Trivia: Rugged, athletic, and handsome, Burt Lancaster enjoyed phenomenal success from his first film, The Killers, to his last, Field of Dreams -- over a career spanning more than four decades. Boasting an impressively wide range, he delivered thoughtful, sensitive performances across a spectrum of genres: from film noir to Westerns to melodrama, he commanded the screen with a presence and power matched by only a handful of stars.Lancaster was born November 2, 1913, in New York City. As a child, he exhibited considerable athletic and acrobatic prowess, and at the age of 17 joined a circus troupe, forming a duo with the diminutive performer Nick Cravat (later to frequently serve as his onscreen sidekick). He eventually joined the army, and, after acting and dancing in a number of armed forces revues, he decided to pursue a dramatic career. Upon hiring an agent, Harold Hecht, Lancaster made his Broadway debut in A Sound of Hunting, a role which led to a contract with Paramount. Because the release of his first picture, Desert Fury, was delayed, he initially came to the attention of audiences in 1946's The Killers, a certified classic of film noir. It remained the genre of choice in several of his subsequent projects, including 1947's Brute Force and I Walk Alone the following year.After starring as Barbara Stanwyck's cheating husband in Sorry, Wrong Number, Lancaster and his manager formed their own production company, Hecht-Lancaster, the first notable star-owned venture of its kind; more were to follow, and they contributed significantly to the ultimate downfall of the old studio system. Its formation was a result of Lancaster's conscious effort to avoid "beefcake" roles, instead seeking projects which spotlighted his versatility as a performer. While the company's first effort, the war melodrama Kiss the Blood Off My Hands, was not a success, they were nonetheless able to secure enough financial backing to break off completely from the mainstream Hollywood system. Still, Lancaster also continued to appear in studio productions. In 1949, he reunited with The Killers director Robert Siodmak at Universal for another excellent noir, Criss Cross, followed by Rope of Sand. He also signed a non-exclusive contract with Warner Bros., where he and Hecht produced 1950's The Flame and the Arrow, a swashbuckler which was his first major box-office success. After producing Ten Tall Men with Hecht, Lancaster starred in the MGM Western Vengeance Valley, followed by the biopic Jim Thorpe -- All American. With Siodmak again directing, he next headlined the 1952 adventure spoof The Crimson Pirate, followed by Daniel Mann's Come Back, Little Sheba opposite Oscar-winner Shirley Booth. A minor effort, South Sea Woman, followed in 1953 before Lancaster starred in the Fred Zinnemann classic From Here to Eternity, earning him a Best Actor Oscar nomination for his performance and, in his beachside rendezvous with co-star Deborah Kerr, creating one of the most indelible images in film history. Another swashbuckler, His Majesty O'Keefe, followed, and under director Robert Aldrich the actor headlined a pair of Westerns, Apache and Vera Cruz. Finally, in 1955, Lancaster realized a long-held dream and helmed his own film, The Kentuckian; reviews were negative, however, and he did not return to the director's chair for another two decades.Again working with Mann, Lancaster co-starred with another Oscar winner, Anna Magnani, in 1955's The Rose Tattoo. Opposite Tony Curtis, he appeared in the 1956 hit Trapeze, and, with Katherine Hepburn, headlined The Rainmaker later that same year. Gunfight at the O.K. Corral, a blockbuster featuring Lancaster as Wyatt Earp, followed, as did the acclaimed The Sweet Smell of Success. With Clark Gable, Lancaster starred in 1958's Run Silent, Run Deep, followed by Separate Tables. For 1960's Elmer Gantry, he won an Academy Award for his superb portrayal of the title character, a disreputable evangelist, and a year later co-starred in Judgment at Nuremberg. Under John Frankenheimer, Lancaster next portrayed The Birdman of Alcatraz, earning Best Actor honors at the Venice Film Festival for his sympathetic turn as prisoner Robert Stroud, an expert in bird disease. For John Cassavetes, he starred in 1963's A Child Is Waiting, but the picture was the victim of studio interference and poor distribution. Around the same time, Italian filmmaker Luchino Visconti was trying to secure financing for his planned historical epic Il Gattopardo (aka The Leopard), and needed to cast an international superstar in the lead role; Lancaster actively campaigned for the part, and delivered one of the strongest performances of his career. Released in 1963, it was a massive success everywhere but in the U.S., where it was brutally edited prior to release. After two hit movies with Frankenheimer, the 1964 political thriller Seven Days in May and the 1965 war drama The Train, Lancaster starred in another Western, The Hallelujah Trail, followed by the 1966 smash The Professionals. A rare series of flops -- The Swimmer, Castle Keep, and The Gypsy Moths -- rounded out the decade, but by 1970 he was back at the top of the box office with Airport. Still, Lancaster's star was clearly dimming, and he next appeared in a pair of low-budget Westerns, Lawman and Valdez Is Coming. After an underwhelming reunion with Aldrich, 1972's Ulzana's Raid, he attempted to take matters into his own hands, writing and directing 1974's The Midnight Man in collaboration with Roland Kibbee, but it failed to attract much attention, either. For Visconti, Lancaster next starred in 1975's Gruppo di Famiglia in un Interno. Remaining in Europe, he also appeared in Bernardo Bertollucci's epic 1900. Neither resuscitated his career, nor did Robert Altman's much-panned Buffalo Bill and the Indians, or Sitting Bull's History Lesson. Lancaster languished in a number of television projects before appearing in 1978's Go Tell the Spartans, which, despite critical acclaim, failed to catch on. In 1980, however, he delivered a stunning turn as an aging gangster in Louis Malle's excellent Atlantic City, a performance which earned him Best Actor honors from the New York critics as well as another Oscar nomination. Also highly acclaimed was his supporting role in the 1983 Bill Forsyth gem Local Hero. Heart trouble sidelined him for all of 1984, but soon Lancaster was back at full steam, teaming one last time with Kirk Douglas for 1986's Tough Guys. Several more TV projects followed before he returned to feature films with 1988's little-seen Rocket Gibraltar and the 1989 blockbuster Field of Dreams. In 1991, Lancaster made his final appearance in the telefilm Separate But Equal. He died October 20, 1994.

