Trivia: Rugged, athletic, and handsome, Burt Lancaster enjoyed phenomenal success from his first film, The Killers, to his last, Field of Dreams -- over a career spanning more than four decades. Boasting an impressively wide range, he delivered thoughtful, sensitive performances across a spectrum of genres: from film noir to Westerns to melodrama, he commanded the screen with a presence and power matched by only a handful of stars.Lancaster was born November 2, 1913, in New York City. As a child, he exhibited considerable athletic and acrobatic prowess, and at the age of 17 joined a circus troupe, forming a duo with the diminutive performer Nick Cravat (later to frequently serve as his onscreen sidekick). He eventually joined the army, and, after acting and dancing in a number of armed forces revues, he decided to pursue a dramatic career. Upon hiring an agent, Harold Hecht, Lancaster made his Broadway debut in A Sound of Hunting, a role which led to a contract with Paramount. Because the release of his first picture, Desert Fury, was delayed, he initially came to the attention of audiences in 1946's The Killers, a certified classic of film noir. It remained the genre of choice in several of his subsequent projects, including 1947's Brute Force and I Walk Alone the following year.After starring as Barbara Stanwyck's cheating husband in Sorry, Wrong Number, Lancaster and his manager formed their own production company, Hecht-Lancaster, the first notable star-owned venture of its kind; more were to follow, and they contributed significantly to the ultimate downfall of the old studio system. Its formation was a result of Lancaster's conscious effort to avoid "beefcake" roles, instead seeking projects which spotlighted his versatility as a performer. While the company's first effort, the war melodrama Kiss the Blood Off My Hands, was not a success, they were nonetheless able to secure enough financial backing to break off completely from the mainstream Hollywood system. Still, Lancaster also continued to appear in studio productions. In 1949, he reunited with The Killers director Robert Siodmak at Universal for another excellent noir, Criss Cross, followed by Rope of Sand. He also signed a non-exclusive contract with Warner Bros., where he and Hecht produced 1950's The Flame and the Arrow, a swashbuckler which was his first major box-office success. After producing Ten Tall Men with Hecht, Lancaster starred in the MGM Western Vengeance Valley, followed by the biopic Jim Thorpe -- All American. With Siodmak again directing, he next headlined the 1952 adventure spoof The Crimson Pirate, followed by Daniel Mann's Come Back, Little Sheba opposite Oscar-winner Shirley Booth. A minor effort, South Sea Woman, followed in 1953 before Lancaster starred in the Fred Zinnemann classic From Here to Eternity, earning him a Best Actor Oscar nomination for his performance and, in his beachside rendezvous with co-star Deborah Kerr, creating one of the most indelible images in film history. Another swashbuckler, His Majesty O'Keefe, followed, and under director Robert Aldrich the actor headlined a pair of Westerns, Apache and Vera Cruz. Finally, in 1955, Lancaster realized a long-held dream and helmed his own film, The Kentuckian; reviews were negative, however, and he did not return to the director's chair for another two decades.Again working with Mann, Lancaster co-starred with another Oscar winner, Anna Magnani, in 1955's The Rose Tattoo. Opposite Tony Curtis, he appeared in the 1956 hit Trapeze, and, with Katherine Hepburn, headlined The Rainmaker later that same year. Gunfight at the O.K. Corral, a blockbuster featuring Lancaster as Wyatt Earp, followed, as did the acclaimed The Sweet Smell of Success. With Clark Gable, Lancaster starred in 1958's Run Silent, Run Deep, followed by Separate Tables. For 1960's Elmer Gantry, he won an Academy Award for his superb portrayal of the title character, a disreputable evangelist, and a year later co-starred in Judgment at Nuremberg. Under John Frankenheimer, Lancaster next portrayed The Birdman of Alcatraz, earning Best Actor honors at the Venice Film Festival for his sympathetic turn as prisoner Robert Stroud, an expert in bird disease. For John Cassavetes, he starred in 1963's A Child Is Waiting, but the picture was the victim of studio interference and poor distribution. Around the same time, Italian filmmaker Luchino Visconti was trying to secure financing for his planned historical epic Il Gattopardo (aka The Leopard), and needed to cast an international superstar in the lead role; Lancaster actively campaigned for the part, and delivered one of the strongest performances of his career. Released in 1963, it was a massive success everywhere but in the U.S., where it was brutally edited prior to release. After two hit movies with Frankenheimer, the 1964 political thriller Seven Days in May and the 1965 war drama The Train, Lancaster starred in another Western, The Hallelujah Trail, followed by the 1966 smash The Professionals. A rare series of flops -- The Swimmer, Castle Keep, and The Gypsy Moths -- rounded out the decade, but by 1970 he was back at the top of the box office with Airport. Still, Lancaster's star was clearly dimming, and he next appeared in a pair of low-budget Westerns, Lawman and Valdez Is Coming. After an underwhelming reunion with Aldrich, 1972's Ulzana's Raid, he attempted to take matters into his own hands, writing and directing 1974's The Midnight Man in collaboration with Roland Kibbee, but it failed to attract much attention, either. For Visconti, Lancaster next starred in 1975's Gruppo di Famiglia in un Interno. Remaining in Europe, he also appeared in Bernardo Bertollucci's epic 1900. Neither resuscitated his career, nor did Robert Altman's much-panned Buffalo Bill and the Indians, or Sitting Bull's History Lesson. Lancaster languished in a number of television projects before appearing in 1978's Go Tell the Spartans, which, despite critical acclaim, failed to catch on. In 1980, however, he delivered a stunning turn as an aging gangster in Louis Malle's excellent Atlantic City, a performance which earned him Best Actor honors from the New York critics as well as another Oscar nomination. Also highly acclaimed was his supporting role in the 1983 Bill Forsyth gem Local Hero. Heart trouble sidelined him for all of 1984, but soon Lancaster was back at full steam, teaming one last time with Kirk Douglas for 1986's Tough Guys. Several more TV projects followed before he returned to feature films with 1988's little-seen Rocket Gibraltar and the 1989 blockbuster Field of Dreams. In 1991, Lancaster made his final appearance in the telefilm Separate But Equal. He died October 20, 1994.

