Trivia: American actress Shelley Winters was the daughter of a tailor's cutter; her mother was a former opera singer. Winters evinced her mom's influence at age four, when she made an impromptu singing appearance at a St. Louis amateur night. When her father moved to Long Island to be closer to the New York garment district, Winters took acting lessons at the New School for Social Research and the Actors Studio. Short stints as a model and a chorus girl led to her Broadway debut in the S.J. Perelman comedy The Night Before Christmas in 1940. Winters signed a Columbia Pictures contract in 1943, mostly playing bits, except when loaned to United Artists for an important role in Knickerbocker Holiday (1944). Realizing she was getting nowhere, she took additional acting instructions and performed in nightclubs.The breakthrough came with her role as a "good time girl" murdered by insane stage star Ronald Colman in A Double Life (1947). Her roles became increasingly more prominent during her years at Universal-International, as did her offstage abrasive attitude; the normally mild-mannered James Stewart, Winters' co-star in Winchester '73 (1950), said after filming that the actress should have been spanked. Winters' performance as the pathetic factory girl impregnated and then killed by Montgomery Clift in A Place in the Sun (1951) won her an Oscar nomination; unfortunately, for every Place in the Sun, her career was blighted by disasters like Behave Yourself (1951).Disheartened by bad films and a turbulent marriage, Winters returned to Broadway in A Hatful of Rain, in which she received excellent reviews and during which she fell for her future third husband, Anthony Franciosa. Always battling a weight problem, Winters was plump enough to be convincing as middle-aged Mrs. Van Daan in The Diary of Anne Frank (1959), for which Winters finally got her Oscar. In the 1960s, Winters portrayed a brothel madam in two films, The Balcony (1963) and A House Is Not a Home (1964), roles that would have killed her career ten years earlier, but which now established her in the press as an actress willing to take any professional risk for the sake of her art. Unfortunately, many of her performances in subsequent films like Wild in the Streets (1968) and Bloody Mama (1970) became more shrill than compelling, somewhat lessening her standing as a performer of stature.During this period, Winters made some fairly outrageous appearances on talk shows, where she came off as the censor's nightmare; she also made certain her point-of-view wouldn't be ignored, as in the moment when she poured her drink over Oliver Reed's head after Reed made a sexist remark on The Tonight Show. Appearances in popular films like The Poseidon Adventure (1972) and well-received theater appearances, like her 1974 tour in Effect of Gamma Rays on Man-in-the-Moon Marigolds, helped counteract such disappointments as the musical comedy Minnie's Boys (as the Marx Brothers' mother) and the movie loser Flap (1970). Treated generously by director Paul Mazursky in above-average films like Blume in Love (1974) and Next Stop Greenwich Village (1977), Winters managed some excellent performances, though she still leaned toward hamminess when the script was weak. Shelley Winters added writing to her many achievements, penning a pair of tell-all autobiographies which delineate a private life every bit as rambunctious as some of Winters' screen performances.The '90s found a resurgence in Winters' career, as she was embraced by indie filmmakers (for movies like Heavy and The Portrait of a Lady), although she found greater fame in a recurring role on the sitcom Roseanne. She died of heart failure at age 85 in Beverly Hills, CA, in early 2006.

Trivia: American actor Joel McCrea came from a California family with roots reaching back to the pioneer days. As a youth, McCrea satiated his fascination with movies by appearing as an extra in a serial starring Ruth Roland. By 1920, high schooler McCrea was a movie stunt double, and by the time he attended USC, he was regularly appearing at the Pasadena Playhouse. McCrea's big Hollywood break came with a part in the 1929 talkie Jazz Age; he matriculated into one of the most popular action stars of the 1930s, making lasting friendships with such luminaries as director Cecil B. DeMille and comedian Will Rogers. It was Rogers who instilled in McCrea a strong business sense, as well as a love of ranching; before the 1940s had ended, McCrea was a multi-millionaire, as much from his land holdings and ranching activities as from his film work. Concentrating almost exclusively on westerns after appearing in The Virginian (1946), McCrea became one of that genre's biggest box-office attractions. He extended his western fame to an early-1950s radio series, Tales of the Texas Rangers, and a weekly 1959 TV oater, Wichita Town, in which McCrea costarred with his son Jody. In the late 1960s, McCrea increased his wealth by selling 1200 acres of his Moorpark (California) ranch to an oil company, on the proviso that no drilling would take place within sight of the actor's home. By the time he retired in the early 1970s, McCrea could take pride in having earned an enduring reputation not only as one of Hollywood's shrewdest businessmen, but as one of the few honest-to-goodness gentlemen in the motion picture industry.

