Trivia: Arguably the most popular -- and certainly the busiest -- movie leading man in Hollywood history, John Wayne entered the film business while working as a laborer on the Fox lot during summer vacations from U.S.C., which he attended on a football scholarship. He met and was befriended by John Ford, a young director who was beginning to make a name for himself in action films, comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the male lead in the 1930 epic Western The Big Trail, and, although it was a failure at the box office, the movie showed Wayne's potential as a leading man. During the next nine years, be busied himself in a multitude of B-Westerns and serials -- most notably Shadow of the Eagle and The Three Mesquiteers series -- in between occasional bit parts in larger features such as Warner Bros.' Baby Face, starring Barbara Stanwyck. But it was in action roles that Wayne excelled, exuding a warm and imposing manliness onscreen to which both men and women could respond. In 1939, Ford cast Wayne as the Ringo Kid in the adventure Stagecoach, a brilliant Western of modest scale but tremendous power (and incalculable importance to the genre), and the actor finally showed what he could do. Wayne nearly stole a picture filled with Oscar-caliber performances, and his career was made. He starred in most of Ford's subsequent major films, whether Westerns (Fort Apache [1948], She Wore a Yellow Ribbon [1949], Rio Grande [1950], The Searchers [1956]); war pictures (They Were Expendable [1945]); or serious dramas (The Quiet Man [1952], in which Wayne also directed some of the action sequences). He also starred in numerous movies for other directors, including several extremely popular World War II thrillers (Flying Tigers [1942], Back to Bataan [1945], Fighting Seabees [1944], Sands of Iwo Jima [1949]); costume action films (Reap the Wild Wind [1942], Wake of the Red Witch [1949]); and Westerns (Red River [1948]). His box-office popularity rose steadily through the 1940s, and by the beginning of the 1950s he'd also begun producing movies through his company Wayne-Fellowes, later Batjac, in association with his sons Michael and Patrick (who also became an actor). Most of these films were extremely successful, and included such titles as Angel and the Badman (1947), Island in the Sky (1953), The High and the Mighty (1954), and Hondo (1953). The 1958 Western Rio Bravo, directed by Howard Hawks, proved so popular that it was remade by Hawks and Wayne twice, once as El Dorado and later as Rio Lobo. At the end of the 1950s, Wayne began taking on bigger films, most notably The Alamo (1960), which he produced and directed, as well as starred in. It was well received but had to be cut to sustain any box-office success (the film was restored to full length in 1992). During the early '60s, concerned over the growing liberal slant in American politics, Wayne emerged as a spokesman for conservative causes, especially support for America's role in Vietnam, which put him at odds with a new generation of journalists and film critics. Coupled with his advancing age, and a seeming tendency to overact, he became a target for liberals and leftists. However, his movies remained popular. McLintock!, which, despite well-articulated statements against racism and the mistreatment of Native Americans, and in support of environmentalism, seemed to confirm the left's worst fears, but also earned more than ten million dollars and made the list of top-grossing films of 1963-1964. Virtually all of his subsequent movies, including the pro-Vietnam War drama The Green Berets (1968), were very popular with audiences, but not with critics. Further controversy erupted with the release of The Cowboys, which outraged liberals with its seeming justification of violence as a solution to lawlessness, but it was successful enough to generate a short-lived television series. Amid all of the shouting and agonizing over his politics, Wayne won an Oscar for his role as marshal Rooster Cogburn in True Grit, a part that he later reprised in a sequel. Wayne weathered the Vietnam War, but, by then, time had become his enemy. His action films saw him working alongside increasingly younger co-stars, and the decline in popularity of the Western ended up putting him into awkward contemporary action films like McQ (1974). Following his final film, The Shootist (1976) -- possibly his best Western since The Searchers -- the news that Wayne was stricken ill with cancer (which eventually took his life in 1979) wiped the slate clean, and his support for the Panama Canal Treaty at the end of the 1970s belatedly made him a hero for the left. Wayne finished his life honored by the film community, the U.S. Congress, and the American people as had no actor before or since. He remains among the most popular actors of his generation, as evidenced by the continual rereleases of his films on home video.

