Trivia: An shy, slender actor whose name became virtually synonymous with legendary screen Psycho Norman Bates despite numerous solid performances in films outside the Hitchcock originated series, Anthony Perkins' sensitive and versatile early performances remain unfortunately obscured by his portrayal of the gender-bending sociopath that made filmgoers reluctant to shower alone for decades to come. Born to actor Osgood Perkins in April 1932 (who would die when Tony was but five years old), the young Perkins decided to follow in his father's footsteps when, at age 15, he became a member of the Actor's Equity. Soon taking the stage in summer stock, the fledgling and humble thespian embraced even the more unglamorous aspects of stage work and worked tirelessly to develop into an actor who could find celluloid success. Subsequent performances in such Rollins College productions as The Importance of Being Ernest helped him to develop the necessary skills, and following a relocation to Hollywood, Perkins was cast alongside Spencer Tracy in the film adaptation of Ruth Gordon's dramatic play The Actress. Reluctant to dive headfirst into what he considered the questionable ethics of Tinsletown, Perkins packed his bags for Columbia University. Landing roles in such Golden Age of Television staples as Studio One and G.E. Theater found the actor continuing to gain positive notice and exposure, with the success carrying over to Broadway, where Perkins would gain the respect of some of New York's harshest critics for his performance as a college student suspected of homosexuality in Robert Anderson's Tea and Sympathy. Nearly becoming a teen idol after crooning "A Little Love Goes a Long, Long Way" in the Goodyear TV Playhouse production Joey, Perkins was signed to Epic Records and later RCA Victor shortly before earning an Oscar nomination for his breakthrough roles in both William Wyler's Friendly Persuasion (1956) and Robert Mulligan's Fear Strikes Out (1957). With his portrayal as a timid pacifist and a disturbed baseball player respectively, Perkins' sensitive performances riveted audiences and resulted in numerous film offers. Appearing in The Matchmaker (1958) and On the Beach (1959) in the following years, Perkins' screen image as a soft-spoken everyman would be forever shattered with the release of Alfred Hitchcock's controversial masterpiece Psycho. Purposefully cast against type as twitchy, psychotic mama's boy Norman Bates, it would be that characterization which would haunt Perkins' career for the rest of his days. In an attempt to shake the association, Perkins would move to Europe after becoming a minor cultural icon following his role in Goodbye Again (1961) (for which he was named Best Actor at the Cannes Film Festival). Appearing in such efforts as Orson Welles' The Trial (1963) and Is Paris Buring? (1966) throughout much of the duration of the 1960s, Perkins made somewhat of a return to American screens with such later efforts as Pretty Poison (1968), Catch-22 (1970), and Mahogany (1975). Working more frequently in television moving into the 1980s (1978's Les Miserables and The Sins of Dorian Gray [1983]), Perkins also continued to thrill theatergoers with roles in such films as The Black Hole (1979) and Ffolkes (1980) before returning to the character of Norman Bates in the inevitable sequel Psycho II. Directed this time by Hitchcock protégé Richard Franklin, the film proved a success and ranked among the top ten releases of 1983. From this point forward there would be little deviation from the twitchy theatricals that Perkins had perfected, and though entertaining in such efforts as Crimes of Passion (1984) and Edge of Sanity (1989), contemporary audiences would sadly witness little of the talented actor's pre-Psycho dramatic range. Associated almost exclusively with horror films by the onset of the 1990s, Perkins would return to the role of Bates for one last outing in the made-for-cable Psycho IV: The Beginning before serving as host to the short-lived television horror anthology series Chillers (1990). Taking the director's chair for the curious but widely ignored Psycho III (1986), it was only a short time later that Perkins would learn of his contraction of the virus that causes AIDS after reading of it in the tabloids. Working tirelessly alongside his longtime wife, Berry Berenson, for Project Angel Food (a non-profit organization dedicated to bringing meals to AIDS patients) in his later years, Perkins' philosophical statements regarding the ravaging disease that many considered a curse of humanity showed neither bitterness, anger, nor resentment toward the disease, but that his experiences in dealing with it had taught him more about compassion and love than he ever learned in his years in the film industry. On September 12, 1992, Perkins succumbed to AIDS-related pneumonia in Hollywood, CA, leaving behind a haunting but hopeful message to those who have suffered from the disease in an uncredited epilogue to the AIDS drama And the Band Played On (1993). Perkins left behind a son, who also embarked on an acting career with such efforts as Legally Blonde and Not Another Teen Movie (both 2001). Tragically, Perkins' wife was a passenger on one of the terrorist-hijacked planes that crashed into the World Trade Center a day before the nine-year anniversary of Perkins' death.

