Trivia: A Rice Institute graduate, James Craig took his first acting lessons from prominent character player Cyril Delevanti. After taking a few extra jobs, Craig was given a speaking role in 1937's Sophie Lang Goes West. He appeared in the serials Fighting G-Men (1938) and Winners of the West (1940), and showed up in such two-reelers as the Three Stooges'Oil's Well that Ends Well (1939), before landing his first important "A" picture role opposite Ginger Rogers in Kitty Foyle (1940). Craig was then showered with critical praise for his portrayal of Jabez Stone, the New Hampshire farmer who sells his soul to the Devil in 1941's All That Money Can Buy (aka The Devil and Daniel Webster). During the war, Craig became an MGM leading man, chiefly by virtue of his resemblance to Clark Gable; his best films during this period include Our Vines Have Tender Grapes (1945) and a few interesting program westerns. His films declined in importance throughout the 1950s. By the mid-1960s, Craig was of one of several old-timers appearing in the inexpensive Technicolor westerns being produced by A.C. Lyles and Alex Gordon. After retiring from films, James Craig became a successful real estate agent.

Trivia: Hearty American character actor Edward Arnold was born in New York to German immigrant parents. Orphaned at 11, Arnold supported himself with a series of manual labor jobs. He made his first stage appearance at 12, playing Lorenzo in an amateur production of The Merchant of Venice at the East Side Settlement House. Encouraged to continue acting by playwright/ journalist John D. Barry, Arnold became a professional at 15, joining the prestigious Ben Greet Players shortly afterward. After touring with such notables as Ethel Barrymore and Maxine Elliot, he did bit and extra work at Chicago's Essanay Film Studios and New Jersey's World Studios during the early 'teens. Hoping to become a slender leading man, Arnold found that his fortune lay in character parts, and accordingly beefed up his body: "The bigger I got, the better character roles I received," he'd observe later. Following several seasons on Broadway, Arnold made his talking picture debut as a gangster in 1933's Whistling in the Dark. He continued playing supporting villains until attaining the title role in Diamond Jim (1935), which required him to add 25 pounds to his already substantial frame; he repeated this characterization in the 1940 biopic Lillian Russell. Other starring roles followed in films like Sutter's Gold (1936), Come and Get It (1936) and Toast of New York (1937), but in 1937 Arnold's career momentum halted briefly when he was labelled "box office poison" by a committee of film exhibitors (other "poisonous" performers were Joan Crawford and Katharine Hepburn!) Undaunted, Arnold accepted lesser billing in secondary roles, remaining in demand until his death. A favorite of director Frank Capra (who frequently chided the actor for the "phony laugh" that was his trademark), Arnold appeared in a trio of Capra films, playing Jimmy Stewart's millionaire father in You Can't Take It With You (1938), a corrupt political boss in Mr. Smith Goes to Washington (1939), and a would-be fascist in Meet John Doe (1941). Despite the fact that he was not considered a box-office draw, Arnold continued to be cast in starring roles from time to time, notably Daniel Webster in 1941's The Devil and Daniel Webster and blind detective Duncan Maclain in Eyes in the Night (1942) and The Hidden Eye (1945). During the 1940s, Arnold became increasingly active in politics, carrying this interest over into a radio anthology, Mr. President, which ran from 1947 through 1953. He was co-founder of the "I Am an American Foundation," an officer of Hollywood's Permanent Charities Committee, and a president of the Screen Actors Guild. Though a staunch right-wing conservative (he once considered running for Senate on the Republican ticket), Arnold labored long and hard to protect his fellow actors from the persecution of the HUAC "communist witch-hunt." Edward Arnold's last film appearance was in the "torn from today's headlines" potboiler Miami Expose (1956).

