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: The son of a barber, Richard Conte held down jobs ranging from truck driver, to Wall Street clerk before finding his place as an actor. In 1935, Conte became a waiter/entertainer in a Connecticut resort, which led to stage work when he was spotted by Group Theatre's Elia Kazan and John Garfield. Through Kazan's help, Conte earned a scholarship to study at the Neighborhood Playhouse. His first Broadway appearance was in the fast-flop Moon Over Mulberry Street. In 1939, still billed as Nicholas Conte, the actor made his first film, 20th Century-Fox's Heaven With a Barbed Wire Fence (1939). It was Fox which would build up the intense, brooding Conte as the "New John Garfield" upon signing him to a contract in 1943. His best parts during his Fox years included the wrongly imprisoned man who is exonerated by crusading reporter James Stewart in Call Northside 777 (1947), and the lead role as a wildcat trucker in Thieves' Highway (1949). Among Conte's many TV assignments was a co-starring stint with Dan Dailey, Jack Hawkins and Vittorio De Sica on the 1959 syndicated series The Four Just Men. Appearing primarily in European films in his last years, Conte directed the Yugoslavian-filmed Operation Cross Eagles. Richard Conte's most important Hollywood role in the 1970s was as rival Mafia Don Barzini in the Oscar-winning The Godfather (1972).

Trivia: American actress Shelley Winters was the daughter of a tailor's cutter; her mother was a former opera singer. Winters evinced her mom's influence at age four, when she made an impromptu singing appearance at a St. Louis amateur night. When her father moved to Long Island to be closer to the New York garment district, Winters took acting lessons at the New School for Social Research and the Actors Studio. Short stints as a model and a chorus girl led to her Broadway debut in the S.J. Perelman comedy The Night Before Christmas in 1940. Winters signed a Columbia Pictures contract in 1943, mostly playing bits, except when loaned to United Artists for an important role in Knickerbocker Holiday (1944). Realizing she was getting nowhere, she took additional acting instructions and performed in nightclubs.The breakthrough came with her role as a "good time girl" murdered by insane stage star Ronald Colman in A Double Life (1947). Her roles became increasingly more prominent during her years at Universal-International, as did her offstage abrasive attitude; the normally mild-mannered James Stewart, Winters' co-star in Winchester '73 (1950), said after filming that the actress should have been spanked. Winters' performance as the pathetic factory girl impregnated and then killed by Montgomery Clift in A Place in the Sun (1951) won her an Oscar nomination; unfortunately, for every Place in the Sun, her career was blighted by disasters like Behave Yourself (1951).Disheartened by bad films and a turbulent marriage, Winters returned to Broadway in A Hatful of Rain, in which she received excellent reviews and during which she fell for her future third husband, Anthony Franciosa. Always battling a weight problem, Winters was plump enough to be convincing as middle-aged Mrs. Van Daan in The Diary of Anne Frank (1959), for which Winters finally got her Oscar. In the 1960s, Winters portrayed a brothel madam in two films, The Balcony (1963) and A House Is Not a Home (1964), roles that would have killed her career ten years earlier, but which now established her in the press as an actress willing to take any professional risk for the sake of her art. Unfortunately, many of her performances in subsequent films like Wild in the Streets (1968) and Bloody Mama (1970) became more shrill than compelling, somewhat lessening her standing as a performer of stature.During this period, Winters made some fairly outrageous appearances on talk shows, where she came off as the censor's nightmare; she also made certain her point-of-view wouldn't be ignored, as in the moment when she poured her drink over Oliver Reed's head after Reed made a sexist remark on The Tonight Show. Appearances in popular films like The Poseidon Adventure (1972) and well-received theater appearances, like her 1974 tour in Effect of Gamma Rays on Man-in-the-Moon Marigolds, helped counteract such disappointments as the musical comedy Minnie's Boys (as the Marx Brothers' mother) and the movie loser Flap (1970). Treated generously by director Paul Mazursky in above-average films like Blume in Love (1974) and Next Stop Greenwich Village (1977), Winters managed some excellent performances, though she still leaned toward hamminess when the script was weak. Shelley Winters added writing to her many achievements, penning a pair of tell-all autobiographies which delineate a private life every bit as rambunctious as some of Winters' screen performances.The '90s found a resurgence in Winters' career, as she was embraced by indie filmmakers (for movies like Heavy and The Portrait of a Lady), although she found greater fame in a recurring role on the sitcom Roseanne. She died of heart failure at age 85 in Beverly Hills, CA, in early 2006.