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: Like so many other prominent actors of the 1970s, the versatile James Caan rose to success on the strength of his riveting performance in The Godfather. Born March 26, 1939, in the Bronx, NY, Caan decided to pursue a career in acting while attending college and in 1960 was accepted by Sanford Meisner into the Neighborhood Playhouse. After making his debut off-Broadway in I Roam, he landed in the Broadway production of Mandingo but exited after just four performances because of artistic difficulties with star Franchot Tone. Caan then landed in television, where he became a busy character actor; he made his film debut in an unbilled performance in 1963's Irma La Douce, followed by a meatier role in Lady in a Cage the following year. The 1965 Howard Hawks auto-racing drama Red Line 7000 was his first starring role, followed two years later by the Hawks Western El Dorado, which cast him opposite John Wayne and Robert Mitchum; in 1968, Caan starred in Robert Altman's Countdown, and in 1969, he appeared in Francis Ford Coppola's The Rain People. Caan shot to fame thanks to a poignant performance in the 1970 television movie Brian's Song, in which he played the ill-fated Chicago Bears star Brian Piccolo; his turn as the similarly ill-fated Sonny Corleone in Coppola's 1972 masterpiece The Godfather solidified his stardom and earned him an Academy Award nomination, but his subsequent films, including 1973's Slither and the next year's Freebie and the Bean, failed to live up to expectations. After earning a Golden Globe bid for his work in 1974's The Gambler, Caan briefly appeared in 1974's The Godfather Pt. 2 before co-starring with Barbra Streisand in the hit Funny Lady, followed by Norman Jewison's futuristic parable Rollerball. When both 1975's Sam Peckinpah thriller The Killer Elite and 1976's Harry and Walter Go to New York met with failure, Caan's career took a downward turn, and apart from cameo appearances in both Mel Brooks' Silent Movie and the star-studded A Bridge Too Far, he was largely absent from screens for a time. He also made any number of ill-considered decisions; he and Coppola were unable to come to terms for Apocalypse Now, and he also rejected roles in hits including One Flew Over the Cuckoo's Nest, Superman, and Kramer vs. Kramer.By the end of the decade, Caan's career had hit the skids, as projects including the 1978 Western Comes a Horseman (co-starring Jane Fonda) and the following year's Neil Simon drama Chapter Two all failed to live up to expectations. His directorial debut in 1980's Hide in Plain Sight fared no better, although Michael Mann's thriller Thief garnered a cult following; when 1982's Kiss Me Goodbye bombed, Caan disappeared from sight for the next five years. Finally, in 1987, Caan resurfaced, starring in Coppola's war drama Gardens of Stone; the next year's science fiction picture Alien Nation was a hit, as was his next major project, Rob Reiner's 1990 feature Misery. After 1991's For the Boys failed to connect with audiences, Caan spent much of the decade in prominent supporting roles which showcased his smart, edgy persona; among the more high-profile were 1992's Honeymoon in Vegas, 1996's Eraser, and the wonderful indie hit Bottle Rocket.Caan would prove over the coming decades that he liked to work, appearing in projects that ran the gamut from big to small. He'd appear in comedies like Mickey Blue Eyes and Elf, thrillers like City of Ghosts and In the Shadows, indie films like Lars Von Trier's Dogville and Tony Kaye's Detachment. Caan would also delight audiences on the small screen with a starring role on the TV series Las Vegas from 2003 to 2007,

Trivia: Supporting actress, former lead, onscreen from 1962.

Trivia: Onetime Powers model Michele Carey entered films in 1967. Touted as a discovery of Howard Hawks, Carey was cast in the principal female lead in Hawks' El Dorado, where she took a back seat to the macho antics of John Wayne and Robert Mitchum. She was a bit more noticeable as Elvis Presley's vis-à-vis in Live a Little, Love a Little (1968) and as an anachronistically miniskirted Indian girl in Frank Sinatra's Dirty Dingus Magee (1970). Fading from view in the early '70s, Michele Carey staged a brief comeback in the mid-'80s in such films as In the Shadow of Kilimanjaro (1986).

