Trivia: Few would argue with the opinion that American entertainer Fred Astaire was the greatest dancer ever seen on film. Born to a wealthy Omaha family, young Astaire was trained at the Alvienne School of Dance and the Ned Wayburn School of Dancing. In a double act with his sister Adele, Fred danced in cabarets, vaudeville houses, and music halls all over the world before he was 20. The Astaires reportedly made their film bow in a 1917 Mary Pickford vehicle, same year of their first major Broadway success, Over the Top. The two headlined one New York stage hit after another in the 1920s, their grace and sophistication spilling into their social life, in which they hobnobbed with literary and theatrical giants, as well as millionaires and European royalty. When Adele married the British Lord Charles Cavendish in 1931, Fred found himself soloing for the first time in his life. As with many other Broadway luminaries, Astaire was beckoned to Hollywood, where legend has it his first screen test was dismissed with "Can't act; slightly bald; can dance a little." He danced more than a little in his first film, Dancing Lady (1933), though he didn't actually play a role and was confined to the production numbers. Later that year, Astaire was cast as comic/dancing relief in the RKO musical Flying Down to Rio, which top-billed Dolores Del Rio and Gene Raymond. Astaire was billed fifth, just below the film's female comedy relief Ginger Rogers. Spending most of the picture trading wisecracks while the "real" stars wooed each other, Astaire and Rogers did a very brief dance during a production number called "The Carioca." As it turned out, Flying Down to Rio was an enormous moneymaker -- in fact, it was the film that saved the studio from receivership. Fans of the film besieged the studio with demands to see more of those two funny people who danced in the middle of the picture. RKO complied with 1934's The Gay Divorcee, based on one of Astaire's Broadway hits. Supporting no one this time, Fred and Ginger were the whole show as they sang and danced their way through such Cole Porter hits as "Night and Day" and the Oscar-winning "The Continental." Astaire and Rogers were fast friends, but both yearned to be appreciated as individuals rather than a part of a team. After six films with Rogers, Astaire finally got a chance to work as a single in Damsel in Distress (1937), which, despite a superb George Gershwin score and top-notch supporting cast, was a box-office disappointment, leading RKO to re-team him with Rogers in Carefree (1938). After The Story of Vernon and Irene Castle (1939), Astaire decided to go solo again, and, after a few secondary films, he found the person he would later insist was his favorite female co-star, Rita Hayworth, with whom he appeared in You'll Never Get Rich (1942) and You Were Never Lovelier (1946). Other partners followed, including Lucille Bremer, Judy Garland, Betty Hutton, Jane Powell, Cyd Charisse, and Barrie Chase, but, in the minds of moviegoers, Astaire would forever be linked with Ginger Rogers -- even though a re-teaming in The Barkeleys of Broadway (1949) seemed to prove how much they didn't need each other. Astaire set himself apart from other musical performers by insisting that he be photographed full-figure, rather than have his numbers "improved" by tricky camera techniques or unnecessary close-ups. And unlike certain venerable performers who found a specialty early in life and never varied from it, Astaire's dancing matured with him. He was in his fifties in such films as The Band Wagon (1953) and Funny Face (1957), but he had adapted his style so that he neither drew attention to his age nor tried to pretend to be any younger than he was. Perhaps his most distinctive characteristic was making it look so easy. One seldom got the impression that Astaire worked hard to get his effects, although, of course, he did. To the audience, it seemed as though he was doing it for the first time and making it up as he went along. With the exceptions of his multi-Emmy-award-winning television specials of the late '50s and early '60s, Astaire cut down on his dancing in the latter stages of his career to concentrate on straight acting. While he was superb as a troubled, suicidal scientist in On the Beach (1959) and was nominated for an Oscar for his work in The Towering Inferno (1974), few of his later films took full advantage of his acting abilities. (By 1976, he was appearing in such films as The Amazing Dobermans.) In 1981, more than a decade after he last danced in public, Astaire was honored with a Lifetime Achievement Award from the American Film Institute. While this award was usually bestowed upon personalities who had no work left in them, Astaire remained busy as an actor almost until his death in 1987. The same year as his AFI prize, Astaire joined fellow show business veterans Melvyn Douglas, Douglas Fairbanks Jr., and John Houseman in the movie thriller Ghost Story.

