Trivia: Athletic, dashing, and heroic onscreen, and a notorious bon vivant in his personal life, Errol Flynn ranked among Hollywood's most popular and highly paid stars from the mid-'30s through the early '40s, and his costume adventures thrilled audiences around the world. Unfortunately, a combination of hard-living, bad financial investments, and scandal brought Flynn's career to a tragic end in 1959. He was born on the isle of Tasmania, the son of distinguished Australian marine biologist/zoologist Prof. Theodore Thomson Flynn. In school, Flynn was more drawn to athletics than academics and he was expelled from a number of exclusive Australian and British schools. At age 15, he found work as a shipping clerk in Sydney, and the following year he sailed to New Guinea to work in the government service, but the daily grind proved not to the adventuresome Flynn's taste, so he took off to prospect for gold. In 1930, Flynn returned to Sydney and purchased a boat, and he and three friends embarked upon a seven-month voyage to New Guinea. Upon arrival, Flynn became the overseer of a tobacco plantation and also wrote a column for the Sydney Bulletin. Flynn's introduction to acting came via an Australian film producer who happened to see photographs of the extraordinarily good-looking young man and had him cast as Fletcher Christian in the low-budget docudrama In the Wake of the Bounty (1933). After a year of stage repertory acting to hone his dramatic skills, Flynn headed to London for film work. Attaining a contract at Warner Bros. in 1935, Flynn languished in tiny parts until star Robert Donat suddenly dropped out of the big-budget swashbuckler Captain Blood (1935). The studio took a chance on Flynn, and the result was overnight stardom. It was also during this year that Flynn married actress Lili Damita. Although he'd make stabs at modern-dress dramas and light comedies, Flynn was most effective in period costume films, leading his men "into the Valley of Death" in Charge of the Light Brigade (1936), trading swordplay and sarcasm with Basil Rathbone in The Adventures of Robin Hood (1938), and even making the West safe for women and children in Dodge City (1939). At his romantic best onscreen, Flynn was king of the rouges, egotistically strutting before such damsels as Olivia de Havilland and Alexis Smith, arrogantly taunting them and secretly thrilling them with his sharp, often cynical wit and his muscular legs. But despite such rapscallion behavior, the ladies and his cohorts loved Flynn because, undisguised in his arresting blue eyes, they could see that he was a man of honor, passion, sincerity, and even a little vulnerability. Thus, an Errol Flynn adventure caused female fans to swoon and male fans to imagine themselves in his place.By the early '40s, Flynn ranked among Warner Bros.' most popular and lucrative stars. It should come as no surprise that the actor, with his potent charisma and obvious zest for life onscreen, was no less a colorful character, albeit a less heroic one, offscreen. His antics with booze, young women, and brawling kept studio executives nervous, PR men busy, and fans titillated for years. In 1942, Flynn was brought up on statutory rape charges involving two teenage girls, but was acquitted. Such allegations could easily have destroyed a lesser star's career, but not in Flynn's case. Instead of finding his career in ruins, he found himself more popular than ever -- particularly with female fans. In fact, the matter inspired a new catch phrase: "In like Flynn." That same year, he divorced Damita. (The couple's son, actor Sean Flynn, a dead ringer for his father, worked as a photojournalist and war correspondent in Southeast Asia where he disappeared in 1970 and was presumed dead.)But while Flynn's pictures continued to score at the box office, the actor, himself, was declining; already demoralized by his inability to fight in World War II due to a variety of health problems -- including recurring malaria, tuberculosis, and a bad heart -- Flynn's drinking and carousing increased, and, although he remained a loyal and good friend to his cronies, the actor's overall behavior became erratic. By the time he starred in The Adventures of Don Juan (1949) -- a role he could have done blindfolded ten years earlier -- Flynn was suffering from short-term memory loss and seemed unsure of himself. He divorced his second wife, Nora Eddington, in 1949 and the following year married actress Patrice Wymore. In 1952, Flynn appeared to have regained his former prowess (but for several injuries during production) in Against All Flags, but the success was short-lived. As his box-office appeal lessened and his debts grew larger, the increasingly bitter Flynn left for Europe to make a few films, including The Master of Ballantrae (1953) and Crossed Swords (1954). The latter was poorly received stateside, something Flynn blamed on the distributor's (United Artists) lack of promotion. The final blow for Flynn came when he lost his entire fortune on an ill-fated, never-completed attempt to film the story of William Tell. To cope with his pain and losses, Flynn took to the sea, sailing about for long periods in his 120-foot ocean-going sailboat, the Zaca. Returning to Hollywood in 1956, Flynn made a final bid to recapture his earlier glory, offering excellent performances in The Sun Also Rises (1957), The Roots of Heaven (1958), and Too Much, Too Soon (1958). Ironically, in the latter film, Flynn played another self-destructive matinee idol, John Barrymore. Strapped for cash during this period, Flynn penned his memoirs, My Wicked, Wicked Ways, which were published after his death in 1959. It was Flynn's third book; the first two were Beam Ends (1937), a description of his voyage to New Guinea in the Scirocco, and Showdown (1946), a novel. His final film was the grade-Z Cuban Rebel Girls (1958), in which he appeared with his girlfriend at the time, 17-year-old Beverly Aadland. Four months after turning 50, Flynn's years of hard living caught up with him and he died of heart failure. According to the coroner's report, his body was so afflicted by various ailments that it looked as if it belonged to a much older man.

