Trivia: Handsome leading man Rory Calhoun's successful film and television career spanned well over 50 years. In the mid-1940s,after a difficult childhood and adolescence, Calhoun found work as a lumberjack in Santa Cruz, California. It was while there employed that Calhoun was discovered by actor Alan Ladd, who suggested that the rugged young man give movies a try. Billed as "Frank McCown," Calhoun was signed to a brief contract at 20th Century-Fox, but most of his earliest movie scenes (including a sizeable supporting role in the Laurel and Hardy vehicle The Bullfighters) ended up on the cutting room floor. Free-lancing in the late 1940s, Calhoun first attracted a fan-following with his supporting role as a high-school lothario in 1948's The Red House. He returned to Fox in 1950, enjoying major roles in such films as How to Marry a Millionaire (1953) and River of No Return (1955). Established as a western player by the late 1950s, Calhoun starred on the popular TV western The Texan from 1958 through 1960. He spent his spare time writing, publishing at least one novel, The Man From Padeira. From 1949 through 1970, Calhoun was married to actress Lita Baron. Perpetuating his career into the 1980s and '90s, a more weather-beaten Rory Calhoun was seen in the lead of the satirical horror film Motel Hell (1980), was quite funny as a washed-up macho movie star in Avenging Angel (1985), and stole the show from ostensible leading-man George Strait in Pure Country (1992).

Trivia: Raven-haired starlet Colleen Miller was discovered by a scout for Universal-International posing with a trout in a fishing magazine. This inauspicious beginning led to a brief but busy film career spent mainly in programmers. She retired to marry in 1958 but returned for Gunfight at Comanche Creek (1964), considered by many to be Audie Murphy's worst Western. Miller was married to Chicago millionaire Ted Briskin, the former husband of Betty Hutton.

Trivia: Having trained at the Pasadena Playhouse, he broke into films in 1950 and went on to play rugged, brawny, tanned leads in numerous films of the '50s, often appearing with a bare torso. He produced, directed, and acted in the film Walk by the Sea (1963). In the '60s he appeared mostly in low-budget European co-productions, and for a time he was popular in Germany as FBI agent Jerry Cotton in several thrillers. In the late '50s and early '60s he starred in the TV series The Adventures of Ellery Queen, Man and the Challenge, and Shannon; in the '70s he returned to work on TV in guest roles in several series and TV movies, then retired from acting. He wrote one novel, Chrome.

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: Blonde, ice cool, and sophisticated actress Nina Foch has worked steadily in feature films and television since making her film debut in Return of the Vampire (1943). As a contracted starlet for Columbia Pictures, Foch spent several years appearing in many B-films before she was able to prove herself ready for bigger fare. Born to Dutch conductor/composer Dirk Fock and an American chorine/WWI-era pin-up girl, Foch was born in Holland but raised in Manhattan. Before enrolling in the American Academy of Dramatic Arts to study acting, she had briefly been a concert pianist and an amateur painter. As an actress, Foch gained experience with local theater and touring companies until signing with Columbia in 1943. In 1947, Foch made the first of many forays on Broadway. By the early '50s, she was being cast in secondary but better roles in such films as An American in Paris (1951) and Scaramouche (1952). In 1954, Foch appeared in Executive Suite for which she received an Oscar nomination for Best Supporting Actress. But for a few television appearances and some stage work, Foch took a respite from acting in 1960 that lasted over ten years. She made a comeback in Such Good Friends (1971) and continued to appear sporadically in films as a character actress. Foch also worked steadily in television, was a respected drama coach in Hollywood, and taught at UCLA's School of Cinematic Arts for 40 years before her death in late 2008.

Trivia: A versatile, commanding, leathery character actor, he learned to raise and ride broncos on his family's ranch during his youth. He attended college for two years, became a seaman, then began his performing career as a radio announcer; he became nationally known as an announcer on the "March of Time" broadcasts. Onscreen from the late '40s, he often portrayed law officers; he was also convincing as a villain. He was well-known for his TV work; he starred in the series Naked City and Wagon Train. He was married to actress Jeanette Nolan, with whom he appeared in Saddle Tramp (1950) and Two Rode Together (1961); they also acted together on radio, and in the late '60s they joined the cast of the TV series The Virginian, portraying a married couple. Their son was actor Tim McIntire.

