Trivia: Though Dennis Morgan would later allude to Milwaukee, Wisconsin as his hometown, he was actually born in the small burg of Prentice. After attending Carroll College in nearby Waukesha, Morgan acted in stock companies, worked as a radio announcer, and sang with travelling opera troupes. Still using his given name of Stanley Morner, he was signed to an MGM contract in 1936, then spent a frustrating year playing bit parts. What might have been his big break, as soloist in the "Pretty Girl is Like a Melody" number in MGM's mammoth The Great Ziegfeld (1936), was compromised by the fact that the studio dubbed in Allan Jones' singing voice. Morgan then moved to Paramount, where he played supporting roles under the new moniker Richard Stanley. In 1939, he landed at Warner Bros., where he became "Dennis Morgan" for good and all. His Warners roles were better than anything he'd had at MGM or Paramount, though he still was inexplicably prevented from singing. His biggest acting break came about when Warners loaned him to RKO to appear opposite Ginger Rogers in Kitty Foyle (1940). Finally in 1943, he was given a full-fledged singing lead in Warners' The Desert Song. This led to a series of well-received musicals which earned Morgan a faithful fan following--and, for a brief period, he was the studio's highest paid male star. In 1947, Morgan was teamed with Jack Carson for a group of musical comedies which Warners hoped would match the success of Paramount's Hope-Crosby "Road" pictures. Best of the batch was Two Guys From Milwaukee (1947), which had its premiere in that city. When the sort of musicals Morgan starred in went out of fashion in the 1950s, he shifted creative gears and appeared in westerns and adventure yarns. In 1959, he headlined a TV cop series, 21 Beacon Street. For all intents and purposes retired by the 1960s, Dennis Morgan re-emerged to play cameos in two theatrical features, Rogue's Gallery (1968) and Won Ton Ton, the Dog Who Saved Hollywood (1976).

Trivia: Character actor Don Defore was the son of an Iowa-based locomotive engineer. His first taste of acting came while appearing in church plays directed by his mother. Defore briefly thought of becoming an attorney, but gave up a scholarship to the University of Iowa to study at the Pasadena Playhouse. He began appearing in films in 1937 and in professional theatre in 1938, billed under his given name of Deforest. Defore's career turning point was the Broadway play The Male Animal, in which he played a thickheaded college football player; he repeated the role in the 1942 film version, and later played a larger part in the 1952 remake She's Working Her Way Through College. In most of his film assignments, Defore was cast as the good-natured urbanized "rube" who didn't get the girl. For several years in the 1950s, Defore played "Thorny" Thornberry, the Nelson family's well-meaning next door neighbor, on TV's Ozzie and Harriet. Don Defore's best-known TV role was George Baxter on the Shirley Booth sitcom Hazel (1961-65).

Trivia: American singer/actress Janis Paige was singing in public from age 5 in local amateur shows. Journeying from her native Washington to Los Angeles after high school, Paige secured a job as vocalist at the Hollywood Canteen, a studio-sponsored gathering spot for servicemen. It was only logical, then, that her first feature film upon being signed by Warner Bros. would be Hollywood Canteen (1944). A few musicals aside, Paige didn't get to sing much in her subsequent films, appearing mostly as ingenues and second leads. She left for Broadway in 1950, where she scored a hit in the popular comedy-mystery Remains to Be Seen, in which she costarred with then-husband Jackie Cooper. A few seasons later, Paige enjoyed her biggest hit in the Tony-Winning musical comedy The Pajama Game. Back in Hollywood, Paige watched as her stage roles went to bigger actresses (the star of the filmization of Pajama Game was her old rival at Warners, Doris Day), but she managed to secure one memorable movie role as an Esther Williams-like aquatic movie star in 1957's Silk Stockings. Janis was permitted one strong number, "Stereophonic Sound," with costar Fred Astaire, and copped most of the film's laughs as she slapped herself in the head to get the water out of her ears during interviews. The actress was a fixture of television from the early '50s onward, starring in the sitcom It's Always Jan and featured in recurring roles on such series as Eight is Enough, Trapper John MD, and Lanigan's Rabbi. Perhaps her most conspicuous prime-time TV role was as the waitress who conducted a brief affair with Archie Bunker on All in the Family. Daytime TV fans have been treated to Paige's talents on such serials as General Hospital, Capitol, and Santa Barbara, while devotees of summer stock theatre will remember the actress as star of straw-hat productions of Gypsy and Pajama Game in the '60s. As busy off-camera as on, Janis Paige was the founder of the Sunset Plaza Civic Association; and after the death of her composer husband Ray Gilbert (who penned "Zip-i-dee-Doo-Dah"), Paige was placed in charge of Gilbert's Ipanema Music Company.