Trivia: Hollywood has seen the coming and going of many comic geniuses, but only a select few have been as universally beloved as gentle, low-key Red Skelton and his cavalcade of characters that included the clown Freddie the Freeloader, the goofy Clem Kadiddlehopper, and his seagulls Gertrude and Heathcliffe. That many of his best characters were clowns comes as no surprise for Skelton's father was a circus clown who died two months before Skelton was born Bernard Richard Skelton in Vincennes, IN. Skelton's mother was a charwoman and barely earned enough for them to get by. They were so poor that the comedian began singing for pennies on the street when he was only seven. At age ten, Skelton quit school and joined a traveling medicine show. He gained further experience on the burlesque and vaudeville circuits and on showboats. He became a standup comic in the early '30s, playing one-night gigs in small nightclubs.His big break came after he developed a mimed donut-dunking routine that led to his employment at the Paramount Theater and then to a successful radio career and a long-running show during which he developed most of his characters. Skelton made his screen debut playing Itchy Falkner in Having a Wonderful Time (1938). He billed himself as Richard "Red" Skelton. Contracted to MGM during the '40s and '50s, Skelton played character roles and the occasional lead in numerous films, many of which were musicals and comedies. In 1951, Skelton launched a variety show that would alternately air on CBS and NBC until 1971. It was there that Skelton developed his characters and gained his most devoted following. Each show would begin with Skelton holding an unlit cigar and offering a warm greeting and doing a brief monologue; it would also contain a "silent spot" in which Skelton demonstrated his mastery of pantomime. All of the characters he created on radio made regular appearances, as did a brand new one, Freddy the Freeloader, a silent clown who could be as pathetic as he was funny. Musical accompaniment was provided by David Rose and his orchestra. Rose had been with Skelton since his radio days. From the series' beginning to its end, Skelton would finish his show with a heartfelt "Good night and God Bless." Throughout the program's long, extraordinarily successful (it was never out of the Top Ten in the Nielsen ratings-run), Skelton occasionally appeared in feature films. In 1953, he played a rare dramatic role in The Clown, which was a remake of The Champ. Skelton had his final starring role in Public Pigeon No. One (1957). After that he made cameos and guest star appearances in films such Those Magnificent Men in Their Flying Machines (1965). In addition to performing, Skelton excelled at several other interests. That he was a renowned oil painter of clowns is well known, but he also designed dishes and was an expert at creating bonsai trees. Skelton also composed about 8,000 songs, including the theme for the film Made in Paris (1966). For his lifetime of contributions in entertainment he was awarded an honorary Doctorate of Literature from Emerson College of Boston, a Doctor of Human Letters from Vincennes University, and a doctorate of Theater Arts at Indiana State University. Skelton was a 33rd Degree Mason, the order's highest possible level. He also frequently contributed to children's charities. Though no longer a regular in films and television, Skelton continued performing live until his death from pneumonia at age 84.

Trivia: Vivacious, long-stemmed blonde musical star Vera-Ellen was dancing professionally before she was a teenager. After service as a Radio City Music Hall Rockette and a Manhattan nightclub dancer, she graduated to the Broadway stage. She made her film debut in the 1945 Danny Kaye vehicle Wonder Man, then went on to team with such male stars as Gene Kelly (in 1949's On the Town), Fred Astaire (in 1952's Belle of New York), and Bing Crosby (1954's White Christmas). In a moment of weakness, Vera-Ellen agreed to co-star in the Marx Brothers' valedictory film Love Happy (1949), where she was "rewarded" with some of her worst-ever costumes and camera angles. After her final screen appearance in the British Let's Be Happy (1957), Vera-Ellen retired from movies, making a handful of TV appearances before marrying wealthy businessman Victor Rothschild in 1954. Following her divorce in 1966 and the subsequent death of her infant daughter, Vera-Ellen went into seclusion in her Los Angeles home, dropping completely from the public's consciousness until her death from cancer in 1981.

