Trivia: The day after 79-year-old Robert Mitchum succumbed to lung cancer, beloved actor James Stewart died, diverting all the press attention that was gearing up for Mitchum. So it has been for much of his career. Not that Mitchum wasn't one of Hollywood's most respected stars, he was. But unlike the wholesome middle-American idealism and charm of the blandly handsome Stewart, there was something unsettling and dangerous about Mitchum. He was a walking contradiction. Behind his drooping, sleepy eyes was an alert intelligence. His tall, muscular frame, broken nose, and lifeworn face evoked a laborer's life, but he moved with the effortless, laid-back grace of a highly trained athlete. Early in his career critics generally ignored Mitchum, who frequently appeared in lower-budget and often low-quality films. This may also be due in part to his subtle, unaffected, and deceptively easy-going acting style that made it seem as if Mitchum just didn't care, an attitude he frequently put on outside the studio. But male and female audiences alike found Mitchum appealing. Mitchum generally played macho heroes and villains who lived hard and spoke roughly, and yet there was something of the ordinary Joe in him to which male audiences could relate. Women were drawn to his physique, his deep resonant voice, his sexy bad boy ways, and those sad, sagging eyes, which Mitchum claimed were caused by chronic insomnia and a boxing injury. He was born Robert Charles Duran Mitchum in Bridgeport, CT, and as a boy was frequently in trouble, behavior that was perhaps related to his father's death when Mitchum was quite young. He left home in his teens. Mitchum was famous for fabricating fantastic tales about his life, something he jokingly encouraged others to do too. If he is to be believed, he spent his early years doing everything from mining coal, digging ditches, and ghost writing for astrologer Carroll Richter, to fighting 27 bouts as a prizefighter. He also claimed to have escaped from a Georgia chain gang six days after he was arrested for vagrancy. Mitchum settled down in 1940 and married Dorothy Spence. They moved to Long Beach, CA, and he found work as a drop-hammer operator with Lockheed Aircraft. The job made Mitchum ill so he quit. He next started working with the Long Beach Theater Guild in 1942 and this led to his becoming a movie extra and bit player, primarily in war movies and Westerns, but also in the occasional comedy or drama. His first film role was that of a model in the documentary The Magic of Make-up (1942). Occasionally he would bill himself as Bob Mitchum during this time period. His supporting role in The Human Comedy (1943) led to a contract with RKO. Two years later, he starred in The Story of G.I. Joe and earned his first and only Oscar nomination. Up to that point, Mitchum was considered little more than a "beefcake" actor, one who was handsome, but who lacked the chops to become a serious player. He was also drafted that year and served eight months in the military, most of which he spent promoting his latest film before he was given a dependency discharge. Mitchum returned to movies soon after, this time in co-starring and leading roles. His role as a woman's former lover who may or may not have killed her new husband in When Strangers Marry (1944) foreshadowed his import in the developing film noir genre. The very qualities that led critics to dismiss him, his laconic stoicism, his self-depreciating wit, cynicism, and his naturalism, made Mitchum the perfect victim for these dark dramas; indeed, he became an icon for the genre. The Locket (1946) provided Mitchum his first substantial noir role, but his first important noir was Out of the Past (1947), a surprise hit that made him a real star. Up until Cape Fear (1962), Mitchum had played tough guy heroes and world-weary victims; he provided the dying noir genre with one of its cruelest villains, Max Cady. In 1955, Mitchum played one of his most famous and disturbing villains, the psychotic evangelist Reverend Harry Powell, in Charles Laughton's Night of the Hunter, a film that was a critical and box-office flop in its first release, but has since become a classic. While his professional reputation grew, Mitchum's knack for getting into trouble in his personal life reasserted itself. He was arrested in August 1948, in the home of actress Lila Leeds for allegedly possessing marijuana and despite his hiring two high-calibre lawyers, spent 60 days in jail. Mitchum claimed he was framed and later his case was overturned and his record cleared. Though perhaps never involved with marijuana, Mitchum made no apologies for his love of alcohol and cigarettes. He had also been involved with several public scuffles, this in contrast with the Mitchum who also wrote poetry and the occasional song. Though well known for noir, Mitchum was versatile, having played in romances (Heaven Knows Mr. Allison [1957]), literary dramas (The Red Pony [1949]), and straight dramas (The Sundowners [1960], in which he played an Australian sheepherder). During the '60s, Mitchum had only a few notable film roles, including Two for the See Saw (1962), Howard Hawks' El Dorado (1967), and 5 Card Stud (1968). He continued playing leads through the 1970s. Some of his most famous efforts from this era include The Friends of Eddie Coyle (1973) and a double stint as detective Phillip Marlowe in Farewell My Lovely (1975) and The Big Sleep (1978). Mitchum debuted in television films in the early '80s. His most notable efforts from this period include the miniseries The Winds of War (1983) and its sequel, War and Remembrance (1989). Mitchum also continued appearing in feature films, often in cameo roles. Toward the end of his life, he found employment as a commercial voice-over artist, notably in the "Beef, it's what's for dinner" campaign. A year before his death, Robert Mitchum was diagnosed with emphysema, and a few months afterward, lung cancer. He is survived by his wife, Dorothy, his daughter, Petrine, and two sons, Jim and Christopher, both of whom are actors.