Trivia: Malone was born Dorothy Maloney, under which name she appeared in her earliest films. She began modeling in childhood and also frequently acted in school plays. While performing in a college play at age 18 she was spotted by a talent agent and soon signed to a film contract by RKO. After playing bits in several films she switched studios in 1945 and gradually got better roles; usually she played standard pretty-girl leads. In the mid '50s she began to gain attention as a serious actress. For her portrayal of a frustrated nymphomaniac in Written on the Wind (1956) she won a Best Supporting Actress Oscar; however, few of her later roles were rewarding, and she made few films after 1964. She costarred in the TV series Peyton Place. She continued appearing in occasional films through the '80s. From 1959-64 she was married to actor Jacques Bergerac.

Trivia: A lanky, rubber-limbed comedian with a sad face, Ben Blue achieved his effects as much with mime as with dialogue. From age 15 he was on the New York stage and in vaudeville, then beginning in 1926 he appeared in a series of silent short subjects for Warner Brothers, Hal Roach, and other studios. Often appearing in baggy pants, with an eccentric straw hat and cane, he went on during the sound era to work for Paramount, where he was the long-limbed, wistful-eyed funny man in dozens of pictures, tending to put in cameo appearances that stole the show from those with top billing. (One story has it that comedian Red Skelton, after being upstaged by Blue, had a clause put in his contract stating that he would never appear with him again). Blue went on to perform regularly in nightclubs and on TV but dropped out of films in 1948 and spent fifteen years managing the nightclubs he owned. He returned and continued making comedic cameos in films during the '60s (notably in It's a Mad, Mad, Mad, Mad World and The Russians are Coming, the Russians are Coming).

Trivia: American stage-actor Oscar O'Shea made his first screen appearance in the 1937 MGM musical Rosalie. O'Shea spent most of the rest of his movie career as an MGM utility player. One of his best-remembered roles, however, was for producer Hal Roach: O'Shea appeared as the ranch boss in 1939's Of Mice and Men. Otherwise, Oscar O'Shea was generally consigned to one- or two-scene roles, usually as salty sea captains.

Trivia: The son of a patent medicine manufacturer, American actor Alan Hale chose a theatrical career at a time when, according to his son Alan Hale Jr., boarding houses would post signs reading "No Dogs or Actors Allowed." Undaunted, Hale spent several years on stage after graduating from Philadelphia University, entering films as a slapstick comedian for Philly's Lubin Co. in 1911. Bolstering his acting income with odd jobs as a newspaperman and itinerant inventor (at one point he considered becoming an osteopath!), Hale finally enjoyed a measure of security as a much-in-demand character actor in the 1920s, usually as hard-hearted villains. One of his more benign roles was as Little John in Douglas Fairbanks' Robin Hood (1922), a role he would repeat opposite Errol Flynn in 1938 and John Derek in 1950. Talkies made Hale more popular than ever, especially in his many roles as Irishmen, blusterers and "best pals" for Warner Bros. Throughout his career, Hale never lost his love for inventing things, and reportedly patented or financed items as commonplace as auto brakes and as esoteric as greaseless potato chips. Alan Hale contracted pneumonia and died while working on the Warner Bros. western Montana (1950), which starred Hale's perennial screen cohort Errol Flynn.

Trivia: George Neise played character roles on stage, screen, and television. Born and raised in Chicago, Neise became an actor following service as a colonel in the Army Air Corps during WWII. Neise made his feature-film debut in They Raid by Night (I942). Though he would specialize in action-dramas and Westerns, Neise appeared in a wide range of roles ranging from comedy to drama to romance. Neise made his final film appearance in The Barefoot Executive (1971). On television, Neise has appeared on The Jackie Gleason Show, The Red Skelton Show, and The Loretta Young Show. Neise passed away in his Hollywood home on April 14, 1996.