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

Trivia: Reportedly a neighbor of Harry Houdini while growing up in the Bronx, American actor Edmond O'Brien decided to emulate Houdini by becoming a magician himself. The demonstrative skills gleaned from this experience enabled O'Brien to move into acting while attending high school. After majoring in drama at Columbia University, he made his first Broadway appearance at age 21 in Daughters of Atrus. O'Brien's mature features and deep, commanding voice allowed him to play characters far older than himself, and it looked as though he was going to become one of Broadway's premiere character actors. Yet when he was signed for film work by RKO in 1939, the studio somehow thought he was potential leading man material -- perhaps as a result of his powerful stage performance as young Marc Antony in Orson Welles' modern dress version of Julius Caesar. As Gringoire the poet in The Hunchback of Notre Dame (1939), O'Brien was a bit callow and overemphatic, but he did manage to walk off with the heroine (Maureen O'Hara) at the end of the film. O'Brien's subsequent film roles weren't quite as substantial, though he was shown to excellent comic advantage in the Moss Hart all-serviceman play Winged Victory, in a role he repeated in the 1944 film version while simultaneously serving in World War II (he was billed as "Sergeant Edmond O'Brien"). Older and stockier when he returned to Hollywood after the war, O'Brien was able to secure meaty leading parts in such "films noir" as The Killers (1946), The Web (1947) and White Heat (1949). In the classic melodrama D.O.A. (1950), O'Brien enjoyed one of the great moments in "noir" history when, as a man dying of poison, he staggered into a police station at the start of the film and gasped "I want to report a murder...mine." As one of many top-rank stars of 1954's The Barefoot Contessa, O'Brien breathed so much credibility into the stock part of a Hollywood press agent that he won an Academy Award. On radio, the actor originated the title role in the long-running insurance-investigator series "Yours Truly, Johnny Dollar" in 1950. On TV, O'Brien played a Broadway star turned private eye in the 1959 syndicated weekly "Johnny Midnight," though the producers refused to cast him unless he went on a crash vegetarian diet. Plagued by sporadic illnesses throughout his life, O'Brien suffered a heart seizure in 1961 while on location in the Arabian desert to play the Lowell Thomas counterpart in Lawrence of Arabia, compelling the studio to replace him with Arthur Kennedy. O'Brien recovered sufficiently in 1962 to take the lead in a TV lawyer series, "Sam Benedict;" another TV stint took place three years later in "The Long Hot Summer." The actor's career prospered for the next decade, but by 1975 illness had begun to encroach upon his ability to perform; he didn't yet know it, but he was in the first stages of Alzheimer's Disease. Edmond O'Brien dropped out of sight completely during the next decade, suffering the ignominity of having his "death" reported by tabloids several times during this period. The real thing mercifully claimed the tragically enfeebled O'Brien in 1985.