Trivia: Born in Canada, Alexis Smith was brought to Los Angeles in her infancy by her family. At ten, Smith won a dance school scholarship, and at 13 she made her professional dancing debut in a Hollywood Bowl production of Carmen. While attending Hollywood High School, Smith won a statewide acting contest and at Los Angeles City College she enrolled in a rigorous theatrical training program. She was signed by Warner Bros. in 1941, where she was immediately (and reluctantly) tagged by the publicity department as "The Dynamite Girl." After a few B's, Smith received leading roles opposite Errol Flynn (Gentleman Jim), Charles Boyer and Joan Fontaine (The Constant Nymph), Fredric March (The Adventures of Mark Twain), Cary Grant (Night and Day), and even Jack Benny (the estimable The Horn Blows at Midnight). At 5' 9," Smith proved difficult to cast at times, especially opposite certain sensitive leading men of comparatively short stature. In 1944, Smith married fellow Warner contractee Craig Stevens, with their mutual friend Errol Flynn acting as best man. After closing out the first phase of her Hollywood career in 1959, Smith appeared on-stage with her husband in such touring productions as Mary, Mary, Critic's Choice, and Cactus Flower. In the early '70s, Alexis Smith scored a personal triumph (and won a Tony award) in the hit Broadway musical Follies; this led to a brief flurry of activity as a movie character actress, though she seemed far too youthful to be playing the middle-aged aunt of Jodie Foster in The Little Girl Who Lives Down the Lane or the widowed retirement-home resident in the Burt Lancaster/Kirk Douglas vehicle Tough Guys (1986). Alexis Smith died of cancer one day after her 72nd birthday; her last screen appearance was as a bejeweled New York aristocrat in Martin Scorcese's The Age of Innocence (1993).

Trivia: Chubby-jowled Hungarian character actor S.Z. Sakall began as a sketch writer for Budapest vaudeville shows, then turned to acting at age 18. Initially billed as Szoeko Szakall (the name translated to "blonde beard," in honor of the hirsute adornment he'd grown to appear older), the actor became a star of the Hungarian stage and screen in the 1910s and 1920s. Among his German-language films of the early-talkie era were 1929's Ihre Majestaet die Liebe (remade in the U.S. as Her Majesty Love, with W.C. Fields in Sakall's role) and the box-office hit Two Hearts in Waltz Time (1930); he also briefly ran his own production company during this period. Fleeing Hitler in the late '30s, Sakall settled in Hollywood, where from 1939 through 1955 he played an endless succession of excitable theatrical impresarios, lovable European uncles, and befuddled shopkeepers. His rotund cuteness earned Sakall the nickname "Cuddles," and he was often billed as S.Z. "Cuddles" Sakall in his later films. Nearly always featured in the supporting cast (notably as Karl the waiter in 1942's Casablanca), S.Z. Sakall was given the principal role of songwriter Fred Fisher in 1949's Oh, You Beautiful Doll, though top billing went to June Haver. S.Z. Sakall's final performances were seen in the 1954 film The Student Prince and the like-vintage TV series Ford Theatre.

