Trivia: The 12th of 13 children of a Welsh miner, actor Richard Burton left his humble environs by winning a scholarship to Oxford. Blessed with a thrillingly theatrical voice, Burton took to the stage, and, by 1949, had been tagged as one of Britain's most promising newcomers. Director Philip Dunne, who later helmed several of Burton's Hollywood films, would recall viewing a 1949 London staging of The Lady's Not for Burning and watching in awe as star John Gielgud was eclipsed by juvenile lead Richard Burton: "He 'took' the stage and kept a firm grip on it during every one of his brief appearances." A few years after his film debut in The Last Days of Dolwyn (1949), the actor was signed by 20th Century Fox, which had hopes of turning him into the new Lawrence Olivier -- although Burton was not quite able to grip films as well as he did the stage. Aside from The Robe (1953), most of Burton's Fox films were disappointments, and the actor was unable to shake his to-the-rafters theatricality for the smaller scope of the camera lens. Still, he was handsome and self-assured, so Burton was permitted a standard-issue 1950s spectacle, Alexander the Great (1956). His own film greatness would not manifest itself until he played the dirt-under-the-nails role of Jimmy Porter in Look Back in Anger (1959). In this, he spoke the vernacular of regular human beings -- rather than that of high-priced, affected Hollywood screenwriters -- and delivered a jolting performance as a working-class man trapped by the system and his own personal demons. Following a well-received Broadway run in the musical Camelot, Burton was signed in 1961 to replace Stephen Boyd on the benighted film spectacular Cleopatra (1963). It probably isn't necessary to elaborate on what happened next, but the result was that Burton suddenly found himself an international celebrity, not for his acting, but for his tempestuous romance with co-star Elizabeth Taylor. A hot property at last, Burton apparently signed every long-term contract thrust in front of him, while television networks found themselves besieged with requests for screenings of such earlier Burton film "triumphs" as Prince of Players (1955) and The Rains of Ranchipur (1956). In the midst of the initial wave of notoriety, Burton appeared in a Broadway modern-dress version of Hamlet directed by John Gielgud, which played to standing-room-only crowds who were less interested in the melancholy Dane than in possibly catching a glimpse of the Lovely Liz. Amidst choice film work like Becket (1964) and The Spy Who Came in From the Cold (1966), Burton was also contractually obligated to appear with Taylor in such high-priced kitsch as The V.I.P.s, (1963) The Sandpiper (1965), and Boom! (1968). A few of the Burton/Taylor vehicles were excellent -- notably Who's Afraid of Virginia Woolf? (she won an Oscar; he didn't, but should have) -- but the circus of publicity began to erode the public's ability to take Burton seriously. It became even harder when the couple divorced, remarried, and broke up again. Moreover, Burton was bound by contract to appear in such bland cinematic enterprises as Candy (1968), Villain (1971), The Assassination of Trotsky (1972), The Klansman (1974), and that rancid masterpiece Exorcist II: The Heretic (1977). So low had Burton's reputation sunk that when he delivered an Oscar-caliber performance in Equus (1977), it was hailed as a "comeback," even though the actor had never left. (Once again he lost the Oscar, this time to Richard Dreyfuss.) Burton managed to recapture his old performing fire in his last moviemaking years, offering up one of his best performances in his final picture, 1984 (1984). He died later that year.

Trivia: A luminous beauty, Jean Simmons was a star in her native Britain and in the U.S. who first appeared onscreen at age 14 in Give Us the Moon (1944), but did not become a true star until she played Estella in David Lean's Great Expectations (1946). In 1948, she was handpicked by Laurence Olivier to play the doomed Ophelia in his classic version of Hamlet and won a Best Actress award at the Venice Film Festival and an Academy Award nomination for her efforts. Simmons traveled to Hollywood in 1950 after marrying Stewart Granger. Their marriage lasted a decade and Simmons then became Mrs. Richard Brooks in 1960, the year he starred her in Elmer Gantry. During the '50s and '60s, Simmons had an extremely busy film career appearing in everything from costume epics to romances to musicals to straight dramas. Simmons received an Oscar nomination in 1969 for The Happy Ending. By the mid-'70s, Simmons started working less frequently and divided her time between features and television work. In the late '80s, she had a burst of character roles, but thereafter, her forays into acting became increasingly sporadic. She died at age 80 in January 2010.