Trivia: A graduate of Bowdoin college, Albert Dekker made his professional acting bow with a Cincinnati stock company in 1927. Within a few months he was featured in the Broadway production of Eugene O'Neill's Marco Millions. After a decade's worth of impressive theatrical appearance, Dekker made his first film, 1937's The Great Garrick. Usually cast as villains, Dekker was starred in the Technicolor horror film Dr. Cyclops (1940) and played a fascinating dual role in the 1941 suspenser Among the Living. Dekker's offscreen preoccupation with politics led to his winning a California State Assembly seat in 1944; during the McCarthy era, Dekker became an outspoken critic of the Wisconsin senator's tactics, and as a result the actor found it hard to get work in Hollywood. He returned to Broadway, then made a movie comeback in 1959. During his last decade, Dekker alternated between film, stage and TV assignments; he also embarked on several college-campus lecture tours. In May of 1968, Dekker was found strangled to death in his Hollywood home. His naked body was bound hand and foot, a hypodermic needle was jammed into each arm, and obscenities were scrawled all over the corpse. At first, it seemed that Dekker was a closet homosexual who had committed suicide (early reports suggested that the writings on his body were his bad movie reviews) or had died while having rough sex. While the kinky particulars of the case were never officially explained, it was finally ruled that Albert Dekker had died of accidental asphyxiation.

Trivia: American actor Jeff Corey forsook a job as sewing-machine salesman for the less stable world of New York theatre in the 1930s. The 26-year-old Corey was regarded as a valuable character-actor commodity when he arrived in Hollywood in 1940. Perhaps the best of his many early unbilled appearances was in the Kay Kyser film You'll Find Out (40), in which Corey, playing a game-show contestant (conveniently named Jeff Corey), was required to sing a song while stuffing his mouth full of crackers. The actor was busiest during the "film noir" mid-to-late 1940s, playing several weasely villain roles; it is hard to forget the image of Corey, in the role of a slimy stoolie in Burt Lancaster's Brute Force, being tied to the front of a truck and pushed directly into a hail of police bullets. Corey's film career ended abruptly in 1952 when he was unfairly blacklisted for his left-leaning political beliefs. To keep food on the table, Corey became an acting coach, eventually running one of the top training schools in the business (among his more famous pupils was Jack Nicholson). He was permitted to return to films in the 1960s, essaying such roles as a wild-eyed wino in Lady in a Cage (64), the louse who kills Kim Darby's father in True Grit (68), and a sympathetic sheriff in Butch Cassidy and the Sundance Kid (68). In addition to his film work, Jeff Corey has acted in and directed numerous TV series; he was seen as a regular on the 1985 Robert Blake series Hell Town and the 1986 Earl Hamner Jr. production Morningstar/Eveningstar. The following decade found Corey appearing in such films as Sinatra (1992), Beethoven's 2nd (1993) and the action thriller Surviving the Game (1994). Shortly after suffering a fall at his Malibu home in August of 2002, Corey died in Santa Monica due to complications resulting from the accident. He was 88.

Trivia: Adept at playing sardonic, side-of-the-mouth urban types, Sam Levene appeared in several top Broadway productions of the early 1930s. At 29 (though looking far older and worldlier), Levene was brought to Hollywood to re-create his stage role as a superstitious gambler in Three Men on a Horse (1936). Not long afterward, he made the first of two appearances as New York police lieutenant Abrams in MGM's Thin Man series. Since Levene always seemed to have just stepped out of a Damon Runyon story, it was only natural that he create the part of crapshooter deluxe Nathan Detroit in the 1950 Broadway production Guys and Dolls; his endearingly offkey renditions of the Frank Loesser tunes "Oldest Established" and "Sue Me" can still be heard on the original cast album. When he wasn't essaying dese-dem-and-dose roles, Levene was frequently cast as a soft-spoken, philosophical Jew in such films as Action in the North Atlantic (1943) and Crossfire (1947). Though he made 36 films in his 33-year Hollywood career, Sam Levene was always happiest in front of a live audience: one of his last Broadway appearances was in the original production of Neil Simon's The Sunshine Boys.

Trivia: Actor/director/producer William Conrad started his professional career as a musician. After World War II service, he began building his reputation in films and on Hollywood-based radio programs. Due to his bulk and shifty-eyed appearance, he was cast in films as nasty heavies, notably in The Killers (1946) (his first film), Sorry Wrong Number (1948) and The Long Wait (1954). On radio, the versatile Conrad was a fixture on such moody anthologies as Escape and Suspense; he also worked frequently with Jack "Dragnet" Webb during this period, and as late as 1959 was ingesting the scenery in the Webb-directed film 30. Conrads most celebrated radio role was as Marshal Matt Dillon on Gunsmoke, which he played from 1952 through 1961 (the TV Gunsmoke, of course, went to James Arness, who physically matched the character that the portly Conrad had shaped aurally). In the late 1950s, Conrad went into the production end of the business at Warner Bros., keeping his hand in as a performer by providing the hilariously strident narration of the cartoon series Rocky and His Friends and its sequel The Bullwinkle Show. During the early 1960s, Conrad also directed such films as Two on a Guillotine (1964) and Brainstorm (1965). Easing back into acting in the early 1970s, Conrad enjoyed a lengthy run as the title character in the detective series Cannon (1971-76), then all too briefly starred as a more famous corpulent crime solver on the weekly Nero Wolfe. Conrad's final TV series was as one-half of Jake and the Fatman (Joe Penny was Jake), a crime show which ran from 1987 through 1991.