Trivia: One of the youngest "old codgers" in show business, Arthur Hunnicutt left college when funds ran out and joined an acting troupe in Martha's Vineyard, Massachusetts. His first important New York engagement was in the Theatre Guild's production of Love's Old Sweet Song. Hunnicutt entered films in 1942, specializing in grizzled western sidekicks even though he was only in his early 30s. When Percy Kilbride retired from the "Ma and Pa Kettle" series in 1955, Hunnicutt, still a youngster in comparison to Kilbride's sixtysomething co-star Marjorie Main, filled the gap in The Kettles in the Ozarks (1955). And when director Howard Hawks needed someone to play a Walter Brennan-type role when Brennan wasn't available for The Big Sky (1952) and El Dorado (1967), Hunnicutt was the man of the hour (his work in Big Sky won him an Oscar nomination). Arthur Hunnicutt was last seen in 1975's The Moonrunners, at long playing someone closer to his own age.

Trivia: Birmingham-born R.G. Armstrong attended the University of North Carolina-Chapel Hill, where he was active with the Carolina Playmakers. On the New York stage since the 1940s, Armstrong is best remembered for creating the role of Big Daddy in the original 1955 Broadway production of Cat on a Hot Tin Roof. In film since 1957, Armstrong appeared in more than his share of westerns, usually as an able-bodied sheriff or thick-necked land baron. A frequent visitor to television, R. G. Armstrong was a regular on the 1967 adventure series T.H.E. Cat.

Trivia: Raised in the only Jewish family in his neighborhood, American actor Ed Asner grew up having to defend himself both vocally and physically. A born competitor, he played championship football in high school and organized a top-notch basketball team which toured most of liberated Europe. Asner's performing career got its start while he was announcing for his high school radio station; moving to Chicago in the '50s, the actor was briefly a member of the Playwrights Theatre Club until he went to New York to try his luck on Broadway. Asner starred for several years in the off-Broadway production Threepenny Opera, and, toward the end of the '50s, picked up an occasional check as a film actor for industrial short subjects and TV appearances. Between 1960 and 1965, he established himself as one of television's most reliable villains; thanks to his resemblance to certain Soviet politicians, the actor was particularly busy during the spy-show boom of the mid-'60s. He also showed up briefly as a regular on the New York-filmed dramatic series Slattery's People. And though his film roles became larger, it was in a relatively minor part as a cop in Elvis Presley's Change of Habit (1969) that Asner first worked with Mary Tyler Moore. In 1970, over Moore's initial hesitation (she wasn't certain he was funny enough), Asner was cast as Lou Grant, the irascible head of the WJM newsroom on The Mary Tyler Moore Show. The popular series ran for seven seasons, during which time the actor received three Emmy awards. His new stardom allowed Asner a wider variety of select roles, including a continuing villainous appearance on the miniseries Roots -- which earned him another Emmy. When Moore ceased production in 1977, Asner took his Lou Grant character into an hour-long dramatic weekly about a Los Angeles newspaper. The show's title, of course, was Lou Grant, and its marked liberal stance seemed, to some viewers, to be an extension of Asner's real-life viewpoint. While Lou Grant was in production, Asner was twice elected head of the Screen Actors Guild, a position that he frequently utilized as a forum for his political opinions -- notably his opposition to U.S. involvement in Central America. When Asner suggested that each guild member contribute toward opposing the country's foreign policy, he clashed head to head with Charlton Heston, who wrested Asner's office from him in a highly publicized power play. Although no tangible proof has ever been offered, it was Asner's belief that CBS canceled Lou Grant in 1982 because of his politics and not dwindling ratings. The actor continued to prosper professionally after Lou Grant, however, and, during the remainder of the '80s and into the '90s, starred in several TV movies, had guest and recurring roles in a wide variety of both TV dramas and comedies, and headlining two regular series, Off the Rack and The Bronx Zoo. Slowed but hardly halted by health problems in the '90s, Asner managed to find time to appear in the weekly sitcoms Hearts Afire and Thunder Alley -- atypically cast in the latter show as an ineffective grouch who was easily brow-beaten by his daughter and grandchildren.