Trivia: The only child of a very young married couple, American actress Janet Leigh spent her childhood moving from town to town due to her father's changing jobs. A bright child who skipped several grades in school, Leigh took music and dancing lessons, making her public debut at age 10 as a baton twirler for a marching band. Her favorite times were the afternoons spent at the local movie house, which she referred to as her "babysitter." In 1946, Leigh's mother was working at a ski lodge where actress Norma Shearer was vacationing; impressed by a photograph of Leigh, Shearer arranged for the girl (whose prior acting experience consisted of a college play) to be signed with the MCA talent agency. One year later Leigh was at MGM, playing the ingenue in the 1947 film Romance of Rosy Ridge. The actress became one of the busiest contractees at the studio, building her following with solid performances in such films as Little Women (1949), The Doctor and the Girl (1950), and Scaramouche (1952) -- and catching the eye of RKO Radio's owner Howard Hughes, who hoped that her several RKO appearances (on loan from MGM) would lead to something substantial in private life. Instead, Leigh married Tony Curtis (her second husband), and the pair became the darlings of fan magazines and columnists, as well as occasional co-stars (Houdini [1953], The Vikings [1958], Who Was That Lady? [1960]). Even as this "perfect" Hollywood marriage deteriorated, Leigh's career prospered. Among her significant roles in the '60s were that of Frank Sinatra's enigmatic lady friend in The Manchurian Candidate (1962), Paul Newman's ex-wife in Harper (1966), and, of course, the unfortunate embezzler in Alfred Hitchcock's Psycho (1960), who met her demise in the nude (actually covered by a moleskin) and covered with blood (actually chocolate sauce, which photographed better) in the legendary "shower scene." In the '80s, Leigh curtailed her film and TV appearances, though her extended legacy as both the star/victim of Psycho and the mother of actress Jamie Lee Curtis still found her a notable place in the world of cinema even if her career was no longer "officially" active.

Trivia: Beauty contest winner Vera Ralston made a smattering of industrial films before beginning her Hollywood career in 1952. While making films at Republic studios, Ralston changed her name to avoid being confused with Republic's reigning queen Vera Hruba Ralston; "Miles" was the last name of her first husband. At first cast as a bland ingenue, she proved herself capable of conveying neurotic hysteria in The Charge at Feather River (1953), playing a white girl kidnapped by Indians who was violently resistant to being returned to her real family. She met her second husband, Gordon Scott, while filming Tarzan's Hidden Jungle (1954). With her work in John Ford's The Searchers (1955), she graduated to big-budget productions. During the latter half of the 1950s, she was under contract to Alfred Hitchcock, who was impressed by the "still waters run deep" element of her performances. She played a delusional rape victim in "Revenge," the very first episode of TV's Alfred Hitchcock Presents; she was cast as Henry Fonda's beleaguered wife in Hitch's The Wrong Man (her final scene is a knockout!); and, of course, she was seen as the sister of the ill-fated Janet Leigh in Psycho, a role she flamboyantly reprised in the 1982 sequel Psycho 2. While she never quite attained full film stardom, Miles kept extremely busy in both theatrical releases and television. During the 1960s and 1970s, she was regarded as a "good luck charm" by TV producers: if she guest-starred in the pilot episode of a potential series, chances are that series would sell (among those sold were the aforementioned Alfred Hitchcock Presents, The Asphalt Jungle, The Eleventh Hour, The Fugitive, Court Martial, The Outer Limits, I Spy, Gentle Ben, Cannon and Owen Marshall, Counsellor at Law). She continued to make occasional appearances until the 1995 feature Separate Lives, in which she costarred with James Belushi; afterward, she retired from acting. As of this writing, Vera Miles is still married to her fourth husband, sound engineer and mixer Bob Jones.

