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: London-born actress/director/screenwriter Ida Lupino came from a family of performers. She played small parts in Hollywood films through the 1930s until she starred opposite Humphrey Bogart in High Sierra (1941), which led to bigger roles in films of the '40s. Early on, she appeared in Peter Ibbetson (1935), Anything Goes (1936), Artists and Models (1937), The Adventures of Sherlock Holmes (1939), and The Light That Failed (1939), among others. Later, she appeared in Ladies in Retirement (1941), The Sea Wolf (1941), Life Begins at Eight-Thirty (1942), and Forever and a Day (1943), and continued performing on into the 1960s, but not in major films. Starting with Not Wanted (1949), which she also co-wrote, she became the only female movie director of her time. She specialized in dramatic and suspense films, including Never Fear (1949), The Hitch-Hiker (1953), The Bigamist (1953), and the comedy The Trouble with Angels (1966). She also directed episodes of many television series, including The Untouchables and The Fugitive.

Trivia: American actor Ward Bond was a football player at the University of Southern California when, together with teammate and lifelong chum John Wayne, he was hired for extra work in the silent film Salute (1928), directed by John Ford. Both Bond and Wayne continued in films, but it was Wayne who ascended to stardom, while Bond would have to be content with bit roles and character parts throughout the 1930s. Mostly playing traffic cops, bus drivers and western heavies, Bond began getting better breaks after a showy role as the murderous Cass in John Ford's Young Mr. Lincoln (1939). Ford cast Bond in important roles all through the 1940s, usually contriving to include at least one scene per picture in which the camera would favor Bond's rather sizable posterior; it was an "inside" joke which delighted everyone on the set but Bond. A starring role in Ford's Wagonmaster (1950) led, somewhat indirectly, to Bond's most lasting professional achievement: His continuing part as trailmaster Seth Adams on the extremely popular NBC TV western, Wagon Train. No longer supporting anyone, Bond exerted considerable creative control over the series from its 1957 debut onward, even seeing to it that his old mentor John Ford would direct one episode in which John Wayne had a bit role, billed under his real name, Marion Michael Morrison. Finally achieving the wide popularity that had eluded him during his screen career, Bond stayed with Wagon Train for three years, during which time he became as famous for his offscreen clashes with his supporting cast and his ultra-conservative politics as he was for his acting. Wagon Train was still NBC's Number One series when, in November of 1960, Bond unexpectedly suffered a heart attack and died while taking a shower.

Trivia: Chubby, gravelly-voiced American comic actor Charles Kemper learned his trade in vaudeville and minstrel shows. Kemper came to films as a short-subject headliner in 1929, working in the comedy output of Educational Studios at least until 1937. He then spent several seasons on stage and radio before returning to films in 1945 as a character actor. He is best remembered for his quietly chilling portrayal of outlaw leader Uncle Shilo Clegg in John Ford's Wagonmaster (1950). Charles Kemper was fifty years old when he died of injuries sustained in an auto crash; his last film, On Dangerous Ground (1951), was released posthumously.

Trivia: Broadway-based actor Anthony Ross is best remembered by theatre buffs for originating the character of The Gentleman Caller in Tennessee Williams' The Glass Menagerie. Ross also appeared in Moss Hart's morale-boosting play Winged Victory, and was set to repeat his role in the 1944 20th Century-Fox screen version, when for reasons unknown his part was recast. Even so, he remained with Fox in the postwar years, playing character roles in such films as Kiss of Death (1947) and The Gunfighter (1950). Anthony Ross made his last screen appearance in The Country Girl (1954), reprising his Broadway characterization as laconic playwright Phil Cook.