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

Trivia: Flint-eyed American character actor Ian MacDonald began appearing in films in 1941. The war interrupted MacDonald's screen career, but he was back at his post in 1947. Nearly always a villain on-screen, his most celebrated role was Frank Miller, the vindictive gunman who motivates the plot of High Noon (1952). Likewise memorable were his portrayals of Bo Creel in White Heat (1949) and Geronimo in Taza, Son of Cochise (1954). In films until 1959, Ian MacDonald also occasionally dabbled in screenwriting.

Trivia: Before turning to films, Irish-born Charles Irwin enjoyed a long career as a music hall and vaudeville monologist. Irwin's talking-picture debut was the appropriately titled 1928 short subject The Debonair Humorist. Two years later, he proved a dapper and agreeable master of ceremonies for Universal's big-budget Technicolor musical The King of Jazz (1930). As the 1930s wore on, his roles diminished into bits and walk-ons; he fleetingly showed up as a green-tinted "Ozite" in The Wizard of Oz (1939) and appeared as the British racetrack announcer describing the progress of "Little Johnny Jones" in Yankee Doodle Dandy (1942). Before his retirement in 1959, Charles Irwin essayed such one-scene assignments as territorial representative Andy Barnes in the first few Bomba the Jungle Boy pictures and Captain Orton in The King and I (1956).

Trivia: Wizened character actor Paul E. Burns tended to play mousey professional men in contemporary films and unshaven layabouts in period pictures. Bob Hope fans will recall Burns' con brio portrayal of boozy desert rat Ebeneezer Hawkins in Hope's Son of Paleface (1952), perhaps his best screen role. The general run of Burns' screen assignments can be summed up by two roles at both ends of his career spectrum: he played "Loafer" in D.W. Griffith's Abraham Lincoln (1930) and "Bum in Park" in Barefoot in the Park (1967).

Trivia: Moderately successful as a leading man in British films from 1931 through 1934, Lester Matthews moved to the U.S. in the company of his then-wife, actress Anne Grey. Though Grey faded from view after a handful of Hollywood pictures (Break of Hearts [35] and Bonnie Scotland [35] among them), Matthews remained in Tinseltown until his retirement in 1968. At first, his roles were substantial, notably his romantic-lead stints in the Karloff/Lugosi nightmare-inducer The Raven (35) and the thoughtful sci-fier Werewolf of London (35), which starred Henry Hull in the title role. Thereafter, Matthews was consigned to supporting roles, often as British travel agents, bankers, solicitors, company clerks and military officers. Active in films, radio and television throughout the 1940s and 1950s, Lester Matthews was last seen in the Julie Andrews musical Star (1968).

Trivia: A genuine westerner, Lane Chandler, upon leaving Montana Wesleyan College, moved to LA and worked as a garage mechanic while seeking out film roles. After several years in bit parts, Chandler was signed by Paramount in 1927 as a potential western star. For a brief period, both Chandler and Gary Cooper vied for the best cowboy roles, but in the end Paramount went with Cooper. Chandler made several attempts to establish himself as a "B" western star in the 1930s, but his harsh voice and sneering demeanor made him a better candidate for villainous roles. He mostly played bits in the 1940s, often as a utility actor for director Cecil B. DeMille. The weather-beaten face and stubbly chin of Lane Chandler popped up in many a TV and movie western of the 1950s, his roles gradually increasing in size and substance towards the end of his career.