Trivia: Paul Kelly was one of the few actors who not only played killers, but also had first-hand experience in this capacity! On stage from age 7, "Master" Paul Kelly entered films at 8, performing on the sunlight stages of Flatbush's Vitagraph Studios. His first important theatrical role was in Booth Tarkington's Seventeen; he later appeared in Tarkington's Penrod, opposite a young Helen Hayes. Star billing was Kelly's from 1922's Up the Ladder onwards. In films from 1926, Kelly alternated between stage and screen until his talkie debut in 1932's Broadway Through A Keyhole. The actor's career momentum was briefly halted with a two-year forced hiatus. On May 31, 1927, Kelly was found guilty of manslaughter, after killing actor Ray Raymond in a fistfight. The motivating factor of the fatal contretemps was Raymond's wife, Dorothy MacKaye, who married Kelly in 1931, after he'd served prison time for Raymond's death (MacKaye herself died in an automobile accident in 1940). This unfortunate incident had little adverse effect on Kelly's acting career, which continued up until his death in 1956. Returning to Broadway in 1947, Paul Kelly won the Donaldson and Tony awards for his performance in Command Decision; three years later, he starred in the original stage production of Clifford Odets' The Country Girl.

Trivia: Eccentric, high-voiced British comedienne/actress Elsa Lanchester started her career as a modern dancer, appearing with Isadora Duncan. Lanchester can be seen bringing unique and usually humorous interpretations to roles in The Private Life of Henry VIII (1933), opposite husband Charles Laughton; The Bride of Frankenstein (1934), where she appears both as a subdued Mary Shelley and a hissing bride; David Copperfield and Naughty Marietta (both 1935); Tales of Manhattan (1942) and Forever and a Day (1943), both with Laughton; Lassie Come Home (1943), in which she is unusually subdued as the mother; The Bishop's Wife (1947); The Inspector General and The Secret Garden (1949); and Come to the Stable (1949), for which she was nominated for an Oscar. She and Laughton are riotous together in Witness for the Prosecution (1957), for which she was also Oscar-nominated, and she also appeared in Bell, Book and Candle (1958) and the Disney films Mary Poppins (1964), as the departing nanny Katie Nanna, and in That Darn Cat (1965). One of her best late performances was in Murder by Death (1976). Lanchester was also an actress at London's Old Vic, an outlandish singer, and a nightclub performer; she co-starred on The John Forsythe Show (1965-66), and was a regular on Nanny and the Professor in 1971.

Trivia: A Utah girl born and bred, actress Marie Windsor attended Brigham Young University and represented her state as Miss Utah in the Miss America pageant. She studied acting under Russian stage and screen luminary Maria Ouspenskaya, supporting herself as a telephone operator between performing assignments. After several years of radio appearances and movie bits, Windsor was moved up to feature-film roles in 1947's Song of the Thin Man. She was groomed to be a leading lady, but her height precluded her co-starring with many of Hollywood's sensitive, slightly built leading men. (She later noted with amusement that at least one major male star had a mark on his dressing room door at the 5'6" level; if an actress was any taller than that, she was out.) Persevering, Windsor found steady work in second-lead roles as dance hall queens, gun molls, floozies, and exotic villainesses. She is affectionately remembered by disciples of director Stanley Kubrick for her portrayal of Elisha Cook's cold-blooded, castrating wife in The Killing (1956). Curtailing her screen work in the late '80s, Windsor, who is far more agreeable in person than onscreen, began devoting the greater portion of her time to her sizeable family. Because of her many appearances in Westerns (she was an expert horsewoman), Windsor has become a welcome and highly sought-after presence on the nostalgia convention circuit.