Trivia: Born in Connecticut to an immigrant Irish couple, Ed Begley ran away from home several times before making a complete break from both his family and his formal education at the age of 13. For the next two decades, Begley knocked around in a variety of activities, from Naval service to working as bowling alley pin boy, before obtaining an announcer's job at a Hartford radio station in 1931. Ten years later, Begley moved to New York, where he became a prolific radio actor; from 1944 through 1948, he played the title role in the radio version of Charlie Chan. His belated Broadway debut at age 43 came in a short-lived play titled Land of Fame. In 1947, Begley created the role of benighted war profiteer Joe Keller in Arthur Miller's All My Sons; that same year, he was assigned a solid supporting part in his first film, Boomerang (1947). He was a familiar figure in TV's "golden age" of the 1950s, co-starring in the original video productions of Twelve Angry Men and Patterns. In 1955, he made the first of 789 appearances as the William Jennings Bryan counterpart in the Broadway drama Inherit the Wind, co-starring first with Paul Muni and then with Melvyn Douglas. Despite his ever-increasing activity, Ed Begley was standing in the unemployment compensation line in 1961 when he was informed that he'd been Oscar-nominated for his performance in Sweet Bird of Youth. Justifiably proud of his Oscar statuette, Begley reportedly carried it with him everywhere he went, even on short airplane flights! Ed Begley died at 69 while attending a party at the home of Hollywood press agent Jay Bernstein; he was the father of popular movie and TV leading man Ed Begley Jr.

Trivia: Ian Wolfe was determined to become an actor even as a youth in his hometown of Canton, IL. His Broadway debut was in the warhorse Lionel Barrymore vehicle The Claw. While acting with Katherine Cornell in The Barretts of Wimpole Street in 1934, Wolfe was spotted by MGM producer Irving Thalberg, who brought the actor to Hollywood to re-create his Barretts role. Though not yet 40, Wolfe had the receding hairline and lined features necessary for aged character roles. By his own count, Wolfe appeared in over 200 films, often uncredited assignments in the roles of judges, attorneys, butlers, and shopkeepers. Some of his best screen moments occurred in producer Val Lewton's Bedlam (1946), wherein Wolfe played an 18th century scientist confined to a mental asylum for proposing the invention of motion pictures. Because his actual age was difficult to pinpoint, Wolfe kept working into the 1990s (and his nineties); he was a particular favorite of TV's MTM productions, appearing on such sitcoms as The Mary Tyler Moore Show, The Bob Newhart Show, and Rhoda. Co-workers during this period noted affectionately that, despite his many years as a professional, Wolfe was always seized with "stage fright" just before walking on the set. Though often cast in timid roles, Ian Wolfe was quite outspoken and fiercely defensive of his craft; when asked what he thought of certain method actors who insist upon playing extensions of "themselves," Wolfe snapped that he became an actor to pretend to be other people.

Trivia: A product of vaudeville and burlesque, gerbil-faced comic actor Gus Schilling hit the big time when he joined the Earl Carroll Vanities in the 1930s. He moved on to Orson Welles' Mercury Theatre troupe, appearing in several Mercury radio shows and in the Welles-directed films Citizen Kane (1940), Magnificent Ambersons (1942), The Lady From Shanghai (1947), and MacBeth (1948). He also showed up in such comedy characterizations as the harried orchestra leader in Hellzapoppin' (1941) and the nervous TV repairman in Our Very Own (1950). From 1945 through 1950, Schilling teamed with Dick Lane in a lively series of 11 Columbia Pictures two-reelers; appearing in nearly all of these shorts was Schilling's burlesque partner, Judy Malcolm, who'd invariably pop up out of nowhere, slap Schilling's face, and shout, "How dare you look like someone I hate?" A heavy smoker, Schilling looked terribly drawn and haggard in his last film appearances. Gus Schilling died at the age of 49 of a reported heart attack, though many of those close to him were of the opinion that he killed himself.

Trivia: Busy character actor Frank Ferguson was able to parlay his pinched facial features, his fussy little moustache, and his bellows-like voice for a vast array of characterizations. Ferguson was equally effective as a hen-pecked husband, stern military leader, irascible neighbor, merciless employer, crooked sheriff, and barbershop hanger-on. He made his inaugural film appearance in Father is a Prince (1940) and was last seen on the big screen in The Great Sioux Massacre (1965). Ferguson proved himself an above-average actor by successfully pulling off the treacly scene in The Babe Ruth Story (1948) in which Babe (William Bendix) says "Hi, kid" to Ferguson's crippled son--whereupon the boy suddenly stands up and walks! Among Franklin Ferguson's hundreds of TV appearances were regular stints on the children's series My Friend Flicka (1956) and the nighttime soap opera Peyton Place (1964-68).