Trivia: Redheaded leading lady Arlene Dahl was born, raised and educated in Minnesota. Supporting herself with innumerable day jobs, Dahl finally reached Broadway in 1945, the year before she was chosen New York's "Miss Rheingold." Her first film appearance in MGM's Life With Father (1947) was so fleeting as to be missable, but by 1948 Dahl was playing leads at MGM. In the tradition of such drop-dead-gorgeous redheads as Maureen O'Hara and Rhonda Fleming, Dahl often as not found herself cast in Technicolor swashbucklers, notably Caribbean (1952), Sangaree (1952) and Bengal Brigade (1953). In 1956 Dahl delivered an intimidatingly superb performance as a beautiful psycho in Allan Dwan's Slightly Scarlet. By the 1960s, Dahl was better known as a beauty-product promoter and glamour-advice columnist; her five marriages to such high-profile personalities as Fernando Lamas and Lex Barker also kept her in the public eye. Though her Arlene Dahl Enterprises cosmetics firm earned millions in its heyday, by the mid-1980s Dahl was broke, a fact which compelled her to resume her acting career. Arlene Dahl made her first film appearance in two decades in Night of the Warrior (1991); her co-star was her son, TV hearthrob Lorenzo Lamas.

Trivia: Actor Keenan Wynn was the son of legendary comedian Ed Wynn and actress Hilda Keenan, and grandson of stage luminary Frank Keenan. After attending St. John's Military Academy, Wynn obtained his few professional theatrical jobs with the Maine Stock Company. After overcoming the "Ed Wynn's Son" onus (his father arranged his first job, with the understanding that Keenan would be on his own after that), Wynn developed into a fine comic and dramatic actor on his own in several Broadway plays and on radio. He was signed to an MGM contract in 1942, scoring a personal and professional success as the sarcastic sergeant in 1944's See Here Private Hargrove (1944). Wynn's newfound popularity as a supporting actor aroused a bit of jealousy from his father, who underwent professional doldrums in the 1940s; father and son grew closer in the 1950s when Ed, launching a second career as a dramatic actor, often turned to his son for moral support and professional advice. Wynn's film career flourished into the 1960s and 1970s, during which time he frequently appeared in such Disney films as The Absent-Minded Professor (1960) and The Love Bug (1968) as apoplectic villain Alonso Hawk. Wynn also starred in such TV series as Troubleshooters and Dallas. Encroaching deafness and a drinking problem plagued Wynn in his final years, but he always delivered the goods onscreen. Wynn was the father of writer/director Tracy Keenan Wynn and writer/actor Edmund Keenan (Ned) Wynn.

Trivia: Statuesque brunette actress Gale Robbins started out as a model and nightclub singer. Entering films in 1944, Robbins spent most of her screen time playing alluring temptresses and brassy showgirls, bearing such character names as Dawn, Dixie, Shirlee, and Ruby. In 1950's The Fuller Brush Girl, she socks across a sizzling striptease rendition of "Put the Blame on Mame"; and in 1953's Calamity Jane, she is briefly seen as the pink-tight-clad Chicago songstress Adelaide Adams, wowing the first-nighters with her performance of "It's Harry I'm Planning to Marry." Retiring in 1958, Robbins made a brief comeback on the nightclub trail nearly 20 years later. Gale Robbins was 58 years old when she died of lung cancer in 1980.

Trivia: Gloria DeHaven was the daughter of the popular "polite comedy" stage-and-film team of Mr. and Mrs. Carter DeHaven. DeHaven made her screen debut as one of Paulette Goddard's younger sisters in Charles Chaplin's Modern Times, on which her father was assistant director. In her teen years, DeHaven secured work as a band vocalist, which led to singing parts in such film musicals as Best Foot Forward (1943), Step Lively (1944) and Summer Holiday (1948). Under contract to MGM from 1940 to 1950, the vivacious and talented DeHaven was the studio's all-purpose ingenue, acting opposite everyone from William Powell to Red Skelton. She later starred in a series of Technicolor musicals at 20th Century-Fox. When musicals fell out of public favor, DeHaven's film career waned and she turned her energies to performing in nightclubs, summer-stock and on the TV-guest-star circuit. During the 1970s and 1980s, she made cameo appearances in a few films; later she was also seen on a semi-regular basis on the TV series Ryan's Hope, Nakia and Murder She Wrote. In 1997, DeHaven returned to feature films with a co-starring role opposite Walter Matthau, Jack Lemmon and Dyan Cannon in Martha Coolidge's Out to Sea. She died in 2016, at age 91.

