Trivia: American actor Rock Hudson was born Roy Scherer, adopting the last name Fitzgerald when his mother remarried in the mid-'30s. A popular but academically unspectacular student at New Trier High School in Winnetka, IL, he decided at some point during his high school years to become an actor, although a wartime stint in the Navy put these plans on hold. Uninspiring postwar jobs as a moving man, postman, telephone company worker, and truck driver in his new home of California only fueled his desire to break into movies, which was accomplished after he had professional photos of himself taken and sent out to the various studios. A few dead-end interviews later, he took drama lessons; his teacher advised him to find a shorter name if he hoped to become a star, and, after rejecting Lance and Derek, he chose Rock ("Hudson" was inspired by the automobile of that name). Signed by Universal-International, Hudson was immediately loaned to Warner Bros. for his first film, Fighter Squadron (1948); despite director Raoul Walsh's predictions of stardom for the young actor, Hudson did the usual contract player bits, supporting roles, and villain parts when he returned to Universal. A good part in Winchester '73 (1950) led to better assignments, and the studio chose to concentrate its publicity on Hudson's physical attributes rather than his acting ability, which may explain why the actor spent an inordinate amount of screen time with his shirt off. A favorite of teen-oriented fan magazines, Hudson ascended to stardom, his films gradually reaching the A-list category with such important releases as Magnificent Obsession (1954) and Battle Hymn (1957). Director George Stevens cast Hudson in one of his best roles, Bick Benedict, in the epic film Giant (1956), and critics finally decided that, since Hudson not only worked well with such dramatic league leaders as Elizabeth Taylor and James Dean -- but frequently outacted them in Giant -- he deserved better, less condescending reviews. Hudson's career took a giant leap forward in 1959 when he was cast in Pillow Talk, the first of several profitable co-starring gigs with Doris Day. Once again taken for granted by the mid-'60s, Hudson turned in another first-rate performance as a middle-aged man given a newer, younger body in the mordant fantasy film Seconds (1966). A longtime television holdout, Hudson finally entered the weekly video race in 1971 with the popular detective series McMillan and Wife, co-starring Susan Saint James, and appeared on the prime time soap opera Dynasty in the early '80s. Regarded by his co-workers as a good sport, hard worker, and all-around nice guy, Hudson endured a troubled private life; though the studio flacks liked to emphasize his womanizing, Hudson was, in reality, a homosexual. This had been hinted at for years by the Hollywood underground, but it was only in the early '80s that Hudson confirmed the rumors by announcing that he had contracted the deadly AIDS virus. Staunchly defended by friends, fans, and co-workers, Rock Hudson lived out the remainder of his life with dignity, withstanding the ravages of his illness, the intrusions of the tabloid press, and the less than tasteful snickerings of the judgmental and misinformed. It was a testament to his courage -- and a tragedy in light of his better film work -- that Hudson will be principally remembered as the first star of his magnitude to go public with details of his battle with AIDS. He died in 1985.

Trivia: Born in Milwaukee, actress Salome Jens made some of her earliest appearances at that city's Swan Theatre (later known as the Milwaukee Rep). Trained at Northwestern and the Actors Studio, Jens worked as a secretary before her New York stage debut in 1956, thereafter accumulating impressive credits both on and off Broadway. Her first film appearance was in 1961's Angel Baby, which also served to introduce Burt Reynolds to moviegoers. Jens' most famous screen appearance was as Norma Marcus, the lover of "born again" Rock Hudson, in the 1966 sci-fier Seconds. The first of Salome Jens' two husbands was actor Ralph Meeker.