Trivia: She may have hailed from Denver, but actress Debra Paget had the sensual, exotic demeanor of an Arabian Nights princess -- which indeed she played on a few occasions. Signed by 20th Century Fox in 1949, the fresh-out-of-high-school Paget made her cinematic mark in the role of James Stewart's ill-fated Native American wife in Broken Arrow (1950). Most of her subsequent roles were merely decorative, though she was a more than adequate Cosette in the 1952 version of Les Miserables. In 1959, Paget was cast in Fritz Lang's sumptuous international production Journey to the Lost City, gaining extensive publicity coverage for her blood pressure-raising belly dance. After two failed marriages, one to director Budd Boetticher (for whom she had acted in 1955's Seven Men From Now), Debra Paget wed a wealthy Chinese-American oil executive in 1964, the same year that she retired from films.

Trivia: American actor Fred Clark embarked upon his lifelong career immediately upon graduation from Stanford University. With his lantern jaw, bald pate and ulcerated disposition, Clark knew he'd never be a leading man and wisely opted for character work. After several years on stage, during which time he was briefly married to musical comedy actress Benay Venuta, Clark made his movie debut in Ride the Pink Horse (1947), playing one of his few out-and-out villains. The actor's knowing portrayal of a callous movie producer in Sunset Boulevard (1949) led to his being typecast as blunt, sometimes shady executives. Clark's widest public recognition occurred in 1951 when he was cast as next-door neighbor Harry Morton on TV's Burns and Allen Show; when Clark insisted upon a larger salary, producer-star George Burns literally replaced him on the air with actor Larry Keating. Dividing his time between films and television for the rest of his career, Clark earned latter-day fame in the 1960s as star of a series of regionally distributed potato chip commercials. Though most of his fans prefer to remember the disappointing Otto Preminger farce Skiddoo (1968) as Fred Clark's screen farewell, the truth is that Clark's last performance was in I Sailed to Tahiti with an All-Girl Crew (1969).

Trivia: American actress Betty Garde, is best known for playing the original Aunt Eller in the Broadway production of Oklahoma! (1943). During the 1930s, she appeared often on Broadway and frequently acted in radio productions such as "Mrs. Wiggs of the Cabbage Patch." Beginning in 1930, she appeared in a few films through the early 1960s and also worked on television.

Trivia: Berry Kroeger (pronounced "Kroger", not "Kreeger") got his start in network radio, where his velvety voice was heard announcing several major dramatic anthologies; he also played a variety of leading radio roles, including the heroic soldier-of-fortune The Falcon. While appearing on Broadway in Saint Joan, Kroeger was discovered by filmmaker William Wellman, who cast the actor in The Iron Curtain. This 1948 Cold-War film represented the first of many unsympathetic movie assignments for Kroeger, ranging from the smarmy Packett in director Joseph L. Lewis' Gun Crazy (1949) to the mad-scientist mentor of Bruce Dern in The Incredible Two Headed Transplant (1971). Kroeger's marked resemblance to Sydney Greenstreet served him well when he essayed a Greenstreet take-off in "Maxwell Smart, Private Eye," an Emmy-winning episode of TV's Get Smart. Most of Barry Kroeger's film characters can be summed up in a single word: slime.