Trivia: The son of a brewery owner, steely-eyed American character actor Paul Fix went the vaudeville and stock-company route before settling in Hollywood in 1926. During the 1930s and 1940s he appeared prolifically in varied fleeting roles: a transvestite jewel thief in the Our Gang two-reeler Free Eats (1932), a lascivious zookeeper (appropriately named Heinie) in Zoo in Budapest (1933), a humorless gangster who puts Bob Hope "on the spot" in The Ghost Breakers (1940), and a bespectacled ex-convict who muscles his way into Berlin in Hitler: Dead or Alive (1943), among others. During this period, Fix was most closely associated with westerns, essaying many a villainous (or at least untrustworthy) role at various "B"-picture mills. In the mid-1930s, Fix befriended young John Wayne and helped coach the star-to-be in the whys and wherefores of effective screen acting. Fix ended up appearing in 27 films with "The Duke," among them Pittsburgh (1942), The Fighting Seabees (1943), Tall in the Saddle (1944), Back to Bataan (1945), Red River (1948) and The High and the Mighty (1954). Busy in TV during the 1950s, Fix often found himself softening his bad-guy image to portray crusty old gents with golden hearts-- characters not far removed from the real Fix, who by all reports was a 100% nice guy. His most familiar role was as the honest but often ineffectual sheriff Micah Torrance on the TV series The Rifleman. In the 1960s, Fix was frequently cast as sagacious backwoods judges and attorneys, as in To Kill a Mockingbird (1962).

Trivia: Solidly built, boyishly handsome American leading-man Christopher George was the son of Greek immigrants. Weaned on stories of the legendary Greek heroes, Christopher and his brother Nick (later a prominent fashion photographer) both quit high school to join the Marines. Completing his education after his tour of duty, George acted in numerous TV commercials, winning a New York Film Festival award for his efforts. After appearing in plays like A Streetcar Named Desire and films like Howard Hawks' El Dorado (1965), George became a TV star by virtue of the weekly wartime adventure series The Rat Patrol ('66-'68). He later starred in the science-fiction series The Immortal (70-71) then returned to filmmaking. In his last years, George was a frequent guest on the religious talk-show circuit. Christopher George died of a heart attack at the age of 54; he was survived by his wife and frequent co-star, actress Lynda Day George.

Trivia: A former Mousketeer, Johnny Crawford is best remembered for playing young Mark McCain on The Rifleman (1958-1963). His career slowed after he reached adulthood when he was relegated to supporting roles.

Trivia: From his screen debut in 1965 onward, Robert Donner has revelled in spooky, oddball roles of the street evangelist/undertaker/obsessive lawman variety. Most often spotted in Westerns, he has appeared in El Dorado (1967), The Undefeated (1969), Chisum (1970), High Plains Drifter (1973), The Man Who Loved Cat Dancing (1973), and The Last Hard Men (1975). On TV, he was regularly featured as Yancy Tucker on The Waltons (1972-1979) and Mayor Chamberlain Brown in Legend (1995). Donner's crowning series-TV achievement was as the zoned-out Exidor, leader of an invisible cult called the Friends of Venus, on the popular sitcom Mork & Mindy (1978-1982). Robert Donner is married to producer/writer Jill Sherman.

Trivia: John Gabriel was 19 when he made his first brief film appearance in 1950. He went on to play nondescript secondary roles in such films as South Pacific (1958), finally attaining co-starring parts in the mid-'60s Westerns Stagecoach and El Dorado. He was far more successful on television, especially in the specialized world of the soap opera: He spent several fruitful years playing such daytime drama roles as Seneca Beaulac in Ryan's Hope and Zack Conway in Loving. John Gabriel harbors no regrets for the one plum role he didn't land: The Professor in Gilligan's Island (1964-1967), a part he essayed in the pilot episode before he was replaced by Russell Johnson.