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: Born Dolores Loehr, she was a musical prodigy who played piano professionally by age ten; her first film appearance was at age 12, as one of a group of students performing classical music in the background of They Shall Have Music (1939). In her next film, another music-oriented production, she played piano and got a few lines of dialogue, following which she adopted her screen name and signed a long-term contract with Paramount. She underwent intensive drama coaching, then made a big impression as a precocious teenager in The Major and the Minor (1942) with Ginger Rogers. She played a number of juvenile roles; as she aged, however, she had less luck with adult leads, and appeared in a succession of standard ingenue roles. By the mid '50s she effected a successful transition from movies to TV and the stage, being especially busy as a TV actress. She died of a stroke at 45.

Trivia: Specializing in playing shambling, cantankerous cynics, Walter Matthau, with his jowly features, slightly stooped posture, and seedy, rumpled demeanor, looked as if he would be more at home as a laborer or small-time insurance salesman than as a popular movie star equally adept at drama and comedy. An actor who virtually put a trademark on cantankerous behavior, Matthau was a staple of the American cinema for almost four decades.The son of poor Jewish-Russian immigrants, Matthau was born on October 1, 1920, in New York City and raised in a cold-water flat on the Lower East Side. His introduction to acting came during his occasional employment at the Second Avenue Yiddish Theater, where he sold soda pops during intermission for 50 cents per show. Following WWII service as an Air Force radioman and gunner, Matthau studied acting at the New School for Social Research Dramatic Workshop. Experience with summer stock led to his first Broadway appearances in the 1940s, and at the age of 28 he got his first break serving as the understudy to Rex Harrison's character in the Broadway drama Anne of a Thousand Days. After having his first major Broadway success with A Shot in the Dark, Matthau began working on the screen, usually in small supporting roles that cast him as thugs, villains, and louts in such films as The Kentuckian (1955) and King Creole (1958). Only occasionally did he get to play more sympathetic roles in films such as Lonely Are the Brave (1962). In 1959, he tried his hand at directing with Gangster Story. In addition to his stage and feature-film work, Matthau appeared in a number of television shows. Just when it seemed that he was to be permanently relegated to playing supporting and dark character roles on stage and screen, Matthau won the part of irretrievably slavish sportswriter Oscar Madison in the first Broadway production of Neil Simon's The Odd Couple (1965). Simon wrote the role especially for Matthau, and the show made both the playwright and the actor major stars. In film, Matthau played his first comic role (for which he won a Best Supporting Actor Oscar) in Billy Wilder's The Fortune Cookie (1966). The film also marked the first of many times that Matthau would be paired with Jack Lemmon. The unmistakable chemistry at play between the well-mannered, erudite Lemmon and the sharp-tongued, earthy Matthau exploded when they were paired onscreen, and was on particularly brilliant display in the hit film version of The Odd Couple (1967). Good friends with Lemmon both onscreen and off, Matthau starred in his directorial debut, Kotch (1971), and starred alongside him in The Front Page (1974) and Buddy Buddy, both of which did little for Matthau and Lemmon's careers. As a duo, the two again found success when they played two coots who were too busy feuding to realize that they were best friends in Grumpy Old Men (1993). They reprised their roles in a 1995 sequel and also appeared together in The Grass Harp (1995), Out to Sea (1997), and 1998's The Odd Couple II. On his own, Matthau continued developing his comically cynical persona in such worthy ventures as Plaza Suite (1971), California Suite (1978), and especially The Sunshine Boys (1975), in which he was paired with George Burns. He proved ridiculously endearing as a grizzled, broken-down, beer-swilling little league coach with a marshmallow heart in The Bad News Bears (1976), and further expressed his comic persona in such comedies as 1993's Dennis the Menace, in which he played the cantankerous Mr. Wilson, and the romantic comedy I.Q. (1994), which cast him as Albert Einstein.Though many of his roles were of the comic variety, Matthau occasionally returned to his dramatic roots with ventures such as the crime thriller Charley Varrick (1973) and The Taking of Pelham 1, 2, 3 (1974). In addition to his work in feature films, Matthau also continued to make occasional appearances in made-for-television movies, one of which, Mrs. Lambert Remembers Love (1991), was directed by his son Charles Matthau. Matthau, who had been plagued with health problems throughout much of his adult life, died of a heart attack at the age of 79 on July 1, 2000. The last film of his long and prolific career was Diane Keaton's Hanging Up (2000), a family comedy-drama that cast the actor as the ailing father of three bickering daughters (Lisa Kudrow, Meg Ryan, and Keaton). Coincidentally, when Matthau was hospitalized for an undisclosed condition in April of the same year, he shared a hospital room with none other than longtime friend and director Billy Wilder.