Trivia: Canadian-born actor Walter Huston enjoyed an early theatrical life of roller-coaster proportions which he doggedly pursued, despite a lifelong suffering of "stage fright." Taking nickel and dime performing jobs, quitting to pursue "real" work -- an engineering job came to an end when his inept attempts to fix a town's reservoir nearly resulted in a flood -- then returning to bit roles were all part of Huston's early days. Before 1910, Huston had toured in vaudeville, worked in stock companies, tried to maintain a normal married life, and fathered a son whose life was twice as tempestuous as Walter's: future director John Huston. The barnstorming days ended when Huston got his first major Broadway role in Mr. Pitt (1924), which led to several successful New York seasons for the actor in a variety of plays. His stage and vaudeville training made him an excellent candidate for talkies; Huston launched his movie career with Gentlemen of the Press (1929), and spent the 1930s playing everything from a Mexican bandit to President Lincoln. Returning to Broadway in 1938 for the musical comedy Knickerbocker Holiday, Huston, in the role of 17th century New Amsterdam governor Peter Minuit, achieved theatrical immortality with his poignant rendition of the show's top tune, "September Song," the recording of which curiously became a fixture of the Hit Parade after Huston's death in 1950. Throughout the 1940s, Huston offered a gallery of memorable screen portrayals, from the diabolical Mr. Scratch in All That Money Can Buy (1941) to George M. Cohan's father in Yankee Doodle Dandy (1942). Still, it was only after removing his expensive false teeth and trading his fancy duds for a dusty bindlestiff's outfit that the actor would win an Academy Award, for his portrayal of the cackling old prospector Howard in The Treasure of the Sierra Madre (1948), directed by his son. At the time of his death, Huston was preparing to take on the part of the "world's oldest counterfeiter" in Mister 880, a role ultimately played by fellow Oscar winner Edmund Gwenn.

Trivia: Born Dawn Paris, this daughter of an ambitious stage mother was 14 months old when she made her first stage appearance; after some work as a child model, she was taken to Hollywood in the early '20s and began appearing onscreen in child roles (billed variously as Dawn O'Day, Lenn Fondre, and Lindley Dawn) in 1922. She appeared in many films, including early talkies, through her adolescence. Her career shifted gears in 1933; aged 15, she was given the lead role in Anne of Green Gables, and then assumed the character's name (Anne Shirley) as her screen-name. She played top roles in 37 more films through 1944, when she retired from acting. For her work in Stella Dallas (1937) she received a Best Actress Oscar nomination. From 1937-42 she was married to actor John Payne; from 1945-48 she was married to producer Adrian Scott, one of the "Hollywood Ten" who were blacklisted for supposed Communist connections; and from 1949 until his death in 1976 she was married to screenwriter Charles Lederer.

Trivia: American actress Jane Darwell was the daughter of a Missouri railroad executive. Despite her father's disapproval, she spent most of her youth acting in circuses, opera troupes and stock companies, making her film debut in 1912. Even in her early thirties, Darwell specialized in formidable "grande dame" roles, usually society matrons or strict maiden aunts. Making an easy transition to talking pictures, Darwell worked primarily in small character parts (notably as governesses and housekeepers in the films of Shirley Temple) until 1939, when her role as the James Brothers' mother in Jesse James began a new career direction--now she was most often cast as indomitable frontierswomen, unbending in the face of hardship and adversity. It was this quality that led Darwell to be cast in her favorite role as Ma Joad in The Grapes of Wrath (1940), for which she won an Oscar. Darwell continued to work until illness crept upon her in the late 1950s. Even so, Darwell managed to essay a handful of memorable parts on TV and in movies into the 1960s; her last film role was as the "Bird Woman" in Disney's Mary Poppins (1964).

Trivia: Born in Bethune, France, Simone Simon grew up in Marseille and went to Paris in 1930. She worked for a time as a designer and model before making her screen debut in 1931 in a comedy by Marc Allegret, who made his own debut as a feature filmmaker that same year. Simon displayed an innocent, girl/woman sensuality that anticipated Brigitte Bardot (ironically, also a discovery of Allegret) by several decades, and it wasn't long before she was discovered by the American movie industry. In 1935 she was signed by Fox studios in Hollywood. However, soon after arriving things began to go wrong for her with an abortive attempt to cast her in Message To Garcia with Wallace Beery, during the filming of which she was hospitalized. Girls' Dormitory (1936) became her first American film, but despite the fact that she enjoyed working on it, she didn't get along with her director. After making a handful of subsequent movies, she returned to France in 1938 -- but not before she found herself caught in a minor scandal involving her friend, the late composer George Gershwin. It was Jean Renoir who rescued Simon's career, casting her as the beautiful but predatory female lead in La Bete humaine (1938). That film brought her an invitation from director/producer William Dieterle for the role of Belle in The Devil and Daniel Webster. That movie brought her to the attention of producer Val Lewton, who offered her the leading role in the horror B-movie Cat People (1942). The role of the tormented Irena in Cat People proved to be the high point of Simon's film career, embedding her in the memory of millions of viewers, and she briefly reprised the role in Curse of the Cat People. However, none of her other Hollywood roles took, and she soon found herself confined to B-movies. She returned to Europe after World War II and continued making movies, of which the most notable was Max Ophuls' La Ronde (1952). During her second stint in the United States, which lasted from 1941 thru 1945, it was later revealed that Simon carried on an affair with Dusko Popov, the Yugoslav-born double-agent whose lifestyle and romantic exploits are now believed to have been a key part of the inspiration for future author Ian Fleming's James Bond character.