Trivia: When diehard American movie fans speak of Jack Lambert, they are generally not referring to the British character actor of that name, but of the New York-born supporting player who was most often seen in gangster roles. Following Broadway experience, Lambert came to Hollywood in 1943, to menace Kay Kyser in the MGM musical comedy Swing Fever. Usually a secondary bad guy, Lambert was the main menace -- a scarfaced thug with a hook for a hand -- in Dick Tracy's Dilemma (1947). A less malevolent Jack Lambert was seen on a weekly basis as Joshua on the 1959-60 TV adventure series Riverboat.

Trivia: Of Swedish-American heritage, Virginia Christine (born Virginia Kraft) grew up in largely Scandinavian communities in Iowa and Minnesota. As a high schooler, Christine won a National Forensic League award, which led to her first professional engagement on a Chicago radio station. When her family moved to Los Angeles, Christine sought out radio work while attending college. She was trained for a theatrical career by actor/director Fritz Feld, who later became her husband. In 1942, she signed a contract with Warner Bros., appearing in bits in such films as Edge of Darkness (1943) and Mission to Moscow (1944). As a free-lance actress, Christine played the female lead in The Mummy's Curse (1945), a picture she later described as "ghastly." Maturing into a much-in-demand character actress, Christine appeared in four Stanley Kramer productions: The Men (1950), Not as a Stranger (1955), Judgment at Nuremberg (1961) and Guess Who's Coming to Dinner (1967). Other movie assignments ranged from the heights of Invasion of the Body Snatchers (1956) to the depths of Billy the Kid Meets Dracula (1978). To a generation of Americans who grew up in the 1960s and 1970s, Christine will forever be Mrs. Olson, the helpful Swedish neighbor in scores of Folger's Coffee commercials.

Trivia: Slight, grey-templed, bespectacled actor Harry Hayden was cast to best advantage as small-town store proprietors, city attorneys and minor bureaucrats. Dividing his time between stage and screen work from 1936, Hayden became one of the busiest members of Central Casting, appearing in everything from A-pictures like Mr. Smith Goes to Washington (1939) to the RKO 2-reelers of Leon Errol and Edgar Kennedy. Among his better-known unbilled assignments are horn factory owner Mr. Sharp (his partner is Mr. Pierce) in Laurel and Hardy's Saps at Sea (1940) and Farley Granger's harrumphing boss who announces brusquely that there'll be no Christmas bonus in O. Henry's Full House (1951). Hayden's final flurry of activity was in the role of next-door-neighbor Harry on the 1954-55 season of TV's The Stu Erwin Show (aka The Trouble with Father), in which he was afforded the most screen time he'd had in years -- though he remains uncredited in the syndicated prints of this popular series. From the mid '30s until his death in 1955, Harry Hayden and his actress wife Lela Bliss ran Beverly Hills' Bliss-Hayden Miniature Theatre, where several Hollywood aspirants were given an opportunity to learn their craft before live audiences; among the alumni of the Bliss-Hayden were Jon Hall, Veronica Lake, Doris Day, Craig Stevens, Debbie Reynolds, and Marilyn Monroe.

Trivia: An actor since the age of 15, John Miljan entered films in 1923. Miljan was handsome enough for leading roles, but realized early on that he'd have a longer screen career as a villain, usually an oily "other man" type. The archetypal Miljan performance can be seen in 1927's The Yankee Clipper. In the course of that film, he (a) feigned an injury to avoid heavy work on board ship, (b) fomented a mutiny, then pretended to fight off the mutineers, and (c) hoarded water for himself while the rest of the crew was dying of thirst--and all the while he pledged undying love for the heroine, who stupidly swallowed his line until the last reel. He made his talkie debut in the promotional trailer for The Jazz Singer (1927), ingratiatingly inviting the audience to see the upcoming landmark production. While he continued playing bad guys in the sound era, he was just as often seen as military officers and police inspectors. His slender frame and authoritative air enabled him to play such roles as General Custer in DeMille's The Plainsman (1936) and a character based on General Wainwright in Back to Bataan (1945). John Miljan remained in harness until 1958, two years before his death.

Trivia: The son of an actress, Garry Owen first appeared on-stage with his mother in vaudeville. Owen went on to perform in such Broadway productions as Square Crooks and Miss Manhattan. In films from 1933, Owen was occasionally seen in such sizeable roles as private-eye Paul Drake in the 1936 Perry Mason movie Case of the Black Cat. For the most part, however, he played character bits, most memorably in the films of Frank Capra; in Capra's Arsenic and Old Lace (1944), for example, he plays the monumentally impatient taxi driver who closes the picture with the exclamation, "I'm not a cab driver, I'm a coffee pot!" In addition to his feature-film work, Garry Owen showed up in scores of short subjects for Hal Roach and MGM.