Trivia: Upon graduating from Nichols College, Charles Ruppert entered the professional world as a salesman. When he decided to switch to acting, Ruppert changed his name to Drake. In films from 1939, Drake was signed to a Warner Bros. contract and appeared in such films as The Man Who Came to Dinner (1941), The Maltese Falcon (1941), Now, Voyager (1942), Dive Bomber (1942), Air Force (1943), and Mr. Skeffington (1944). Freelancing in the mid-'40s, he played the romantic lead in the Marx Brothers flick A Night in Casablanca (1946). Once he moved to Universal in 1949, Drake proved that the fault lay not in himself but in the roles he'd previously been assigned to play. He was quite personable as Dr. Sanderson in Harvey (1950) and thoroughly despicable as the cowardly paramour of dance-hall girl Shelley Winters in Winchester '73 (1950). One of his most unusual performances was as the ostensible hero of You Never Can Tell (1951), who after spending two reels convincing the viewer that he's a prince of a fellow, turns out to be the villain of the piece. Drake did some of his best work at Universal as a supporting player in the vehicles of his offscreen pal Audie Murphy. In 1955, Drake turned to television as one of the stock-company players on Robert Montgomery Presents; three years later, he was star/host of the British TV espionage weekly Rendezvous. Charles Drake prospered as a character actor well into the early 1970s.

Trivia: A mixed-blood Mohawk Indian, Jay Silverheels was the son of a Canadian tribal chief. Silverheels excelled in sports during his youth and it was this prowess that brought him to Hollywood in 1938 as a stunt man. Though most of Silverheels' earliest film appearances went uncredited, it was difficult to ignore him in such roles as the Osceola boy in Key Largo (1948) and Geronimo in Broken Arrow (1950). In 1949, Silverheels was cast as Tonto on the pilot episode of TV's The Lone Ranger. Until the series shut down production in 1956, Silverheels essayed the role of the masked man's "faithful Indian companion," while Clayton Moore (and, briefly, John Hart) was seen as the Ranger. Silverheels also co-starred in two spin-off Lone Ranger theatrical films and reprised the Tonto role in a memorable Jeno's Pizza Rolls advertisement of the 1960s ("Have-um pizza roll, kemo sabe?"). Silverheels' other film credits include a cameo in the all-star fiasco The Phynx (1970) and a pivotal role in 1973's The Man Who Loved Cat Dancing. In the 1970s, Silverheels established himself as a prize-winning horse breeder and harness racing driver. During the period, he was asked if any of his new horses were faster than Tonto's Scout, whereupon Silverheels replied, "Heck, I can beat Scout." One of Jay Silverheels' last public appearance was on a comedy sketch on Johnny Carson's Tonight Show, wherein Silverheels summed up his relationship with the Lone Ranger as "30 lousy years."

Trivia: Nestor Paiva had the indeterminate ethnic features and gift for dialects that enabled him to play virtually every nationality. Though frequently pegged as a Spaniard, a Greek, a Portuguese, an Italian, an Arab, an even (on radio, at least) an African-American, Paiva was actually born in Fresno, California. A holder of an A.B. degree from the University of California at Berkeley, Paiva developed an interest in acting while performing in college theatricals. Proficient in several languages, Paiva made his stage bow at Berkeley's Greek Theatre in a production of Antigone. His subsequent professional stage career was confined to California; he caught the eye of the studios by appearing in a long-running Los Angeles production of The Drunkard, which costarred another future film player of note, Henry Brandon. He remained with The Drunkard from 1934 to 1945, finally dropping out when his workload in films became too heavy. Paiva appeared in roles both large and small in so many films that it's hard to find a representative appearance. Fans of Bob Hope and Bing Crosby can take in a good cross-section of Paiva's work via his appearances in Road to Morocco (1942), Road to Utopia (1945) and Road to Rio (1947); he has a bit as a street peddler in Morocco, is desperado McGurk in Utopia, and plays the Brazilian theatre manager who isn't fooled by the Wiere Brothers' attempt to pass themselves off as Americans ("You're een the groove, Jackson") in Rio. During his busiest period, 1945 through 1948, Paiva appeared in no fewer than 117 films. The familiar canteloupe-shaped mug and hyperactive eyebrows of Nestor Paiva graced many a film and TV program until his death in 1966; his final film, the William Castle comedy The Spirit is Willing (1967), was released posthumously.