Trivia: The daughter of Norman Bel Geddes, the noted architect and theatrical set designer, Barbara Bel Geddes was a professional stage actress from age 18. She gained prominence as the ingenue in the original Broadway production of that summer-stock perennial Out of the Frying Pan. Other accomplishments in Barbara's years on stage included the New York critics circle award in 1945, and her performance as Maggie "The Cat" in the original 1955 production of Tennessee Williams' Cat on a Hot Tin Roof. Ms. Bel Geddes enjoyed a promising beginning in films in 1947's The Long Night (remake of Marcel Carne's Le Jour se Leve); one year later, she was nominated for an Oscar for her performance as Irene Dunne's daughter in I Remember Mama (1948). The House UnAmerican Activities Committee investigations effectively ended Ms. Bel Geddes' starring career in films. She returned before the cameras thanks to a few brave souls like Alfred Hitchcock, who cast Barbara in his famous "Lamb to the Slaughter" episode in his weekly TV anthology (as well as three additional installments), and in a strong supporting role in his theatrical feature Vertigo (1958). Beginning in 1978, Barbara Bel Geddes played Miss Ellie Ewing on the nigthttime TV serial Dallas, a role which earned her an Emmy award; she remained with Dallas until its cancellation in 1991, save for the 1984-85 season, when she temporarily retired due to heart surgery (the role of Miss Ellie was filled that year by Donna Reed).

Trivia: A vital, virile, exciting Broadway performer, Preston was once called, "the best American actor -- with a voice like golden thunder," by Richard Burton. He decided to become an actor at age 15. After studying acting at the Pasadena Playhouse, he became a steady, dependable performer in Hollywood films from the late '30s. Preston became well-known after Cecil B. De Mille cast him as Barbara Stanwyck's gambler husband in Union Pacific (1939). He was almost strictly a second-lead actor for 20 years, finally breaking through to lead roles after becoming a star on Broadway. For his Broadway performance (his first in a musical) as ebullient con-artist Harold Hill in The Music Man he won a Tony Award; he repeated the role in the screen version (1962) and it became the work for which he is best known. Preston went on to earn another Tony Award for his performance in the 1966 musical I Do! I Do!, opposite Mary Martin. Another outstanding performance was as Julie Andrews' gay friend Toddie in Blake Edwards' Victor/Victoria (1982), a performance which earned him a Best Supporting Actor Oscar nomination.

