaro, Trinidad, in the British West Indies in 1913, he began singing as a young man and left Trinidad in 1944 for England, where he established himself as a musician and pursued an acting career. In 1951, he played a role in Zoltan Korda's groundbreaking drama Cry, The Beloved Country. The following year, he released his first full-length LP, Songs From Jamaica by Edric Connor & The Caribbeans, for the Argo label. In 1953, he served as the African music advisor on George More O'Ferrall's The Heart of the Matter, based on the novel by Graham Greene. Connor appeared in the London play Summer Song, later performed with the Royal Shakespeare Company, and became a regular performer in film beginning in 1954, starring in Harry Watt's West of Zanzibar. He was one of several players who excelled in John Huston's production of Moby Dick (1956), playing Dagoo, the West Indian harpooner, and he had a leading role in Fire Down Below (1957), a major international production starring Rita Hayworth and Robert Mitchum. Huston used him again in the 20th Century Fox production of The Roots of Heaven (1958) and Richard Fleischer cast Connor in The Vikings the same year. The actor briefly turned to directing in 1960 with the film Carnival Fantastique. During the '60s, in addition to working in such high-profile pictures as King of Kings (1961) -- in which he gave a very touching portrayal of Balthazar -- Connor moved into television, playing leading guest-star roles on such series as Danger Man. He appeared in the final episode of the original half-hour series, and worked in a first-season show from the hour-long series, in addition to an amazing Avengers episode entitled "The Gilded Cage," in which he played the operational leader of a gang of top-level criminals and stole almost every scene in which he appeared. Connor worked in one Hollywood movie, Robert Aldrich's Four for Texas (1963), but most of his career was in England, where he worked in two more films: Only When I Larf and Nobody Runs Forever (both 1968). He died in the fall of that year of complications from a stroke.

Trivia: When his parents resisted his desire to become an actor, George Coulouris ran away from his home in Manchester, England. After training at London's Central School of Dramatic Art, Coulouris made his first professional stage appearance in 1925 with the Old Vic. In 1929, Coulouris came to Broadway, where he would remain throughout the 1930s save for a brief appearance in the 1933 Hollywood film Christopher Bean. The tall, aristocratic-sounding Coulouris joined Orson Welles's Mercury Theatre, appearing in Welles's 1937 modern-dress version of Julius Caesar. He also appeared as the Rockefeller-like Walter Parks Thatcher in Welles's landmark film Citizen Kane (1941) (for publicity purposes, Kane was advertised as Coulouris' cinematic debut). Most of Coulouris' subsequent film roles were villainous in nature; in 1944, he was Oscar-nominated for his performance as a hateful fascist in Watch on the Rhine, and in 1945 he was top-billed for his role as an incognito Nazi in The Master Race. A victim of Parkinson's disease, George Coulouris still managed to remain active until 1980, when he made his farewell screen appearance in The Long Good Friday.

Trivia: For nearly four decades, Spanish actor Jose Nieto was a major star in his native country. Though film titles like El Lazzarillo de Torres and La Senora de Fatimas are unfamiliar to American audiences, rest assured that these were favorites among Nieto's Spanish fans. The actor's English-speaking appearances were limited to supporting and character roles in American and British films shot in Spain. Among Jose Nieto's films in this latter category were Alexander the Great (1956), A Farewell to Arms (1957), Solomon and Sheba (1959) (as Ahab) and Dr. Zhivago (1965) (as a Russian priest!)

Trivia: Armenian actor Gregoire Aslan was born in either Switzerland or Istanbul, depending upon which source one believes. He made his professional debut at 18 as a vocalist and drummer with a Paris dance band, then launched an acting career under the name of Koko Aslan. Shifting from comic to villainous parts with ease, Aslan was one of British filmdom's favorite nondescript foreigners, playing Frenchmen, Italians, Germans, and Middle Easterners with equal finesse. Gregoire Aslan's more prominent screen roles included gangster boss Ducas in Joe MacBeth (1956), Herod in King of Kings (1961), and Porthinos in Cleopatra (1963).

Trivia: Gerard Tichy was a Spanish actor of French descent who was cast in several internationally financed productions filmed in Spain. He played Joseph in The King of Kings (1961), with Jeffrey Hunter as Jesus and Siobhan McKenna as the Virgin Mary. In El Cid (1961), bankrolled by King of Kings producer Samuel Bronston, Tichy was seen as King Ramiro. And in Doctor Zhivago (1965), ostensibly set in Russia, Tichy played Liberius. Other melting-pot films featuring Tichy include That Man from Rio (1964) (a French adventure romp), The Texican (1966) (a Spanish-filmed American western) and The Sea Pirate (1967) (an Italian swashbuckler). A prolific horror/fantasy film participant, Gerard Tichy showed up in such European thrillers as The Blancheville Monster (1959), Face of Terror (1959), and The Mysterious Island of Captain Nemo (1973).