Trivia: Canadian-born Gene Lockhart made his first stage appearance at age 6; as a teenager, he appeared in comedy sketches with another fledgling performer, Beatrice Lillie. Lockhart's first Broadway production was 1916's Riviera. His later credits on the Great White Way included Eugene O'Neill's Ah, Wilderness and Arthur Miller's Death of a Salesmen, in which Lockhart replaced Lee J. Cobb in the role of Willy Loman. In between acting assignments, Lockhart taught stage technique at the Juilliard School of Music. A prolific writer, Lockhart turned out a number of magazine articles and song lyrics, and contributed several routines to the Broadway revue Bunk of 1926, in which he also starred. After a false start in 1922, Lockhart launched his film career in 1934. His most familiar screen characterization was that of the cowardly criminal who cringed and snivelled upon being caught; he also showed up in several historical films as small-town stuffed shirts and bigoted disbelievers in scientific progress. When not trafficking in petty villainy, Lockhart was quite adept at roles calling for whimsy and confusion, notably Bob Cratchit in the 1938 version of A Christmas Carol and the beleaguered judge in A Miracle on 34th Street (1947). Extending his activities to television, Lockhart starred in the 1955 "dramedy" series His Honor, Homer Bell. Gene Lockhart was the husband of character actress Kathleen Lockhart, the father of leading lady June Lockhart, and the grandfather of 1980s ingenue Anne Lockhart.

Trivia: The son of a Norwegian pastor, John Qualen was born in British Columbia. After his family moved to Illinois, Qualen won a high school forensic contest, which led to a scholarship at Northwestern University. A veteran of the tent-show and vaudeville circuits by the late '20s, Qualen won the important role of the Swedish janitor in the Broadway play Street Scene by marching into the producer's office and demonstrating his letter-perfect Scandinavian accent. His first film assignment was the 1931 movie version of Street Scene. Slight of stature, and possessed of woebegone, near-tragic facial features, Qualen was most often cast in "victim" roles, notably the union-activist miner who is beaten to death by hired hooligans in Black Fury (1935) and the pathetic, half-mad Muley in The Grapes of Wrath (1940). Qualen was able to harness his trodden-upon demeanor for comedy as well, as witness his performance as the bewildered father of the Dionne quintuplets in The Country Doctor (1936). He was also effectively cast as small men with large reserves of courage, vide his portrayal of Norwegian underground operative Berger in Casablanca (1942). From Grapes of Wrath onward, Qualen was a member in good standing of the John Ford "stock company," appearing in such Ford-directed classics as The Long Voyage Home (1940), The Searchers (1955), Two Rode Together (1961), and The Man Who Shot Liberty Valance (1962). John Qualen was acting into the 1970s, often appearing in TV dramatic series as pugnacious senior citizens.