Trivia: The daughter of a Supreme Court judge, Phyllis Thaxter followed the example of her mother, a former actress. Thaxter made her first stage appearance, at the Ogunquit (Maine) Playhouse. In her teens, she received on-the-job training with the Montreal Repertory. On Broadway from 1938, she appeared in such popular plays as What a Life!, There Shall Be No Night, and Claudia. Signed to an MGM contract in 1944, Phyllis was often wasted in traditional faithful-wife roles, but on occasion was permitted a wider acting range in such parts as the schizophrenic heroine of Arch Oboler's Bewitched (1944). While at MGM, Phyllis married James Aubrey, who later ascended to the presidency of CBS-TV (and still later, took over MGM); the union lasted until 1962, producing a daughter, actress Skye Aubrey. Sidelined by an attack of infantile paralysis in 1952, Thaxter made a slow, steady stage, screen and TV comeback in character parts, frequently accepting roles that would challenge her physical limitations. In 1978, after a long absence from the screen, Phyllis Thaxter was cast as Martha Kent, mother of Clark Kent, in Superman: The Movie. She made her last on-camera appearance in a 1992 episode of Murder, She Wrote.

Trivia: It had originally been the hope of Walter Brennan (and his family) that he would follow in the footsteps of his father, an engineer; but while still a student, he was bitten by the acting bug and was already at a crossroads when he graduated in 1915. Brennan had already worked in vaudeville when he enlisted at age 22 to serve in World War I. He served in an artillery unit and although he got through the war without being wounded, his exposure to poison gas ruined his vocal chords, leaving him with the high-pitched voice texture that made him a natural for old man roles while still in his thirties. His health all but broken by the experience, Brennan moved to California in the hope that the warm climate would help him and he lost most of what money he had when land values in the state collapsed in 1925. It was the need for cash that drove him to the gates of the studios that year, for which he worked as an extra and bit player. The advent of the talkies served Brennan well, as he had been mimicking accents in childhood and could imitate a variety of different ethnicities on request. It was also during this period that, in an accident during a shoot, another actor (some stories claimed it was a mule) kicked him in the mouth and cost him his front teeth. Brennan was fitted for a set of false teeth that worked fine, and wearing them allowed him to play lean, lanky, virile supporting roles; but when he took them out, and the reedy, leathery voice kicked in with the altered look, Brennan became the old codger with which he would be identified in a significant number of his parts in the coming decades. He can be spotted in tiny, anonymous roles in a multitude of early-'30s movies, including King Kong (1933) (as a reporter) and one Three Stooges short. In 1935, however, he was fortunate enough to be cast in the supporting role of Jenkins in The Wedding Night. Directed by King Vidor and produced by Samuel Goldwyn, it was supposed to launch Anna Sten (its female lead) to stardom; but instead, it was Brennan who got noticed by the critics. He was put under contract with Goldwyn, and was back the same year as Old Atrocity in Barbary Coast. He continued doing bit parts, but after 1935, his films grew fewer in number and the parts much bigger. It was in the rustic drama Come and Get It (1936) that Brennan won his first Academy Award as Best Supporting Actor. Two years later, he won a second Best Supporting Actor Oscar for his performance in Kentucky (1938). That same year, he played major supporting roles in The Texans and The Buccaneer, and delighted younger audiences with his moving portrayal of Muff Potter, the man wrongfully accused of murder in Norman Taurog's The Adventures of Tom Sawyer. Brennan worked only in high-profile movies from then on, including The Story of Vernon and Irene Castle, Stanley and Livingston, and Goldwyn's They Shall Have Music, all in 1939. In 1940, he rejoined Gary Cooper in The Westerner, playing the part of a notoriously corrupt judge. Giving a beautifully understated performance that made the character seem sympathetic and tragic as much as dangerous and reprehensible, he won his third Best Supporting Actor award. There was no looking back now, as Brennan joined the front rank of leading character actors. His ethnic portrayals gradually tapered off as Brennan took on parts geared specifically for him. In Frank Capra's Meet John Doe and Howard Hawks' Sergeant York (both 1941), he played clear-thinking, key supporting players to leading men, while in Jean Renoir's Swamp Water (released that same year), he played another virtual leading role as a haunted man driven by demons that almost push him to murder. He played only in major movies from that point on, and always in important roles. Sam Wood used him in Goldwyn's The Pride of the Yankees (1942), Lewis Milestone cast him as a Russian villager in The North Star (1943), and he was in Goldwyn's production of The Princess and the Pirate (1944) as a comical half-wit who managed to hold his own working alongside Bob Hope. Brennan played the choice role of Ike Clanton in Ford's My Darling Clementine (1946) and reprised his portrayal of an outlaw clan leader in more comic fashion in Burt Kennedy's Support Your Local Sheriff some 23 years later. He worked with Cooper again on Delmer Daves' Task Force (1949) and played prominent roles in John Sturges' Bad Day at Black Rock and Anthony Mann's The Far Country (both 1955). In 1959, the 64-year-old Brennan got one of the biggest roles of his career in Hawks' Rio Bravo, playing Stumpy, the game-legged jailhouse keeper who is backing up the besieged sheriff. By that time, Brennan had moved to television, starring in the CBS series The Real McCoys, which became a six-season hit built around his portrayal of the cantankerous family patriarch Amos McCoy. The series was such a hit that John Wayne's production company was persuaded to release a previously shelved film, William Wellman's Goodbye, My Lady (1956), about a boy, an old man (played by Brennan), and a dog, during the show's run. Although he had disputes with the network and stayed a season longer than he had wanted, Brennan also liked the spotlight. He even enjoyed a brief, successful career as a recording artist on the Columbia Records label during the 1960s. Following the cancellation of The Real McCoys, Brennan starred in the short-lived series The Tycoon, playing a cantankerous, independent-minded multimillionaire who refuses to behave the way his family or his company's board of directors think a 70-year-old should. By this time, Brennan had become one of the more successful actors in Hollywood, with a 12,000-acre ranch in Northern California that was run by his sons, among other property. He'd invested wisely and also owned a share of his first series. Always an ideological conservative, it was during this period that his political views began taking a sharp turn to the right in response to the strife he saw around him. During the '60s, he was convinced that the anti-war and civil rights movements were being run by overseas communists -- and said as much in interviews. He told reporters that he believed the civil rights movement, in particular, and the riots in places like Watts and Newark, and demonstrations in Birmingham, AL, were the result of perfectly content "Negroes" being stirred up by a handful of trouble-makers with an anti-American agenda. Those on the set of his last series, The Guns of Will Sonnett -- in which he played the surprisingly complex role of an ex-army scout trying to undo the damage caused by his being a mostly absentee father -- say that he cackled with delight upon learning of Martin Luther King Jr.'s assassination in 1968. Brennan later worked on the 1972 presidential campaign of reactionary right-wing California Congressman John Schmitz, a nominee of the American Party, whose campaign was predicated on the notion that the Republican Party under Richard Nixon had become too moderate. Mostly, though, Brennan was known to the public for his lovable, sometimes comical screen persona, and was still working as the '60s drew to a close, on made-for-TV movies such as The Over-the-Hill Gang, which reunited him with one of his favorite directors, Jean Yarbrough, and his old stablemate Chill Wills. Brennan died of emphysema in 1974 at the age of 80.