Trivia: Bleach-blonde leading lady Cleo Moore can be described as Marilyn Monroe without the class. Though very likely a nice person in real life, Moore specialized in playing vulgar, conniving trollops; one could practically smell the cheap perfume whenever she swivelled onscreen. After an uncharacteristic film debut as a serial heroine in 1948's Congo Bill, Moore became the favorite leading lady of actor/director Hugo Haas, who churned out picture after picture in which he played an older man ruined by Moore's seductive charms. Retiring from filmmaking in 1957, Cleo Moore entered politics, making an unsuccessful bid for the governor's chair in her home state of Louisiana.

Trivia: Olive Carey began her long career acting in silent films under the name Olive Golden. She made her film debut in 1913 with The Sorrowful Shore. She later became one of D.W. Griffith's original stock players. Golden married cowboy star Harry Carey in 1916 and went on to play the female lead in many of his silent westerns. She is said to have had a role in helping illustrious director John Ford get his start; she even worked as his manager. From the '30s through 1947, she was semi-retired, but following her husband's death in 1947, she staged a comeback using her married name. She is best remembered for appearing opposite John Wayne in The Searchers and The Alamo.

Trivia: Today best known as a theatrical producer, Gene Persson has also produced motion pictures and spent 15 years, from the mid-'40s until the dawn of the 1960s, as an actor on television and the big screen. Of Swedish ancestry, Persson was born in Los Angeles, and at age eight began his entertainment career as a child actor on radio and in movies, and later on television. His earliest credit movie appearance was in 1946, at age nine, in Frank Tuttle's postwar drama Swell Guy. Working mostly at Universal over the next few years, he appeared in a string of Ma and Pa Kettle movies and in Nicholas Ray's brilliant film noir On Dangerous Ground, at RKO. He also appeared in numerous television dramatic anthology series, including Studio One, Kraft Theater, and the U.S. Steel Hour. Persson served in the army during the final phase of the Korean War, and it was there, in Special Services, that he got his first real exposure to theater production, which he mastered sufficiently to become a producer during his time in uniform, staging entertainment that was seen all over the Pacific theater. By the time his service ended, he had hosted the first American-produced television show ever broadcast in Korea. Initially on leaving the service, Persson was forced to take work simply for the sake of working, which is how he ended up playing the young male lead in Bert I. Gordon's Earth vs. the Spider -- though he was 23 years old when it was made, Persson was able to pass for a teenager; curiously, it was around this time that he was dating Aneta Corsaut, who had starred in The Blob, another, slightly earlier movie that mixed teenagers and monsters. That same year, Persson also appeared in Paramount's release of The Party Crashers, a somewhat more upscale teen exploitation effort, sort of that studio's answer to Rebel Without a Cause, which had the distinction of being the final film of 1930s screen and stage legend Frances Farmer. In 1959, Persson married Shirley Knight, a very promising and serious stage actress -- he also turned his talents toward theatrical production, first in Los Angeles and later in New York City, where he brought such works as Leroi Jones' The Slave, The Toilet, and Dutchman to off-Broadway stages; the latter, seen by film editor Anthony Harvey while he was in New York, was later adapted to the big-screen by Harvey (with Persson producing), in a scintillating film version starring Al Freeman Jr. and Shirley Knight. Apart from that one credit as a movie producer, Persson has confined most of his activities to the stage in the decades since -- his big hit in that venue was You're a Good Man, Charlie Brown, which enjoyed a four-and-a-half-year run in New York and years more life on stages in other theaters and on the road (where Persson also directed it), turning Gary Burghoff into an off-Broadway star.