Trivia: Based in Los Angeles from an early age, Tommy Cook was a busy child actor on radio during the 1940s, playing such roles as Little Beaver on the Western series Red Ryder. In films since 1942's The Tuttles of Tahiti, Cook was briefly placed under contract by Columbia. In his late teen years, he signed with 20th Century Fox, playing substantial roles in films like An American Guerilla in the Philippines (1950) and Panic in the Streets (1950). Drifting out of acting in the mid-'50s, Tommy Cook went on to become a professional tennis player and traveling-show entrepreneur.

Trivia: When the call went out for an actress to play a circus strongwoman capable of lifting both a chair and Spencer Tracy in 1949's Adam's Rib, there was but one performer who could logically fit the bill: character actress Hope Emerson, who scraped the ceiling at 6' 2" and weighed in at 230 pounds. Emerson made her Broadway debut as the leader of the Amazons in Lysistrata. Her performance in the Fred Stone musical Smiling Faces led to her screen bow in the 1932 filmization of that property. During the 1940s, Emerson gained fame as the radio voice of Borden's Elsie the Cow. After years in vaudeville and the legitimate stage, Emerson returned to films as a homicidal masseuse in the New York-filmed Cry of the City (1948). She went on to play the feuding Mrs. Hatfield in Goldwyn's Roseanna McCoy (1948), and the implicitly lesbian prison matron in Caged (1950), an assignment which earned her an Oscar nomination. In 1958, Emerson was cast as Mother, owner of the nightclub where the beauteous Lola Albright was featured songstress, on the popular TV private eye series Peter Gunn. She left this series in 1959 to take a larger role as a housekeeper named "Sarge" on the weekly sitcom The Dennis O'Keefe Show. Shortly after filming the last O'Keefe episode, Hope Emerson died of a liver ailment at the reported age of 51.

Trivia: Chunky Boston-born actor Roland Winters was 19 when he played his first character role in the New York theatrical production The Firebrand. In the 1930s, he entered radio, serving as an announcer and foil for such performers as Kate Smith and Kay Kyser. In 1947, Winters became the fifth actor to essay the role of aphorism-spouting Oriental detective Charlie Chan. While Winters' six low-budget Chan entries are generally disliked by movie buffs, it can now be seen that the genially hammy actor brought a much needed breath of fresh air to the flagging film series with his self-mocking, semi-satirical interpretation of Charlie. A good friend of actor James Cagney, Winters showed up in several Cagney vehicles of the 1950s, notably A Lion Is in the Streets (1953) and Never Steal Anything Small (1959). Roland Winters continued to flourish in colorful supporting roles into the 1960s, and was also seen as a regular on the TV sitcoms Meet Millie (1952), The New Phil Silvers Show (1963), and The Smothers Brothers Show (1965).

Trivia: Blonde, dimpled, and vivacious, June Storey became the perfect leading lady for cowboy troubadour Gene Autry, opposite whom she starred in no less than ten singing Westerns. In the U.S. since the age of five, the Canadian-born starlet was awarded a screen test with Fox (soon to become 20th Century Fox) in 1934, courtesy of an uncle's friendship with production head Winfield Sheehan. Despite a highly inadequate performance, Sheehan liked her pluck and Storey was awarded a player's contract. She didn't do much actual screen work, however, but spent most of her time at Fox studying acting with Florence Enright and taking dancing lessons from Rita Hayworth's father, Eduardo Cansino. A small role as a German girl in Henry King's In Old Chicago (1938) got the attention of low-budget concern Republic Pictures, who saw in the winsome Storey the perfect foil for Gene Autry, the company's biggest draw at the time.Under term contract with Republic from April 21, 1939, through October 20, 1940, Storey managed to squeeze in ten Westerns with Autry and five additional films before the contract was terminated by mutual agreement. In many ways she was the perfect leading lady for Autry: very agreeable to look upon, competent as a performer by then, and willing to work long, hard hours on location. Often there was not even a dressing room available for the heroine; she later stated, "...and I'd have to find a secluded canyon to change into my cowgirl clothes." The films themselves -- from Home on the Range (1939) to Ride, Tenderfoot, Ride (1940) -- included some of Autry's most genial, and Storey became very popular with the genre's target audience of rural moviegoers. But like most performers, she eventually found B-Westerns too limiting, and apart from Columbia's Song of the Prairie (1945), she never did another.Returning to Fox in the late '40s, Storey appeared in non-Western programmers and retired to marry an Oregon rancher. Divorced and the survivor of a near-fatal car accident, she later took up nursing, re-married, and became active in charity work. In her final years, a much heavier but still sparkling June Storey became a treasured guest speaker at various nostalgia and B-Western fairs.

