Trivia: Kim Novak was among Hollywood's most enigmatic sex symbols of the '50s and early '60s. Blonde and beautiful, she exuded a daunting intellectual chilliness and an underlying passionate heat that made her especially alluring. One of the last of the studio-made stars, she rebelled against her "manufactured" image, struggling to be seen as more than just another brainless glamour gal. Novak brought to many of her roles a certain melancholic reluctance about freeing up her character's sensuality. It seemed as if her beauty was a burden, not an asset. She was born Marilyn Pauline Novak and raised in Chicago, the daughter of a Czech railroad man. Before she was discovered in Los Angeles by Columbia Pictures helmer Harry Cohn (who chose her as a replacement for his increasingly difficult and rebellious reigning screen goddess Rita Hayworth), Novak worked odd jobs that included sales clerk, elevator operator, and a spokesmodel for a refrigerator company. Cohn signed her to his studio around 1954. While being properly prepared for stardom, Novak engaged in the first of many battles with Cohn when she refused to allow the studio to bill her as "Kit Marlowe." She felt the name rang false and battled to keep her family name, and then compromised by allowing herself to be called Kim because in her mind, Kit was too close to "kitten," as in the sexy kind. In her later years, Novak would acknowledge the studio head's role in her stardom, but also took plenty of credit for her own hard work.Though Novak had already made her screen debut with a tiny role in The French Line (1954), her first starring role for Columbia was playing opposite Fred MacMurray in Pushover (1954). At first, she appeared uncomfortable with acting before cameras, but she soon relaxed and the following year had her first big break in Picnic (1955). The film was a hit and Novak found herself the hottest sex symbol in town, a title she wore with discomfort. Unlike other similar stars, Novak was pragmatic and did not lose herself in the glamour of the studio's carefully manufactured blonde bombshell image of her. Despite her dislike of such publicity chores as providing "cheesecake" shots for the press, and going out on studio arranged "dates" to keep her name in print, she was a trooper and toed the company line; some of her alleged lovers from this period include Frank Sinatra, Cary Grant, and Aly Khan.Through the '50s, Novak appeared in a broad range of films of widely varying quality. In 1958, Novak appeared in her most famous role, that of enigmatic Madeleine in Alfred Hitchcock's masterpiece Vertigo. It was a difficult role, but one she rose to admirably. She did have one conflict with Hitchcock on the set concerning the stiff gray suit and black shoes she would be required to wear for most of the picture. When she saw costume designer Edith Head's original plans for the suit, Novak, fearing the suit would be distracting and uncomfortable and believing that gray is seldom a blonde's best color, voiced her concerns directly to Hitchcock who listened patiently and then insisted she wear the prescribed garb. Novak obeyed and to her surprise discovered that the starchy outfit enhanced rather than hindered her ability to play Madeleine. Novak's career continued in high gear through 1965. After appearing in The Amorous Adventures of Moll Flanders (1965) and marrying her second husband, her film appearances became less frequent. After the loss of her Bel Air home to erosion following a bad fire season in the 1970s, Novak retired and moved to Northern California. There, she and her husband, Dr. Robert Malloy, a veterinarian, raised llamas. She continued to appear on television and in feature films, but only when she wanted to. At home on the ranch she spoke of her screen persona "Kim Novak" as if she were a totally different person. In 1997, she dusted off the old persona to go on an extensive promotional tour to alert the public to the fully restored version of Vertigo. When not busy in Hollywood, Novak continues working on her autobiography.