Trivia: CCNY and Columbia University alumnus John Randolph was first seen on Broadway in the 1937 opus Revolt of the Beavers. Randolph served in the Air Force in World War II, then resumed what seemed at the time to be an increasingly successful, near-unstoppable acting career. But in 1951, Randolph found himself on a specious "Commie sympathizers" list. After appearing as a hostile witness before the House UnAmerican Activities Committee, Randolph was effectively blacklisted from movies, TV and radio commercials for the next twelve years. Fortunately, he could always rely upon the theatre to provide him an income, though it was touch-and-go for a while when a Broadway show in which he was appearing was picketed by anti-Red zealots. Throughout the 1950s, Randolph was featured in such major stage productions as Come Back Little Sheba, The Visit, Sound of Music and Case of Libel. In 1963, he was at long last permitted to guest-star on a network TV program, The Defenders. Appropriately, it was in an episode titled "Blacklist," which condemned the knee-jerk policy of banning artists because of their political views; ironically, Randolph was very nearly denied the part when the network complained that he hadn't been "cleared." Though he'd played a small part in 1948's The Naked City, Randolph's movie career began in earnest in 1965. In John Frankenheimer's Seconds, he was cast as aging businessman Arthur Hamilton, who through the magic of plastic surgery is given a fresh new identity (he emerges from the bandages as Rock Hudson)! Since his career renaissance, Hamilton hasn't stopped working before the cameras. He has been featured in films like Gaily Gaily (1969), Little Murders (1971), King Kong (1976), Heaven Can Wait (1978) Prizzi's Honor (1985; as Pop Prizzi); in TV movies like Wings of Kitty Hawk (1978; as Alexander Graham Bell) and The American Clock (1993); and as a regular in the TV series Angie (1979) Annie McGuire (1988) and Grand (1990). Though he'd probably rather you not mention it, Randolph is a dead ringer for former attorney general John Mitchell; accordingly, he played Mitchell in the TV miniseries Blind Ambition, and was heard but not seen in the same role in the 1976 theatrical feature All the President's Men. Despite the upsurge in his film and TV activities, Randolph has never abandoned the theatre: in 1986, he won a Tony Award for his work in Neil Simon's Broadway Bound. As if to slap the faces of those self-styled patriots who denied him work in the 1950s, Randolph has in recent years accepted the German Democratic Republic's Paul Robeson Award, and has served on the National Council for US-Soviet friendship. John Randolph has also served on the board of directors of all three major performing guilds: SAG, AFTRA and Equity. After taking on a variety of grandfatherly roles, including Jack Nicholson's father in Prizzi's Honor and Tom Hanks' grandfather in You've Got Mail), Randloph passed away at 88-years-old in April of 2004.

Trivia: Though perhaps best remembered for portraying the wise and crusty Grandpa Zeb Walton on the long-running The Waltons (1972-1978), character actor Will Geer had been a staple in films and television for many years before that. He had also been a Broadway regular since his theatrical debut in The Merry Wives of Windsor (1928). Born William Auge Ghere in Frankfort, IN, his interest in acting began in high school. Geer studied botany at the University of Chicago and earned a master's in botany at Columbia. During his college days, Geer also appeared in student theater. Always a bit of a rebel with a genuine love of people and the land, Geer hooked up with folksingers Woody Guthrie and Burl Ives during the Depression to travel about and perform, mostly at government work camps. Even late in life, Geer described himself as a folklorist. Actress Helen Hayes wryly described him once as "the world's oldest hippie." He got his professional start with Eva Le Gallienne's National Repertory Company. During the '30s and '40s, Geer appeared often on Broadway. Beginning with The Misleading Lady in 1932, he began playing small occasional roles in films. By the late '40s, he had become a character actor in such films as Intruder in the Dust (1949). He often appeared in Westerns like Comanche Territory and Broken Arrow (1950). In 1951, after appearing in four films that year, Geer was blacklisted by the House Un-American Activities Committee for refusing to answer their questions. Still, Geer managed to appear in at least one film, Salt of the Earth, a defiant, incendiary documentary look at a worker's strike led by the wives of abused salt miners in New Mexico that featured a production staff largely comprised of blackballed Hollywood artists. Other than that, Geer returned to Broadway until 1962 when Otto Preminger cast him as a Senate minority leader in Advise and Consent. During the '60s, the 6'2", 230-pound Geer was frequently cast in villainous roles. He often appeared on television throughout the decade in shows ranging from Gunsmoke to Hawaii 5-0 as well as playing a regular role on the short-lived series The Young Rebels (1970-1971). He was a key member of The Waltons from the pilot special through his death when the series was on summer hiatus in 1978. His was among the show's most popular characters and he is said to have patterned Zebulon Walton after producer/creator Earl Hamner's book character, himself, and his own grandfather, a successful sourdough during the California goldrush who sported a mustache and white hair similar to Geer's own. It was his grandfather who taught the actor to love nature and to study botany. In addition to his work on the popular family series, Geer also continued a busy feature-film and television-movie career. His last film appearance was in the highly regarded made-for-TV biography of Harriet Tubman, A Woman Called Moses (1978). His daughter, Ellen Geer, is also an actor.

