Trivia: Western film star Harry Carey was the Eastern-born son of a Bronx judge. Carey's love and understanding of horses and horsemanship was gleaned from watching the activities of New York's mounted policemen of the 1880s. He worked briefly as an actor in stock, then studied law until a bout of pneumonia forced him to quit the job that was paying for his education. He reactivated his theatrical career in 1904 by touring the provinces in Montana, a play he wrote himself. In 1911, Carey signed with the Bronx-based Biograph film company, playing villain roles for pioneer director D. W. Griffith. Though only in his mid-30s, Carey's face had already taken on its familiar creased, weatherbeaten look; it was an ideal face for westerns, as Carey discovered when he signed with Hollywood's Fox Studios. Under the guidance of fledgling director John Ford, Carey made 26 features and two-reelers in the role of hard-riding frontiersman Cheyenne Harry. Throughout the 1920s, Carey remained an audience favorite, supplementing his acting income with occasional scripting, producing and co-directing assignments. At the dawn of the talkie era, Carey had been around so long that he was considered an old-timer, and had resigned himself to playing supporting parts. His starring career was revitalized by the 1931 jungle epic Trader Horn, in which he appeared with his wife Olive Golden. While he still accepted secondary roles in "A" features (he earned an Oscar nomination for his performance as the Vice President in Frank Capra's Mr. Smith Goes to Washington [1939]), Carey remained in demand during the 1930s as a leading player, notably in the autumnal 1936 western The Last Outlaw and the rugged 1932 serial Last of the Mohicans. In 1940, Carey made his belated Broadway debut in Heavenly Express, following this engagement with appearances in Ah, Wilderness (1944) and But Not Goodbye (1944). By the early 1940s, Carey's craggy face had taken on Mount Rushmore dimensions; his was the archetypal "American" countenance, a fact that director Alfred Hitchcock hoped to exploit. Hitchcock wanted to cast Carey against type as a Nazi ringleader in 1942's Saboteur, only to have these plans vetoed by Mrs. Carey, who insisted that her husband's fans would never accept such a radical deviation from his image. Though Carey and director John Ford never worked together in the 1930s and 1940s, Ford acknowledged his indebtedness to the veteran actor by frequently casting Harry Carey Jr. (born 1921), a personable performer in his own right, in important screen roles. When Carey Sr. died in 1948, Ford dedicated his film Three Godfathers to Harry's memory. A more personal tribute to Harry Carey Sr. was offered by his longtime friend John Wayne; in the very last shot of 1955's The Searchers, Wayne imitated a distinctive hand gesture that Harry Carey had virtually patented in his own screen work.

Trivia: Actor Edmund "Hoot" Gibson is said to have been given his unusual nickname because of his boyhood habit of hunting owls. After joining a circus at age 13, Gibson became stranded in Colorado and there began work as a cowpuncher. By age 16 he was a skilled performer in Wild West rodeo shows, going on to win the title of "World's All-Around Champion Cowboy" in 1912. It was about that time that Gibson began working in films as an extra and stunt man, frequently acting as a double for Harry Carey and other western stars; during the teens he appeared in many western two-reelers, but his career progressed slowly. In 1917 Gibson started getting supporting roles in John Ford-Harry Carey westerns at Universal, but this work was interrupted by service in the Army Tank Corps during World War I. Gibson was discharged in 1919 and went back to supporting roles in Ford westerns, soon landing his own two-reel series in which he was billed as "The Smiling Whirlwind." After starring in his first feature films, John Ford's five-reelers Action and Sure Fire, Gibson skyrocketed to fame and went on to become the cowboy idol of millions of American kids in the '20s and well into the '30s. However, Gibson was an atypical western hero as he rarely carried a gun and was more of a comedian than action hero. Universal's #1 cowboy star throughout the '20s--earning $14,000 a week as star and producer--Gibson's only significant rival was Fox's Tom Mix. Gibson's popularity continued until 1936, the last year in which he was on the Top Ten Money-Making Western Stars list; Gene Autry's cowboy style took over after that, and Gibson retired from the screen after making a serial in 1937. He occasionally did a little more film work, though, including the low-budget 1944 Trail Blazers series as well as guest appearances in a few movies. Edward "Hoot" Gibson married and divorced silent-screen actress Helen Wegner Gibson and actress Sally Eilers.