Trivia: A Brooklyn street-gang member in his youth, actor Adam Roarke spent the bulk of his film career wearing a black leather jacket, sporting a menacing-looking beard, and roaring into view astride a motorcycle. During the biker-flick vogue of the 1960s and early 1970s, Roarke either starred or co-starred in such chrome-plated epics as Hell's Angels on Wheels, Hell's Belles and The Losers. In one of his rare non-cycle appearances, he played Raymond Bailey, the conceited movie star who is doubled by Steve Railsback in The Stunt Man (1980). In 1987, Adam Roarke made his directorial debut with Trespasses. Roarke was born into a show business family; his father was a vaudeville comedian and his mother a chorine. He himself did not take up acting until after he decided to clean up his act and serve two years in the Army. He briefly studied acting and at age 19 signed a contract with Universal Studios where he appeared in the aforementioned biker flicks and as a television guest star on shows ranging from Star Trek to Mod Squad. In the early '80s, a Dallas-located Halloween party populated by young actors such as Lou Diamond Phillips, inspired Roarke to open an acting school in the Texas city. His Film Actors Lab opened at the Dallas Communications Complex in Las Colinas, Texas in 1982.

Trivia: The son of a wardrobe woman at Columbia Pictures, handsome blond Chuck Courtney (born Charles T. Courtney Jr.) is perhaps best known for playing the recurring role of Dan Reid in 14 episodes of the popular The Lone Ranger television series. Courtney was also something of a favorite with veteran low-budget director William Beaudine, who starred him in such fare as Born to the Saddle (1953), an independently produced action melodrama that defied the era's insidious blacklist by also employing Karen Morley, and the terrible Billy the Kid Vs. Dracula (1966). Courtney and John Carradine played the title roles and both were horrendously wasted. Switching from acting to stunt supervising, Courtney later received the coveted Golden Boot Award. Despondent over a lingering and debilitating illness, Chuck Courtney committed suicide in his North Hollywood home. Sons Dustin Courtney and Lincoln Simonds both became stunt men.

Trivia: Former Olympic athlete Dean Smith worked as a stuntman and supporting actor on television and in feature films. In addition to participating in the 1952 Olympic Games at Helsinki, Smith also played football and was a champion rodeo rider.

Trivia: William (Bill) Henry was eight years old when he appeared in his first film, Lord Jim. During his teen years, Henry dabbled with backstage duties as a technician, but continued taking roles in student productions while attending the University of Hawaii. As an adult actor, Henry was prominently billed in such films as Geronimo (1939), Blossoms in the Dust (1941) and Johnny Come Lately (1943); he also briefly starred in Columbia's "Glove Slingers" 2-reel series. In the last stages of his movie career, William Henry was something of a regular in the films of John Ford appearing in such Ford productions as Mister Roberts (1955), The Last Hurrah (1958), The Man Who Shot Liberty Valance (1962) and Cheyenne Autumn (1964).

Trivia: The younger brother of film star Robert Mitchum, American actor John Mitchum shared his family's Depression-era travails before striking out on his own. As brother Robert's star ascended in the mid '40s, John remained his elder sibling's boon companion, severest critic and drinking buddy. In later years, John was a convivial anecdotal source for books and articles about Bob, each reminiscense becoming more colorful as it was repeated for the next interview. After holding down a variety of jobs, John decided to give acting a try as a result of hearing Bob's tales of Hollywood revelry; too heavyset to be a leading man, John became a reliable character actor, usually in military or western roles. He frequently had small parts in his brother's starring films, notably One Minute to Zero (1951) and The Way West (1967). Most of John's movie work was done outside Robert's orbit, however, in such films as Cattle King (1963) and Paint Your Wagon (1970). Perhaps John Mitchum's best screen role was as Goering in the 1962 biopic Hitler; he may have been utterly opposed ideologically to the late German field marshal, but John certainly filled the costume.