Trivia: American actor Frank Faylen was born into a vaudeville act; as an infant, he was carried on stage by his parents, the song-and-dance team Ruf and Clark. Traveling with his parents from one engagement to another, Faylen somehow managed to complete his education at St. Joseph's Prep School in Kirkwood, Missouri. Turning pro at age 18, Faylen worked on stage until getting a Hollywood screen test in 1936. For the next nine years, Faylen played a succession of bit and minor roles, mostly for Warner Bros.; of these minuscule parts he would later say, "If you sneezed, you missed me." Better parts came his way during a brief stay at Hal Roach Studios in 1942 and 1943, but Faylen's breakthrough came at Paramount in 1945, where he was cast as Bim, the chillingly cynical male nurse at Bellevue's alcoholic ward in the Oscar-winning The Lost Weekend. Though the part lasted all of four minutes' screen time, Faylen was so effective in this unpleasant role that he became entrenched as a sadistic bully or cool villain in his subsequent films. TV fans remember Faylen best for his more benign but still snarly role as grocery store proprietor Herbert T. Gillis on the 1959 sitcom Dobie Gillis. For the next four years, Faylen gained nationwide fame for such catch-phrases as "I was in World War II--the big one--with the good conduct medal!", and, in reference to his screen son Dobie Gillis, "I gotta kill that boy someday. I just gotta." Faylen worked sporadically in TV and films after Dobie Gillis was canceled in 1963, receiving critical plaudits for his small role as an Irish stage manager in the 1968 Barbra Streisand starrer Funny Girl. The actor also made an encore appearance as Herbert T. Gillis in a Dobie Gillis TV special of the 1970s, where his "good conduct medal" line received an ovation from the studio audience. Faylen was married to Carol Hughes, an actress best-recalled for her role as Dale Arden in the 1939 serial Flash Gordon Conquers the Universe, and was the father of another actress, also named Carol.