Trivia: They didn't call handsome Irish-American tenor Phil Regan the "singing cop" for nothing. Before he became a radio star and occasional movie actor, Regan had been a New York City Police Department detective. Regan switched professions after an assignment to guard a vaudeville party led to his showing off his talents as a singer and piano player to the party goers. A radio producer overheard the Brooklyn-born gumshoe and soon had him performing on radio and television. He began his off-and-on film career in 1934 with The Personality Kid. After a few years at Warner Bros. as a substitute for Dick Powell, Regan moved to Republic, where he enjoyed leading assignments in such musicals as Manhattan Merry-Go-Round (1937) and She Married a Cop (1939). In the 1940s, he starred in a handful of Monogram tunefests, including Swing Parade of 1946. Phil Regan's last screen appearance was a guest spot as himself in MGM's Bert Kalmar-Harry Ruby musical biopic Three Little Words (1950) where he performed alongside Fred Astaire and Red Skelton. In 1951, Regan hosted the Phil Regan Armed Forces Show on radio. During Ronald Reagan's first bid for the California governship, Phil Regan was a staunch supporter and headed Reagan's Democratic political group. In the latter '50s, Regan retired from performing and became a public relations representative.

Trivia: A stagestruck 15-year-old Michigan farm boy, Harry Shannon succumbed to the lure of greasepaint upon joining a traveling repertory troupe. Developing into a first-rate musical comedy performer, Shannon went on to work in virtually all branches of live entertainment, including tent shows, vaudeville, and Broadway. By the 1930s, Shannon was a member of Joseph Schildkraut's Hollywood Theater Guild, which led to film assignments. Though he was busiest playing Irish cops and Western sheriffs, Harry Shannon is best remembered as Charles Foster Kane's alcoholic father ("What that kid needs is a good thrashin'!") in Orson Welles' masterpiece Citizen Kane (1941).