Trivia: A busy western actor from the 1940s onward, Riley Hill spent the better part of his career playing villains in formula "B"s. Occasionally, Hill would show up in some of Hollywood's costlier oaters, notably Howard Hawk s' Rio Bravo. His television work included several guest spots on the various series churned by Gene Autry's Flying A Productions, and the semi-regular Marshal Riley Roberts in Marshal of Gunsight Pass (1950), Hollywood's only live (as opposed to filmed) TV western. Riley Hill could later be seen in crusty character parts in films like The Trial of Billy Jack (1974) and When You Comin' Back, Red Ryder? (1979).

Trivia: A mustachioed bit player who usually played Mexicans, Frank Leyva appeared in scores of B-Westerns and serials from 1934 to 1967. In his later years, he also worked as a casting director and appeared on television.

Trivia: Chuck Roberson was a rancher before serving in World War II. Upon his discharge, he sought out film work as a stunt man. While under contract to Republic Pictures, Roberson doubled for John Wayne in Wake of the Red Witch (1948). Thereafter, he worked in virtually all of Wayne's films as stunt double, action coordinator, second-unit director and bit actor. His best speaking part was Sheriff Lordin in the Duke's McClintock (1963). Chuck Roberson's career served as the inspiration for the Lee Majors TV series The Fall Guy (1981-86).

Trivia: The sultry Shane West -- a Gemini whose genuine handsomeness is doubly effective in combination with his mesmerizing raspy voice -- made his mark on the Hollywood scene within the realm of teen drama. Beginning with appearances on television shows like Buffy the Vampire Slayer and Picket Fences, West was soon cast as a more permanent staple in teenage tube-life, as well as on the big screen.West was born on June 10, 1978, in Baton Rouge, LA, where he spent his life until he made the decision to pursue an acting career in 1995. Upon moving to L.A., West found much success on dramatic television, landing a starring role on ABC's Once and Again (1999) as Eli Sammler after appearing in the Showtime original movie The Westing Game (1997). A more contemporary rendition of the Cyrano de Bergerac story, Whatever It Takes (2000) featured a book-smart West. He appeared in Dracula in 2000, and made a cameo in the 2001 remake of Ocean's Eleven. Huge publicity surrounding the pop superstar status of Mandy Moore brought West much attention as her love interest in 2002's A Walk to Remember. From the cool crowd, West's character, Landon Carter, learns of matters of a deeper significance during his interaction with Jamie Sullivan (Moore). West's adoring fan base increased in significance as well in his role as sexy and romantic Landon. He joined the cast of ER for that show's final three seasons, and then went on to appear as punk hero Darby Crash in the biopic What We Do Is Secret. He followed that up with The Lodger, Red Sands, and The Presence.

Trivia: An actor since the age of six, when he began appearing in TV commercials, Elden Henson got his first big break in 1998 when he was cast as a warm-hearted giant opposite Sharon Stone and Kieran Culkin in The Mighty. Often cast as social misfits, the red-haired, stocky actor was born in Rockville, MD, on August 30, 1977. Two years later he entered show business as a model, and at the age of six moved to Los Angeles with his family in order to better pursue his career.After getting bit parts in Jaws: The Revenge (1987) and Turner and Hooch (1989), Henson won a more substantial role in the 1992 preteen hockey comedy The Mighty Ducks, and also appeared in the film's 1994 and 1996 sequels. Following his recognition in The Mighty, which earned him some positive critical notices, he became part of the late-'90s teen flick trend when he was chosen for supporting roles in the Freddy Prinze Jr./Rachael Leigh Cook romantic comedy She's All That (1999) and Idle Hands (1999), a schlocky teen murder ditty that had the misfortune of being released in the wake of the Columbine High School massacre.In 2001, Henson won one of his most substantial roles to date in Manic, a teen-ensemble drama directed by first-time filmmaker Jordan Melamed. Set entirely in a teen psychiatric ward, it cast Henson as an angry young man in the company of Joseph Gordon Levitt and Zooey Deschanel, as well as the always reliable Don Cheadle. That same year he further increased his exposure by appearing opposite Julia Stiles, Josh Hartnett, and Mekhi Phifer in O, Tim Blake Nelson's modern-day prep school take on Shakespeare's Othello.