Trivia: Unable to meet the exacting academic requirements of the Naval Academy, Colorado-born Tom Tully entered the service branch of his choice as a common seaman. Following this, Tully worked as a junior reporter for the Denver Post. He decided to become a radio actor simply because the money was better. After several theatrical flops, Tully managed to hitch himself to a success with Eugene O'Neill's Ah, Wilderness. In 1944, he arrived in Hollywood to appear in I'll Be Seeing You. Among his many tough-but-tender screen characterizations was the role of the first commander of the "Caine" in 1954's The Caine Mutiny, a performance which earned Tully an Oscar nomination. From 1954 through 1960, Tom Tully essayed the role of Inspector Matt Grebb on the TV detective series Lineup (aka San Francisco Beat).

Trivia: Gravel-voiced, granite-faced stage actor Charles McGraw made his first film The Moon is Down in 1943. At first it seemed as though McGraw would spend his movie career languishing in villainy, but while working at RKO in the late 1940s-early 1950s, the actor developed into an unorthodox but fascinating leading man. His shining hour (actually 72 minutes) was the role of the embittered detective assigned to protect mob witness Marie Windsor in the 1952 noir classic The Narrow Margin. McGraw continued being cast in the raffish-hero mold on television, essaying the lead in the 1954 syndicated series Adventures of Falcon and assuming the Bogartesque role of café owner Rick Blaine in the 1955 weekly TV adaptation of Casablanca (1955) (his last regular TV work was the supporting part of Captain Hughes on the 1971 Henry Fonda starrer The Smith Family). Active until the mid-1970s, Charles McGraw growled and scowled his way through such choice character roles as gladiator trainer Marcellus in Spartacus (1960), Sebastian Sholes in Hitchcock's The Birds (1963), and The Preacher in the cult favorite A Boy and His Dog (1975).

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: One of the most popular, and recognizable, character actors in B-Western history, pudgy, mustachioed Bud Osborne (real name Leonard Miles Osborne) was one of the many Wild West show performers who parlayed their experiences into lengthy screen careers. Especially noted for his handling of runaway stagecoaches and buckboards, Osborne began as a stunt performer with Thomas Ince's King-Bee company around 1912, and by the 1920s he had become one of the busiest supporting players in the business. Rather rakish-looking in his earlier years, the still slender Osborne even attempted to become a Western star in his own right. Produced by the Bud Osborne Feature Film Company and released by low-budget Truart Pictures, The Prairie Mystery (1922) presented Osborne as a romantic leading man opposite B-movie regular Pauline Curley. Few saw this little clunker, however, and Osborne quickly returned to the ranks of supporting cowboys, often portraying despicable villains with names like Satan Saunders, Piute Sam, or Bull McKee. Playing an escaped convict masquerading as a circuit rider in both the 1923 Leo Maloney short Double Cinched and Shootin' Square, a 1924 Jack Perrin feature Western, Osborne even demonstrated an affinity for comedy. The now veteran Bud Osborne continued his screen career into the sound era and became even busier in the 1930s and 1940s. As he grew older and his waistline expanded, Osborne's roles became somewhat smaller and instead of calling the shots himself, as he often had in the silent era, he now answered to the likes of Roy Barcroft and Charles King. But he seems to pop up in every other B-Western and serial released in those years, appearing in more than 65 productions for Republic Pictures alone. By the 1950s, the now elderly Osborne became one of the many veteran performers courted by maverick filmmaker Edward D. Wood Jr., for whom he did Crossroad Avenger: The Adventures of the Tucson Kid (1954), an unsold television pilot, Jailbait (1954), Bride of the Monster (1955), and Night of the Ghouls (1958). When all is said and done, it was a rather dismal finish to a colorful career.