Trivia: Very few people remember Tito Vuolo's name, but in more than 40 movies and dozens of television shows -- ranging from comedy to film noir -- the Italian-born actor graced audiences with his presence. With his thick accent, short stature, and open, honest features, Vuolo was for many years the epitome of the ethnically identifiable, usually genial Italian, at a time when such portrayals were routine and encouraged in cinema. He could play excitable or nervous in a way that stole a scene, or move through a scene so smoothly that you scarcely noticed him. Vuolo's movie career began in 1946 with an uncredited appearance as a waiter in Shadow of the Thin Man, and he quickly chalked up roles in two further crime movies, the film noir classics Michael Gordon's The Web and Henry Hathaway's Kiss of Death. He was also part of the cast of Dudley Nichols' Mourning Becomes Electra, RKO's disastrous attempt to bring serious theater to the screen, but much of Vuolo's work turned up in films of a grittier nature, such as Anthony Mann's T-Men and The Enforcer, directed by Bretaigne Windust and Raoul Walsh -- the latter film afforded Vuolo one of his most prominent roles in a plot, as the hapless cab driver whose witnessing (with his little girl) of a murder sets in motion a series of events that brings about a dozen murders and ultimately destroys an entire criminal organization. Vuolo's short, squat appearance could also be used to comical effect in a specifically non-ethnic context, as in King Vidor's The Fountainhead, when he turns up at the home of Dominique Francon (Patricia Neal), in place of the expected arrival of tall, lean Howard Roarke (Gary Cooper), in response to her calculated request for repairs to the stone-work in her home. And sometimes he just stole a scene with his finely nuanced use of his accent and an agitated manner, as in Mr. Blandings Builds His Dream House -- his character goes into an excruciatingly funny explanation to Cary Grant about why he has to blast part of the proposed building site ("Thas-a no rock -- thas-a ledge"). Baby boomers may also remember Vuolo from his role in the 1953 Adventures of Superman episode "My Friend Superman," in which he portrayed a well-meaning luncheonette owner whose claim that Superman is a personal friend of his sets in motion a plot to kidnap Lois Lane. Vuolo's final film appearance was in the Ray Harryhausen science fiction thriller 20 Million Miles to Earth, playing the police commissioner. The beloved character actor died of cancer in 1962. Published dates of birth on Vuolo vary by as much as 19 years (1873 or 1892), so he was either 70 years old or 89 years old at the time of his death.