Trivia: Though best known to modern filmgoers as a horror star, cadaverous John Carradine was, in his prime, one of the most versatile character actors on the silver screen. The son of a journalist father and physician mother, Carradine was given an expensive education in Philadelphia and New York. Upon graduating from the Graphic Arts School, he intended to make his living as a painter and sculptor, but in 1923 he was sidetracked into acting. Working for a series of low-paying stock companies throughout the 1920s, he made ends meet as a quick-sketch portrait painter and scenic designer. He came to Hollywood in 1930, where his extensive talents and eccentric behavior almost immediately brought him to the attention of casting directors. He played a dizzying variety of distinctive bit parts -- a huntsman in Bride of Frankenstein (1935), a crowd agitator in Les Miserables (1935) -- before he was signed to a 20th Century Fox contract in 1936. His first major role was the sadistic prison guard in John Ford's Prisoner of Shark Island (1936), which launched a long and fruitful association with Ford, culminating in such memorable screen characterizations as the gentleman gambler in Stagecoach (1939) and Preacher Casy ("I lost the callin'!") in The Grapes of Wrath (1940). Usually typecast as a villain, Carradine occasionally surprised his followers with non-villainous roles like the philosophical cab driver in Alexander's Ragtime Band (1938) and Abraham Lincoln in Of Human Hearts (1938). Throughout his Hollywood years, Carradine's first love remained the theater; to fund his various stage projects (which included his own Shakespearean troupe), he had no qualms about accepting film work in the lowest of low-budget productions. Ironically, it was in one of these Poverty Row cheapies, PRC's Bluebeard (1944), that the actor delivered what many consider his finest performance. Though he occasionally appeared in an A-picture in the 1950s and 1960s (The Ten Commandments, Cheyenne Autumn), Carradine was pretty much consigned to cheapies during those decades, including such horror epics as The Black Sleep (1956), The Unearthly (1957), and the notorious Billy the Kid Meets Dracula (1966). He also appeared in innumerable television programs, among them Twilight Zone, The Munsters, Thriller, and The Red Skelton Show, and from 1962 to 1964 enjoyed a long Broadway run as courtesan-procurer Lycus in A Funny Thing Happened on the Way to the Forum. Though painfully crippled by arthritis in his last years, Carradine never stopped working, showing up in films ranging from Everything You Always Wanted to Know About Sex But Were Afraid to Ask (1972) to Peggy Sue Got Married (1984). Married four times, John Carradine was the father of actors David, Keith, Robert, and Bruce Carradine.

Trivia: Like many New York actors, Martin Kove was willing to go unbilled to pick up extra paychecks in such East Coast-filmed efforts as Little Murders (1971) and Last House on the Left (1972). By 1984, Kove was pulling down third billing in such films as The Karate Kid, wherein he played Kreese, the "bad" karate expert who trained the film's principal heavy William Zabka for his bout against the simon-pure Ralph Macchio (Kove replaced Chuck Norris, who turned down the role of Kreese because he didn't want karate trainers to be shown in an unsympathetic light). Martin Kove's work on series TV has included the roles of detective Victor Isbecki on Cagney and Lacey and an extraterrestrial named Jesse on Hard Time on Planet Earth.

Trivia: Though he spoke most of his movie dialogue in a slow Western drawl, actor Slim Pickens was a pure-bred California boy. An expert rider from the age of four, Pickens was performing in rodeos at 12. Three years later, he quit school to become a full-time equestrian and bull wrangler, eventually becoming the highest-paid rodeo clown in show business. In films since 1950's Rocky Mountain, Pickens specialized in Westerns (what a surprise), appearing as the comic sidekick of Republic cowboy star Rex Allen. By the end of the 1950s, Pickens had gained so much extra poundage that he practically grew out of his nickname. Generally cast in boisterous comedy roles, Pickens was also an effectively odious villain in 1966's An Eye for an Eye, starting the film off with a jolt by shooting a baby in its crib. In 1963, director Stanley Kubrick handed Pickens his greatest role: honcho bomber pilot "King" Kong in Dr. Strangelove. One of the most unforgettable of all cinematic images is the sight of Pickens straddling a nuclear bomb and "riding" it to its target, whooping and hollering all the way down. Almost as good was Pickens' performance as Harvey Korman's henchman in Mel Brooks' bawdy Western spoof Blazing Saddles (1974). Slim Pickens was also kept busy on television, with numerous guest shots and regular roles in the TV series The Legend of Custer, B.J. and the Bear, and Filthy Rich.

