Trivia: Former All-American halfback Johnny Mack Brown was a popular screen cowboy during the 1930s. Already in the public eye for his athletic prowess, Brown was persuaded by a friend to give Hollywood a try after graduating from the University of Alabama. In 1927, the muscular macho man was signed by MGM where he played in a number of leading roles opposite popular actresses such as Garbo, Pickford, and Crawford for several years. But Brown never really found his acting niche until he starred in King Vidor's Billy the Kid (1930). From then on he was happily typecast as a cowboy actor, and became a hero to millions of American boys, appearing in over 200 B-grade Westerns over the next two decades. From 1942-50 he was consistently among the screen's ten most popular Western actors. Brown formally retired from movies in 1953 but made occasional return appearances as a "nostalgia" act.

Trivia: The face of American actor Myron Healey was not in and of itself villainous. But whenever Healey narrowed his eyes and widened that countenance into a you-know-what-eating grin and exposed those pointed ivories, the audience knew that he was about to rob a bank, hold up a stagecoach, or burn out a homesteader, which he did with regularity after entering films in the postwar years. Still, Healey could temper his villainy with a marvelous sense of humor: for example, his hilarious adlibs while appearing in stock badguy roles in such TV series as Annie Oakley and Gene Autry. With 1949's Colorado Ambush Healey broadened his talents to include screenwriting. Usually heading the supporting cast, Myron Healey was awarded a bonafide lead role in the 1962 horror film Varan the Unbelievable (a Japanese film, with scattered English-language sequences), though even here he seemed poised to stab the titular monster in the back at any moment.

Trivia: The star of Republic Pictures' notoriously bad Daughter of the Jungle (1949), and, she claims, a second cousin to both Charles Lindbergh and Gig Young, Lois Hall was discovered by an agent while performing with the famed Pasadena Playhouse. She had a walk-on in the Cary Grant comedy Every Girl Should be Married (1948) and then settled into a long stint as a leading lady to such B-Western stars as Charles Starrett, Johnny Mack Brown, and Whip Wilson. Hall also did the inevitable serials, The Adventures of Sir Galahad (1949) and Pirates of the High Seas (1950), and was frequently seen on television's The Range Rider series until semi-retiring in 1958 to care for her family. Widowed in 1995, Hall works as an ambassador for the Baha'i One World Faith but has returned to acting on such television shows as Profiler (2000) and in the feature films Gone in Sixty Seconds (2000) and Bad Boy (2002).

Trivia: Supporting actor Tommy Farrell first appeared onscreen in 1950. He is the son of actress Glenda Farrell.

Trivia: Although she starred in scores of B-Westerns opposite the likes of Buck Jones, Buster Crabbe, and Johnny Mack Brown, blonde American actress/singer Christine McIntyre is almost solely remembered for her energetic appearances opposite that zaniest of comedy teams, the Three Stooges. With a Bachelor of Music degree from the Chicago Musical College, McIntyre began her professional career on radio. She entered films around 1937, graduating to leading roles the following year opposite singing cowboy Fred Scott. Appearances in a large number of B-Westerns followed and McIntyre would probably have remained just another prairie flower had she not caught the eye of Columbia producer Hugh McCollom. Not so different at first from the host of pretty girls who decorated the Columbia comedy shorts, McIntyre soon developed into a first-rate comedienne, with an operatic voice to boot. The erudite McCollum persuaded Stooges director Edward Bernds to create Micro-Phonies (1945) for her, with McIntyre was perfectly cast as an aspiring vocalist whose rendition of "The Voice of Spring" is spoiled by the irreverent trio. Micro-Phonies proved one of the year's best Stooges shorts and the die was cast. Alternately playing ingenues and femme fatales, Christine McIntyre was almost regarded as the fourth Stooge and stayed with the department until 1954, longer if one counts her many subsequent appearances via stock footage. "Of all the people I worked with, Christine was one of my favorites," Stooges veteran Emil Sitka said, not long before his death in 1998. Director Edward Bernds concurred: "She was so nice, so sweet; a real joy. She had the rare ability of indulging in the zany antics and still remaining a real lady, which is what she was." The seemingly indefatigable McIntyre also managed to squeeze a series of Johnny Mack Brown Westerns into her busy schedule, but mainstream stardom eluded her and she retired in the mid-'50s to marry J. Donald Wilson, a radio director/producer. Although she relished talking about her many B-Westerns, McIntyre flatly refused to discuss her work with the Stooges.

Trivia: American actor Lee Roberts spent most of his time in Westerns and actioners. Roberts essayed roles of all sizes in such films as the Trail Blazers series at Monogram and the Lash LaRue and Eddie Dean vehicles at PRC. Over at Republic, he showed up with regularity in the studio's serial product. Lee Roberts remained in films until the late '50s, playing the leading role in Hollywood's final serial effort, Columbia's Blazing the Overland Trail (1956).

Trivia: Born into a family of travelling show folk, Lyle Talbot toured the hinterlands as a teen-aged magician. Talbot went on to work as a regional stock-company actor, pausing long enough in Memphis to form his own troupe, the Talbot Players. Like many other barnstorming performers of the 1920s, Talbot headed to Hollywood during the early-talkie era. Blessed with slick, lounge-lizard good looks, he started out as a utility lead at Warner Bros. Talbot worked steadily throughout the 1930s, playing heroes in B pictures and supporting parts in A pictures. During a loanout to Monogram Pictures in 1932, he was afforded an opportunity to co-star with Ginger Rogers in a brace of entertaining mysteries, The 13th Guest and The Shriek and the Night, which were still making the double-feature rounds into the 1940s. In 1935, Talbot and 23 other film players organized the Screen Actors Guild; to the end of his days, he could be counted upon to proudly display his SAG Card #4 at the drop of a hat. As his hairline receded and his girth widened, Talbot became one of Hollywood's busiest villains. He worked extensively in serials, playing characters on both sides of the law; in 1949 alone, he could be seen as above-suspicion Commissioner Gordon in Batman and Robin and as duplicitous Lex Luthor in Atom Man Vs. Superman. He remained in harness in the 1950s, appearing on Broadway and television. Two of his better-known assignments from this period were Joe Randolph on TV's The Adventures of Ozzie and Harriet and as Bob Cummings' lascivious Air Force buddy Paul Fonda on Love That Bob. Seemingly willing to work for anyone who met his price, Talbot had no qualms about appearing in the dregs of cheapo horror films of the fifties. He was prominently cast in two of the estimable Edward D. Wood's "classics," Glen or Glenda (1953) and Plan Nine From Outer Space (1955). When asked what it was like to work for the gloriously untalented Wood, Talbot would recall with amusement that the director never failed to pay him up front for each day's work with a handful of stained, crinkly ten-dollar bills. Though he made his last film in 1960, Lyle Talbot continued touring in theatrical productions well into the late 1970s, regaling local talk-show hosts with his bottomless reserve of anecdotes from his three decades in Hollywood.