Trivia: Pixieish stage and screen soubrette Queenie Smith was a Broadway favorite in the 1920s, most notably as star of the 1925 George Gershwin musical Tip Toes (1925). She came to films in the mid-1930s, playing virtually the same role in two period musicals, the 1935 Bing Crosby/W.C. Fields concoction Mississippi and the 1936 version of Jerome Kern and Oscar Hammerstein's Show Boat. As her youthful rambunctiousness matured into middle-aged feistiness, Queenie was seen in dozens of tiny roles, usually cast as a nosy neighbor, landlady, housekeeper or (in later years) retirement-home resident. In 1970, she and nonagenarian actor Burt Mustin were teamed as a long-married couple on the TV comedy-sketch series The Funny Side. One of the last and best of Queenie Smith's film roles was the scatological scrabble player in the 1978 Goldie Hawn-Chevy Chase vehicle Foul Play (1978).

Trivia: In recalling his courtroom scene in To Kill a Mockingbird, Gregory Peck recalled the vital contribution of African American actor Bill Walker, who was cast as the Reverend Sikes. "All the black people in the balcony stood," Peck noted. "My two kids didn't. When Bill said to them 'Stand up, children, your father is passing,' he wrapped up the Academy Award for me." The son of a freed slave, Walker began his stage career at a time when black actors were largely confined to shuffling, eye-rolling "Yowzah boss" bit parts. While the harsh economic realities of show business dictated that Walker would occasionally have to take less than prestigious roles as butlers, cooks, valets, and African tribal chieftains, he lobbied long and hard to assure that other actors of his race would be permitted to portray characters with more than a modicum of dignity. He also was a tireless worker in the field of Civil Rights, frequently laying both his career and his life on the line. Walker's Broadway credits included Harlem, The Solid South and Golden Dawn; his film credits were legion. Bill Walker was married to actress Peggy Cartwright, who as a child was one of the stars of the Our Gang silent comedies.

Trivia: In films from the early 1940s, American actor Phil Brown held down supporting roles in most of his Hollywood films. Brown was eighth-billed as Jimmy Brown in his earliest screen credit, the Paramount aviation epic I Wanted Wings (1941). He was disturbingly convincing as a homicidal maniac in Calling Dr. Gillespie (1942), snapping from normality to viciousness within seconds in several scenes. In The Killers (1946), Brown played Nick Adams, who in the Hemingway story on which the film was based was the narrator but who wound up with little more than a bystander part in the film's opening scene. Moving to Europe in 1950, Brown was put to good use as the victim of a jealous husband in the British-filmed Obsession (1949), released in America as The Hidden Room. Phil Brown remained in England and the Continent for the balance of his career.

Trivia: Beatrice Roberts only ever had one notable acting role in a career lasting a little more than 15 years. But she started out with a lot of hope and encouragement, growing out of her partial success in beauty pageants while in her late teens. She was born Alice Beatrice Roberts in New York City in 1905. And she was clearly a striking beauty and also advanced for her years, as she married cartoonist Robert L. Ripley (of believe-it-or-not fame) in 1919, a union that only lasted three months, but which wasn't dissolved officially until 1926. They evidently never saw each other again after 1919, and Roberts competed in the Miss America pageants of 1924 and 1925, as Miss Manhattan and Miss Greater New York. She won awards in both years as "Best Dressed Girl In Evening Gown," an honor that, with its implications of a dignified, imperious quality, seemed to point toward her one significant contribution to the screen, a little more than a decade later.She arrived in Hollywood in 1933 and, after appearances in a few low-budget productions (including the serial The Return of Chandu, starring Bela Lugosi), she landed at MGM. She seldom ascended above smaller, uncredited supporting roles in the studio's productions; typical was her portrayal of one of the three graces in the 1935 fantasy/comedy The Night Life of the Gods. Offscreen, however, she was one of the most notable women on the studio lot, as the mistress of studio chief Louis B. Mayer. They were together for two years, ending in 1936, and she continued to work in MGM films in small roles for another few years. It was at Universal in 1938, however, that Roberts got the most prominent and enduring role of her career, as Queen Azura in Flash Gordon's Trip to Mars. She brought startling beauty as well as an imperious evil to the role of the witch queen, who is an ally of the evil Emperor Ming (Charles Middleton) and also responsible for the curse upon the Clay People. It might not have been a heavy-lifting acting assignment, but she was just about as memorable within the context of the Flash Gordon serials as Priscilla Lawson's wild-eyed, lustful Princess Aura in the first chapterplay or Anne Gwynne's devious Lady Sonya in the third serial. In those days, regardless of the worth of one's performance, serial work was not conducive to an advancing career in features, and Roberts never did get another starring role. She continued to appear in movies, mostly at Universal, until 1949, after which she retired.