Trivia: A product of the Indiana orphanage system, the part-Cherokee-Indian Monte Blue held down jobs ranging from stevedore to reporter before offering his services as a movie-studio handyman in the early 1910s. Pressed into service as an extra and stunt man, Blue graduated to featured parts in D.W. Griffith's Birth of a Nation (1915). Thanks to his work with Griffith and (especially) Cecil B. DeMille, Blue became a dependable box-office attraction of the 1920s, playing everything from lawyers to baseball players. He was a mainstay of the fledgling Warner Bros. studios, where the profits from his films frequently compensated for the expensive failures starring John Barrymore. In 1928 he was cast in his finest silent role, as the drink-sodden doctor in White Shadows on the South Seas. After making a successful transition to talkies, Blue decided to retire from filmmaking, taking a tour around the world to celebrate his freedom. Upon his return to the U.S. in 1931, Blue found that he had lost his fortune through bad investments, and that the public at large had forgotten him. By now too heavy-set to play romantic leads, Blue rebuilt his career from the bottom up, playing bits in "A" pictures and supporting roles in "B"s. He was busiest in the bread-and-butter westerns produced by such minor studios as Republic, Monogram and PRC; he also showed up in several serials, notably as "Ming the Merciless" clone Unga Khan in 1936's Undersea Kingdom. Movie mogul Jack Warner, out of gratitude for Blue's moneymaking vehicles of the 1920s, saw to it that Monte was steadily employed at Warner Bros., and that his name would appear prominently in the studio's advertising copy. While many of his talkie roles at Warners were bits, Blue was given choice supporting roles in such films as Across the Pacific (1942), Mask of Dimitrios (1944) and especially Key Largo (1948). Extending his activities into TV, Blue continued accepting character roles until retiring from acting in 1954. During the last years of his life, Monte Blue was the advance man for the Hamid-Morton Shrine Circus; it was while making his annual appearance in this capacity in Milwaukee, Wisconsin, that Blue suffered a heart attack and died at the age of 73.

Trivia: Veteran American character actor Forrest Taylor is reputed to have launched his film career in 1915. His screen roles in both the silent and sound era seldom had any consistency of size; he was apt to show up in a meaty character part one week, a seconds-lasting bit part the next. With his banker's moustache and brusque attitude, Taylor was most often cast as a businessman or a lawyer, sometimes on the shadier side of the law. Throughout his 40 year film career, Taylor was perhaps most active in westerns, appearing in such programmers as Headin' For the Rio Grande and Painted Trail. From 1952 through 1954, Forrest Taylor costarred as Grandpa Fisher on the religious TV series This is the Life.

Trivia: With her scrawny body and puckered-persimmon face, Almira Sessions successfully pursued a six-decade acting career. Born into a socially prominent Washington family, Sessions almost immediately followed her "coming out" as a debutante with her first stage appearance, playing a sultan's wizened, ugly wife in The Sultan of Sulu. She briefly sang comic songs in cabarets before pursuing a New York stage career. In 1940, she traveled to Hollywood to play Cobina of Brenda and Cobina, an uproariously if cruelly caricatured brace of man-hungry spinsters who appeared regularly on Bob Hope's radio show (Elvia Allman was Brenda). Sessions' first film was the 1940 Judy Garland vehicle Little Nellie Kelly. Until her retirement in 1971, she played dozens of housekeepers, gossips, landladies, schoolmarms, maiden aunts, and retirement-home residents. Usually appearing in bits and minor roles, Almira Sessions was always given a few moments to shine onscreen, notably as an outraged in-law in Chaplin's Monsieur Verdoux (1947), the flustered high school teacher in the observatory scene in Rebel Without a Cause (1955), and the hero's inquisitive neighbor in Willard (1971).