Trivia: At the peak of her career, actress Debbie Reynolds was America's sweetheart, the archetypal girl-next-door. Best remembered for her work in Hollywood musicals, she appeared in the genre's defining moment, Singin' in the Rain, as well as many other notable successes. Born Mary Frances Reynolds on April 1, 1932, in El Paso, TX, she entered the film industry by winning the Miss Burbank beauty contest in 1948, resulting in a contract with Warner Bros. However, the studio cast her in small roles in only two films -- 1948's The June Bride and 1950's The Daughter of Rosie O'Grady -- and she soon exited for the greener pastures of MGM, where she first appeared in Three Little Words. A more significant turn in 1950's Two Weeks With Love garnered Reynolds strong notices, and soon she was touted as the new Judy Garland, with a role in 1951's Mr. Imperium also on the horizon.Though star Gene Kelly initially opposed her casting in his 1952 musical Singin' in the Rain, Reynolds acquitted herself more than admirably alongside the likes of Donald O'Connor and Jean Hagen, and the film remains one of the greatest Hollywood musicals ever produced. A series of less distinguished musicals followed, among them 1953's I Love Melvin, The Affairs of Dobie Gillis, and Give a Girl a Break. On loan to RKO, she scored a major success in 1954's Susan Slept Here, and upon returning to MGM she was awarded with a new and improved seven-year contract. However, the studio continued to insert Reynolds into lackluster projects like the health-fad satire Athena and the musical Hit the Deck. Finally, in 1955, she appeared opposite Frank Sinatra in the hit The Tender Trap, followed by a well-regarded turn as a blushing bride in The Catered Affair a year later.Additionally, Reynolds teamed with real-life husband Eddie Fisher in the musical Bundle of Joy. The couple's children also went on to showbiz success: Daughter Carrie Fisher became a popular actress, novelist, and screenwriter, while son Todd became a director. In 1957, Reynolds starred in Tammy and the Bachelor, the first in a series of popular teen films which also included 1961's Tammy Tell Me True, 1963's Tammy and the Doctor, and 1967's Tammy and the Millionaire. Her other well-received films of the period included 1959's It Started With a Kiss, 1961's The Pleasure of His Company, and 1964's The Unsinkable Molly Brown, for which she earned an Academy Award nomination. In 1959, Reynolds' marriage to Fisher ended in divorce when he left her for Elizabeth Taylor. The effect was an outpouring of public sympathy which only further increased her growing popularity, and it was rumored that by the early '60s, she was earning millions per picture. By the middle of the decade, however, Reynolds' star was waning. While described by the actress herself as her favorite film, 1966's The Singing Nun was not the hit MGM anticipated. Its failure finally convinced the studio to offer her roles closer to her own age, but neither 1967's Divorce American Style nor the next year's How Sweet It Is performed well, and Reynolds disappeared from the screen to mount her own television series, the short-lived Debbie Reynolds Show. In 1971, she appeared against type in the campy horror picture What's the Matter with Helen?, but when it too failed, she essentially retired from movie making, accepting voice-over work as the title character in the animated children's film Charlotte's Web but otherwise remaining away from Hollywood for over a decade.Reynolds then hit the nightclub circuit, additionally appearing on Broadway in 1974's Irene. In 1977, she also starred in Annie Get Your Gun. By the 1980s, Reynolds had become a fixture in Las Vegas, where she ultimately opened her own hotel and casino, regularly performing live in the venue's nightclub and even opening her own museum of Hollywood memorabilia. In 1987, she reappeared in front of the camera for the first time in years in the TV movie Sadie and Son, followed in 1989 by Perry Mason: The Case of the Musical Murder. In 1992, Reynolds appeared briefly as herself in the hit film The Bodyguard, and a small role in Oliver Stone's 1993 Vietnam tale Heaven and Earth marked her second tentative step toward returning to Hollywood on a regular basis. Finally, in 1996 she accepted the title role in the acclaimed Albert Brooks comedy Mother, delivering what many critics declared the best performance of her career. The comedies Wedding Bell Blues and In and Out followed in 1996 and 1997. She continued to work in animated projects, and often allowed herself to be interviewed for documentaries about movie and dance history. She made a cameo as herself in Connie and Carla, and in 2012 she had her most high-profile gig in quite some time when she was cast as Grandma Mazur in One for the Money. In 2015, Reynolds was awarded the Jean Hersholt Humanitarian Award by the Academy of Motion Picture Arts and Sciences. Reynolds died in 2016, at age 84, just one day after her daughter Carrie Fisher died.

Trivia: Not to be confused with the popular radio commentator of the same name, American stage actor Paul Harvey made his first film in 1917. Harvey appeared in a variety of character roles, ranging from Sheiks (Kid Millions [34]) to Gangsters (Alibi Ike [35]) before settling into his particular niche as one of Hollywood's favorite blowhard executives. Looking for all the world like one of those old comic-strip bosses who literally blew their tops (toupee and all), Harvey was a pompous target ripe for puncturing by such irreverent comics as Groucho Marx (in A Night in Casablanca [46]) and such down-to-earth types as Doris Day (April in Paris [54]). Paul Harvey's final film role was a typically imperious one in DeMille's The Ten Commandments (55); Harvey died of thrombosis shortly after finishing this assignment.

Trivia: Spindly musical comedy performer Carleton Carpenter was a professional magician and Broadway actor when he was signed to an MGM contract in 1949. In his second film, Three Little Words, Carpenter was paired with Debbie Reynolds, who, in the role of boop-a-doop girl Helen Kane, sang "I Wanna be Loved by You." MGM liked the chemistry generated between Carpenter and Reynolds, obligingly casting them in larger roles in Two Weeks With Love (1950); it was in this film that the twosome performed the tongue-twisting ditty "Abba Dabba Honeymoon." Carpenter went on to give straight dramatic performances in such films as Sky Full of Moon (1952) and Take the High Ground (1953) before returning to the stage. While he would occasionally resurface in films and on television, Carleton Carpenter was better known in the 1960s, 1970s and 1980s as a best-selling mystery novelist; one of his more popular books, Deadhead, was adapted into a short-lived Broadway musical.