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: Following his screen debut in 1949's Twelve O'Clock High, Richard Anderson was groomed for stardom at MGM. His stature in Hollywood seemed assured when he married the daughter of former MGM luminary Norma Shearer. But Anderson was -- by his own admission -- a less-than-noble figure in his younger days, losing both prestige and several plum film roles through his arrogance, his explosive temper, and his after-hours carousing. A kinder, mellower Richard Anderson resurfaced on television in the 1970s, gaining a modest but loyal fan following thanks to his weekly appearances as Oscar Goldman in The Six Million Dollar Man. Anderson also played Goldman on the spin-off series The Bionic Woman -- the result being that, for several years in the mid-1970s, he was simultaneously co-starring on two different TV series in the same role. Richard Anderson's additional TV-series stints included Mama Rosa (1950), Bus Stop (1961), Dan August (1970), Cover-Up (1984) and Dynasty (1986-87 season).

Trivia: Murray Hamilton first stepped on a Broadway stage in 1945; among his subsequent theatrical credits was the original production of Mister Roberts and his Tony-winning stint in 1964's Absence of a Cello. Hamilton's film career began with a minor role in Bright Victory (1951). He often played abrasive, cynical characters, such as the "feller sufferin' from R.O.T.C" in 1958's No Time for Sergeants, but he occasionally essayed good-guy roles, notably as James Stewart's foredoomed partner in The FBI Story (1959). Murray Hamilton is best known to many moviegoers for his role as the bombastic mayor in 1975's Jaws, a role which he won, according to the film's scenarist Carl Gottlieb, thanks to his acute ability "to portray weakness disguised as strength."

Trivia: Karl Swenson was one of the busiest performers in the so-called golden days of network radio. Swenson played the leading role in the seriocomic daily serial Lorenzo Jones, and was also heard on Our Gal Sunday as Lord Henry, the heroine's "wealthy and titled Englishman" husband. He carried over his daytime-drama activities into television, playing Walter Manning in the 1954 video version of radio's Portia Faces Life. From 1958 onward, Swenson was seen in many small roles in a number of big films: Judgment of Nuremberg (1961), How the West Was Won (1962), and The Birds (1963). One of his more sizeable movie assignments was the voice of Merlin in the 1963 Disney animated feature The Sword in the Stone. One of his last roles was the recurring part of Mr. Hansen on TV's Little House on the Prairie. Karl Swenson was married to actress Joan Tompkins.

Trivia: A longtime theater actress with a handful of movies to her credit and work in dozens of filmed and live prime-time television dramas, Frances Reid was best known for the last 44 years of her life for her portrayal of Alice Horton on the soap opera Days of Our Lives. From the show's first broadcast on NBC, on November 8, 1965, until her last on-air appearance in 2007, she was the matriarchal presence on the series -- a loving wife, mother, and grandmother (and, ultimately, great-great-grandmother), known for her wise counsel, patient nature, occasional bravery, and also for her homemade doughnuts. Reid was born in 1914, in Wichita Falls, TX, but was raised in Berkeley, CA, where her father was a banker. She trained at the Pasadena Playhouse, and in the 1930s appeared in a series of Broadway shows, as well as in a handful of movies, in small, uncredited roles (most notably in Gregory La Cava's Stage Door [1937], starring Katharine Hepburn). Reid made her television debut unusually early, in a 1939 production of Little Women in the role of Beth March, on NBC. As a New York-based actress in the late '40s and '50s, she worked regularly in television, mostly in dramatic roles and on anthology series, and Reid's East Coast presence also allowed her to get her voice into Alfred Hitchcock's New York-filmed production of The Wrong Man (1956). She also starred in two soap operas, Portia Faces Life and As the World Turns, in the 1950s and early '60s, and admitted to not appreciating the grind of the daytime drama format. During the 1950s, Reid was also busy primarily in theater, and won special praise for her work in the classics, most notably her Roxane, opposite José Ferrer, in Cyrano De Bergerac, which was described as "enchanting" by Brooks Atkinson, the New York Times critic. By 1965, however, Reid had turned 40 and discovered that roles for women in that age group were increasingly scarce. It was then that she took on the part of Alice Horton on Days of Our Lives. Her character's main issues in that more innocent age concerned her oldest son, Tommy, who had been reported as missing in action in the Korean War; and the empty nest left behind as her other children had grown up and moved out. In later decades, the plots involving Alice Horton and her doctor husband, Tom (played by Hitchcock alumnus MacDonald Carey), came to involve kidnappings and other, wilder notions, and even Alice's apparent death. She outlived Carey by 15 years, and continued in the role onscreen through 2007 -- long before that, even non-soap opera fans marveled at the love and devotion that Reid displayed in her long-running portrayal. The series' annual Christmas tree-decorating episode, in which Alice Horton was inevitably at the center, remained a beloved event, right into the 21st century. Reid received a Daytime Emmy Lifetime Achievement Award in 2004 for her work on the series.