Trivia: Born Jack Golenor, this brawny, handsome leading man of Hollywood films appeared onscreen from 1956; he was once hyped as the next Rock Hudson. From 1952-56 he was an air intelligence officer with the Navy, specializing in Pan American Affairs. When a friend offered him a screen test, he was signed by Universal and played leads for a decade-plus, after which his film work decreased; he also served for a time as president of the Screen Actors Guild. After starring on the TV series Destry and Convoy, he debuted on Broadway in Seesaw in 1973. In 1981 Gavin was appointed by President Reagan as U.S. Ambassador to Mexico, a position he held for five years. Besides his Navy service, he had other qualifications for the post: having been born to a Spanish mother, he spoke impeccable Spanish; he had studied Latin American issues in college; and during his years of screen stardom he served as special advisor to Jose Mora and Galo Plaza, secretaries general of the Organization of American States.

Trivia: Bronx-raised actor Martin Balsam was the oldest of three children of a ladies' sportswear salesman. "Actors are bums" was dad's reaction when Balsam announced his intention of going into show business; still, young Martin took full advantage of lunch breaks from his "real" jobs to rehearse for amateur theatricals. After World War II, Balsam joined New York's Actors Studio, supporting himself by waiting on tables and ushering at Radio City Music Hall. During his formative years he was briefly married to actress Joyce Van Patten; their daughter Talia Balsam would later become a successful film and TV performer. Working steadily if not profitably in nightclubs and TV, Balsam made his first film, the Actors Studio-dominated On the Waterfront, in 1954. Averaging a movie and/or a play a year starting in 1957 (among his best-known film roles were Juror #1 in Twelve Angry Men [1957] and the unfortunate detective Arbogast in Psycho [1960]), Balsam went on to win a Tony for the Broadway play I Know You Can't Hear Me When the Water's Running, an Obie for the off-Broadway production Cold Storage, and an Academy Award for his performance as Jason Robards' older brother in the 1965 film version of A Thousand Clowns. Unfortunately for Balsam, the Oscar was as much a curse as a blessing on his career, and soon he was playing little more than variations on his Thousand Clowns role. In 1979, he was engaged by Norman Lear to play "lovable bigot" Archie Bunker's acerbic Jewish business partner Murray Klein on the CBS sitcom Archie Bunker's Place; he remained with the series until 1981. In 1991, Balsam appeared in Martin Scorsese's Cape Fear, the remake of a film in which Balsam had co-starred (in an entirely different role) in 1962.

Trivia: A versatile, commanding, leathery character actor, he learned to raise and ride broncos on his family's ranch during his youth. He attended college for two years, became a seaman, then began his performing career as a radio announcer; he became nationally known as an announcer on the "March of Time" broadcasts. Onscreen from the late '40s, he often portrayed law officers; he was also convincing as a villain. He was well-known for his TV work; he starred in the series Naked City and Wagon Train. He was married to actress Jeanette Nolan, with whom he appeared in Saddle Tramp (1950) and Two Rode Together (1961); they also acted together on radio, and in the late '60s they joined the cast of the TV series The Virginian, portraying a married couple. Their son was actor Tim McIntire.

Trivia: A former violinist, character actor Simon Oakland made his Broadway debut in 1948's The Skipper Next to God. Oakland's later stage credits include Light Up the Sky, The Shrike and Inherit the Wind. In films from 1957, Oakland was often cast as an outwardly unpleasant sort with inner reserves of decency and compassion. In I Want to Live (1958) for example, he played a journalist who first shamelessly exploited the murder trial of death-row inmate Susan Hayward, then worked night and day to win her a reprieve. And in Hitchcock's Psycho (1960), he had a memorable curtain speech as a jumpy, jittery, apparently neurotic psychiatrist who turned out to be the only person who fully understood transvestite murderer Anthony Perkins. Conversely, Oakland played his share of out-and-out villains, notably the bigoted Officer Schrank in West Side Story (1961). Far busier on television than in films--he once estimated that he'd appeared in 550 TV productions--Oakland was seen almost exclusively on the small screen after 1973. Within a five-year period, he was a regular on four series: Kolchak: The Night Stalker, Toma, Black Sheep Squadron and David Cassidy, Man Undercover. After a long losing bout with cancer, Simon Oakland died one day after his 63rd birthday.