Trivia: In films from 1932, American actress Ruth Lee was an expert at portraying middle-America matriarchs. One of Lee's largest roles was as the "June Cleaver" mother in the classic 1939 promotional feature The Middleton Family at the World's Fair. From 1939 to 1943, Lee was a regular in the Robert Benchley one-reelers at both MGM and Paramount, superbly cast as the gently bellicose Mrs. Benchley. Ruth Lee remained active until 1962, when she essayed a minor role in Sergeants Three.

Trivia: Originally intending to become a journalist, William Challee abandoned this dream when he began appearing in Chicago-based theatrical productions. Challee's Broadway career reached its peak in the late '30s with Wonder Boy. In films from 1943, he was usually seen as well-dressed gangsters, pushy reporters, and grim military officers. William Challee's later credits included such roles as Nicholas Duprea in the Jack Nicholson starrer Five Easy Pieces.

Trivia: Mike Lally started in Hollywood as an assistant director in the early 1930s. Soon, however, Lally was steadily employed as a stunt man, doubling for such Warner Bros. stars as James Cagney and Pat O'Brien. He also played innumerable bit roles as reporters, court stenographers, cops and hangers-on. Active until 1982, Mike Lally was frequently seen in functionary roles on TV's Columbo.

Trivia: Ken Terrell (who was sometimes billed as Kenneth Terrell) was one of the longer working veterans of Republic Pictures, with a career that lasted from the end of the 1930s into the 1960s. After breaking into the movies at RKO in a pair of comedy features, A Damsel in Distress and Living on Love, Terrell moved to Republic, where he worked in a string of serials in supporting roles, including the renowned Perils of Nyoka (aka Nyoka and the Tigermen), playing the assistant to the Charles Middleton character. The other major serials in which he appeared included Jungle Girl, Drums of Fu Manchu, The Masked Marvel, Secret Service in Darkest Africa, Captain America, and Spy Smasher, sometimes in multiple roles in the course of 12 or 15 chapters. He did occasional outside work, such as an appearance in The Mummy's Hand at Universal, and appeared in B-westerns such as the Jimmy Wakely vehicle Song of the Range; during the 1940s, Terrell's one appearance in a major movie was in a small role in George Cukor's Winged Victory, based on the play by Moss Hart. Terrell didn't get acting roles with decent screen time until the mid-'50s, after leaving Republic, when he was cast in a succession of roles in several low-budget science fiction/horror films. His rough-hewn features and dark eyes allowed him to convey fear, villainy, or concern in equal measures, and to play anything from thugs to army officers, just as his bit roles had him cast as everything from Arab assassins to town drunks. In Jack Pollexfen's The Indestructible Man, he played Joe Marcella, the nervous one of the three hoods being hunted down by a super-strong resurrected murderer Lon Chaney Jr.; in Nathan Juran's The Brain From Planet Arous, he played the army colonel who gets burned to a cinder by alien-possessed John Agar and, in his best and longest part in a feature, in Juran's Attack of the 50 Foot Woman, he plays Jess, the loyal valet to victim Allison Hayes. Terrell had a small role, mostly involving stunt work, in Stanley Kubrick's Spartacus, and made his last screen appearance in the Vincent Price vehicle The Master of the World. He died of arteriosclerosis in 1966.

Trivia: Durable leading lady Nita Talbot spent the first decade or so of her career playing "slick chicks" and sharp-witted career girls. In films from 1956, she was afforded a wealth of varied screen roles, from the love-starved switchboard operator in A Very Special Favor (1966) to the brassy Madame Esther in Buck and the Preacher (1972). A TV-series perennial, Talbot was seen as Mabel Spooner opposite Larry Blyden's Joe Spooner in Joe and Mabel (1956), unregenerate con artist Blondie Collins on The Thin Man (1957), resourceful girl Friday Dora on The Jim Backus Show (1960), snooty socialite Judy Evans in Here We Go Again (1973) and ultracyncial Rose in Starting from Scratch. Nita Talbot was also a familiar face on the daytime-drama scene, with long-running roles in Search for Tomorrow and General Hospital.