Trivia: Despite hailing from Sicily, character actress Mimi Aguglia also played her fair share of Spanish/South American duennas and Native Americans. Brought to Broadway by impresario Charles Frohman in 1910, Aguglia later toured both the Americas in a repertory that included Hamlet and Madame X. She apparently did only one silent film -- the strange New York-lensed The Last Man on Earth (1924) -- but did quite a few foreign versions of early Hollywood sound films. A busy presence in films of the 1940s, Aguglia was Jane Russell's aunt in Howard Hughes' long-awaited The Outlaw (1943), Jean Peters' duenna in Captain from Castile (1947), and Mario Lanza's mama in That Midnight Kiss (1949). Her final credited screen appearance was that of Mama Rico in 1957's The Brothers Rico. The veteran character actress spent her final years at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: American character actor Vito Scotti may not be the living legend as described by his publicity packet, but he has certainly been one of the most familiar faces to bob up on small and large screens in the last five decades. Scotti's father was a vaudeville impresario, and his mother an opera singer; in fact, he was born while his mother was making a personal appearance in San Francisco. Launching his own career at seven with an Italian-language commedia del arte troupe in New York, Scotti picked up enough improvisational knowhow to develop a nightclub act. When the once-flourishing Italian theatre circuit began to fade after World War II, Scotti began auditioning for every job that came up -- whether he could do the job or not. Without his trademarked mustache, the diminuitive actor looked like a juvenile well into his thirties, and as such was cast in a supporting role as a timorous East Indian on the "Gunga Ram" segment of the '50s TV kiddie series Andy's Gang. Once the producers discovered that Scotti had mastered several foreign dialects, he was allowed to appear as a comic foil to Andy's Gang's resident puppet Froggy the Gremlin. In nighttime television, Scotti played everything from a murderous bank robber (on Steve Canyon) to a misplaced Japanese sub commander (on Gilligan's Island). He was indispensable to TV sitcoms: Scotti starred during the 1954 season of Life with Luigi (replacing J. Carroll Naish), then appeared as gesticulating Latin types in a score of comedy programs, notably The Dick Van Dyke Show (as eccentric Italian housepainter Vito Giotto) and The Flying Nun (as ever-suspicious Puerto Rican police captain Gaspar Fomento). In theatrical films, Scotti's appearances were brief but memorable. he is always greeted with appreciative audience laughter for his tiny bit as a restauranteur in The Godfather (1972); while in How Sweet it Is (1968) he is hilarious as a moonstruck chef, so overcome by the sight of bikini-clad Debbie Reynolds that he begins kissing her navel! Vito Scotti was still essaying dialect parts into the '90s.

Trivia: Hollywood character actor Konstantin Shayne generally played threatening internationals during the '40s and '50s.

Trivia: Portly American character actor Howard Freeman was the archetypal small-town banker or businessman. With his impeccably groomed pencil mustache, finicky manners and eternal air of condescension, Freeman was ideal for such roles as bank president J. P. Norton in Laurel and Hardy's Air Raid Wardens--and equally ideal for the injuries and indignities heaped upon him by the two comedians in their efforts to administer emergency first aid. Air Raid Wardens was made in 1943, Freeman's first year in pictures after several seasons on stage. He quickly found his niche in authoritative roles, even playing a few bureaucratic Nazis during the war years: Freeman portrays a fussy Heinrich Himmler, casually targeting the Czech village of Lidice for extermination in Hitler's Madmen (1943). After nearly two decades in Hollywood, Freeman resettled in New York, remaining available for stage and TV work. One of Howard Freeman's last roles was as a peace-loving police captain mistaken for a slave-driving martinet in a 1963 episode of Car 54, Where are You?

Trivia: The son of vaudeville monologist Julius Tannen, Charles Tannen launched his own film career in 1936. For the rest of his movie "life," Tannen was most closely associated with 20th Century Fox, playing minor roles in films both large (John Ford's The Grapes of Wrath) and not so large (Laurel and Hardy's Great Guns). Rarely receiving screen credit, Tannen continued playing utility roles well into the 1960s, showing up in such Fox productions as The Fly (1958) and Voyage to the Bottom of the Sea (1961). Charles Tannen's older brother, William, was also an active film performer during this period.