Trivia: Character actor Wesley Addy made his film debut in First Legion (1951). Often cast in cold, intimidating roles, Addy was a member in good standing of director Robert Aldrich's informal stock company. The actor was given plenty of elbow room in his supporting parts in Aldrich's Kiss Me Deadly (1955) and The Big Knife (1955), and had a memorable pre-credits bit as a migraine-prone movie producer ("Boy oh boy oh boy oh boy") in Whatever Happened to Baby Jane? (1962). Addy married actress Celeste Holm in 1961.

Trivia: American character actor John Lawrence appeared on stage screen and television. He also appeared in many television commercials.

Trivia: Character actress Elizabeth Fraser first appeared onscreen in One Foot in Heaven (1941).

Trivia: Beautiful brunette Dorothy Morris played the disturbed Ingeborg Jensen in MGM's Our Vines Have Tender Grapes (1945). The role was brief but Morris made every moment count and it remains a mystery why the studio, who had put her under contract in 1941, didn't at least attempt to star her. She had studied under Maria Ouspenskaya before testing for The Courtship of Andy Hardy (1942) and although she failed to get the part (it went instead to Donna Reed), Morris hung in there and even managed a British accent for the war drama Cry Havoc (1943). Vines, however, became the highlight of a rather unfulfilled Hollywood career that later included guest-starring roles on such television series as Wagon Train, The Donna Reed Show, and Dragnet. She is the younger sister of dancer/actress Caren Marsh.

Trivia: Actor Frank Campanella's physical form almost single-handedly defined his Hollywood typecasting. A 6' 5" barrel-chested Italian with a great, hulking presence and memorably stark facial features, Campanella excelled as a character player, almost invariably appearing as toughs and heavies. Born to a piano builder father who played in the orchestras of Eddie Cantor, Jimmy Durante, and Al Jolson, Campanella studied music exhaustively as a young man, and trained as a concert pianist, but discovered a rivaling passion for drama and entered Manhattan College as an acting major. Campanella's career as an actor began somewhat uncharacteristically, on a light and jovial note, by playing Mook the Moon Man during the first season of the Dumont network's infamous and much-loved kiddie show Captain Video and his Video Rangers (1949-1954). One- and two-episode stints on many American television programs followed for Campanella, most on themes of crime and law enforcement, including Inside Detective (1952), The Man Behind the Badge (1954), Danger (1954), and episodes of the anthology series Playwrights '56 (1956), Studio One (1956), and Suspicion (1957) that called for gritty, thuggish, urban types. During the 1960s, Campanella sought out the same kinds roles in feature films -- a path he pursued for several decades. Turns included John Frankenheimer's 1966 Seconds (as the Man in the Station); Mel Brooks' 1968 The Producers (as a bartender); 1970's The Movie Murderer (as an arson lieutenant); the Steve Carver-directed, Roger Corman-produced gangster film Capone (1975, as Big Jim Colosimo); Ed Forsyth's 1976 Chesty Anderson -- U.S. Navy (as the Baron); Conway in Warren Beatty's 1978 Heaven Can Wait; and Judge Neal A. Lake in Michael Winner's 1982 Death Wish 2. Campanella teamed with director Garry Marshall seven times: as Col. Cal Eastland in The Flamingo Kid (1984), Remo in Nothing in Common (1986), Captain Karl in Overboard (1987), Frank the Doorman in Beaches (1988), Pops in Pretty Woman (1990), a retired customer in Frankie and Johnny (1991), and a Wheelchair Walker in Exit to Eden (1994). Campanella re-teamed with Warren Beatty for the first time since 1978 as Judge Harper in Dick Tracy (1990) and again as the Elevator Operator in Love Affair (1994). Additional series in which Campanella appeared during the 1970s and '80s included Maude, Hardcastle & McCormick, Quincy, M.E., The Love Boat, Barnaby Jones, The Rockford Files, The Fall Guy, St. Elsewhere, and many others. In middle age, Campanella parlayed his early musical training into two career choices that blended music and drama: a part on a commercial that required him to play the piano and a job as co-host of a musical program on KCSN Radio called "Offbeat Notes on Music." He also appeared on Broadway in such musicals as Guys and Dolls and Nobody Loves an Albatross. After many years of inactivity, Frank Campanella ultimately died at his home in the San Fernando Valley, of unspecified causes. He was 87. Survivors included his brother, actor Joseph Campanella, his sister-in-law, and 13 nephews and nieces.