Trivia: The first male film star to be officially labelled a "hunk," Victor Mature was the son of Swiss immigrants. When he arrived in California to study acting at the Pasadena Playhouse, Mature was so broke that he lived in a pup tent in a vacant lot and subsisted on canned sardines and chocolate bars. There was speculation amongst his fellow students that Mature's spartan lifestyle was deliberately engineered to draw publicity to himself; if so, the ploy worked, and by 1938 he'd been signed to a contract by producer Hal Roach. Mature's first starring film role was as Tumack the caveman in Roach's One Million BC (1940), which enabled the fledgling actor to display his physique without being unduly encumbered by dialogue. While still under contract to Roach, Mature made his Broadway debut in the Moss Hart/Kurt Weill musical Lady in the Dark, playing a musclebound male model. In 1941, Mature was signed by 20th Century-Fox as the "beefcake" counterpart to the studio's "cheesecake" star Betty Grable; the two attractive stars were frequently cast together in Fox musicals, where a lack of clothes was de rigeur. Apparently because of his too-handsome features, the press and fan magazines went out of their way to make Mature look ridiculous and untalented. In truth, he had more good film performances to his credit than one might think: he was excellent as the tubercular Doc Holliday in John Ford's My Darling Clementine (1948), and also registered well in Kiss of Death (1947), Cry of the City (1948), The Egyptian (1954), Betrayed (1954), and Chief Crazy Horse (1955). As the slave Demetrius in The Robe (1953), Mature is more understated and credible than the film's "distinguished" but hopelessly hammy star Richard Burton. Nonetheless, and thanks to such cinematic folderol as Samson and Delilah (1949), Mature was still widely regarded as a lousy actor who survived on the basis of his looks. Rather than fight this ongoing perception, Mature tended to denigrate his own histrionic ability in interviews; later in his career, he hilariously parodied his screen image in such films as After the Fox (1966) and Won Ton Ton, the Dog Who Saved Hollywood (1976). Semi-retired from acting in the late 1970s, Victor Mature ran a successful television retail shop in Hollywood, although in 1984 he did appear in a TV remake of Samson and Delilah, effectively portraying Samson's father.

Trivia: Michael Rennie always claimed that he "turned actor" to escape becoming an executive for his family's wool business. The Cambridge-educated Rennie haunted the casting offices until he was hired by Alfred Hitchcock for his first film, The Secret Agent (1936). Handsome but hollow, Rennie decided that if he was to be a film star, he'd better learn to act, thus he spent several seasons with the York Repertory. Serving in World War II as a flying officer in the RAF, Rennie came to the United States for the first time to be a training instructor in Georgia. Small roles in postwar British films led to a 20th Century Fox contract. It was during his stay at Fox that Rennie truly began to blossom with major roles in 1951's The Day the Earth Stood Still (as Klaatu), 1952's Les Miserables (as Jean Valjean), 1953's The Robe, and many other films. On television, Michael Rennie spent two years and 76 episodes portraying suave soldier of fortune Harry Lime on the syndicated series The Third Man. Rennie died of emphysema on June 10, 1971.

Trivia: Twenty-three-year-old actor Jay Robinson could not have asked for a better screen debut than the showcase role of the mad Emperor Caligula in The Robe (1953). Robinson followed this triumph by reviving Caligula for the 1954 sequel Demetrius and the Gladiators, and then -- by his own account -- became so full of himself that few producers wanted to have anything to do with him. After his 1957 arrest for narcotics possession, Robinson found himself persona non grata in Hollywood. Spending most of the next 13 years out of work, he was rescued by Bette Davis, who insisted that Robinson be cast in an important role in her 1971 feature Bunny O'Hare. Far humbler than in his salad days, Robinson made a slow, steady comeback in such gemlike supporting parts as "The Conscience" in Woody Allen's Everything You Always Wanted to Know About Sex... (1972), and Warren Beatty's demanding boss Norman in Shampoo (1975). Continuing to essay character roles into the 1990s, Robinson was seen as Vincent in 1992's Bram Stoker's Dracula. On television, Jay Robinson played Monte Dolan on the daytime drama Days of Our Lives, and revived many of his "Caligula" eccentricities as addled scientist Dr. Shrinker on the Saturday morning extravaganza Krofft Supershow (1976-77).

Trivia: An Ohio farm boy, Dean Jagger dropped out of school several times before attending Wabash College. He was a schoolteacher for several years before opting to study acting at Chicago's Lyceum Art Conservatory. By the time he made his first film in 1929, Jagger had worked in stock, vaudeville and radio. At first, Hollywood attempted to turn Jagger into a standard leading man, fitting the prematurely balding actor with a lavish wig and changing his name to Jeffrey Dean. It wasn't long before the studios realized that Jagger's true calling was as a character actor. One of his few starring roles after 1940 was as the title character in Brigham Young, Frontiersman--though top billing went to Tyrone Power, cast as a fictional Mormon follower. Jagger won an Academy Award for his sensitive performance in Twelve O'Clock High (1949) as one of General Gregory Peck's officers (and the film's narrator). Physically and vocally, Jagger would have been ideal for the role of Dwight D. Eisenhower, but he spent his career studiously avoiding that assignment. Having commenced his professional life as a teacher, Dean Jagger came full circle in 1964 when cast as Principal Albert Vane on the TV series Mr. Novak.