Trivia: American general-purpose actor Douglas Kennedy attended Deerfield Academy before trying his luck in Hollywood, using both his own name and his studio-imposed name Keith Douglas. He was able to secure contract-player status, first at Paramount and later at Warner Bros. Kennedy's Paramount years weren't what one could call distinguished, consisting mainly of unbilled bits (The Ghost Breakers [1940]) and supporting roles way down the cast list (Northwest Mounted Police [1940]); possibly he was handicapped by his close resemblance to Paramount leading man Fred MacMurray. Warner Bros., which picked up Kennedy after his war service with the OSS and Army Intelligence, gave the actor some better breaks with secondary roles in such A pictures as Nora Prentiss (1947), Dark Passage (1948), and The Adventures of Don Juan (1949). Still, Kennedy did not fill a role as much as he filled the room in the company of bigger stars. Chances are film buffs would have forgotten Kennedy altogether had it not been for his frequent appearances in such horror/fantasy features as Invaders from Mars (1953), The Alligator People (1959) and The Amazing Transparent Man (1960), playing the title role in the latter. Douglas Kennedy gain a modicum of fame and a fan following for his starring role in the well-circulated TV western series Steve Donovan, Western Marshal, which was filmed in 1952 and still posting a profit into the '60s.

Trivia: Character actor Emmett Vogan appeared in films from 1934 through 1956. A peppery gentleman with steel-rimmed glasses and an executive air, Vogan appeared in hundreds of films in a variety of small "take charge" roles. Evidently he had a few friends in the casting department of Universal Pictures, inasmuch as he showed up with regularity in that studio's comedies, serials and B-westerns. Comedy fans will recognize Emmett Vogan as the engineer partner of nominal leading man Charles Lang in W.C. Fields' Never Give a Sucker an Even Break (1941), and as the prosecuting attorney in the flashback sequences of Laurel and Hardy's The Bullfighters (1945).

Trivia: Ray Montgomery was a gifted character actor who spent his early career trapped behind a too-attractive face, which got him through the studio door in the days just before World War II, but limited him to callow, handsome supporting roles. Born in 1922, Montgomery joined Warner Bros. in 1941 and spent the next two years working in short-subjects and playing small, uncredited parts in feature films, including All Through The Night, Larceny, Inc., Air Force, and Action In The North Atlantic -- in all of which he was overshadowed by lead players such as Humphrey Bogart, Edward G. Robinson, and John Garfield, and the veteran character actors in supporting roles (including Alan Hale, William Demarest, Frank McHugh, Barton McLane, and Edward Brophy) at every turn. And even in The Hard Way as Jimmy Gilpin, he was overshadowed (along with everyone else) by Ida Lupino. Montgomery went into uniform in 1943 and didn't return to the screen until three years later, when he resumed his career precisely where he left off, playing a string of uncredited roles. He got what should have been his breakthrough in 1948 with Bretaigne Windust's comedy June Bride, and his first really visible supporting role -- but again, he was lost amid the presence of such players as Robert Montgomery and Bette Davis and a screwball-comedy story-line. It was back to uncredited parts for the next few years, until the advent of dramatic television. In the early 1950s, after establishing himself on the small-screen as a quick study and a good actor, Montgomery finally got co-starring status in the syndicated television series Ramar of the Jungle, playing Professor Howard Ogden, friend and colleague of the Jon Hall's title-character in the children's adventure series. The show was rerun on local television stations continuously into the 1960s. By then, Montgomery had long since moved on to more interesting parts and performances in a multitude of dramatic series and feature films. He proved much better with edgy character roles and outright bad guys than he had ever been at playing good natured background figures -- viewers of The Adventures of Superman (which has been in reruns longer than even Ramar), in particular, may know Montgomery best for two 1956 episodes, his grinning, casual villainy in the episode "Jolly Roger" and his sadistic brutality in "Dagger Island", where his character convincingly turns on his own relatives (as well as a hapless Jimmy Olsen). He could do comedy as well as drama, and was seen in multiple episodes of The Lone Ranger, The Gale Storm Show, and Lassie, in between movie stints that usually had him in taciturn roles, such as Bombers B-52 (1957) and A Gathering of Eagles (1963). During the 1960s, the now-balding, white-haired Montgomery was perhaps most visible in police-oriented parts, as a tough old NYPD detective in Don Siegel's Madigan (1968) and as an equally crusty (but sensitive) LAPD lieutenant in the Dragnet episode "Community Relations: DR-17". Montgomery's last screen appearance was in the series Hunter -- following his retirement from acting, he opened a notably successful California real estate agency.