Trivia: Portly American character actor Howard Freeman was the archetypal small-town banker or businessman. With his impeccably groomed pencil mustache, finicky manners and eternal air of condescension, Freeman was ideal for such roles as bank president J. P. Norton in Laurel and Hardy's Air Raid Wardens--and equally ideal for the injuries and indignities heaped upon him by the two comedians in their efforts to administer emergency first aid. Air Raid Wardens was made in 1943, Freeman's first year in pictures after several seasons on stage. He quickly found his niche in authoritative roles, even playing a few bureaucratic Nazis during the war years: Freeman portrays a fussy Heinrich Himmler, casually targeting the Czech village of Lidice for extermination in Hitler's Madmen (1943). After nearly two decades in Hollywood, Freeman resettled in New York, remaining available for stage and TV work. One of Howard Freeman's last roles was as a peace-loving police captain mistaken for a slave-driving martinet in a 1963 episode of Car 54, Where are You?

Trivia: Stage and vaudeville alumnus John Sheehan joined the American Film Company in 1914. After a handful of starring roles, Sheehan went back to the stage, returning to films in 1930. For the next 20 years, he played scores of minor roles, usually as raffish tuxedoed types in speakeasy and gambling-parlor scenes. As a loyal member of the Masquers' Club, a theatrical fraternity, John Sheehan starred in the Masquers' two-reel comedy Stout Hearts and Willing Hands (1931), then went on to appear in support of such short-subject stars as Charley Chase and Clark McCullough.

Trivia: To six decades' worth of filmgoers, Kentucky-born character actor Charles B. Middleton was Ming the Merciless, the megalomaniac ruler of the planet Mongo in three 1930s serials based on Alex Raymond's comic strip Flash Gordon. Beginning his career in circuses and carnivals in the South, Middleton worked in vaudeville and stock companies before his 1927 entree into films. With his hatchet face, bad teeth, and rolling-toned voice, Middleton was ideally cast as stern judges, cruel orphanage officials, backwater sheriffs, and small town bigots. Outside of his extensive work in serials and Westerns, he was used to best advantage in the films of Laurel and Hardy and Will Rogers. In a far less villainous vein, Charles Middleton was cast as Tom Lincoln, father of the 16th president, in Abe Lincoln in Illinois (1940); he also portrayed the Great Emancipator himself on several occasions -- while in 1937's Stand-In, Middleton was hilariously cast as an unsuccessful actor who dresses like Lincoln in hopes of landing a movie role.

Trivia: Affectionately described by film historian William K. Everson as "That lovable old wreck of a busybody," actress Vera Lewis was indeed quite lovable in person, even though most of her screen characters were sharp-tongued and spiteful in the extreme. Lewis first appeared in films in 1915, playing bits in such historical spectacles as D.W. Griffith's Birth of a Nation (1915) and Intolerance (1916) and the privately-funded Argonauts of California. By the 1920s, she was well-established in such venomous characterizations as the remonstrative stepmother in the 1926 Colleen Moore starrer Ella Cinders. She continued playing small-town snoops, gimlet-eyed landladies, irksome relatives and snobbish society doyennes well into the talkie era. Even when unbilled, Lewis was unforgettable: in 1933's King Kong, she's the outraged theater patron who mercilessly browbeats an usher upon finding out that the mighty Kong will be appearing in person instead of on film. When all is said and done, Vera Lewis was never better than when she was playing a gorgon-like mother-in-law, as witness her work as Mrs. Nesselrode in W.C. Fields' Man on the Flying Trapeze (1935) and as Andy Clyde's vituperative mom-by-marriage in the 1947 2-reeler Wife to Spare.

Trivia: American general purpose actor Howard Negley made his screen bow as Nelson in 20th Century Fox's Smokey. Negley went on to reasonably prominent character parts in such B-pictures as Charlie Chan in the Trap (1947). For the most part, he played nameless bit parts as police captains, politicians, and reporters. Howard Negley was last seen as the Twentieth Century Limited conductor in Hitchcock's North by Northwest (1959).

Trivia: A busy Hollywood studio musician, Perc Launders eased into acting in 1941, when he played the brakeman in Preston Sturges' Sullivan's Travels. Until his retirement in 1952, Launders worked at Paramount, Universal and RKO as a general-purpose actor. With such rare exceptions as "Zolton" in RKO's The Falcon in Hollywood (1945), the actor's screen characters were nameless, and often lineless. One of the unsung legion of Tinseltown bit players, Perc Launders played countless bartenders, clerks, cops, onlookers and pedestrians.