Trivia: As handsome as most of the Western stars he supported, if not more so, Zon Murray (born Emery Zon Murray) often sported a mustache and was thus obviously not up to anything good. Rarely the "Boss Villain," Murray instead played scores of so-called "Dog Heavies" in run-of-the-mill Westerns from 1945 to 1956, ending his long run in the feature film version of The Lone Ranger. There would be a few minor roles in cheap action fare to come, but Murray definitely belonged to the era of the series Western. Very prolific in television as well -- especially on such shows as Gene Autry, Wild Bill Hickock, Roy Rogers, and yes, The Lone Ranger -- Murray seems to have ended his career after a bit in Requiem for a Gunfighter (1965).

Trivia: Robert Bray entered films as an RKO contractee in 1946. The studio was billing the leathery, laconic Bray as the "next Gary Cooper," even though there was still plenty of life left in the original Cooper. One of his better roles under the RKO banner was western outlaw John Younger in Best of the Bad Men. Free-lancing in the 1950s, Bray played roles of all sizes and varieties. He played doggedly moralistic bus driver Carl in 1956's Bus Stop, followed by a violent, amoral Mike Hammer in My Gun is Quick. His TV-series credits include a secondary role on the 1959 western Man from Blackhawk and the larger assignment of driver/family man Simon Kane in 1960's Stagecoach West. Viewers of the 1960s knew Robert Bray best as forest ranger Corey Stewart in the long-running weekly series Lassie.

Trivia: Bald-domed, prominently chinned American character actor Joe Devlin was seen in bits in major films, and as a less-costly Jack Oakie type in minor pictures. Devlin usually played two-bit crooks and sarcastic tradesmen in his 1940s appearances. The actor's uncanny resemblance to Benito Mussolini resulted in numerous "shock of recognition" cameos during the war years, as well as full-fledged Mussolini imitations in two Hal Roach "streamliners," The Devil With Hitler (1942) and That Nazty Nuisance (1943). In 1950, Joe Devlin was cast as Sam Catchem in a TV series based on Chester Gould's comic-strip cop Dick Tracy.

Trivia: The son of actors Harry Carey and Olive Golden, Harry Carey Jr. never answered to "Harry" or "Junior"; to his friends, family and film buffs, he was always "Dobe" Carey. Raised on his father's California ranch, the younger Carey spent his first six adult years in the Navy. While it is commonly assumed that he made his film debut under the direction of his dad's longtime friend John Ford, Carey in fact was first seen in a fleeting bit in 1946's Rolling Home, directed by William Berke. It wasn't until his third film, Three Godfathers (dedicated to the memory of his father) that Carey worked with Ford. Honoring his promise to Harry Sr. that he'd "look after" Dobe, Ford saw to it that the younger Carey was given a starring assignment (along with another of the director's proteges, Ben Johnson), in Wagonmaster (1950). Though he handled this assignment nicely, exuding an appealing earnest boyishness, Carey wasn't quite ready for stardom so far as the Hollywood "higher-ups" were concerned, so he settled for supporting roles, mostly in westerns. John Ford continued to use Carey whenever possible; in 1955's The Long Gray Line, the actor has a few brief scenes as West Point undergraduate Dwight D. Eisenhower. Carey was also featured on the "Spin and Marty" segments of Walt Disney's daily TVer The Mickey Mouse Club (1955-59). In later years, Carey's weather-beaten face was seen in choice character assignments in films ranging from The Whales of August (1987) to Back to the Future III (1990); he was also hired by such John Ford aficionados as Peter Bogdanovich, who cast Carey as an old wrangler named Dobie (what else?) in Nickelodeon (1976), and as an ageing bike-gang member named Red in Mask (1985). In 1994, Harry Carey Jr. published his autobiography, Company of Heroes. Carey died of natural causes at age 91 in late December 2012.