Trivia: Torin Thatcher came out of a military family in India to become a top stage actor in England and a well-known character actor in international films and television. Born Torin Herbert Erskine Thatcher in Bombay, India, in 1905, he was the great-grandson and grandson of generals -- one of whom had fought with Clive -- but he planned for a quieter life; educated at Bedford School, he originally intended to become a teacher before being bitten by the acting bug. Instead, he attended the Royal Academy of Dramatic Art, and later worked in every kind of theatrical production there was, from Greek tragedy to burlesque. Thatcher made his London debut in 1927 as Tranio in a production of The Taming of the Shrew with the Old Vic Company, and he subsequently portrayed both the Ghost and Claudius in Hamlet with the same company. In the years that followed, Thatcher was in more than 50 Shakespearean productions and 20 plays by George Bernard Shaw. The outbreak of the Second World War took Thatcher into uniform, and he served for six years in the army, achieving the rank of lieutenant colonel before he returned to civilian life in 1946. In 1944, Thatcher had made his first acquaintance of the theater world in New York when he found himself on leave in the city with only ten shillings in his pocket -- he spent it sparingly and discovered that Allied servicemen, even officers, were accorded a great many perks in those days; he was also amazed and delighted when he was recognized while on his way into a play in New York by a theatergoer who was able to name virtually every movie that he'd done in England over the preceding decade. He got a firsthand look at the city's generosity and also made sure to meet a number of people associated with the New York theater scene, contacts that served him in good stead when he returned to New York in 1946, as a civilian eager to pick up his career. He starred in two plays opposite Katharine Cornell, First Born and That Lady, and portrayed Claggart in a stage adaptation of Billy Budd, but his big success was in Noel Langley and Robert Morley's Edward My Son. Thatcher had been in movies in England since 1933, in small roles, occasionally in major and important films such as Alfred Hitchcock's Young and Innocent (1937) and Michael Powell's The Spy in Black (1939); his British career had peaked with a superb performance in a small but important role in Carol Reed's The Fallen Idol (1948). After moving to the United States, however, Thatcher quickly moved up to starring and major supporting roles in Hollywood movies, beginning with Affair in Trinidad (1952). He was busy at 20th Century Fox, Universal, and Warner Bros. over the next decade, moving between their American and British units, and stood out in such hit movies as The Crimson Pirate (1952) (as the pirate Humble Bellows) and Love Is a Many-Splendored Thing (1955). Although Thatcher could play benevolent characters, his intense expression and presence and imposing physique made him more natural as a villain, and he spent his later career in an array of screen malefactors, of whom the best known was the sorcerer Sokurah in The 7th Voyage of Sinbad (1958), directed by Nathan Juran. Thatcher and Juran were close friends and the director loved to use him -- the two became a kind of double act together for a time, turning up in "The Space Trader" episode of Lost in Space, guest-starring Thatcher and directed by Juran.

Trivia: Rough-hewn American leading man Richard Boone was thrust into the cold cruel world when he was expelled from Stanford University, for a minor infraction. He worked as a oil-field laborer, boxer, painter and free-lance writer before settling upon acting as a profession. After serving in World War II, Boone used his GI Bill to finance his theatrical training at the Actors' Studio, making his belated Broadway debut at age 31, playing Jason in Judith Anderson's production of Medea. Signed to a 20th Century-Fox contract in 1951, Boone was given good billing in his first feature, Halls of Montezuma; among his Fox assignments was the brief but telling role of Pontius Pilate in The Robe (1953). Boone launched the TV-star phase of his career in the weekly semi-anthology Medic, playing Dr. Konrad Steiner. From 1957 through 1963, Boone portrayed Paladin, erudite western soldier of fortune, on the popular western series Have Gun, Will Travel. He directed several episodes of this series. Boone tackled a daring TV assignment in 1963, when in collaboration with playwright Clifford Odets, he appeared in the TV anthology series The Richard Boone Show. Unique among filmed dramatic programs, Boone's series featured a cast of eleven regulars (including Harry Morgan, Robert Blake, Jeanette Nolan, Bethel Leslie and Boone himself), who appeared in repertory, essaying different parts of varying sizes each week. The Richard Boone Show failed to catch on, and Boone went back to films. In 1972 he starred in another western series, this one produced by his old friend Jack Webb: Hec Ramsey, the saga of an old-fashioned sheriff coping with an increasingly industrialized West. In the last year of his life, Boone was appointed Florida's cultural ambassador. Richard Boone died at age 65 of throat cancer.

Trivia: Discovered by Rodgers and Hammerstein, actress/singer/dancer Betta St. John played a small role in the 1945 Broadway musical Carousel. Four years later, St. John created the character of Liat in R&H's Pulitzer Prize-winning musical hit South Pacific. She followed the production to London, where she would remain for the better part of the 1950s. In films, St. John was cast in exotically regal roles in such films as Dream Wife (1953), The Robe (1953) and The Student Prince (1954). As her film career drew to close, Betta St. John was seen as a "Jane substitute" in a pair of Tarzan features starring Gordon Scott.