Trivia: Actress Mary Field kept her private life such a well-guarded secret that not even her most devoted fans (including several film historians who've attempted to write biographies of the actress) have ever been able to find out anything about her background. So far as anyone can ascertain, she entered films around 1937; her first important assignment was the dual role of the mothers of the title characters in The Prince and the Pauper (1937). Viewers may not know the name but they have seen the face: too thin and sharp-featured to be beautiful, too soft and kindly to be regarded as homely. Mary Field is the actress who played Huntz Hall's sister in the 1941 Universal serial Sea Raiders; the spinsterish sponsor of Danny Kaye's doctoral thesis in A Song of Born (1947); the nice lady standing in Macy's "Santa Claus" line with the little Dutch girl in Miracle on 34th Street (1947); the long-suffering music teacher in Cheaper by the Dozen (1950); and Harold Peary's bespectacled vis-a-vis in The Great Gildersleeve (1942)--to name just four films among hundreds.

Trivia: Character actor Donald Kerr showed up whenever a gumchewing Runyonesque type (often a reporter or process server) was called for. A bit actor even in two-reelers and "B" pictures, Kerr was one of those vaguely familiar faces whom audiences would immediately recognize, ask each other "Who is that?", then return to the film, by which time Kerr had scooted the scene. The actor's first recorded film appearance was in 1933's Carnival Lady. Twenty-two years later, Donald Kerr concluded his career in the same anonymity with which he began it in 1956's Yaqui Drums.

Trivia: Regis "Reg" Parton started out as a Hollywood stuntman in the 1940s and went on to play roles ranging from cowpokes to space aliens. His early credits include the Abbott and Costello fantasy Keep 'Em Flying (1941) and Backlash (1956). During the '50s, he specialized in westerns and in the '60s, Parton was a stunt coordinator for A.C. Lyles Paramount westerns. In addition to feature-film work, Parton has performed in numerous television series including Rawhide, Branded and The Green Hornet.

Trivia: Character actor of films and television, Paul Brinegar specialized in playing feisty, grizzled cowboy sidekicks. Fans of the Western series Rawhide may remember Brinegar for playing Wishbone, the grumbly old cook. He was also known for playing Lamar Pettybone on the early-'80s television series Matt Houston. Born and raised in New Mexico, he headed to California as a young man and made his feature film debut in Larceny (1948). From there, he launched a steady film career that slowed down considerably in the late '50s, after he began appearing on television but did not end until 1994, when Brinegar made his final screen appearance, as a stagecoach driver, in the 1994 film version of Maverick.

Trivia: American silent screen cowboy Buddy Roosevelt came to Hollywood in 1914 with the C.B. Irwin Wild West Show. Working primarily as a stunt man in William S. Hart Westerns at Triangle, Roosevelt was earning 22 dollars a week plus board when World War I took him overseas. Working his way back to Hollywood after the Armistice, Roosevelt doubled Rudolph Valentino in The Sheik (1920), as well as William Desmond. Universal starred him as Kent Sanderson in the two-reeler Down in Texas (1923), but he somehow fell between the cracks at that studio, signing instead a personal contract with independent producer Lester F. Scott Jr. Scott didn't like the name Kent Sanderson and changed it to Buddy Roosevelt, in honor of former president Theodore Roosevelt. Making 25 fast-paced Westerns for Scott's Action Pictures, the former stunt man proved to be an acceptable actor who did not look the fool even with the heavy doses of comedy that Scott seemed to favor. Unfortunately, the Roosevelt budgets deteriorated as Scott brought Buffalo Bill Jr. and Wally Wales into the fold and Roosevelt bolted in January 1928, in favor of Rayart. With the veteran J.P. McGowan at the helm, Roosevelt continued to do strong work, but sound interrupted what could have been a career on the upswing. He was tested for the lead in the Fox Western In Old Arizona (1929), but a broken leg caused him to be replaced by Warner Baxter, who, of course, went on to earn an Academy Award for his role as the Cisco Kid. A chance to star in a new series reportedly went out the window when Mrs. Roosevelt, a cousin of Clark Gable, got into an argument with the producer, ex-stunt man Paul Malvern; John Wayne earned the berth instead and the rest, as they say, is history. There would be a few Western leads to come, but only for bottom-rung producers such as Jack Irwin and Victor Adamson. Roosevelt continued playing bits in Westerns through the early '60s, however; his final role -- a mere walk-on -- came in John Ford's The Man Who Shot Liberty Valance (1962). Retiring to his hometown in Colorado, Buddy Roosevelt kept up a correspondence with Western fans from around the world.