Trivia: Some actors can convey wide-eyed confusion, others are adept at business-like pomposity; Frank Albertson was a master of both acting styles, albeit at the extreme ends of his film career. Entering movies as a prop boy in 1922, Albertson played bit roles in several late silents, moving up the ladder to lead player with the 1929 John Ford talkie Salute. The boyish, open-faced Albertson was prominently cast in a number of Fox productions in the early 1930s, notably A Connecticut Yankee in King Arthur's Court (1931) and Just Imagine (1931). By the mid-1930s he had settled into such supporting roles as Katharine Hepburn's insensitive brother in Alice Adams (1935) and the green-as-grass playwright who falls into the clutches of the Marx Brothers in Room Service (1938). His best showing in the 1940s was as the wealthy hometown lad who loses Donna Reed to Jimmy Stewart in It's a Wonderful Life (1946). By the 1950s, a graying, mustachioed Albertson was playing aging corporate types. Frank Albertson's more memorable roles in the twilight of his career included the obnoxious millionaire whose bank deposit is pilfered by Janet Leigh in Hitchcock's Psycho (1960) and his uncredited turn as the flustered mayor of Sweetapple in Bye Bye Birdie (1963).

Trivia: Raised on a ranch near the Arizona border, American actress Lurene Tuttle took acting lessons in Phoenix while still a child. Feisty and naturally funny, she found work with Murphy's Comedians, a vaudeville troupe, then played traditional ingenues in a San Antonio stock company. Though she never appeared on Broadway, Tuttle was a busy stage actress throughout the '20s and '30s. When stock work dried up in the Depression, Ms. Tuttle entered radio, where she became one the busiest actresses in the business, playing everything from sugary high schoolers to hardbitten gun molls. Many of her fans feel that her best radio work was as Effie Perrine, the effusive and efficient secretary on The Adventures of Sam Spade, in which Howard Duff played private eye Spade. Concentrating on films and television as big-time radio faded, Tuttle played small character parts in several movies and was a regular on the TV sitcoms Life with Father, Father of the Bride and Julia. One of the actress' final performances was in the post-apocalyptic film drama Testament (1983), in which she was reunited with Leon Ames, her Life with Father and Father of the Bride costar. In private life, Lurene Tuttle was the wife of radio actor/announcer Mel Ruick, and the mother of musical comedy actress Barbara Ruick.

Trivia: American actor Vaughn Taylor was trained as a certified public accountant at Northeastern University. While performing in college theatricals, Taylor entertained notions of a stage career; he won a scholarship at the Leland Powers School of Theatre, but his resources were so low that he had to sell his blood to blood banks to pay his expenses. Steady stock, tent-show, and radio work convinced Taylor that he'd made the right career move, and upon completing his Army duties in 1945, the actor took on the new challenge of live television. Taylor played so many TV roles that it is fruitless to try to list them, though the first "couch potato generation" might have affectionate memories of the actor as sharp-witted janitor Ernest P. Duckweather on the 1953 satirical puppet show Johnny Jupiter. (Taylor was replaced by Wright King when the series went from live to film). Taylor was also a prominent "summer repertory" actor on the prestigious anthology Robert Montgomery Presents from 1952 through 1954. The movies utilized Taylor's talents, often in roles as duplicitous executives or crooked business partners: he was the two-timing showman beheaded by magician Vincent Price in The Mad Magician (1954). Anyone who follows the reruns of The Twilight Zone will be more than familiar with the skill and range of Vaughn Taylor: he played bookworm Burgess Meredith's hardhearted boss in "Time Enough at Last," a crazed old conjurer in "Still Valley," an unctuous robot salesman in "I Sing the Body Electric" and a kindly wheelchair-bound gent who sells his kindness and becomes a killer in "The Self-Improvement of Salvatore Ross."