Trivia: Lanky, long-nosed supporting actor Oliver Blake acted on stage under his given name of Oliver Prickett. From the mid-1920s onward, Blake was a fixture at the Pasadena Playhouse, where his brother Charles was managing director and his sister Maudie was a resident character actress. At the Playhouse, he starred in such productions as Charley's Aunt and also taught classes for first-year students. He entered films in 1941, and for his first few years before the camera was confined to bit roles like the Blue Parrot waiter in Casablanca (1942). One of his more visible screen assignments was as dour-faced Indian neighbor Geoduck in Universal's Ma and Pa Kettle series. An apparent favorite of comedian Bob Hope, Blake showed up in a variety of roles in several Hope farces, notably as the world's most emaciated Santa Claus in The Seven Little Foys (1955). On TV, Oliver Blake played the recurring role of Carl Dorf in the 1956 sitcom The Brothers.

Trivia: Italian-born Antonio Filauri became a fixture in Hollywood films from 1932 to 1953, lending his jolly visage to scores of bit parts, playing barbers, waiters, priests (often Mexican), monks, chefs, and even ambassadors. Late in life, Filauri played Papa Riccardo in Mario Lanza's The Great Caruso (1951).

Trivia: Canadian actress Joan Miller started out on-stage. In 1931, she moved to London to work in theater. Six years later, she scored a role on the newly created British Broadcasting Corporation television network's first entertainment show, Picture Page Girl. Though she primarily continued working on-stage, she also made frequent appearances on radio, television, and in a few films during the '40s, '50s, and '60s.

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

Trivia: Described by film historian William K. Everson as "that supercilious martyr" (he was of course referring to her on-screen personality), Canadian character actress Kathleen Howard usually comported herself before the cameras in a most operatic fashion. And who with better right? Howard was a Metropolitan opera star from 1916 through 1928, turning to film acting only after her voice broke. She was also an accomplished writer, serving on the executive staff of Harper's Bazaar. She made her first movie appearance, appropriately cast as an Italian grande dame, in Death Takes a Holiday (1934). Generations of W.C. Fields fans have doted upon Howard's full-blooded portrayals of Fields' virago wife in It's a Gift (1934) and The Man on the Flying Trapeze (1935). Toning down her screen mannerisms a bit, Kathleen Howard spent her last decade in films in such supporting roles as the melancholy schoolmistress in Deanna Durbin's First Love (1939) and the wry lady judge in One Night in the Tropics (1940).

Trivia: Redheaded Jane Nigh was a defense-plant worker when she was discovered for films in 1944. Nigh made her screen debut in the 20th Century Fox musical Something for the Boys, then went on to play both sweet young things and femme fatales for a variety of studios. In 1952, she co-starred as Lorelei on the popular TV series Big Town. The third actress to play this role, Nigh was replaced in 1953 by Beverly Tyler, who in turn was replaced by Trudy Wroe. Jane Nigh's last screen appearance was in the Bowery Boys entry Hold That Hypnotist (1957); her vivid memories of that experience have been duly recorded in David Hayes and Brent Walker's The Films of the Bowery Boys (Citadel, 1984).

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: Not to be confused with the later 20th Century-Fox contract player of the same name, silent screen actor Harry Carter had appeared in repertory with Mrs. Fiske and directed The Red Mill for Broadway impresario Charles Frohman prior to entering films with Universal in 1914. Often cast as a smooth villain, the dark-haired Carter made serials something of a specialty, menacing future director Robert Z. Leonard in The Master Key (1914); playing the title menace in The Gray Ghost (1917); and acting supercilious towards Big Top performers Eddie Polo and Eileen Sedgwick in Lure of the Circus (1918). In addition to his serial work, Carter played General Von Kluck in the infamous propaganda piece The Kaiser, the Beast of Berlin (1918). It was back to chapterplays in the 1920s, where he menaced Claire Anderson and Grace Darmond in two very low-budget examples of the genre: The Fatal Sign (1920) and The Hope Diamond Mystery (1921).