Trivia: Educated at the Pratt Institute, Jeff Morrow was a commercial artist before turning to acting. During his many years on Broadway, Morrow was seen in such productions as Billy Budd and MacBeth. Equally busy on radio, he was one of several actors to play the title character on Dick Tracy. He made his film debut in the 1953 costume epic The Robe. Most of his films were in the sci-fi/fantasy category, typified by 1956's This Island Earth (possibly his best role, as white-haired alien Exeter) and 1957's The Giant Claw On TV, Jeff Morrow starred as Bart McClelland in the 1958 syndie Union Pacific, and was co-starred as Dr. Lloyd Axton in the 1973 networker Temperatures Rising.

Trivia: British actress Dawn Addams launched her career in Hollywood, after completing her education in England, India, and the United States. She was briefly under contract to MGM, where she played supporting parts in such films as Night Unto Morning (1951) and Plymouth Adventure (1952), as well as a bit in Singin' in the Rain (1952). Even as a freelance actress, her roles were more decorous than substantial: she gets good billing in The Robe (1953) as one of Richard Burton's castaway lady friends, but disappears from the film before reel two. Dawn's stock in trade was the conveyence of icy, unobtainable beauty, a quality that Charles Chaplin utilized to the utmost in A King in New York (1957), wherein Dawn had her best role as an American commercial actress. Thanks to her lofty family lineage, Ms. Addams moved in the best English and European social circles during the 1950s and 1960s; from 1954 through 1971, she was married to Italian prince Vittorio Massimo. When American producer Sheldon Reynolds needed European bluebloods to appear in small roles in his TV series "Foreign Intrigue" and "Sherlock Holmes," Dawn acted as liason in rounding up upper-class talent -- hich may explain why she was a frequent guest star in Reynolds' various series. As her film career petered out in the 1960s, Dawn could be seen on television with increasing frequency: She was a semi-regular on the instructional series "En France" (1962) and the campy sci-fi serial "Star Maidens" (1977), and she was a ubiquitous leading lady in several episodes of "The Saint" (1963-67). Dawn Addams retired from films in the early 1980s, dividing her remaining years between Europe and United States.

Trivia: Austrian actor Leon Askin began his stage career in Germany, then left Europe as abruptly as possible when Hitler came to power. He reactivated his career in New York in 1940, becoming an American citizen three years later. In 1952, Askin made his first Hollywood film, Assignment Paris; though not quite as heavy or menacing-looking as he'd be in the 1960s, the actor was typecast from his first movie as a villain, usually fascist. One of his best early film roles was in Road to Bali (1953), a Hope-Crosby farce in which he played a South Seas witch doctor named Ramayana. Askin later appeared in Danny Kaye's Knock on Wood (1954), this time (typically) cast as a trenchcoated Teutonic spy. More of Askin's "shifty foreigner" characterizations could be enjoyed in The Bowery Boys' Spy Chasers (1955), Billy Wilder's One Two Three (1961), and the notorious political sex farce John Goldfarb Please Come Home (1964), in which the actor played a turbaned arab. As a Nazi officer (surprise, surprise) in What Did You Do In the War, Daddy?, Askin dropped dead in anticipation of an evening in bed with a pretty young Italian girl, whereupon the local underground was forced to tote his corpulent corpse all around town to hide the fact that he'd expired. Active in films and as a drama teacher and lecturer into the 1980s, Leon Askin is best known to American TV addicts as the gross (and gross-kopfed) SS officer Burkhalter on the 1960s sitcom Hogan's Heroes.

Trivia: Though best known for his Native American characterizations, Michael Ansara was actually of Lebanese descent. Ansara, born in Syria and raised in Lowell, Massachusetts, entered Los Angeles City College in 1941, planning to become a doctor. His shyness in class prompted his professor to suggest that Ansara take a dramatics course to bolster his self-confidence. The medical profession's loss turned out to be the acting community's gain: after training at Pasadena Playhouse, Ansara blossomed as a classical actor with such groups as the Hollywood Players' Ring. The role that brought Ansara to the attention of Hollywood's higher-ups was his brief, uncredited appearance as the tormented Judas in The Robe (1953). He went on to be cast as Cochise in the 1956 TV series version of the 1950 20th Century-Fox feature Broken Arrow; while the role brought him fame and fortune, Ansara noted that "the acting range was rather limited. Cochise could do one of two things--stand with his arms folded, looking noble; or stand with his arms at his sides, looking noble." He was allowed a more flexible acting range, as well as a wider vocabulary, in his next Indian assignment, that of Harvard-educated federal marshal Sam Buckhart in the 1959 western series Law of the Plainsman. In later years, Ansara was active in the lucrative world of TV cartoon voiceover work. He was married for several years to actress Barbara Eden.

Trivia: Slight, owlish American actor Francis Pierlot made his film debut in 1914, but it wasn't until 1931 that he abandoned the stage to settle permanently in Hollywood. Pierlot generally essayed minor roles, showing up briefly but memorably as scores of judges, professors, priests, and orchestra leaders. Film buffs have a special place in their hearts for the actor's sly portrayal of lovable pyromaniac Nero Smith in 1942's Henry Aldrich, Editor. Francis Pierlot made his final screen appearance in a surprisingly sizeable role as Jean Simmons' manservant in the 1953 biblical epic The Robe.