Trivia: Dour, lantern-jawed character actor John Anderson attended the University of Iowa before inaugurating his performing career on a Mississippi showboat. After serving in the Coast Guard during World War II, Anderson made his Broadway bow, then first appeared on screen in 1952's The Crimson Pirate. The actor proved indispensable to screenwriters trafficking in such stock characters as The Vengeful Gunslinger, The Inbred Hillbilly Patriarch, The Scripture-Spouting Zealot and The Rigid Authority Figure. Anderson's many screen assignments included used-car huckster California Charlie in Psycho (1960), the implicitly incestuous Elder Hammond in Ride the High Country (1962), the title character in The Lincoln Conspiracy (1977) and Caiaphas in In Search of Historic Jesus (1980). A dead ringer for 1920s baseball commissioner Judge Kenesaw Mountain Landis, Anderson portrayed that uncompromising gentleman twice, in 1988's Eight Men Out and the 1991 TV biopic Babe Ruth. A veteran of 500 TV appearances (including four guest stints on The Twilight Zone), John Anderson was seen as FDR in the 1978 miniseries Backstairs in the White House, and on a regular basis as Michael Spencer Hudson in the daytime drama Another World, Virgil Earp in The Life and Legend of Wyatt Earp (1955-61) and the leading man's flinty father in MacGiver (1985-92).

Trivia: American actor George Eldredge began surfacing in films around 1936. A general hanger-on in the Universal horror product of the 1940s, Eldredge appeared in such roles as the village constable in Ghost of Frankenstein (1942) and the DA in Calling Dr. Death (1943). His bland, malleable facial features enabled him to play everything from tanktown sheriffs to Nazi spies. Devotees of the "exploitation" films of the 1940s will remember Eldredge best as Dan Blake in the anti-syphilis tract Mom and Dad (1949). George Eldredge was once again in uniform as a small-town police chief in his final film, Hitchcock's Psycho (1960)

Trivia: Chances are when a doctor made a house call in a '40s movie, that doctor was portrayed by Sam Flint. Silver-haired, authoritative, and distinguished by an executive-style moustache, Flint entered films in the early '30s after a long stage career. Though his movie roles were usually confined to one or two scenes per picture, Flint was always instantly recognizable in his characterizations of businessmen, bankers, chairmen of the board, politicians, publishers, fathers of the bride--and, as mentioned before, doctors. In addition to his prolific feature-film work, Sam Flint was always welcome in short subjects, appearing in support of everyone from Our Gang to the Three Stooges.

Trivia: Actor Ted Knight dropped out of high school in order to enlist for World War II service. During the postwar years, Knight studied acting in Hartford, Connecticut. He became proficient with puppets and ventriloquism, which led to steady work as a TV kiddie-show host. Knight spent most of the 1950s and 1960s doing commercial voice-overs and essaying minor TV and movie roles (he was the nonspeaking cop who handed Norman Bates a robe at the end of Hitchcock's Psycho [1960]). Just barely making ends meet with TV guest spots and cartoon voices, Knight was rescued professionally in 1970 when he was cast in the role of vainglorious TV anchorman Ted Baxter on The Mary Tyler Moore Show. Three years into the series, Knight threatened to quit because of the one-note stupidity of his character. He was assuaged when the MTM producers "humanized" him with an understanding girlfriend (played by Georgia Engel) -- and it didn't hurt that the actor later won two Emmy awards for his portrayal of the clueless Ted Baxter. When MTM left the air in 1977, Knight attempted to headline a sitcom of his own. After a couple of false starts, he struck pay dirt in 1980 with Too Close for Comfort, playing a comic-strip artist with two nubile daughters. Too Close left the network for syndication in 1984, then matriculated into The Ted Knight Show in 1985. Though gravely ill, Ted Knight valiantly taped a years' worth of episodes before succumbing to cancer at the age of 62.