Trivia: A former prizefighter, nightclub bouncer and lifeguard, Jack Warden took to the stage after serving as a paratrooper in World War II. Warden's first professional engagement was with the Margo Jones repertory troupe in 1947. He made both his Broadway and film debuts in 1951, spending the next few years specializing in blunt military types and short-tempered bullies. Among his most notable screen roles of the 1950s was the homicidally bigoted factory foreman in Edge of the City and the impatient Juror #7 in Twelve Angry Men (both 1957). He was Oscar-nominated for his portrayal of the cuckolded Lester in Warren Beatty's Shampoo (1975) and for his work as eternally flustered sports promoter Max Corkle in another Beatty vehicle, Heaven Can Wait (1978). He has also played the brusque, bluff President in Being There (1978); senile, gun-wielding judge Ray Ford in ...And Justice For All (1979); the twin auto dealers--one good, one bad--in Used Cars (1980); Paul Newman's combination leg-man and conscience in The Verdict (1982); shifty convenience store owner Big Ben in the two Problem Child films of the early 1990s; the not-so-dearly departed in Passed Away (1992); and Broadway high-roller Julian Marx in Woody Allen's Bullets Over Broadway (1994). Extensive though his stage and screen credits may be, Warden has been just as busy on television, winning an Emmy for his portrayal of George Halas in Brian's Song (1969) and playing such other historical personages as Cornelius Ryan (1981's A Private Battle) and Mark Twain (1984's Helen Keller: The Miracle Continues). Barely stopping for air, Jack Warden has also starred or co-starred on the weekly TV series Mister Peepers (1953-55), The Asphalt Jungle (1961), Wackiest Ship in the Army (1965), NYPD (1967-68), Jigsaw John (1975), The Bad News Bears (1979) and Crazy Like a Fox (1984-85); and, had the pilot episode sold, Jack Warden was to have been the star in a 1979 revival of Topper. Though this was not to be for Warden, the gruff actor's age and affectionately sour demeanor found him essaying frequent albiet minor feature roles through the new millennium. Remaining in the public eye withn appearances in While You Were Sleeping (1995), Ed (1996), Bullworth (1998) and The Replacements (2000), the former welterweight fighter remained as dependable as ever when it came to stepping in front of the lens.

Trivia: An English major in college, Ed Lauter worked as a stand-up comic before entering films in 1971. The tall, menacing Lauter has generally been typecast as humorless, easily corruptible authority figures. He was at his meanest as the vindictive Captain Knaur in Robert Aldrich's The Longest Yard. His TV credits include such roles as Sheriff Cain in BJ and the Bear (1979-80) and General Louis Crewes in Stephen King's The Golden Years (1991). In 1976, Ed Lauter was afforded a rare leading role--and a sympathetic one to boot--in the made-for-TV murder mystery Last Hours Before Morning (1976). Lauter appeared in the 2005 remake of The Longest Yard and had a small role in the Oscar-winning film The Artist (2011). He also had a recurring role on the TV series Shameless. Lauter passed away in 2013 of mesothelioma at age 74, with several films in post-production, awaiting release.

Trivia: A full-blooded Muscogee-Creek Indian, Will Sampson spent most of his adult life as a successful artist. The towering Sampson was spotted at an art show by an assistant to actor/producer Michael Douglas; Douglas then cast Sampson in the important role of enigmatic sanitarium inmate Chief Bromden in the 1976 Oscar-winner One Flew Over the Cuckoo's Nest. It was the beginning of a ten-year acting career that would embrace both films (Buffalo Bill and the Indians, The Outlaw Josey Wales) and television. In the latter medium, Will Sampson had a recurring role on the Robert Urich private eye series Vegas (1978-1981), and starred as a taciturn Native American police officer in the 1977 TV pilot film Relentless.