Trivia: American actor Jay Novello began his film career with Tenth Avenue Kid (1938). Small, wiry and mustachioed, Novello found a home in Hollywood playing shifty street characters and petty thieves; during the war he displayed a friendlier image as a Latin-American type, appearing as waiters and hotel clerks in innumerable Good Neighbor films set south of the border. Once the war was over, it was back to those scraggly little characters, even in such period pieces as The Robe (1953), in which Novello played the unsavory slave dealer who sold Victor Mature to Richard Burton. Adept in TV comedy roles as meek milquetoasts and henpecked husbands, Novello was a particular favorite of Lucille Ball, who used the actor prominently in both I Love Lucy (first as the man duped by the "Ethel to Tillie" seance, then as a gondolier in a later episode) and The Lucy Show (as a softhearted safecracker). Jay Novello remained active in films into the '60s, as scurrilous as ever in such fantasy films as The Lost World (1960) and Atlantis, the Lost Continent (1961); he also stayed busy in such TV programs as The Mothers in Law, My Three Sons and McHale's Navy, playing a recurring role in the latter series as a resourceful Italian mayor.

Trivia: Whether in vaudeville, burlesque, "legit" theatre or radio, Emmet "Pop" Lynn played variations on the toothless-old-reprobate roles that brought him screen fame. Though he'd made a tentative foray into films as a teenager in 1913, Lynn truly came into his own after 1940, playing the cantankerous sidekick to such western heroes as Don Barry and Allan "Rocky" Lane. In non-westerns, he could usually be spotted as a janitor, night watchman or rural rustic. He enjoyed a longtime association with Columbia Pictures' short-subject unit, where he was harmoniously teamed with such comics as Andy Clyde and Slim Summerville. Emmet Lynn made his final screen appearance as a downtrodden Hebrew peasant in DeMille's The Ten Commandments (1956).

Trivia: British actress Rosalind Ivan gained most of her fame on the Broadway and London stages, but she also appeared in several memorable Hollywood films. At age ten, Ivan was a musical prodigy who gave piano recitals in London. This early experience performing led to her become a distinguished character actress in British Theater. In 1912, she first appeared on Broadway. In addition to acting, Ivan also wrote magazine articles, and book reviews; in 1927, she translated The Brothers Karamazov for a Theatre Guild production. In film, she first gained notice for her portrayal of a nagging wife in The Suspect (1945). This led her to be cast as unpleasant women in several other films; she was so convincing in her roles that some in Hollywood called her "Ivan the Terrible."

Trivia: Probably no one came by the label "Runyon-esque" more honestly than Polish-born actor George E. Stone; a close friend of writer Damon Runyon, Stone was seemingly put on this earth to play characters named Society Max and Toothpick Charlie, and to mouth such colloquialisms as "It is known far and wide" and "More than somewhat." Starting his career as a Broadway "hoofer," the diminutive Stone made his film bow as "the Sewer Rat" in the 1927 silent Seventh Heaven. His most prolific film years were 1929 to 1936, during which period he showed up in dozens of Warner Bros. "urban" films and backstage musicals, and also appeared as the doomed Earle Williams in the 1931 version of The Front Page. He was so closely associated with gangster parts by 1936 that Warners felt obligated to commission a magazine article showing Stone being transformed, via makeup, into an un-gangsterish Spaniard for Anthony Adverse (1936). For producer Hal Roach, Stone played three of his oddest film roles: a self-pitying serial killer in The Housekeeper's Daughter (1938), an amorous Indian brave in Road Show (1940), and Japanese envoy Suki Yaki in The Devil With Hitler (1942). Stone's most popular role of the 1940s was as "the Runt" in Columbia's Boston Blackie series. In the late '40s, Stone was forced to severely curtail his acting assignments due to failing eyesight. Though he was totally blind by the mid-'50s, Stone's show business friends, aware of the actor's precarious financial state, saw to it that he got TV and film work, even if it meant that his co-stars had to literally lead him by the hand around the set. No one was kinder to George E. Stone than the cast and crew of the Perry Mason TV series, in which Stone was given prominent billing as the Court Clerk, a part that required nothing more of him than sitting silently at a desk and occasionally holding a Bible before a witness.