Trivia: Bald-domed, prominently chinned American character actor Joe Devlin was seen in bits in major films, and as a less-costly Jack Oakie type in minor pictures. Devlin usually played two-bit crooks and sarcastic tradesmen in his 1940s appearances. The actor's uncanny resemblance to Benito Mussolini resulted in numerous "shock of recognition" cameos during the war years, as well as full-fledged Mussolini imitations in two Hal Roach "streamliners," The Devil With Hitler (1942) and That Nazty Nuisance (1943). In 1950, Joe Devlin was cast as Sam Catchem in a TV series based on Chester Gould's comic-strip cop Dick Tracy.

Trivia: American screenwriter A.I. Bezzerides was known for writing male-oriented action stories.

Trivia: Nestor Paiva had the indeterminate ethnic features and gift for dialects that enabled him to play virtually every nationality. Though frequently pegged as a Spaniard, a Greek, a Portuguese, an Italian, an Arab, an even (on radio, at least) an African-American, Paiva was actually born in Fresno, California. A holder of an A.B. degree from the University of California at Berkeley, Paiva developed an interest in acting while performing in college theatricals. Proficient in several languages, Paiva made his stage bow at Berkeley's Greek Theatre in a production of Antigone. His subsequent professional stage career was confined to California; he caught the eye of the studios by appearing in a long-running Los Angeles production of The Drunkard, which costarred another future film player of note, Henry Brandon. He remained with The Drunkard from 1934 to 1945, finally dropping out when his workload in films became too heavy. Paiva appeared in roles both large and small in so many films that it's hard to find a representative appearance. Fans of Bob Hope and Bing Crosby can take in a good cross-section of Paiva's work via his appearances in Road to Morocco (1942), Road to Utopia (1945) and Road to Rio (1947); he has a bit as a street peddler in Morocco, is desperado McGurk in Utopia, and plays the Brazilian theatre manager who isn't fooled by the Wiere Brothers' attempt to pass themselves off as Americans ("You're een the groove, Jackson") in Rio. During his busiest period, 1945 through 1948, Paiva appeared in no fewer than 117 films. The familiar canteloupe-shaped mug and hyperactive eyebrows of Nestor Paiva graced many a film and TV program until his death in 1966; his final film, the William Castle comedy The Spirit is Willing (1967), was released posthumously.

Trivia: The pint-sized American actor Jimmy Conlin preceded his film career as a vaudeville headliner on the Keith and Orpheum circuits, where he appeared with his wife Muriel Glass in a song-and-dance turn called "Conlin and Glass." After starring in the 1928 Vitaphone short Sharps and Flats, Conlin began regularly appearing in movie bit roles in 1933. Writer/director Preston Sturges liked Conlin's work and saw to it that the actor received sizeable roles--with good billing--in such Sturges projects as Sullivan's Travels (1941), Hail the Conquering Hero (1944) and Miracle of Morgan's Creek (1944). Conlin's all-time best role was as Wormy, the birdlike barfly who persuades Harold Lloyd to have his first-ever drink in Sturges' The Sin of Harold Diddlebock (1946). When Sturges' fortunes fell in the 1950s, Conlin and his wife remained loyal friends, communicating on a regular basis with the former top director and helping out in any way they could. In 1954, Conlin had a regular role as Eddie in the syndicated TV series Duffy's Tavern. Jimmy Conlin remained a Hollywood fixture until 1959, when he appeared in his last role as an elderly habitual criminal in Otto Preminger's Anatomy of a Murder.

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: After making his screen bow in 1928's The Racket, craggy-faced character actor G. Pat Collins could usually be found on the wrong side of the law. Collins may hold the record for prison-picture appearances, showing up behind bars in such efforts as I Am a Fugitive (1932) 20,000 Years in Sing Sing (1932), Hold Em Jail (1932) and Triple Trouble (1950), among many others. James Cagney fans will recall Collins as "The Reader," whose lip-reading skills set the stage for the "bust-out" scene in Cagney's White Heat (1949). Towards the end of his life, G. Pat Collins "went straight" cinematically, playing a number of military roles in westerns and war pictures.