Trivia: Juvenile actor Billy Gray began appearing in movie bit parts at age 5. The best-remembered of his 1950s film appearances were in The Day the Earth Stood Still (1951) as the inquisitive son of Patricia Neal; On Moonlight Bay (1952), as Booth Tarkington's Penrod; and The Seven Little Foys (1955), in which he played the teenaged version of future film producer Bryan Foy. Billy was slated to portray Tag Oakley on the 1953 TV western Annie Oakley, but instead opted to co-star as Bud Anderson on the long-running Father Knows Best (1954-60). His appearances in film and on television became sporadic after the 1950s.

Trivia: A former professional baseball player, Pat Flaherty was seen in quite a few baseball pictures after his 1934 screen debut. Flaherty can be seen in roles both large and small in Death on the Diamond (1934), Pride of the Yankees (1942), It Happened in Flatbush (1942), The Stratton Story (1949, as the Western All-Stars coach), The Jackie Robinson Story (1950) and The Winning Team (1952, as legendary umpire Bill Klem). In 1948's Babe Ruth Story, Flaherty not only essayed the role of Bill Corrigan, but also served as the film's technical advisor. Outside the realm of baseball, he was usually cast in blunt, muscle-bound roles, notably Fredric March's taciturn male nurse "Cuddles" in A Star is Born (1937). One of Pat Flaherty's most unusual assignments was Wheeler and Woolsey's Off Again, On Again (1937), in which, upon finding his wife (Patricia Wilder) in a compromising position with Bert Wheeler, he doesn't pummel the hapless Wheeler as expected, but instead meekly apologizes for his wife's flirtatiousness!

Trivia: Actor Pierre Watkin looked as though he was born to a family of Chase Manhattan executives. Tall, imposing, imbued with a corporate demeanor and adorned with well-trimmed white mustache, Watkin appeared to be a walking Brooks Brothers ad as he strolled through his many film assignments as bankers, lawyers, judges, generals and doctors. When director Frank Capra cast the actors playing US senators in Mr Smith Goes to Washington (1939) using as criteria the average weight, height and age of genuine senators, Watkin fit the physical bill perfectly. Occasionally Watkin could utilize his established screen character for satirical comedy: in W.C. Fields' The Bank Dick, he portrayed Lompoc banker Mr. Skinner, who extended to Fields the coldest and least congenial "hearty handclasp" in movie history. Serial fans know Pierre Watkin as the actor who originated the role of bombastic Daily Planet editor Perry White in Columbia's two Superman chapter plays of the late '40s.

Trivia: Scrawny supporting actor Syd Saylor managed to parlay a single comic shtick -- bobbing his adam's apple -- into a four-decade career. He starred in several silent two-reel comedies from 1926 through 1927, then settled into character parts. During the late '30s and early '40s, Saylor frequently found himself in B-Westerns as the comical sidekick for many a six-gun hero, though he seldom lasted very long in any one series. Syd Saylor was still plugging away into the 1950s, playing "old-timer" bits in such films as Cheaper by the Dozen (1950) and Jackpot (1950), and such TV series as Burns and Allen and Alfred Hitchcock Presents.

Trivia: American actor Sherry Hall popped up in innumerable bit roles between 1932 and 1951. Hall was typically cast as reporters, bartenders, court clerks, and occasional pianists. He was particularly busy at 20th Century-Fox in the 1940s, nearly always in microscopic parts. Sherry Hall's larger screen assignments included the "TV Scientist" in Dick Tracy Returns (1938), Robert Buelle in The Shadow Returns (1946), John Gilvray in The Prowler (1951), and Mr. Manners in The Well, a 1951 film populated almost exclusively by small-part players.

Trivia: Diminutive, frequently mustached character actor Charles Wagenheim made the transition from stage to screen in or around 1940. Wagenheim's most memorable role was that of "The Runt" in Meet Boston Blackie (1941), a part taken over by George E. Stone in the subsequent "Boston Blackie" B-films. Generally cast in unsavory bit parts, Wagenheim's on-screen perfidy extended from Hitchcock's Foreign Correspondent (1940) to George Stevens' Diary of Anne Frank (1959), in which, uncredited, he played the sneak thief who nearly gave away the hiding place of the Frank family. Wagenheim kept his hand in the business into the 1970s in films like The Missouri Breaks (1976). In 1979, 83-year-old Charles Wagenheim was bludgeoned to death by an intruder in his Hollywood apartment, five days before another veteran actor, Victor Kilian, met the same grisly fate.