Trivia: In movies -- a career path that he didn't begin until he was 71 years old -- Edgar Stehli was known as a gifted character actor, capable of making small parts memorable and transforming larger supporting roles into parts rivaling the stars' prominence in whatever work he was in. He naturally played old-man parts, in everything from Westerns (No Name on the Bullet) to science fiction and fantasy (4D Man, the Twilight Zone episode "Long Live Walter Jameson"), and was in numerous major movies, including Robert Wise's Executive Suite and John Frankenheimer's Seconds. But for 40 years before that, he was a successful stage actor and, later, a busy radio actor as well. Born in Paris, France in 1884, Stehli came to America at age three and was raised in Montclair, NJ, where he resided his entire adult life. He attended Cornell University and earned a master's degree in Teutonic languages. He was planning on a career as a linguist when fate -- in the form of a touring company doing the play Raffles -- came through town and enlisted Stehli for a small role as a butler. From that point on, there was no looking back for Stehli, who abandoned linguistics in favor of the theater. Every few years after that, some critic or other, either in New York's Greenwich Village or some venue to the west, north, or south, would "discover" a great "new" talent in Edgar Stehli, as Bunthorne in a Village production of Patience or playing Osric on-stage with John Barrymore in Hamlet. He was never without work and ultimately cast in great roles in major plays, including portraying Dr. Einstein in Arsenic and Old Lace to Boris Karloff's Jonathan Brewster. As a New York-based actor, film work eluded Stehli for the first 50 years of his career, and didn't seem to interest him. Instead, he turned to radio, most visibly as the voice of the sagely Dr. Huer in Buck Rogers, although by his own account he played hundreds of judges and other characters routinely defined as older authority figures. He turned to television -- which was also mostly produced in New York in those days -- in the late '40s, and it wasn't until 1954, when Stehli was 71, that he made his movie debut. With his wrinkled features, slightly raspy yet gentle voice, and wizened yet troubled eyes, he often was called upon to play crafty or tormented old men (who were sometimes both, witnessed by his work as Dr. Carson, the aging head of the research lab in Irvin S. Yeaworth's 4D Man, concerned about his advancing age and fading reputation, and not above stealing or being complicit in the theft of an idea or invention). One of his best screen roles, oddly enough, was in a Western, Jack Arnold's No Name on the Bullet (1958), as an ex-judge who is hiding a secret that may kill him before his terminal illness does. And in the Twilight Zone episode "Long Live Walter Jameson," he is fascinating to watch as an aging academic who learns, to his horror, what beating the aging process has done to a "younger" colleague of his. Stehli worked all through the '60s, in every genre from drama (Parrish) to sci-fi and fantasy (Seconds, Atlantis, the Lost Continent). He retired in 1970 and passed away three years later, at age 90.