Trivia: American actress Mae Marsh was the daughter of an auditor for the Santa Fe railroad - and as such, she and her family moved around quite a bit during Marsh's childhood. After her father died and her stepfather was killed in the San Francisco earthquake, she was taken to Los Angeles by her great aunt, a one-time chorus girl who'd become a New York actress. Marsh followed her aunt's footsteps by securing film work with Mack Sennett and D.W. Griffith; it was Griffith, the foremost film director of the early silent period, who first spotted potential in young Miss Marsh. The actress got her first big break appearing as a stone-age maiden in Man's Genesis (1911), after Mary Pickford refused to play the part because it called for bare legs. Specializing in dramatic and tragic roles, Marsh appeared in innumerable Griffith-directed short films, reaching a career high point as the Little Sister in the director's Civil War epic, The Birth of A Nation (1915). She made such an impression in this demanding role that famed American poet Vachel Lindsay was moved to write a long, elaborate poem in the actress' honor. Marsh's career went on a downhill slide in the '20s due to poor management and second-rate films, but she managed to score a personal triumph as the long-suffering heroine of the 1931 talkie tear-jerker Over the Hill. She retired to married life, returning sporadically to films - out of boredom - as a bit actress, notably in the big-budget westerns of director John Ford (a longtime Marsh fan). When asked in the '60s why she didn't lobby for larger roles, Mae Marsh replied simply that "I didn't care to get up every morning at five o'clock to be at the studio by seven."

Trivia: Whenever actor Ed Platt blew one of his lines in his role of "The Chief" in the TV comedy series Get Smart, star Don Adams would cry out "Is John Doucette available?" Adams was kidding, of course, but he was not alone in his high regard for the skill and versatility of the deep-voiced, granite-featured Doucette. In films on a regular basis since 1947 (he'd made his official movie debut in 1943's Two Tickets to London), Doucette was usually cast in roles calling for bad-tempered menace, but was also adept at dispensing dignity and authority. He was equally at home with the archaic dialogue of Julius Caesar (1953) and Cleopatra (1963) as he was with the 20th-century military patois of 1970's Patton, in which he played General Truscott. John Doucette's many TV credits include a season on the syndicated MacDonald Carey vehicle Lock-Up (1959), and the role of Captain Andrews on The Partners (1971), starring Doucette's old friend and admirer Don Adams.

Trivia: In films since 1949's White Heat, American actor Ford Rainey most often played judges, doctors and police officials. Rainey's weekly TV roles included small-town newspaper editor Lloyd Ramsey in Window on Main Street (1961), research director Dr. Barnett in Search (1972) James Barrett in The Manhunter (1974) and Jim in The Bionic Woman (1975). Undoubtedly his most rewarding TV-series assignment was The Richard Boone Show (1963), in which, as a member of Boone's "repertory company," he was allowed to essay a different role each week. When last we saw Ford Rainey, he was playing a big-time counterfeiter on Wiseguy (1987).

Trivia: Charismatic character actor Sam Gilman first appeared onscreen in the '50s after much stage experience.

Trivia: California native Harry Shearer was one of the busier child actors of the 1950s. He appeared in such films as The Robe (1953) (as the boy David) and Abbott and Costello Go to Mars (1953); he could be heard on such radio programs as Suspense, Lux Radio Theatre, and the Jack Benny Show; and among his many TV guest roles was the character who would evolve into Eddie Haskell in the 1955 Leave It to Beaver pilot. After attending U.C.L.A., Shearer flourished as a standup comedian and comedy writer. He was frequently employed on the writing staff for such TV laughspinners as Laverne and Shirley and America 2Night; he also worked both sides of the camera in the 1984 rockumentary parody This Is Spinal Tap, co-starring as rock idol Derek Smalls and co-writing the script with director Rob Reiner and fellow cast members Christopher Guest and Michael McKean. In league with another top satirist, Albert Brooks, Shearer concocted the screenplay for another faux documentary, 1979's Real Lampoon. During the 1984-1985 TV season, Shearer joined the Not Ready for Prime Time Players on NBC's Saturday Night Live. The soft-spoken, saturnine Harry Shearer is most famous however for lending his voice to the Fox Network cartoon series The Simpsons.

Trivia: The son of actors, Percy Helton began his own career at age two in a Tony Pastor revue in which his parents were performing. The undersized Helton was a valuable juvenile player for producer David Belasco, making his film debut in a 1915 Belasco production, The Fairy and the Waif. Helton matured into adult roles under the stern guidance of George M. Cohan. After serving in the Army during World War I, Helton established himself on Broadway, appearing in such productions as Young America, One Sunday Afternoon and The Fabulous Invalid. He made his talkie debut in 1947's Miracle on 34th Street, playing the inebriated Macy's Santa Claus whom Edmund Gwenn replaces. Perhaps the quintessential "who is that?" actor, Helton popped up, often uncredited, in over one hundred succinct screen characterizations. Forever hunched over and eternally short of breath, he played many an obnoxious clerk, nosey mailman, irascible bartender, officious train conductor and tremulous stool pigeon. His credits include Fancy Pants (1950), The Robe (1953), White Christmas (1954), Rally Round the Flag Boys (1959), The Music Man (1962) and Hush Hush Sweet Charlotte (1965), as well as two appearances as sweetshop proprietor Mike Clancy in the Bowery Boys series. Thanks to his trademarked squeaky voice, and because he showed up in so many "cult" films (Wicked Woman, Kiss Me Deadly, Sons of Katie Elder), Helton became something of a high-camp icon in his last years. In this vein, Percy Helton was cast as the "Heraldic Messenger" in the bizarre Monkees vehicle Head (he showed up at the Monkees' doorstep with a beautiful blonde manacled to his wrist!), the treacherous Sweetieface in the satirical western Butch Cassidy and the Sundance Kid (1969), and the bedraggled bank clerk Cratchit on the TV series The Beverly Hillbillies.