Trivia: Athletically inclined, Tyler entered films at age 21 as a stuntman and extra. He went on to play supporting roles in several late silents, then signed a contract to star in Westerns. He soon became a popular screen cowboy, often accompanied by sidekick Frankie Darro; he survived the transition to sound, going on to star in a number of serials in the early '30s. He remained popular through the early '40s and occasionally played supporting roles in major films. In 1943 he was struck by a crippling rheumatic condition; although he appeared in a handful of additional films throughout the next decade, his career was effectively ended as he was relegated to minor roles. By the early '50s he was broke. He died of a heart attack at age 50.

Trivia: Blonde and pretty, Margaret Callahan was imported from Broadway by RKO, who thought she merited a buildup after playing the ingénue in George Abbott's short-lived Ladies' Money (1934). But Hot Tips (1934), in which she played James Gleason's daughter, was a "B" at best, and although she was the nominal heroine in the 1935 remake of Seven Keys to Baldpate, she found herself upstaged by the more interesting Erin O'Brien Moore. Returning to the legitimate stage, Callahan later starred on Broadway in the short-lived (12 performances) The Scene of the Crime.

Trivia: Frail-looking but iron-willed American actor Henry B. Walthall set out to become a lawyer, but was drawn to the stage instead. After several seasons appearing opposite such luminaries as Henry Miller and Margaret Anglin, Walthall was firmly established in New York's theatrical circles by the time he entered films in 1909 at the invitation of director D.W. Griffith. Clearly, both men benefited from the association: Griffith was able to exploit Walthall's expertise and versatility, while Walthall learned to harness his tendency to overact. The best of the Griffith/Walthall collaborations was Birth of a Nation (1915), in which Walthall portrayed the sensitive Little Colonel. Walthall left Griffith in 1915, a move that did little to advance his career. A string of mediocre productions spelled finis to Walthall's stardom, though he continued to prosper in character parts into the 1930s. One of his best showings in the talkie era was a virtual replay of his Little Colonel characterization in the closing scenes of the 1934 Will Rogers vehicle Judge Priest. Henry B. Walthall died while filming the 1936 Warner Bros. film China Clipper; ironically, he passed away just before he was scheduled to film his character's death scene.

Trivia: Missouri native Frank M. Thomas cut his professional acting teeth with the Van Dyke Stock Company in St. Louis. Thomas made his Broadway bow in 1913, appearing in at least one production per year for the next 22 years. In 1936, he entered films with an RKO Radio contract, playing an assortment of character roles ranging from trench-coated detectives to shady crooks. During the years 1938-1942, Thomas showed up in more films than any other actor. Long retired, he died in 1989 at the age of 100. Married to actress Mona Bruns, Frank M. Thomas was the father of actor/writer Frankie Thomas, of Tom Corbett, Space Cadet fame.

Trivia: Stage actor Russell Hopton made his first screen appearance in a bit role in 1926's Ella Cinders. Hopton came into his own in the early 1930s, playing glowering, sarcastic characters who often bear such ill-suited names as Smiley and Happy. One of his largest roles was phony elocution expert Jerry Daniels in Once in a Lifetime, the famed 1932 satire of Hollywood's early-talkie days. In 1935 and 1936, Hopton directed a handful of "B" pictures for producer Maurice Conn. Russell Hopton spent the last eight years or so of his life as an RKO contract player, essaying villainous or disreputable supporting roles in both feature films and 2-reel comedies.

Trivia: From 1922 through 1934, Iowa-born performer Frank Jenks was a song and dance man in vaudeville. He began picking up day work in Hollywood films in 1933, and by 1937 had worked his way up to a contract with Universal Pictures. Jenks was seen in sizeable character roles in films ranging from the sumptuous Deanna Durbin vehicle 100 Men and a Girl to several entries in the Crime Club B-series. He portrayed sardonic sleuth Bill Crane (a creation of mystery writer Jonathan Latimer) in the Crime Club entries The Westland Case (1937) and Lady in the Morgue (1938). Jenks' familiar Hibernian grin and salty delivery of dialogue graced many a feature of the '40s and '50s; most of the roles were supporting, though Jenks was allowed full leads in an informal series of PRC detective films of the mid '40s. Frank Jenks' most conspicuous assignment of the '50s was as Uthas P. Garvey, the Runyonesque assistant of lovable con artist Alan Mowbray on the TV series Colonel Humphrey Flack, which ran live in 1953-54 and was resurrected for 39 filmed episodes in 1958.