Trivia: Alfred Hitchcock was the most well-known director to the general public, by virtue of both his many thrillers and his appearances on television in his own series from the mid-'50s through the early '60s. Probably more than any other filmmaker, his name evokes instant expectations on the part of audiences: at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in every one of the director's movies.Originally trained at a technical school, Hitchcock gravitated to movies through art courses and advertising, and by the mid-'20s he was making his first films. He had his first major success in 1926 with The Lodger, a thriller loosely based on Jack the Ripper. While he worked in a multitude of genres over the next six years, he found his greatest acceptance working with thrillers. His early work with these, including Blackmail (1929) and Murder (1930), seem primitive by modern standards, but have many of the essential elements of Hitchcock's subsequent successes, even if they are presented in technically rudimentary terms. Hitchcock came to international attention in the mid- to late '30s with The Man Who Knew Too Much (1934), The 39 Steps (1935), and, most notably, The Lady Vanishes (1938). By the end of the 1930s, having gone as far as the British film industry could take him, he signed a contract with David O. Selznick and came to America.From the outset, with the multi-Oscar-winning psychological thriller Rebecca (1940) and the topical anti-Nazi thrillers Foreign Correspondent (1940) and Saboteur (1942), Hitchcock was one of Hollywood's "money" directors whose mere presence on a marquee attracted audiences. Although his relationship with Selznick was stormy, he created several fine and notable features while working for the producer, either directly for Selznick or on loan to RKO and Universal, including Spellbound (1945), probably the most romantic of Hitchcock's movies; Notorious (1946); and Shadow of a Doubt (1943), considered by many to be his most unsettling film.In 1948, after leaving Selznick, Hitchcock went through a fallow period, in which he experimented with new techniques and made his first independent production, Rope; but he found little success. In the early and mid-'50s, he returned to form with the thrillers Strangers on a Train (1951), which was remade in 1987 by Danny DeVito as Throw Momma From the Train; Dial M for Murder (1954), which was among the few successful 3-D movies; and Rear Window (1954). By the mid-'50s, Hitchcock's persona became the basis for the television anthology series Alfred Hitchcock Presents, which ran for eight seasons (although he only directed, or even participated as producer, in a mere handful of the shows). His films of the late '50s became more personal and daring, particularly The Trouble With Harry (1955) and Vertigo (1958), in which the dark side of romantic obsession was explored in startling detail. Psycho (1960) was Hitchcock's great shock masterpiece, mostly for its haunting performances by Janet Leigh and Anthony Perkins and its shower scene, and The Birds (1963) became the unintended forerunner to an onslaught of films about nature-gone-mad, and all were phenomenally popular -- The Birds, in particular, managed to set a new record for its first network television showing in the mid-'60s.By then, however, Hitchcock's films had slipped seriously at the box office. Both Marnie (1964) and Torn Curtain (1966) suffered from major casting problems, and the script of Torn Curtain was terribly unfocused. The director was also hurt by the sudden departure of composer Bernard Herrmann (who had scored every Hitchcock's movie since 1957) during the making of Torn Curtain, as Herrmann's music had become a key element of the success of Hitchcock's films. Of his final three movies, only Frenzy (1972), which marked his return to British thrillers after 30 years, was successful, although his last film, Family Plot (1976), has achieved some respect from cult audiences. In the early '80s, several years after his death in 1980, Hitchcock's box-office appeal was once again displayed with the re-release of Rope, The Trouble With Harry, his 1956 remake of The Man Who Knew Too Much, and Vertigo, all of which had been withheld from distribution for several years, but which earned millions of dollars in new theatrical revenues.

Trivia: Best described as a young George Kennedy type (though he and Kennedy were contemporaries), American actor Mort Mills spent three decades playing omniprescent and menacing types. He started out in films in the early '50s, showing up briefly in such productions as Affair in Trinidad (1952) and Farmer Takes a Wife (1955). He also seemed to be lurking in the background, taking in the information at hand and waiting to saunter over and pounce upon someone smaller than himself (which was just about everyone). Mills' character straddled both sides of the law: He was a friendly frontier sheriff in the 1958 syndicated TV western Man without a Gun and a less friendly police lieutenant on the 1960 network adventure weekly Dante; conversely, he was vicious western gunslinger Trigger Mortis in the 1965 Three Stooges feature The Outlaws is Coming. Mort Mills' most indelible screen moments occured in Hitchcock's Psycho (1960), wherein he portrayed the suspicious highway patrolman who almost catches embezzler Janet Leigh; had he succeeded, she would have spent the night in the pokey rather than the Bates Motel.

Trivia: American actor Francis de Sales appeared on stage, screen, radio and television. He got his start on Broadway as one of the original "Dead End" kids. He later starred in his own radio series and from there moved into television until the late 1950s when he started his film career. De Sales continued appearing in films through the mid '70s.