Trivia: Gertrude Astor did so much work in Hollywood in so many different acting capacities that it's not simple or easy to characterize her career. Born in Lakewood, OH, she joined a stock company at age 13, in the year 1900, and worked on showboats during that era. She played in vaudeville as well, and made her movie debut in 1914 as a contract player at Universal. She was an accomplished rider, which got her a lot of work as a stuntwoman, sometimes in conjunction with a young Maine-born actor named John Ford in pictures directed by the latter's brother, Francis Ford. But Astor soon moved into serious acting roles; a tall, statuesque, angular woman, she frequently towered over the leading men of the era, and was, thus, ideal as a foil in comedies of the 1910s and '20s, playing aristocrats, gold diggers, and the heroine's best friend (had the character of Brenda Starr existed that far back, she'd have been perfect playing Hank O'Hair, her crusty female editor). Astor was the vamp who plants stolen money on Harry Langdon in The Strong Man (1926), Laura La Plante's wisecracking traveling companion in The Cat and the Canary (1927), and the gold digger who got her hooks into Otis Harlan (as well as attracting the attention of fellow sailor Eddie Gribbon) in Dames Ahoy. When talkies came in, Astor's deep, throaty voice assured her steady work in character parts, still mostly in comedy. Her roles weren't huge, but she worked prolifically at Hal Roach studios with such headliners as Laurel and Hardy, in the Our Gang shorts, and especially with Charley Chase, and also worked at Columbia Pictures' short subjects unit. Astor's specialty at this time was outraged dignity; she was forever declaring, "I've never been so embarrassed in all my life!" and stalking out of a slapstick situation, usually with a comedy prop (a balloon, a folding chairs, a cream puff) affixed to her posterior. Astor worked regularly into the early '60s; she was briefly glimpsed as the first murder victim in the Sherlock Holmes adventure The Scarlet Claw (1944) and was among the ranks of dress extras in Around the World in 80 Days (1956). Her longtime friend John Ford also gave her roles in his feature films right into the early '60s, culminating with her appearance in The Man Who Shot Liberty Valance. Gertrude Astor remained alert and quick-witted into her eighties, cheerfully sharing her memories of the glory days of comedy short subjects with fans and film historians. And in a town that can scarcely remember last year's studio presidents, in 1975, when she was 87 years old, Astor was given a party at Universal, where she was honored by a gathering of old friends, including the directors George Cukor, Allan Dwan, and Henry Hathaway. She passed away suddenly and peacefully on the day of her 90th birthday in 1977.

Trivia: Durable leading lady Nita Talbot spent the first decade or so of her career playing "slick chicks" and sharp-witted career girls. In films from 1956, she was afforded a wealth of varied screen roles, from the love-starved switchboard operator in A Very Special Favor (1966) to the brassy Madame Esther in Buck and the Preacher (1972). A TV-series perennial, Talbot was seen as Mabel Spooner opposite Larry Blyden's Joe Spooner in Joe and Mabel (1956), unregenerate con artist Blondie Collins on The Thin Man (1957), resourceful girl Friday Dora on The Jim Backus Show (1960), snooty socialite Judy Evans in Here We Go Again (1973) and ultracyncial Rose in Starting from Scratch. Nita Talbot was also a familiar face on the daytime-drama scene, with long-running roles in Search for Tomorrow and General Hospital.

Trivia: Actor Philo McCullough began his movie career at the Selig Company in 1912. At first, McCullough specialized in light comedy roles, often playing cads and bounders. After a brief stab at directing with 1921's Maid of the West, he found his true niche as a mustachioed, oily-haired, jack-booted heavy. During the 1920s he appeared in support of everyone from Fatty Arbuckle to Rin Tin Tin. Talkies reduced him to such bit parts as the "Assistant Exhausted Ruler" in Laurel & Hardy's Sons of the Desert (1933) and Senator Albert in Frank Capra's Mr. Smith Goes to Washington (1939). One of his few roles of consequence in the 1930s was the principal villain in the 1933 serial Tarzan the Fearless. Philo McCullough remained active until 1969, when he appeared with several other silent-screen veterans in They Shoot Horses, Don't They?.