Trivia: Possessor of one of the meanest faces in the movies, American actor Ray Teal spent much of his film career heading lynch mobs, recruiting for hate organizations and decimating Indians. Naturally, anyone this nasty in films would have to conversely be a pleasant, affable fellow in real life, and so it was with Teal. Working his way through college as a saxophone player, Teal became a bandleader upon graduation, remaining in the musical world until 1936. In 1938, Teal was hired to act in the low-budget Western Jamboree, and though he played a variety of bit parts as cops, taxi drivers and mashers, he seemed more at home in Westerns. Teal found it hard to shake his bigoted badman image even in A-pictures; as one of the American jurists in Judgment at Nuremberg (1961), he is the only member of Spencer Tracy's staff that feels that sympathy should be afforded Nazi war criminals -- and the only one on the staff who openly dislikes American liberals. A more benign role came Teal's way on the '60s TV series Bonanza, where he played the sometimes ineffectual but basically decent Sheriff Coffee. Ray Teal retired from films shortly after going through his standard redneck paces in The Liberation of LB Jones (1970).

Trivia: Irish Tenor Dennis Day is best known for the 25 years he spent working with Jack Benny, where he played the dim-bulbed but loquacious teenager who punctuated his lines with an enthusiastic "Gee, Mr. Benny." Day also appeared on the radio and on television, where at one point he had his own show. In addition, Day played in several films between 1940 and 1976. He got his start singing on Varieties, a CBS radio program.

Trivia: Some actresses may give off the aura from the screen of being larger than life, but Dorothy Ford presented that image for real, in person. Standing 6'2" tall, the dark-haired, beautifully proportioned Ford parlayed her height (which should have been an impediment) and good looks into a Hollywood career lasting more than 20 years. Born in Perris, CA, and raised in Santa Barbara, San Francisco, and Tucson, AZ, Ford appeared in school pageants and went into modeling after she graduated; her 38-26-38-and-a-half figure coupled with her 6'2" frame made her ideal for photographic work. Her first experience as a performer came about when Billy Rose cast Ford in his aquacade alongside Johnny Weissmuller. She also did a stint as an Earl Carroll showgirl, appearing in revues including Something to Shout About and Star Spangled Glamour. Ford's physique and striking good looks quickly brought her to the attention of casting offices, and she made her screen debut in 1942 in Lady in the Dark, playing a model. MGM put her under contract in 1943 and cast her in the musical Thousands Cheer (1944) and Broadway Rhythm (1944), in which she was seen sipping champagne with Charles Winninger; her other appearances that year included roles in Meet the People, Bathing Beauty, Two Girls and a Sailor, and The Thin Man Goes Home. She was seen in The Picture of Dorian Gray (1945) as part of an onscreen performing act, and worked in King Vidor's An American Romance (1945) before she left MGM. Ford took acting seriously and even spent time working and studying as a member of the Actors' Lab, the West Coast equivalent of New York's Group Theater. She did decidedly better in screen time and roles in her Universal Pictures debut, in Abbott and Costello's Here Come the Co-Eds (1945), which at last gave Ford a chance to act. Playing the towering captain of a women's basketball team appearing as "ringers" in a college game, Ford exuded confidence and boldness, as well as a sly streak, and dominated every shot she was in. Most of Ford's subsequent screen roles were genuine acting assignments. After a brief return to modeling in Rio de Janeiro, as part of South America's first postwar fashion show, she went back to MGM in Love Laughs at Andy Hardy, in which she played a young woman who is dateless until she crosses paths with Mickey Rooney -- the height difference between the actress and the diminutive star became a centerpiece of the plot. This was also Ford's first major role to play off of her height. By that time, Ford was often referred to in the press, in a complimentary manner, as a "Glamazon," and she was outspoken in encouraging more tall women to stand up for themselves: In one interview, she advised female readers that "if nature has made you tall, then be good and tall," chiding tall women who tried to stoop over or otherwise hide their height. Ford herself wore her 145 pounds extremely well and was regarded at one point in the 1940s as one of the most strikingly beautiful women in Hollywood. In an era in which Maureen O'Hara was regarded as formidable at 5'8", Ford made her 6'2" work for her, and not just in "freak" roles, which she resisted taking. Following an appearance in a New York stage production called The Big People, which played off of her height in a positive way, she was back in Hollywood in On Our Merry Way (1948), an unusual independently made anthology film. In 1949, she got cast in the Western Three Godfathers, directed by John Ford, and was given one of the more interesting parts of her career, portraying a woman who becomes the potential love interest of the character played by John Wayne in two key scenes. Ford's career slowed down considerably as the 1950s began. Her biggest role of all, in terms of screen time, came along in 1952 when she was cast in the Bud Abbott/Lou Costello comedy-fantasy Jack and the Beanstalk -- the movie gave her several choice bits of comedy and choreography with Lou Costello as a very tall woman in modern times and the servant of the giant in the fantasy sequences. Costello evidently liked Ford and appreciated her sense of humor, because he later put her into one installment of The Abbott & Costello Show ("The Vacuum Cleaner Salesman") on television. She also made small-screen appearances on The Adventures of Ozzie & Harriet and The Red Skelton Show, among other series, during the 1950s. Following an appearance in the Bowery Boys vehicle Feudin' Fools, Ford's big-screen career wound down in some surprisingly high-visibility films; John Wayne cast Ford in The High and the Mighty (1954), in a small role as a glamour girl with her hooks into Phil Harris, and Billy Wilder used her in the opening segment of The Seven Year Itch (1955). Ford faded out of movies over the next couple of years in much lower-budgeted films, in a pure eye candy part in The Indestructible Man and as a stripper in Fritz Lang's Beyond a Reasonable Doubt. She remained involved with the movie business even after giving up acting, joining MGM as a technician in the studio's film lab beginning in 1965. Many of Ford's old films are still widely shown on cable, and -- often thanks to her presence -- remain inherently striking to contemporary viewers, who marvel at the boldness and beauty of this extraordinary screen figure.