Trivia: American actor and drama coach Roy Gordon made his first film appearance in 1938. A bit player for most of his Hollywood career, Gordon was at his best as corporate-executive types. He also played many a college dean, banker and military officer. Late Late Show habitues will remember Roy Gordon for his poignant cameo as doomed passenger Isidore Straus in Titanic (1953).

Trivia: Noreen Corcoran was born in Quincy, MA, in 1943, but soon after, her family moved to Santa Monica, CA, where her father took a job as maintenance chief at one of the studios. It was a few years later that two of her siblings, Kevin Corcoran and Donna Corcoran, began getting extra work in movies, and not long after that Donna earned a speaking role in Angels in the Outfield (1947). Within a few years, all of the Corcoran children were studying dramatics, dance, and anything else that could further their careers -- Kevin became successful as a Disney alumnus during the 1950s, playing Moochie in the Spin and Marty series, and later worked behind the camera as well. Noreen Corcoran made her screen debut in a small role in the movie Wait 'Til the Sun Shines, Nellie at 20th Century Fox, but her real break came when she was pressed into service on the MGM musical I Love Melvin (1953), when her sister Donna was unable to work in two movies at the same time. More movies followed, including Band of Angels (1957), along with appearances on television programs such as Circus Boy (starring Micky Dolenz) and a part in the short-lived series The World of Mr. Sweeney, with Charlie Ruggles. Then, in 1957, with a little help from Ronald Reagan -- who was working at the same studio and happened to see the screen tests for the show, and recommended Corcoran over a rival actress -- she won the starring role in the situation comedy Bachelor Father. For the next five years, Corcoran was practically the archetypal American girl, almost a distaff Beaver Cleaver in the role of Kelly Gregg, the orphaned 13-year-old being raised by her bachelor uncle Bentley Gregg (John Forsythe). In some ways, the program was the precursor to the mid- to late-'60s series Family Affair, deriving much of its humor from the notion of single, man-about-town Bentley and his valet Peter (Sammee Tong) learning to adjust to life with a teenager in their midst. She made the cover of magazines and became a popular young actress of the period, as America watched Corcoran's character grow up from a gregarious, slightly awkward teenager into a poised and sophisticated young woman, with the series ending just as Kelly entered college. Corcoran later played a supporting role in Paul Wendkos' Gidget Goes to Rome (1963) and starred in William Witney's The Girls on the Beach, Paramount's attempt to emulate American International Pictures' "Beach Party" movies, with Corcoran essentially taking the Annette Funicello role. The movie had little to offer beyond some very attractive girls and some great performance clips featuring the Beach Boys and the post-Buddy Holly Crickets, among other acts; the performance scenes, along with the campy dialogue surrounding them, have actually allowed the movie to keep an audience some 40 years hence. Corcoran also played guest-starring roles in such series as Gunsmoke and The Big Valley. She left acting after 1965 to pursue a more private personal life and a career behind the scenes in theater and dance.

Trivia: Gaunt -- nay, skeletal -- British actor Ernst Thesiger had originally studied to be an artist. While he retained his delicate manual skills for the rest of his days (he wrote several books on needlepoint), Thesiger cast his lot with Thespis when he made his first stage appearance in 1909, at the tender age of 30. He scored a personal and professional triumph as star of the stage farce A Little Bit of Fluff, which opened in 1915 and ran for several years. In 1916, he made the first of a handful of silent film appearances, and in 1924 he played the Dauphin in the original production of Shaw's St. Joan. Thesiger was well enough known in 1927 to write an autobiography, Practically True; he hadn't an inkling that his greatest acting days still lay ahead of him. In 1932, he made his talkie debut in James Whale's The Old Dark Horse, creating an indelible impression as Horace Femm, the imperious, condescending lord of the forbidding domicile of the title. Whale took full advantage of Thesiger's cadaverous features and his sneering erudition, while the actor made a meal of such simple lines as "Have a potato." Even better was the next Whale-Thesiger collaboration The Bride of Frankenstein, wherein the actor had the role of a lifetime as prissy, posturing mad scientist Dr. Praetorious. With such notable exceptions as the Whale films and the British melodramas The Ghoul (1933) and They Drive By Night (1938), most of Thesiger's screen characters were more snobbish than sinister. All of his film roles, however, can be regarded as extensions of the actor's real-life personality; from all accounts, the line between Thesiger's screen self and real self was thin indeed, as demonstrated by his disdainful public comments regarding his profession and his co-workers. Witheringly patronizing to the end, Ernest Thesiger made his final stage and screen appearances in 1960, the year before his death at age 81.