Trivia: Whenever Ellen Corby or Mary Field weren't available to play a timid, spinsterish film role, chances are the part would go to Dorothy Adams. Though far from a shrinking violet in real life, Ms. Adams was an expert at portraying repressed, secretive women, usually faithful servants or maiden aunts. Her best-remembered role was the overly protective maid of Gene Tierney in Laura (1944). Dorothy Adams was the wife of veteran character actor Byron Foulger; both were guiding forces of the Pasadena Playhouse, as both actors and directors. Dorothy and Byron's daughter is actress Rachel Ames, who played Audrey March on TV's General Hospital.

Trivia: Silent film leading man Jack Mower was at his most effective when cast in outgoing, athletic roles. Never a great actor, he was competent in displaying such qualities as dependability and honesty. His best known silent role was as the motorcycle cop who is spectacularly killed by reckless driver Leatrice Joy in Cecil B. DeMille's Manslaughter (1922). Talkies reduced Jack Mower to bit parts, but he was frequently given work by directors whom he'd befriended in his days of prominence; Mower's last film was John Ford's The Long Gray Line (1955).

Trivia: Silent-film leading man Creighton Hale was brought to America from his native Ireland via a theatrical touring company. While starring in Charles Frohman's Broadway production of Indian Summer, Hale was spotted by a representative of the Pathe film company and invited to appear before the cameras. His first film was the Pearl White serial The Exploits of Elaine, after which he rose to stardom in a series of adventure films and romantic dramas. Director D.W. Griffith used Hale as comedy relief in his films Way Down East (1920) and Orphans of the Storm (1922)--possibly Hale's least effective screen appearances, in that neither he nor Griffith were comedy experts. Despite his comparative failure in these films, Hale remained a popular leading man throughout the 1920s. When talking pictures arrived, Hale's star plummeted; though he had a pleasant, well-modulated voice, he was rapidly approaching fifty, and looked it. Most of Hale's talkie roles were unbilled bits, or guest cameos in films that spotlighted other silent movie veterans (e.g. Hollywood Boulevard and The Perils of Pauline). During the 1940s, Hale showed up in such Warner Bros. productions as Larceny Inc (1941), The Maltese Falcon (1941) and Casablanca (1943); this was due to the largess of studio head Jack Warner, who kept such faded silent favorites as Hale, Monte Blue and Leo White on permanent call. Creighton Hale's final appearance was in Warners' Beyond the Forest (1949).