Trivia: A veteran of vaudeville and Broadway, Harry Seymour came to films with extensive credits as a composer and musical-comedy star. Unfortunately, Seymour made his movie debut in 1925, at the height of the silent era. When talkies came in, he was frequently employed as a dialogue director with the Warner Bros. B-unit. From 1932 to 1958, Harry Seymour also essayed bit roles at Warners and 20th Century Fox, most often playing pianists (Irish Eyes Are Smiling, Rhapsody in Blue, A Ticket to Tomahawk, etc.).

Trivia: Veteran American silent-screen actress Ruth Clifford began her career at the tender age of 16, starring for various Universal companies. Britisher Monroe Salisbury, the teenage Clifford's leading man in melodramas such as The Savage (1917), Hungry Eyes (1918), and The Millionaire Pirate (1919), was a paunchy gent no longer in the bloom of youth and sporting an ill-fitting hairpiece. According to the actress, although ever the gentleman, Mr. Salisbury's appearance made love scenes somewhat uneasy. Clifford played Ann Rutledge in Abraham Lincoln (1924), but overall her career was on the wane when she struck up a lifelong friendship with director John Ford in the late 1920s. Along with another early silent-screen actress, Mae Marsh, Clifford would turn up in about every other Ford film, usually playing pioneer women. In more glamorous surroundings, Clifford and Marsh stole the limelight for a brief moment as aging saloon belles in Three Godfathers (1948) and, away from Ford, Clifford was the studio head's secretary in Wilder's Sunset Boulevard (1950). Her last recorded appearance was in Ford's Two Rode Together in 1961; she was billed merely as "Woman." Although not known for enjoying interviews, Clifford was keenly interested in film history and made appearances in two documentaries on the subject: the 1984 Ulster Television program A Seat in the Stars: The Cinema and Ireland and historian Anthony Slide's ground-breaking The Silent Feminists: America's First Women Directors. In the latter, she discussed the work of Elsie Jane Wilson, Clifford's director on both The Lure of Luxury (1918) and The Game's Up (1919). As old as the century, Ruth Clifford was one of the last remaining leading ladies of the early, silent era when she died at the Motion Picture Country Hospital in Woodland Hills on December 1, 1998.

Trivia: Actor Tom Moore starred in many Hollywood silent and early sound films. Born in Ireland, Moore entered films in 1912. He and his two younger brothers, Matt and Owen Moore, all had successful careers in American films where they were usually cast in dashing, romantic leads. Tom Moore retired from starring roles in the mid-'30s. Ten years later, he returned to play small supporting roles. Moore's daughter, Alice Moore (1916-1960), was also an actress and appeared in many of his films.

Trivia: From 1931's Vice Squad onward, American character actor Davison Clark could be seen onscreen as scores of lawyers, doctors and big-city officials. One of Clark's meatier assignments (albeit still a minor one) was as Horace Greeley in The Mighty Barnum. As an member of Cecil B. DeMille's unofficial stock company, Clark essayed bits in DeMille's The Plainsman (1936), The Buccaneer (1938), Union Pacific (1939), The Story of Dr. Wassell (1947), Unconquered (1948) and Samson and Delilah (1949). Davison Clark made his last film appearance in the 1951serial Zombies of the Stratosphere.

Trivia: Bespectacled American actor Walter Baldwin was already a venerable stage performer at the time he appeared in his first picture, 1940's Angels over Broadway. With a pinched Midwestern countenance that enabled him to portray taciturn farmers, obsequious grocery store clerks and the occasional sniveling coward, Baldwin was a familiar (if often unbilled) presence in Hollywood films for three decades. Possibly Baldwin's most recognizable role was as Mr. Parrish in Sam Goldwyn's multi-Oscar winning The Best Years of Our Lives (1946), for which the actor received thirteenth billing. He also had a prime opportunity to quiver and sweat as a delivery man whose truck is commandeered by homicidal prison escapee Robert Middleton in The Desperate Hours (1955). Seemingly ageless, Walter Baldwin made his last film appearance three years before his death in 1969's Hail Hero.

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