Trivia: While maintaining his whole life that he was part Cree and part Cherokee, actor Iron Eyes Cody was in fact born Espera DeCorti, a second generation Italian-American. He started out as a Wild-West-show performer, like his father before him. His earliest recognizable film appearances date back to 1919's Back to God's Country. While his choice of film roles was rather limited in the 1930s, 1940s and 1950s, Cody made himself a valuable Hollywood commodity by offering his services as a technical advisor on Indian lore, customs, costuming and sign language. In between his TV work and personal appearances with the Ringling Bros. Circus and other such touring concerns, Iron Eyes continued accepting supporting roles in Hollywood westerns of the 1950s; he played Chief Crazy Horse twice, in Sitting Bull (1954) and The Great Sioux Massacre (1965). Far more erudite and well-read than most of his screen characters, Iron Eyes has in recent years become a popular interview subject and a fixture at western-movie conventions and film festivals. His famous appearance as the tear-shedding Indian in the "Keep America Beautiful" TV campaign of the 1970s recently enjoyed a "revival" on cable television. In 1982, Cody wrote his enjoyably candid autobiography, in which several high-profile movie stars were given the "emperor has no clothes" treatment. As well as being an actor, Cody owns an enormous collection of Indian artifacts, costumes, books and artwork; has written several books with Indian themes; is a member of the board of directors of the Los Angeles Indian Center, the Southwest Museum and the Los Angeles Library Association; is vice-president of the Little Big Horn Indian Association; is a member of the Verdugo Council of the Boy Scouts of America; and has participated as Grand Marshal of Native American pow-wows throughout the U.S.

Trivia: A diminutive, pot-bellied supporting player in B-Westerns, Ben Corbett had enjoyed some success at the famous rodeo at Pendleton, OR, and at New York's Madison Square Garden, where his roping and "Roman" riding skills reportedly won him several trophies. Entering films as a riding double for William Desmond and Antonio Moreno in Vitagraph Westerns and action melodramas in the 1910s, Corbett later became a member of Western star Hoot Gibson's stock company at Universal. That studio saw enough comedic potential in the former stunt man to team him with the equally diminutive Gilbert "Pee Wee" Holmes as Magpie and Dirtshirt in a series of rural comedy shorts set in the fictive community of Piperock. The series, which was released on Universal's "Mustang Brand" in the mid-'20s, counted among its leading ladies such future stars as Janet Gaynor and Fay Wray. In the 1930s, Corbett's character of Magpie returned in several independently produced "Bud 'n Ben" western shorts and the now veteran supporting player later became Tim McCoy's sidekick at low-budget Victory Pictures. He seems to have popped up in every other low-budget Western thereafter, usually appearing unbilled. B-Western compiler Les Adams has verified Corbett's presence in about 185 Westerns and half a dozen serials between 1930 and the actor's retirement in the early '50s, but there may actually have been many more. History, alas, has not been kind to the rustic B-Western perennial, whose arcane comedy relief, most fans of the genre agree, often seems more a hindrance than a help in keeping a plot moving.