Trivia: Alternately -- and justly -- tagged as "The Godfather of Soul," "The Hardest Working Man in Show Business," "Soul Brother No. 1," and "Mr. Dynamite," James Brown launched himself into the musical spotlight as a multi-talented R&B powerhouse with revolutionary gifts not only in the arena of vocal performance, but in those of songwriting, instrumentation, and dance. In the process, Brown -- unapologetically raw, ear-splitting (given his trademark scream), rambunctious, explicit, and dark-skinned -- not only obliterated stereotypes of what black musicians had to be, but paved the way for later African-American artists as disparate as Prince and Snoop Dogg. Generally believed to have been born in Barnwell, SC, on May 3, 1933, and christened James Joseph Brown Jr., Brown grew up on the proverbial wrong side of the tracks. Abandoned by his parents at a tender age and raised by relatives and in the ghetto streets, he drifted into crime as a youngster, and was quickly shuttled off to the Alto Reform School outside of Tocoa, GA, for car theft. At Alto, Brown met and forged a lifelong friendship with aspiring musician Bobby Byrd (born Bobby Day), who later became an integral fixture of Brown's stage act. Byrd's family sympathized with Brown's family plight and brought the youngster into their household; Brown and Byrd then forged a gospel group that evolved, by turns, into Brown's R&B backup band, the Flames, with Brown covering vocals and Byrd on keyboards. Gigs at local venues followed over the next few years, until a demo tape of the group's electrifying single "Please, Please, Please" landed on the desk of Cincinnati's King Records. The label signed Brown immediately, first on its spin-off label, Federal, then -- in 1961 -- on King proper. One of that label's LPs, a live album, truly worked magic for Brown's career: 1962's James Brown: Live at the Apollo. This now-legendary, oft-mythologized effort spanned only 30 minutes but sold millions of copies and put Brown on the cultural map. Brown continued to issue gold and platinum singles and LPs over the years, landing an unprecedented number of hits. These included "Night Train," "I Got You (I Feel Good)," "Mashed Potatoes U.S.A," the seminal "Papa's Got a Brand New Bag," and "Shout and Shimmy." Brown's musical popularity continued unabated through the 1970s, before he reinvented himself in the '80s as a motion picture star. Brown made his most enduring cinematic impact during this period, with two A-list features: John Landis' anarchic musical road comedy The Blues Brothers (1980) and Sylvester Stallone's jingoistic Rocky IV (1985). In the former, Brown pulls from his gospel roots to play "jive-ass preacher" Reverend Cleophus James, the caped, microphone-wielding, arm-swinging minister of the Triple Rock Baptist Church, whose screamed admonition to Jake and Elwood Blues (John Belushi and Dan Aykroyd) -- "Have you seen the light?!" -- sends Jake hand-springing and back-flipping down the church aisles. In the fourth Rocky installment, Brown comes billed as "The Godfather of Soul" and, in a truly bizarre beat, performs a musical "warm-up" of "Living in America" with fighter Apollo Creed (Carl Weathers) on a Las Vegas stage, before that pugilist's fatal exhibition match with Russian monstrosity Drago (Dolph Lundgren). Roger Ebert wrote of that moment, "this scene sets some kind of a record: It represents almost everything that the original 1976 Rocky Balboa would have found repellent." The public, however, did not concur. Consumers sent "Living in America" (the centerpiece of the movie soundtrack) to the top of the R&B charts and Rocky IV soaring over the 127-million-dollar mark. Brown's other two feature-film appearances include the outrageous Dan Aykroyd/Michael Pressman comedy Doctor Detroit (1983) -- as a bandleader -- and the lesser sequel Blues Brothers 2000 (1998), reprising his turn as Rev. Cleophus James. Brown also headlines a myriad of concert films, such as James Brown: Live in Concert (1979), James Brown: Soul Jubilee (1984), James Brown: Live at Chastain Park (1985), and James Brown: Live from the House of Blues (2000). Brown appeared, as well, on numerous TV programs, including Married...with Children (as himself) and King of the Hill (as the voice of Digby Wilkins). He also composed the scores for two 1973 blaxploitation flicks, Black Caesar and Slaughter's Big Ripoff. Cinematically, Brown's singles are, of course, omnipresent on hundreds of movie soundtracks -- everything from Jonathan Demme's Something Wild (1986) to Christopher Crowe's Off Limits (1987) to James Orr's Mr. Destiny (1990) to Adrian Lyne's Jacob's Ladder (1990) to Ron Howard's Apollo 13 (1995), with his "I Got You (I Feel Good)" the most common inclusion. In addition to his musical and film success, Brown suffered some negative publicity in the late '80s (and became a never-ending source of celebrity gossip) when he burst into an Augusta, GA insurance seminar wielding a shotgun. He subsequently jumped into a car, hit the interstate, and was chased by troopers down the freeway -- across two states. Upon apprehension, Brown faced a number of serious charges, including assault on a law officer and possession of angel dust. Brown was then sentenced by a judge to six years in prison, but paroled after only three. He returned to performing immediately thereafter. Meanwhile, the tabloids swirled with allegations of spousal battery as well. Brown remained thoroughly active on the musical scene during the last 15 years of his life, touring constantly, before he succumbed to pneumonia in the early hours of Christmas Day, 2006. A notorious ladies' man, he was survived by four wives and at least four children. In addition to his career as an entertainer, Brown was also a fervent social activist.