Trivia: Trained in prep school for a career as a businessman, Baltimore-born Russell Hicks chucked his predestined lifestyle for a theatrical career, over the protests of his family. As an actor, Hicks came full circle, spending the bulk of his career playing businessmen! Though he claimed to have appeared in D.W. Griffith's Birth of a Nation (1915) and Intolerance (1916), Hicks' earliest recorded Hollywood job occured in 1920, when he was hired as an assistant casting director for Famous Players (later Paramount). Making his stage debut in It Pays to Smile, Hicks acted in stock companies and on Broadway before his official film bow in 1934's Happiness Ahead. The embodiment of the small-town business booster or chairman of the board, the tall, authoritative Hicks frequently used his dignified persona to throw the audience off guard in crooked or villainous roles. He was glib confidence man J. Frothingham Waterbury in W.C. Fields' The Bank Dick (1940) ("I want to be honest with you in the worst way!"), and more than once he was cast as the surprise killer in murder mysteries. Because of his robust, athletic physique, Hicks could also be seen as middle-aged adventurers, such as one of The Three Musketeers in the 1939 version of that classic tale, and as the aging Robin Hood in 1946's Bandit of Sherwood Forest (1946). Russell Hicks continued accepting film assignments until 1956's Seventh Cavalry.

Trivia: One look at Alan Hale Jr. and no one could ever assume he was adopted; Hale Jr. so closely resembled his father, veteran character actor Alan Hale Sr., that at times it appeared that the older fellow had returned to the land of the living. In films from 1933, Alan Jr. was originally cast in beefy, athletic good-guy roles (at 6'3", he could hardly play hen-pecked husbands). After the death of his father in 1950, Alan dropped the "Junior" from his professional name. He starred in a brace of TV action series, Biff Baker USA (1953) and Casey Jones (1957), before his he-man image melted into comedy parts. From 1964 through 1967, Hale played The Skipper (aka Jonas Grumby) on the low-brow but high-rated Gilligan's Island. Though he worked steadily after Gilligan's cancellation, he found that the blustery, slow-burning Skipper had typed him to the extent that he lost more roles than he won. In his last two decades, Alan Hale supplemented his acting income as the owner of a successful West Hollywood restaurant, the Lobster Barrel.