Trivia: A master at abrasive and intrusive old-codger roles, George Cleveland enjoyed a 58-year career in vaudeville, stage, movies and television. Spending his earliest professional days in his native Canada, Cleveland barnstormed around the U.S. with his own stock company until settling in New York. He came to Hollywood in 1934 for an assignment in the Noah Beery Sr. programmer Mystery Liner and remained in Tinseltown for the next two decades. At first appearing in small roles in serials and westerns, Cleveland's screen time increased when he signed with RKO in the early 1940s. In the Fibber McGee and Molly feature Here We Go Again, Cleveland essayed the "Old Timer" role played on radio by Bill Thompson (who also showed up in Here We Go Again in another of his radio characterizations, Wallace Wimple). Other choice '40s assignments for Cleveland included the role of Paul Muni's faithful butler in Angel on My Shoulder (1946), and featured parts in two Abbott and Costello comedies, 1946's Little Giant (as Costello's uncle) and 1947's Wistful Widow of Wagon Gap (as a corrupt western judge). George Cleveland appeared on TV as a befuddled postman on the forgettable 1952 sitcom The Hank McCune Show; a far more memorable assignment was his three-year gig as Gramps on the Lassie series, which kept Cleveland busy until his sudden death in the spring of 1957.

Trivia: H.B. Warner was the son of Charles Warner and the grandson of James Warner, both prominent British stage actors. A tentative stab at studying medicine was abandoned when the younger Warner took drama lessons in Paris and Italy, then joined his father's stock company. After touring the British empire, Warner made his first American stage appearance in 1905. A leading man in his younger days, Warner starred in the first stage and screen versions of that hardy perennial The Ghost Breaker. His most celebrated silent film role was as Christ in Cecil B. DeMille's The King of Kings (1927). Though Warner sometimes complained that this most daunting of portrayals ruined his career, in point of fact he remained extremely busy as a character actor in the 1930s and 1940s. A favorite of director Frank Capra, Warner appeared as Chang in Lost Horizon (1937) (for which he was Oscar-nominated) and as old man Gower in the Christmas perennial It's a Wonderful Life (1946). Warner also played Inspector Nielsen in several of the Bulldog Drummond B-pictures of the 1930s, and had a cameo as one of Gloria Swanson's "waxworks" in Sunset Boulevard. H.B. Warner's final screen appearance was in DeMille's 1956 remake of The Ten Commandments.

Trivia: American actor Jeff Corey forsook a job as sewing-machine salesman for the less stable world of New York theatre in the 1930s. The 26-year-old Corey was regarded as a valuable character-actor commodity when he arrived in Hollywood in 1940. Perhaps the best of his many early unbilled appearances was in the Kay Kyser film You'll Find Out (40), in which Corey, playing a game-show contestant (conveniently named Jeff Corey), was required to sing a song while stuffing his mouth full of crackers. The actor was busiest during the "film noir" mid-to-late 1940s, playing several weasely villain roles; it is hard to forget the image of Corey, in the role of a slimy stoolie in Burt Lancaster's Brute Force, being tied to the front of a truck and pushed directly into a hail of police bullets. Corey's film career ended abruptly in 1952 when he was unfairly blacklisted for his left-leaning political beliefs. To keep food on the table, Corey became an acting coach, eventually running one of the top training schools in the business (among his more famous pupils was Jack Nicholson). He was permitted to return to films in the 1960s, essaying such roles as a wild-eyed wino in Lady in a Cage (64), the louse who kills Kim Darby's father in True Grit (68), and a sympathetic sheriff in Butch Cassidy and the Sundance Kid (68). In addition to his film work, Jeff Corey has acted in and directed numerous TV series; he was seen as a regular on the 1985 Robert Blake series Hell Town and the 1986 Earl Hamner Jr. production Morningstar/Eveningstar. The following decade found Corey appearing in such films as Sinatra (1992), Beethoven's 2nd (1993) and the action thriller Surviving the Game (1994). Shortly after suffering a fall at his Malibu home in August of 2002, Corey died in Santa Monica due to complications resulting from the accident. He was 88.