Trivia: Two things American actor John Russell was not: he was not cinematographer John L. Russell, nor was he the Johnny Russell who appears as Shirley Temple's brother in 20th Century-Fox's The Blue Bird (1940). He was however, a contract juvenile at Fox from 1937 through 1941. Interrupting his career for war service, Russell emerged from his tour of duty as a highly decorated marine. Busy in postwar films and TV as a secondary lead and utility villain, Russell was given costar billing with Chick Chandler in the 1955 syndicated TV adventure series Soldiers of Fortune. Four years later, Russell (now sporting a mustache) was cast as Marshal Dan Troop on the Warner Bros. weekly western series Lawman. This assignment lasted three years, after which Russell became a journeyman actor again. John Russell was well served with character parts in 1984's Honkytonk Man and 1985's Pale Rider, both directed by and starring another ex-TV-cowboy, Clint Eastwood.

Trivia: Taking up dramatics while attending the University of Pittsburgh, Regis Toomey extended this interest into a profitable career as a stock and Broadway actor. He specialized in singing roles until falling victim to acute laryngitis while touring England in George M. Cohan's Little Nellie Kelly. In 1929, Toomey made his talking-picture bow in Alibi, where his long, drawn-out climactic death scene attracted both praise and damnation; he'd later claim that, thanks to the maudlin nature of this scene, producers were careful to kill him off in the first or second reel in his subsequent films. Only moderately successful as a leading man, Toomey was far busier once he removed his toupee and became a character actor. A lifelong pal of actor Dick Powell, Regis Toomey was cast in prominent recurring roles in such Powell-created TV series of the 1950s and 1960s as Richard Diamond, Dante's Inferno, and Burke's Law.

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

Trivia: 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: Busy character actor Frank Ferguson was able to parlay his pinched facial features, his fussy little moustache, and his bellows-like voice for a vast array of characterizations. Ferguson was equally effective as a hen-pecked husband, stern military leader, irascible neighbor, merciless employer, crooked sheriff, and barbershop hanger-on. He made his inaugural film appearance in Father is a Prince (1940) and was last seen on the big screen in The Great Sioux Massacre (1965). Ferguson proved himself an above-average actor by successfully pulling off the treacly scene in The Babe Ruth Story (1948) in which Babe (William Bendix) says "Hi, kid" to Ferguson's crippled son--whereupon the boy suddenly stands up and walks! Among Franklin Ferguson's hundreds of TV appearances were regular stints on the children's series My Friend Flicka (1956) and the nighttime soap opera Peyton Place (1964-68).

Trivia: Along with such colleagues as William Conrad, John Dehner, Vic Perrin, Sam Edwards, Barney Phillips, and Virginia Gregg, bald-pated American character actor Lawrence Dobkin was one of the mainstays of network radio in the 1940s, 1950s, and 1960s. Dobkin began popping up in films in 1949, playing any number of doctors, lawyers, attachés, military officials, and desk sergeants. Most of his parts were fleeting, many were unbilled: he can be seen as a soft-spoken rabbi in Angels in the Outfield (1951), one of the three psychiatrists baffled by alien visitor Klaatu in The Day the Earth Stood Still (1951), an angered citizen of Rome in Julius Caesar (1953), and so on. Enjoying larger roles on TV, Dobkin was generally cast as a scheming villain (e.g., Dutch Schultz on The Untouchables). One of his showiest assignments was as the demented Gregory Praxas, horror film star turned mass murderer, in the 1972 pilot film for Streets of San Francisco. From the early '60s onward, Dobkin was busier as a writer and director than as an actor. He amassed a respectable list of TV directorial credits, as well as one theatrical feature, Sixteen (1972). Habitués of "speculation" docudramas of the 1970s and 1980s will recognize Lawrence Dobkin as the bearded, avuncular narrator of many of these efforts; he also appeared as Pontius Pilate in the speculative 1979 four-waller In Search of Historic Jesus.