Trivia: American actor/playwright Nolan Leary made his stage debut in 1911; 60 years later, he was still appearing in small film and TV roles. From 1943 onward, Leary showed up in some 150 movies, mostly in bit roles. One of his juicier screen assignments was as the deaf-mute father of Lon Chaney James Cagney in Man of 1000 Faces (1958). In 1974, Nolan Leary showed up briefly as Ted Baxter's prodigal father on The Mary Tyler Moore Show.

Trivia: Vince Barnett was the son of Luke Barnett, a well-known comedian who specialized in insulting and pulling practical jokes on his audiences (Luke's professional nickname was "Old Man Ribber"). Vince remained in the family business by hiring himself out to Hollywood parties, where he would insult the guests in a thick German accent, spill the soup and drop the trays--all to the great delight of hosts who enjoyed watching their friends squirm and mutter "Who hired that jerk?" The diminutive, chrome-domed Barnett also appeared in the 1926 edition of Earl Carroll's Vanities. He began appearing in films in 1930, playing hundreds of comedy bits and supporting parts until retiring in 1975. Among Vince Barnett's more sizeable screen roles was the moronic, illiterate gangster "secretary" in Scarface (1931).

Trivia: With two solid decades of stage experience to his credit, Charles D. Brown made his talking-picture bow in 1929's The Dance of Life. At first, Brown's bland features and flat voice made him difficult to cast, but by the time he'd reached his fifties, he was very much in demand for authoritative roles. Brown was frequently cast as a detective, though his unruffled demeanor made him a valuable "surprise" killer in more than one murder mystery. Charles D. Brown died in 1948, not long after completing his role in RKO's Follow Me Quietly (1950).

Trivia: Vaudeville, stock and Broadway actor Donald MacBride made his Hollywood debut in the 1938 Marx Brothers farce Room Service, reprising his stage role as explosive hotel manager Wagner ("Jumping Butterballs!!!") His previous film appearances had been lensed in his native New York, first at the Vitagraph studios in Flatbush, where he showed up in the Mr. and Mrs. Sidney Drew comedies of the 1910s. During the early talkie years, MacBride showed up in several one- and two-reelers, providing support to such Manhattan-based talent as Burns & Allen, Bob Hope and Shemp Howard. After Room Service, the bulldog-visaged MacBride was prominently cast in picture after picture, usually as a flustered detective. He was teamed with Alan Mowbray in a brace of 1940 RKO "B"s about a pair of shoestring theatrical producers, and was featured in four of Abbott and Costello's comedies. Among the actor's rare noncomic roles were the dying gangster boss in High Sierra (1941) and the dour insurance executive in The Killers (1946). MacBride's television work includes a season as dizzy Marie Wilson's long-suffering employer on the early-1950s TV sitcom My Friend Irma. Donald MacBride's last film role was as Tom Ewell's backslapping boss in the 1955 Billy Wilder comedy The Seven-Year Itch.

Trivia: Gravel-voiced, granite-faced stage actor Charles McGraw made his first film The Moon is Down in 1943. At first it seemed as though McGraw would spend his movie career languishing in villainy, but while working at RKO in the late 1940s-early 1950s, the actor developed into an unorthodox but fascinating leading man. His shining hour (actually 72 minutes) was the role of the embittered detective assigned to protect mob witness Marie Windsor in the 1952 noir classic The Narrow Margin. McGraw continued being cast in the raffish-hero mold on television, essaying the lead in the 1954 syndicated series Adventures of Falcon and assuming the Bogartesque role of café owner Rick Blaine in the 1955 weekly TV adaptation of Casablanca (1955) (his last regular TV work was the supporting part of Captain Hughes on the 1971 Henry Fonda starrer The Smith Family). Active until the mid-1970s, Charles McGraw growled and scowled his way through such choice character roles as gladiator trainer Marcellus in Spartacus (1960), Sebastian Sholes in Hitchcock's The Birds (1963), and The Preacher in the cult favorite A Boy and His Dog (1975).

Trivia: An outdoorsman from an early age, gangling Montana-born actor Ethan Laidlaw began showing up in westerns during the silent era. Too menacing for lead roles, Laidlaw was best suited for villains, usually as the crooked ranch hand in the employ of the rival cattle baron, sent to spy on the hero or heroine. During the talkie era, Laidlaw began alternating his western work with roles as sailors and stevedores; he is quite visible chasing the Marx Brothers around in Monkey Business (1931). Though usually toiling in anonymity, Ethan Laidlaw was given prominent billing for his "heavy" role in the 1936 Wheeler and Woolsey sagebrush spoof Silly Billies.