Trivia: A would-be B-Western star who never made the grade, Eddie Dew had been in musical comedy prior to drifting into films in 1937. After appearing in countless bit parts at (mostly) Republic Pictures, Dew was awarded a one-year contract in 1943 and a promotion to stardom with a proposed John Paul Revere series of Westerns that also featured the popular Smiley Burnette as the comedic sidekick, a job the tubby Burnette had done so admirably in the Gene Autry music Westerns. Alas, in spite of Burnette's popularity, the series in general and Dew in particular fell far short of expectations and after only two films had been produced, Republic bought back his contract for a reported 1,000 dollars. The studio tried to salvage the series by re-hiring Robert Livingston, formerly of The Three Mesqueteers, but there were few takers and the project was shelved after only two additional Westerns. Dew meanwhile, landed a berth at Universal as a second banana to Rod Cameron and even took over the lead in Trail to Gunfight (1944) when Cameron was upgraded to Grade A projects. In the end, however, singer Kirby Grant was brought in to take over the spot vacated by Cameron and Dew, who sidelined once again, went into television instead, appearing on the Annie Oakley and Buffalo Bill programs and directing episodes of Sergeant Preston of the Yukon. He would later add such low-budget feature films as Naked Gun (1956) and the Canada-lensed Wings of Chance (1961) to his directorial credits.

Trivia: In films from 1935, Scottish character actor Alec Craig perpetuated the stereotype of the penny-pinching Highlander for nearly 15 years. Craig's wizened countenance and bald head popped up in quite a few mysteries and melodramas, beginning with his appearance as the inept defense attorney in the embryonic "film noir" Stranger on the Third Floor. He essayed small but memorable roles in a handful of Val Lewton productions, notably the zookeeper in Cat People (1942). Later, he was a general hanger-on in Universal's horror films and Sherlock Holmes entries. Craig's showiest assignment was his dual role in RKO's A Date with the Falcon. The legions of fans of Lubitsch's To Be or Not to Be know Alec Craig best as the Scottish farmer who, upon being confronted by Hitler look-alike Tom Dugan, mutters to his fellow farmer James Finlayson "First it was Hess...now it's him."

Trivia: Most of character actress Fern Emmett's early appearances were in westerns, where she played scores of maiden aunts, hillbilly wives, town spinsters, ranch owners and stagecoach passengers. When she moved into contemporary films, she was most often seen as a landlady or gossip. She enjoyed a rare breakaway from this established screen persona when she played a screaming murder victim in the 1943 Universal thriller Captive Wild Women. Seldom given more than a few lines in "A" features, Emmett was better-served in programmers and 2-reel comedies. Emmett so closely resembled "Wicked Witch of the West" Margaret Hamilton that some historians have lumped their credits together, even though Emmett began her film career in 1930, three years before Hamilton ever stepped before a camera. Fern Emmett was the wife of actor Henry Rocquemore.

Trivia: The embodiment of businesslike dignity, actor Robert Emmett Keane was active in films from his 1929 debut in the talkie short Gossip through the 1956 second feature When Gangland Strikes. Because of his distinguished, above-reproach demeanor, Keane was often effectively cast as confidence men, shady attorneys and mystery murderers: after all, if he can convince the gullible folks people on-screen that he's honest, it's likely the audience will fall for the same line. Keane is warmly remembered by Laurel and Hardy fans for his roles in three of the team's 20th Century-Fox films of the '40s, playing con artists in two of them (A-Haunting We Will Go and Jitterbugs). In the early '50s, Keane played Captain Brackett in the national touring company of Rodgers and Hammerstein's musical triumph South Pacific. In private life, Robert Emmett Keane was the husband of Claire Whitney.

Trivia: Like his fellow character actors Donald Meek, John Qualen, and Maudie Prickett, Carl Stockdale looked like someone who'd be named Carl Stockdale. The gangly, cadaverous Stockdale entered films in 1914 as an Essanay Studios stock player, in support of such stars as Broncho Billy Anderson and Charlie Chaplin. He moved into features, where until his retirement in 1942 he played such baleful character roles as backwoods patriarchy undertakers and "machine" politicians. Of his many silent film parts, several stand out, including the role of Monks in both the 1916 and 1922 versions of Oliver Twist and Mabel Normand's misanthropic screen-test director in The Extra Girl (1923). In talkies, Carl Stockdale played bits in features and supporting roles in serials and short subjects; his later work included several entries in the Charley Chase and "Crime Does Not Pay" two-reelers.