Trivia: With his brooding good looks, well-scrubbed image, and friendly smile, it might seem ironic that actor Luke Goss made his big-budget Hollywood film debut as Nomak, one of the revoltingly menacing Reapers in the vampire-action extravaganza Blade II. Born in London, England, in 1968, Goss spent his early years preparing for a career in music. His childhood dreams would come true soon enough when, at the age of 20, Goss' band Bros spent 16 weeks in the U.K. charts with their hit single "When Will I Be Famous." Since that question had already been answered by the overwhelmingly positive reception of the single both in his homeland and overseas, it would come as no surprise that Bros' debut album Push also topped the international charts and sold 4.5 million albums worldwide. Subsequently releasing two more albums and performing to packed arena crowds throughout Europe, Goss next topped the best-seller lists with his book I Owe You Nothing. It was only a matter of time before Goss began seeking out further venues for his talents, and with his stage debut in the musical Plan Nine From Outer Space (based on Ed Wood's screenplay that spawned the infamous 1958 film of the same name), the successful singer/author began to develop his acting talents. He followed up his successful debut with roles in other musical plays such as What a Feeling and Grease. After branching with appearances on numerous MTV and VH1 specials, Goss made his film debut in 2000 with Two Days, Nine Lives. Becoming increasingly comfortable in front of the camera in Zigzag, Nine Tenths, and Love Life (all 2001), Goss took a turn for the gruesome with his role as a new breed of "suckhead" in the eagerly anticipated sequel Blade II.

Trivia: American novelist and screenwriter Leigh Brackett is best known for the screenplays she wrote in collaboration with director Howard Hawks. One of her best known Hawks' films is The Big Sleep (1946). Brackett also penned several westerns and other male-oriented action films. Her last screenplay was for The Empire Strikes Back (released in 1980, two years after her death). In addition to screenwriting, Brackett also wrote science fiction and mystery novels.

Trivia: Hal Rosson's first brush with moviemaking was as a bit player at Brooklyn's Vitagraph studios in 1908. With virtually his entire family--including his director brother Arthur Rosson and his actress sister Helen Rosson--working in California's ever-expanding film industry, Hal himself headed west in 1912. A year later, Rosson was working at Metro Studios as an "Assistant Everything." He had next to no experience with photography, but learned quickly enough to work for director Allan Dwan as a first cameraman in 1915. During the "teen" years, Rosson held down a full-time job at an LA stockbroker's office until his movie responsibilities overwhelmed him. Throughout the 1920s, Rosson functioned as cinematographer for the lustrous likes of Josef von Sternberg, Howard Hawks, King Vidor and Cecil B. DeMille. His success hinged as much on his diplomacy as his talent; even late in life, Rosson had nothing but kind words for everyone with whom he'd worked. Like many top Hollywood cameramen, Rosson ended up marrying one of his leading ladies. From 1933 to 1935, he was the third (and last) husband of Jean Harlow. In 1936, Rosson reluctantly agreed to give Technicolor a try for the first time in his life when David O. Selznick personally demanded his services for The Garden of Allah (1936); as a result, Rosson won a special Academy Award. Before his retirement in 1967, Hal Rosson would receive four additional Oscar nominations for Boom Town (1940), Thirty Seconds Over Tokyo (1944), The Asphalt Jungle (1950) and The Bad Seed (1956).

Trivia: Jim Davis' show business career began in a circus where he worked as a tent-rigger. He came to Los Angeles as a traveling salesman in 1940, gradually drifting into the movies following an MGM screen test with Esther Williams. After six long years in minor roles, he was "introduced" in 1948's Winter Meeting, co-starring with Bette Davis (no relation, though the Warner Bros. publicity department made much of the fact that the two stars shared the same name). He never caught on as a romantic lead, however, and spent most of the 1950s in secondary roles often as Western heavies. He starred in two syndicated TV series, Stories of the Century (1954) and Rescue 8 (1958-1959), and made at least 200 guest star appearances on other programs. Jim Davis is best known today for his work as oil-rich Jock Ewing on the prime time TV serial Dallas, a role he held down from 1978 to his unexpected death following surgery in 1981.