Trivia: Of Latin extraction, actor Frank DeKova possessed the indeterminate but sharply chiselled facial features that allowed him to play a wide range of ethnic types, from East Indian to American Indian. His first film appearance was as a gravel-voiced gangster in 1951's The Mob. He was busiest in westerns, closing out his film career with 1975's Johnny Firecloud. Frank DeKova has endeared himself to two generations of TV fans with his performance as peace-loving Hekawi Indian chief Wild Eagle on the 1960s TV sitcom F Troop.

Trivia: A dark-haired, earthy beauty and a versatile actress, Anne Bancroft has actually had two film careers. The first, which took place during the 1950s, was generally undistinguished and featured her in films that usually failed to fully utilize her talents. The second, which began in the early '60s, established her as an actress of great acclaim in films like The Miracle Worker and granted her screen immortality with roles such as that of the iconic Mrs. Robinson in The Graduate. A first generation Italian-American hailing from the Bronx, Bancroft (born Anna Maria Louisa Italiano) was four years old when she began taking acting and dancing lessons. Billing herself as Anne Marno, she began appearing on television in 1950. Two years later she signed a contract with Fox and launched a six-year career in second-string Westerns and crime dramas that began with Don't Bother to Knock in 1952. By 1958, Bancroft had enough of Hollywood and turned her attentions to Broadway, where she spent the next five years. She proved her mettle as a serious dramatic actress by winning a Tony for Two for the Seesaw in 1958. Two years later, she won her second Tony and a New York Drama Critics Award for her portrayal of Annie Sullivan in The Miracle Worker. Armed with these triumphs, Bancroft returned to Hollywood to appear in the movie version of The Miracle Worker (1962), reprising her role opposite Patty Duke who played Helen Keller. Her performance earned her an Oscar for Best Actress; unable to attend the ceremony because she was performing on Broadway in Mother Courage, she was presented with the award by Joan Crawford a week later on the Broadway stage. Bancroft followed this victory with a string of emotional dramas that included The Pumpkin Eater, which was released in 1964, the same year she married filmmaker/comedian Mel Brooks. Just when it would look like she would be typecast in such dramas, Bancroft showed up in Mike Nichols' seminal comedy The Graduate, playing Mrs. Robinson, the ultimate "older woman," to Dustin Hoffman's confused Benjamin Braddock. Her role in the landmark film won her an Oscar nomination, to say nothing of a permanent dose of notoriety. Although Bancroft seemed destined for a stellar career and she remained one of the more well-respected actresses in Hollywood, a long string of so-so films kept her from reaching major stardom. Still, Bancroft turned in a number of memorable performances in films such as The Turning Point (1977), The Elephant Man (1980), To Be or Not to Be (her 1983 collaboration with husband Brooks), Agnes of God (1985), 84 Charing Cross Road (1986), and Torch Song Trilogy (1988). In 1980, Bancroft made her debut as a director/screenwriter in the darkly comic Dom DeLuise vehicle Fatso. Throughout the 1990s and into the new millennium, Bancroft continued to be visible onscreen, appearing in films like How to Make an American Quilt (1995), Home for the Holidays (1995), and Keeping the Faith (2000). Sadly, she became stricken with uterine cancer and succumbed to the disease in 2005. Her last performance would come postumously with a voice-role in the animated adventure Delgo.

Trivia: A stage actor, Melford began appearing in films in 1909 and was directing by the early teens. Notable among his silent films are the Rudolph Valentino vehicles The Sheik and Moran of the Lady Letty; the standout among his talkies is the Spanish-language version of Dracula, which he shot on the sets of Tod Browning's 1931 film. In the late '30s Melford left directing and returned to acting, and appeared in several major films of the '40s, including the comedy My Little Chickadee with W.C. Fields and Mae West; Preston Sturges' classic farces The Miracle of Morgan's Creek and Hail the Conquering Hero; and Elia Kazan's debut feature A Tree Grows in Brookly.

Trivia: An alumnus of the American Academy of Dramatic Arts, Brooklyn-born Hayden Rorke became a member of the original Walter Hampden theatrical company in the early '30s (he ended up the last surviving member of that hardy troupe). While serving in WWII, Rorke appeared in both the road company and film versions of the all-serviceman musical This Is the Army. He would make 70 Broadway appearances in his career, in additional to some 50 films and nearly 400 TV shows. Though usually unbilled, Rorke was instantly recognizable in roles calling for erudition and urbanity, notably in such films as An American in Paris (1951) and The Robe (1953). Among his many TV assignments was the role of CBS radio announcer John Daly (though his character was not identified by name) in the Pearl Harbor episode of the CBS historical series You Are There; he also co-starred in the two-part pilot for an intriguing 1951 science fiction series Project Moonbase, which didn't make it as a series but was released as a theatrical feature. Still essaying small movie roles into the 1960s, Hayden Rorke finally achieved a fame (and generous screen time) in the continuing role of flustered air force psychiatrist Dr. Bellows on the fanciful TV sitcom I Dream of Jeannie (1965-1970).