Trivia: Enjoying one of the longest screen careers on record, Irish-born, English-reared Al Ferguson became one of the silent era's busiest Western villains, his wolf-like features instantly recognizable to action fans everywhere. According to the actor himself, Ferguson had entered films with the American company as early as 1910, and by 1912, he was appearing in Selig Westerns under the name of "Smoke" Ferguson, often opposite action heroine Myrtle Steadman. In 1920, Ferguson played Hector Dion's henchman in the partially extant The Lost City, the first of more than 40 serials, silent and sound, in which he would appear. Still reasonably good-looking by the early '20s, Ferguson even attempted to become an action star in his own right, producing, directing, and starring in a handful of low-budget Westerns filmed in Oregon and released to the States' Rights market by Poverty Row mogul J. Charles Davis. None of these potboilers, which included The Fighting Romeo (1925), with Ferguson as a ranch foreman rescuing his employer's kidnapped daughter, made him a star, however, and he returned to ply his nefarious trade in low-budget oaters featuring the likes of Bob Steele and Tom Tyler. Today, Ferguson is perhaps best remembered as the main heavy in two Tarzan serials, Tarzan the Mighty (1928) and Tarzan the Tiger (1929), both starring Frank Merrill. The later survives intact and Ferguson emerges as a melodramatic screen villain at the top of his game.Like most of his contemporaries, including Bud Osborne and the silent era James Mason, Al Ferguson saw his roles decrease in stature after the advent of sound. Not because of his Irish accent, which had become all but undetectable, but mainly due to changing acting styles. Ferguson, however, hung in there and appeared in scores of sound Westerns and serials, not exclusively portraying villains but also playing lawmen, peaceful ranchers, townsmen, and even a Native American or two. By the 1950s, he had included television shows such as Sky King to his long resumé, but B-Westerns and serials remained Ferguson's bread and butter, the now veteran actor appearing in the cast of both Perils of the Wilderness (1956) and Blazing the Overland Trail (1956), the final chapter plays to be released in America.

Trivia: Born in the Arizona Territory to Mexican parents, Chris-Pin Martin developed a reputation as a laughgetter at an early age. He made his earliest film appearance in 1911, playing an Indian. During his heyday of the 1930s and 1940s, Martin earned his salary perpetuating a stereotype that nowadays would be the ultimate in political incorrectness: the lazy, dull-witted Hispanic comic foil. Chris-Pin Martin appeared in several Cisco Kid programmers, playing sidekick Pancho (sometimes named Gorditor) to such screen Ciscos as Warner Baxter, Cesar Romero, Gilbert Roland and Duncan Renaldo.

Trivia: Ted Mapes grew up on his father's wheat ranch in Nebraska. Upon attaining adulthood, Mapes took on a variety of manual-labor jobs, ending up as a furniture hauler in Los Angeles. Through a movie-studio connection, he landed a job as a grip on the 1929 Doug Fairbanks-Mary Pickford talkie Taming of the Shrew. By the mid-1930s, he'd moved away from the technical side of the business and was working as a stunt man and supporting actor. Mapes performed stunts for such major action stars as John Wayne, Charles Starrett, Joel McCrea and James Stewart. He also doubled for Gary Cooper (whom he closely resembled) in 17 different films, and essayed speaking roles in 13 Republic serials. After retiring from the stunt game, he kept active in Hollywood as an advisor for the American Humane Association, seeing to it that movie animals were properly trained and cared for on the set. In 1978, Ted Mapes was elected to the Stuntman Hall of Fame.

Trivia: Born in an upstate New York rural community, George Duryea was raised by relatives when both his parents died young. Educated at Columbia University and Carnegie Tech, Duryea embarked upon an acting career, first with a Maine stock company, then on Broadway. He played Abie in the hit comedy Abie's Irish Rose in New York, then toured with the production for several seasons. In 1928, he was brought to films as a young leading man, appearing in such "A"-list productions as Cecil B. DeMille's The Godless Girl (1929). By 1930, however, he was having trouble securing work that is, until he changed his name to Tom Keene and signed on as RKO-Pathe's resident cowboy star. Throughout the early 1930s, Keene's western vehicles played profitably if not spectacularly in neighborhood houses throughout the country. He made a brief return to dramatic roles as the leading character in King Vidor's populist classic Our Daily Bread (1934), but returned to westerns when his performance was drubbed by the critics. When George O'Brien succeed Keene at RKO, the latter moved on to smaller studios, retaining his popularity into the early 1940s. In 1944, he adopted a new nom de film, Richard Powers, and flourished as a character actor into the 1950s. He briefly returned to his "Tom Keene" persona in the all-star western "special" Trail of Robin Hood (1950) and the 1958 Rowan & Martin cowboy spoof Once Upon a Horse (1958). One of George Duryea/Tom Keene/Richard Powers' final appearances was in the deathless Ed Wood Jr. opus Plan 9 From Outer Space.