Trivia: After a tentative movie debut in the New York-filmed 1929 musical Glorifying the American Girl, stately character actress Sarah Edwards settled in Hollywood for keeps in 1935. Another of those performers who evidently jumped directly from birth to old age, Edwards portrayed many a kindly grandmother, imperious dowager, hardy pioneer wife, ill-tempered teacher and strict governess. She played peripheral roles in films like The Great Ziegfeld (1936) and Shadow of the Doubt (1942), and enjoyed larger assignments in films like Hal Roach's Dudes are Pretty People (1942, as "The Colonel") and Frank Capra's It's a Wonderful Life (1946). Sarah Edwards is not related to the 1980s TV personality of the same name.

Trivia: In films from 1933, American character actor Ferris Taylor excelled in "official" roles. Taylor played the Mayor in a couple of Paramount's Henry Aldrich films, and elsewhere was cast as governors, senators, and at least one president. His bombastic characterizations were enhanced by the patently phony toupee he wore on occasion. Ferris Taylor spent his last few film years in short subjects, overacting to his heart's content, opposite the likes of Andy Clyde and the Three Stooges.

Trivia: A former dentist, Robert Dudley began appearing in small supporting roles on screen around 1917 (he played a clerk in the first screen version of the mystery-comedy Seven Keys to Baldpate) and would appear in literally hundreds of films until his retirement in 1951. Often cast as jurors, shopkeepers, ticket agents, and court clerks, the typical Dudley character displayed a very short fuse. Of all his often miniscule performances, one in particular stands out: the apartment-hunting "Wienie King" in Preston Sturges' hilarious The Palm Beach Story (1942).

Trivia: His hangdog expression gracing scores of Hollywood films from 1925 to 1950, Frank Austin (born George Francis Austin) portrayed Abraham Lincoln in the 1928 Jack Holt film Court-Martial. Adept at comedy as well as drama, Austin is memorable as the sinister butler in The Laurel and Hardy Murder Case (1930), the prisoner with the sore tooth in the team's Pardon Us (1931), and the diner with high blood pressure in W.C. Fields' Never Give a Sucker an Even Break (1941). Making his mark on B-Westerns as well, Austin delivered standout performances as the coroner in Reb Russell's Outlaw Rule (1935), the ill-fated Chuckwalla in the serial Riders of Death Valley (1941), and the assayer in Whip Wilson's Arizona Territory (1950), his final screen performance.

Trivia: In films from 1911, American actor Robert Strange was largely confined to walk-on roles as bankers, landlords, lawyers, and doctors. Cast as Kettler in the 1929 serial King of the Kongo, Strange launched his lengthy career in "chapter plays." He went on to play such serial roles as John Malcolm in The Adventures of Captain Marvel (1940) and Professor Gordon in The Perils of Nyoka (1942). Robert Strange's grandfatherly facial features were cast in a satanic light when he was cast as the court clerk for the "jury of the damn'd" in 1941's The Devil and Daniel Webster.

Trivia: Brawny character actor James Farley made his entree into films in 1918. Best-served in roles calling for authority backed by muscle, Farley can be seen as Southern General Thatcher in Buster Keaton's The General (1926) and as the executioner in Cecil B. DeMille's The King of Kings (1927). He spent most of the talkie era in small roles as detectives, patrolmen and night watchman. James Farley's credits are sometimes confused with those of another actor by the same name who acted in "regional" productions of the 1960s.

Trivia: So eager was Neighborhood Playhouse-trained William Alland to become a on-stage member of Orson Welles' Mercury Theatre in the late 1930s that he locked himself in Welles' dressing room and wouldn't come out until Orson had heard his audition. He functioned as an actor and stage manager with the Mercury on Broadway, and as assistant director on the troupe's radio series. When Welles took his players to Hollywood in 1940 to make Citizen Kane, Alland went along as dialogue director; he also appeared in the film as the shadowy reporter Thompson, and was heard as the stentorian narrator in the "News on the March" sequence. He remained with Welles into the late 1940s, acting in Lady from Shanghai (1947) and MacBeth (1948) (as one of the murderers) and wearing several hats behind the camera. In 1952, Allan was engaged as a staff producer at Universal-International. Among his best-known productions were the science fiction classics It Came From Outer Space (1953), Creature From the Black Lagoon (1954) and This Island Earth (1955). In 1961, William Alland made his film directorial debut with the juvenile-delinquency melodrama Look in Any Window. Alland died at the age of 81 following complications from heart disease.

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.