Trivia: Describing his career as a "five-years upwards first act and a 25-year sliding second act," actor Robert Forster finally got to settle into a satisfying third act when Quentin Tarantino worked his '70s resurrection magic by casting Forster in Jackie Brown (1997). Born and raised in Rochester, NY, Forster was a high school and college athlete, and occasional school thespian. After graduating from the University of Rochester (his third college) with a degree in psychology, Forster opted for acting over law school. Honing his craft in local theater, Forster subsequently moved to New York City where he landed his first Broadway role in 1965. After garnering attention in a 1967 production of A Streetcar Named Desire opposite Julie Harris, Forster made his movie debut in John Huston's Reflections in a Golden Eye (1967) as the au natural horseback-riding private who ignites military officer Marlon Brando's desire. Holding out for interesting offers after Reflections, Forster retreated to Rochester with his wife and worked as a substitute teacher and manual laborer.Enticed back into movies with a role opposite Gregory Peck in Robert Mulligan's Western The Stalking Moon (1968), Forster impressed cinephiles with his third film, Haskell Wexler's seminal counterculture work Medium Cool (1969). As a TV cameraman forced to confront the implications of the tumultuous events he so coolly records, Forster and his co-star, Verna Bloom, were thrust into the real-life turmoil surrounding the 1968 Chicago Democratic Convention, while Forster's nuanced performance illuminated his narcissist's metamorphosis. Despite its timely subject, however, Medium Cool made little impression at the box office. Though he continued to work in such varied films as George Cukor's widescreen spectacle Justine (1969) and the location-shot Indian reservation drama Journey Through Rosebud (1972), Forster attempted to move to potentially greener TV pastures as the eponymous '30s detective in the series Banyon (1972). Banyon, however, lasted only one season, as did Forster's subsequent TV stint as a Native American lawman in the series Nakia (1974).Forster's slide into B-movie oblivion was hardly stanched by his forays into TV. Though he managed to acquit himself well onscreen in different kinds of parts, Forster professed no illusions about the quality of such movies as The Don Is Dead (1973), Stunts (1977), Disney's sci-fi The Black Hole (1979), and the Rock Hudson disaster flick Avalanche (1978). The smartly comic, John Sayles-scripted creature feature Alligator (1980) failed to thrive beyond its schlock status; Vigilante (1983), starring Forster as a, well, vigilante, was described by one critic as "truly distasteful." Trying his hand behind the camera, Forster produced, wrote, directed, and starred in, alongside his daughter, Katherine Forster, the detective spoof Hollywood Harry (1986), but he got more mileage that same year out of his performance as an Arab terrorist embarking on jihad in Delta Force (1986). Playing a host of bad guys as well as the occasional not-so-bad-guy, Forster put his four children through college from the late '80s into the early '90s with such video fodder as The Banker (1989) and Peacemaker (1990), as well as the TV series Once a Hero (1987) and the well-received indie 29th Street (1991).His career languishing by the mid-'90s, Forster taught acting classes between occasional roles and maintained an optimistic hope that, "some kid who liked me when he was young was going to turn into a filmmaker and hire me." Two casting near-misses for Reservoir Dogs (1992) and True Romance (1993) later (Lawrence Tierney and Christopher Walken respectively got the parts), the by then agent-less Forster finally got his wish when Banyon and B-movie fan Quentin Tarantino cast him in Jackie Brown (1997). Beating out bigger names for the part, Forster proceeded to steal the film from flamboyant co-stars Robert De Niro and Samuel L. Jackson with his subtle performance as weathered, rueful bail bondsman Max Cherry. Though stellar co-star Pam Grier got more attention as Tarantino's latest career rescue, Forster garnered Jackie Brown's sole Oscar nomination. After his Jackie Brown triumph, Forster's image of low-key, regular guy authority kept him steadily employed. Along with playing the de facto voice of sanity in the TV remake of Alfred Hitchcock's Rear Window (1998) and Gus Van Sant's retread of Psycho (1998), Forster faced down space (and production) chaos in Walter Hill's ill-fated Supernova (2000) and played the straight man as Jim Carrey's commanding officer in Me, Myself & Irene (2000). Though his brief appearance suggests David Lynch had more in mind for Forster's role in the aborted TV series, Forster's performance as a deadpan police detective still made it into the critically acclaimed film version of Mulholland Drive (2001).He continued to work in a variety of projects including the kids basketball movie Like Mike and the quirky biopic Grand Theft Parsons. He moved to the small screen to play the father of Karen Sisco in the short-lived TV series of the same name. He also appeared occasionally in the cable series Huff, and had a recurring role in the NBC series Heroes. He had his highest profile success in yeas in 2011 when he played the father of George Clooney's comatose wife in Alexander Payne's Oscar-winning The Descendants.

Trivia: Carmen Sevilla was a popular Spanish entertainer who performed on-stage, in nightclubs, and in many European films. Though primarily appearing in musicals, Sevilla also performed the occasional dramatic role.