Trivia: Character actor Donald Kerr showed up whenever a gumchewing Runyonesque type (often a reporter or process server) was called for. A bit actor even in two-reelers and "B" pictures, Kerr was one of those vaguely familiar faces whom audiences would immediately recognize, ask each other "Who is that?", then return to the film, by which time Kerr had scooted the scene. The actor's first recorded film appearance was in 1933's Carnival Lady. Twenty-two years later, Donald Kerr concluded his career in the same anonymity with which he began it in 1956's Yaqui Drums.

Trivia: The son of veteran vaudeville headliner Julius Tannen and the brother of actor Charles Tannen, William Tannen entered films as a Columbia contractee in 1934. Along with several other young stage-trained performers, Tannen was "discovered" by MGM in 1938's Dramatic School. During his subsequent years at MGM, he was briefly associated with three top comedy teams: He played Virginia Grey's brother in the Marx Brothers' The Big Store (1941), a Nazi flunkey in Laurel and Hardy's Air Raid Wardens (1943), and a "hard-boiled" assistant director in Abbott and Costello in Hollywood (1945). On TV, William Tannen was seen in the recurring role of Deputy Hal on the weekly Western Wyatt Earp (1955-1961).

Trivia: George Magrill entered films in 1921 as a general-purpose bit player. Magrill's imposing physique and dexterity enabled him to make a good living as a stunt man throughout the 1920s, 1930s and 1940s. From time to time, he'd have speaking roles as bank guards, cops, sailors, truck drivers and chauffeurs. On those rare occasions that he'd receive screen credit, George Magrill was usually identified as "Thug," a part he played to the hilt in westerns, crime mellers and serials.

Trivia: American movie stunt man John McKee began accepting acting roles somewhere around 1945. Though his name is not listed in The Baseball Encyclopedia, we can safely assume that McKee had some pro baseball experience of some sort. He was seen as a ballplayer in such films as It Happens Every Spring (1949), Three Little Words (1950), Angels in the Outfield (1951), Pride of St. Louis (1952), The Big Leaguer (1953) and The Kid From Left Field (1953). As late as 1978 he was still in uniform, playing Ralph Houk in the made-for-TV One in a Million: The Ron LeFlore Story. John McKee was also on call for military-officer roles, notably in the war films The Gallant Hours (1960) and McArthur (1976).

Trivia: American composer/screenwriter Harry Ruby dreamed of becoming a professional baseball player, but chose instead to pursue the career of "song plugger;" he would position himself at the pianos of major music-publishing houses, playing new tunes for the benefit of such clients as singers and record producers. In partnership with future film mogul Harry Cohn, Ruby managed to parlay a novelty ditty called "Ragtime Cowboy Joe" into a hit. Tired of promoting the works of others, Ruby began writing his own songs in collaboration with vaudeville hoofer Bert Kalmar. Like his lifelong friend Groucho Marx, Ruby's musical preferences ran to Gilbert-and-Sullivan patter, groan-inducing puns and surrealistic nonsense; all the same, his biggest hits were such "conformist" pieces as "Three Little Words," "I Wanna Be Loved By You" and "Who's Sorry Now?" Perhaps Kalmar and Ruby's best-remembered "stunt" piece was "Hooray For Captain Spaulding," which they wrote for the 1928 Marx Brothers musical Animal Crackers and which would ever after serve as Groucho's signature theme. Journeying to Hollywood in 1929, Kalmar and Ruby composed songs and wrote screenplays for such comedians as Eddie Cantor and Wheeler and Woolsey; the team also maintained its own publishing company. After the death of Bert Kalmar in 1947, Ruby curtailed his own professional activities, preferring to devote his time to his family (his wife was silent screen actress Eileen Percy) and to remain active in Beverly Hills civic activities. Ruby also acted from time to time in the '50s, appearing as himelf in Angels in the Outfield (1951) and guesting as a decidedly semitic Indian chief in the Irwin Allen all-star farrago The Story of Mankind (1957). In 1950, MGM produced a fanciful biopic about Harry Ruby and Bert Kalmar, Three Little Words. Harry was played by Red Skelton and Fred Astaire costarred as Bert.