Trivia: American light leading man Alan Curtis worked as a male model before his 1936 film debut in Winterset. After a few years of "other man" roles, Curtis signed with Universal Pictures, where, among many other assignments, he played the romantic lead in Abbott and Costello's Buck Privates (1941). His best assignment at Universal was as the meticulously set-up murder suspect in the moody Phantom Lady (1945). Among his last film roles was the title character in Philo Vance's Gamble (1946). In the early 1950s, Curtis made headlines when he was revived on the operating table after being declared officially dead. Alan Curtis was married three times; his wives included actresses Priscilla Lawson and Ilona Massey.

Trivia: Singer/actor Fred Scott started out entertaining on vaudeville, acting on Broadway, and singing operetta. He later appeared in many silent comedies, including those of Mack Sennett, and appeared in one feature-length silent film. Later he worked in a few musicals during the early '30s, but soon left movies to spend a few years singing opera. Between the late '30s and early '40s, Scott played a cowboy crooner known as "the Silvery-Voiced Buckaroo" in a few Westerns. Following his retirement in the '40s, Scott became a realtor.

Trivia: A specialist in hard-boiled dame roles, Barbara Pepper made her first film appearances as a Goldwyn Girl; she was prominent among the nubile slaves who were garbed only in floor-length blonde wigs in Goldwyn's Roman Scandals (1933). Pepper's one shot at stardom came in King Vidor's Our Daily Bread, in which she played the sluttish vamp who led hero Tom Keene astray; unfortunately, the film was not successful enough, nor her performance convincing enough, to lead to larger parts. She spent the next 30 years in supporting roles and bits, most often playing brassy goodtime girls. A radical weight gain in the 1950s compelled Pepper to alter her screen image; she quickly became adept at portraying obnoxious middle-aged tourists, snoopy next-door neighbors, belligerent landladies, and the like. Pepper's best friend in Hollywood was Lucille Ball, another alumna of the Goldwyn Girl ranks. At one point in 1951,Pepper was a candidate for the role of Ethel Mertz on I Love Lucy. In her last decade, Barbara Pepper gained a whole new crop of fans thanks to her recurring appearances as Doris Ziffel on the TV sitcom Green Acres.

Trivia: Beefy, puffy-faced Canadian actor Joseph Sawyer spent his first years in films (the early- to mid-'30s) acting under his family name of Sauer. Before he developed his comic skills, Sawyer was often seen in roles calling for casual menace, such as the grinning gunman who introduces "Duke Mantee, the well-known killer" in The Petrified Forest (1936). While under contract to Hal Roach studios in the 1940s, Sawyer starred in several of Roach's "streamliners," films that ran approximately 45 minutes each. He co-starred with William Tracy in a series of films about a GI with a photographic memory and his bewildered topkick: Titles included Tanks a Million (1941), Fall In (1942), and Yanks Ahoy (1943) (he later reprised this role in a brace of B-pictures produced by Hal Roach Jr. for Lippert Films in 1951). A second "streamliner" series, concerning the misadventures of a pair of nouveau riche cabdrivers, teamed Sawyer with another Roach contractee, William Bendix. Baby boomers will remember Joe Sawyer for his 164-episode stint as tough but soft-hearted cavalry sergeant Biff O'Hara on the '50s TV series Rin Tin Tin.

Trivia: An effort by a Films in Review writer of the '60s to catalogue the film appearances of American actor Harry Woods came a-cropper when the writer gave up after 400 films. Woods himself claimed to have appeared in 500 pictures, further insisting that he was violently killed off in 433 of them. After a lengthy and successful career as a millinery salesman, Woods decided to give Hollywood a try when he was in his early thirties. Burly, hatchet-faced, and steely eyed, Woods carved an immediate niche as a reliable villain. So distinctive were his mannerisms and his razor-edged voice that another memorable movie heavy, Roy Barcroft, admitted to deliberately patterning his performances after Woods'. While he went the usual route of large roles in B-pictures and serials and featured parts and bits in A-films, Harry Woods occasionally enjoyed a large role in an top-of-the-bill picture. In Cecil B. De Mille's Union Pacific (1939), for example, Woods plays indiscriminate Indian killer Al Brett, who "gets his" at the hands of Joel McCrea; and in Tall in the Saddle (1944), Woods is beaten to a pulp by the equally muscular John Wayne. Comedy fans will remember Harry Woods as the humorless gangster Alky Briggs in the Marx Brothers' Monkey Business (1931) and as the bullying neighbor whose bratty kid (Tommy Bond) hits Oliver Hardy in the face with a football in Block-Heads (1938).