Trivia: Born and raised in the Greenwich Village section of New York, Douglas Fowley did his first acting while attending St. Francis Xavier Military Academy. A stage actor and night club singer/dancer during the regular theatrical seasons, Fowley took such jobs as athletic coach and shipping clerk during summer layoff. He made his first film, The Mad Game, in 1933. Thanks to his somewhat foreboding facial features, Fowley was usually cast as a gangster, especially in the Charlie Chan, Mr. Moto and Laurel and Hardy "B" films churned out by 20th Century-Fox in the late 1930s and early 1940s. One of his few romantic leading roles could be found in the 1942 Hal Roach "streamliner" The Devil with Hitler. While at MGM in the late 1940s and early 1950s, Fowley essayed many roles both large and small, the best of which was the terminally neurotic movie director in Singin' in the Rain (1952). Fowley actually did sit in the director's chair for one best-forgotten programmer, 1960's Macumba Love, which he also produced. On television, Fowley made sporadic appearances as Doc Holliday in the weekly series Wyatt Earp (1955-61). In the mid-1960s, Fowley grew his whiskers long and switched to portraying Gabby Hayes-style old codgers in TV shows like Pistols and Petticoats and Detective School: One Flight Up, and movies like Homebodies (1974) and North Avenue Irregulars (1979); during this period, the actor changed his on-screen billing to Douglas V. Fowley.

Trivia: Lead actor Richard Gilliland first appeared onscreen in the '70s.

Trivia: The product of a broken home, Cara Williams was still a preteen when she was taken by her mother from her hometown of Brooklyn to Los Angeles. Williams' first professional acting job was supplying vocal impressions of famous movie stars for animated cartoons. At 17, Williams was signed to a 20th Century Fox contract, but few of her subsequent film roles were large enough to attract notice. Her fortunes improved when she replaced Judy Holliday in the Broadway production of Born Yesterday (1950); thereafter, her film and TV roles increased in size and prominence. She was nominated for an Academy Award for her portrayal of a sex-starved farm woman in The Defiant Ones (1958). By virtue of her flaming red hair and acute comic timing, Williams was touted as "the new Lucille Ball" on the CBS sitcoms Pete and Gladys (1961) and The Cara Williams Show (1964). Her TV efforts were not particularly popular, but she had a powerful ally in the form of actor/producer Keefe Brasselle -- who was the best friend of CBS programming head James Aubrey. When Brasselle fell out of favor and Aubrey's regime toppled, Williams' stardom diminished. She went on to play character roles on-stage and in films, and was briefly a regular on the late-'70s TV series Rhoda. From 1952 through 1959, Cara Williams was the wife of actor John Barrymore Jr., by whom she had a son.

Trivia: Stuart Whitman, with a rugged build and sensitive face, rose from bit player to competent lead actor, but never did make it as a popular star in film. The San Francisco-born Whitman served three years with the Army Corps of Engineers where he was a light heavyweight boxer in his spare time. He next went on to study drama at the Los Angeles City College where he joined a Chekhov stage group. He began his film career in the early '50s as a bit player. Although never a star, he did manage to quietly accumulate $100 million dollars through shrewd investments in securities, real estate, cattle, and Thoroughbreds. For his role as a sex offender attempting to change in the 1961 British film The Mark, Whitman was nominated for an Oscar. In addition to features, Whitman has also appeared extensively on television.

Trivia: Before reaching his twentieth birthday, British film director J. Lee Thompson was an established repertory actor and playwright. He entered films as an actor in 1934, then switched to screenwriting (usually in collaboration) five years later. Lee-Thompson's directorial debut was Murder Without Crime (1950), but it was his second picture, the noirish The Yellow Balloon (1951), which established him as a bankable director of action programmers. In 1958, Lee-Thompson introduced Hayley Mills to moviegoers in the taut melodrama Tiger Bay (1958). After 1960's I Aim at the Stars, an historically questionable Werner Von Braun biopic, Lee-Thompson was given his most prestigious directing assignment to date: The international moneyspinner The Guns of Navarone (1961). Henceforth all of Lee-Thompson's projects would be expensive A-pictures, even those with B-story values and artistic aspirations like 1961's Cape Fear. The director's style veered from pristine stylishness (What a Way to Go [1964]) to appalling tastelessness (John Goldfarb Please Come Home [1966]); in general, Lee-Thompson could be counted upon for excellent box-office returns. Most of his later assignments were erratic in quality: For every McKenna's Gold (1968), there'd be a Greek Tycoon (1978). In the early '80s, J. Lee-Thompson and his Jaylee production firm hopped on the Indiana Jones bandwagon with a brace of sloppily constructed adventure films (actually one long film cut in two) based on H. Rider Haggard's King Solomon's Mines.