Trivia: A veteran vaudeville performer from Kentucky, wavy-haired Sam Ash was fairly busy in Broadway musicals of the 1910s and 1920s, including the hugely successful Katrinka (1915), Some Party (1922; with Jed Prouty and De Wolf Hopper), and The Passing Show of 1922. Third-billed in his screen debut as one of the suspects in the Craig Kennedy mystery Unmasked (1929), Ash went on to play literally hundreds of bit parts as waiters, news vendors, ship stewards, reporters, and the like. He was popular with the Republic Pictures serial units in the 1940s, playing one of the reporters swooping down on poor Louise Currie in The Masked Marvel (1944) and a florist in Captain America (1944), to mention but two of many chapterplay roles. His final film, the Warner Bros. Western The Big Sky (1952), was released posthumously.

Trivia: Albert Hill Jr. was the son of stage actor Al Hill (not to be confused with the Hollywood character actor of the same name). The younger Hill's screen credits were limited to two variations on the same basic role. He was seen as Rod, one of the residents of Boys' Town (1938), then as Pete, an inmate of Boys' Reformatory (1939).

Trivia: Slick-haired utility actor Brooks Benedict held down several odd jobs in Hollywood before turning to acting in the early 1920s. Benedict's first role of note was "The Campus Cad" in Harold Lloyd's The Freshman (1925), one of several supporting assignments for producer/star Lloyd. In 1926, he shared a memorable scene on a bus with another legendary comedian, Harry Langdon, in The Strong Man. Except for such sizeable early-talkie roles as George Mason in 1932's Girl Crazy, Brooks Benedict was largely confined to bits and extra work until his retirement in the mid-1950s.

Trivia: American actor William H. Ruhl made his first film in 1934, and his last in 1952. Seldom rising above bit parts, Ruhl showed up in one-scene assignments as detectives, lawyers, and the like. Someone over at Monogram must have liked Ruhl, else why would the actor have shown up in six of the studio's Bowery Boys features from 1946 to 1949? William H. Ruhl also appeared in various other Monogram series, including Charlie Chan and Joe Palooka.

Trivia: Scratch a sniveling prison "stoolie" or cowardly henchman and if he were not Paul Guilfoyle or George Chandler, he would be the diminutive Ernie S. Adams, a ubiquitous presence in scores of Hollywood films of the 1930s and '40s. Surprisingly, the weasel-looking Adams had begun his professional career in musical comedy -- appearing on Broadway in such shows as Jerome Kern's Toot Toot (1918) -- prior to entering films around 1919. A list of typical Adams characters basically tells the story: "The Rat" (Jewels of Desire, 1927), "Johnny Behind the 8-Ball" (The Storm, 1930), "Lefty" (Trail's End, 1935), "Jimmy the Weasel" (Stars Over Arizona, 1937), "Snicker Joe" (West of Carson City, 1940), "Willie the Weasel" (Return of the Ape Man, 1944) and, of course "Fink" (San Quentin, 1937). The result, needless to say, is that you didn't quite trust him even when playing a decent guy, as in the 1943 Columbia serial The Phantom. One of the busiest players in the '40s, the sad-faced, little actor worked right up until his death in 1947. His final four films were released posthumously.

Trivia: Enjoying one of the longer careers in Hollywood history, Gino Corrado is today best remembered as a stocky bit-part player whose pencil-thin mustache made him the perfect screen barber, maître d', or hotel clerk, roles he would play in both major and Poverty Row films that ranged from Citizen Kane (1941) and Casablanca (1942) to serials such as The Lost City (1935) and, perhaps his best-remembered performance, the Three Stooges short Micro Phonies (1945; he was the bombastic Signor Spumoni).A graduate of his native College of Strada, Corrado finished his education at St. Bede College in Peru, IL, and entered films with D.W. Griffith in the early 1910s, later claiming to have played bit parts in both Birth of a Nation (1915) and Intolerance (1916). By the mid-1910s, he was essaying the "other man" in scores of melodramas, now billed under the less ethnic-sounding name of Eugene Corey. He became Geno Corrado in the 1920s but would work under his real name in literally hundreds of sound films, a career that lasted well into the 1950s and also included live television appearances. In a case of life imitating art, Corrado reportedly supplemented his income by working as a waiter in between acting assignments.

Trivia: The screen's favorite minister, the Rev. Neal Dodd had established his first Hollywood church in a storefront in 1918. Two years later, he was functioning as technical advisor on The Furnace (1920) and, in 1921, became a founding member of a relief fund to aid film workers in need. A lifelong supporter of the industry, Dodd made himself available whenever a film needed a pastor and ended up making more than 300 screen appearances. In 1924, he became a founding member of the Motion Picture Relief Fund of America (later Motion Picture and Television Fund), the charitable organization that today runs the Motion Picture Country House and Hospital in Woodland Hills, CA, a facility catering to retired motion picture and television personnel.