Trivia: Edmonton-born Dianne Foster relocated to England at an early age. By age 13, Foster was an established model and film actress (The Quiet Woman, Isn't Life Wonderful?) She moved to the U.S. in 1954, where she was signed by Columbia Pictures. Her best-remembered credits under the Columbia banner include John Ford's The Last Hurrah (1958) and Gideon's Day (1959). On loan to Kirk Douglas' Bryna Productions, she co-starred with Douglas in The Kentuckian (1955). Dianne Foster retired from show business in the early 1960s, after wrapping up her Columbia obligations with Who's Been Sleeping in My Bed? (1963).

Trivia: Although she is best known for her later work, Una Merkel actually started in film in 1920 as Lillian Gish's stand-in for Way Down East. After a stage career in the 1920s, she returned to films as Ann Rutledge in D. W. Griffith's Abraham Lincoln (1930). The vivacious character actress brightened up dozens of films, playing mostly comic roles interspersed with an occasional dramatic part. Films to watch include Dangerous Female (1931); Private Lives (1931); Red-Headed Woman (1932); 42nd Street (1933), the film in which she memorably says of Ginger Rogers' character Anytime Annie: "The only time she ever said no she didn't hear the question;" The Merry Widow (both 1934 and 1952); Broadway Melody of 1936 (1935); Born to Dance (1936); Destry Rides Again (1939), where she and Marlene Dietrich have a frenzied hair-pulling battle over the hapless Mischa Auer; On Borrowed Time (1939); The Bank Dick (1940); Road to Zanzibar (1941); This Is the Army (1943); With a Song in My Heart (1952); and The Parent Trap (1961), among many others. In 1956, she won a Tony Award for The Ponder Heart and in 1961 was nominated for an Academy Award for Summer and Smoke in the role she had originated on the stage.

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: Wisconsinite John Litel was a graduate of the University of Pennsylvania. When World War I broke out in Europe, Litel didn't feel like waiting until America became officially involved and thus joined the French army, serving valiantly for three years. Returning to America, Litel studied at the American Academy of Dramatic Arts and entered into the peripatetic world of touring stock companies. His first film was the 1929 talkie The Sleeping Porch, which starred top-hatted comedian Raymond Griffith. He settled in Hollywood for keeps in 1937, spending the next three decades portraying a vast array of lawyers, judges, corporate criminals, military officers, and even a lead or two. Litel was a regular in two separate "B"-picture series, playing the respective fathers of Bonita Granville and James Lydon in the Nancy Drew and Henry Aldrich series. On television, John Litel was appropriately ulcerated as the boss of Bob Cummings on the 1953 sitcom My Hero.

Trivia: Few of the performers in director John Ford's How Green Was My Valley (1941) were as qualified to appear in the film as Rhys Williams. Born in Wales and intimately familiar from childhood with that region's various coal-mining communities, the balding, pug-nosed Williams was brought to Hollywood to work as technical director and dialect coach for Ford's film. The director was so impressed by Williams that he cast the actor in the important role of Welsh prize fighter Dai Bando. Accruing further acting experience in summer stock, Rhys Williams became a full-time Hollywood character player, appearing in such films as Mrs. Miniver (1942), The Spiral Staircase (1946), The Inspector General (1949), and Our Man Flint (1966).

Trivia: The screen's premiere "Old Codger," American actor Clem Bevans didn't make his movie debut until he was 55 years old. His acting career was launched in 1900 with a vaudeville boy-girl act costarring Grace Emmett. Bevans moved on to burlesque, stock shows, Broadway and light opera. In 1935, Bevans first stepped before the movie cameras as Doc Wiggins in Way Down East. It was the first of many toothless, stubble-chinned geezers that Bevans would portray for the next 27 years. On occasion, producers and directors would use Bevans' established screen persona to throw the audience off the track. In Happy Go Lucky (1942), he unexpectedly shows up as a voyeuristic millionaire with a fondness for female knees; in Hitchcock's Saboteur (1942), he is a likeable old desert rat who turns out to be a Nazi spy! Clem Bevans continued playing farmers, hillbillies, and "town's oldest citizen" roles into the early 1960s. The octogenarian actor could be seen in a 1962 episode of Twilight Zone ("Hocus Pocus and Frisby") looking and sounding just the same as he had way back in 1935.

Trivia: Despite his small-town charm and white-bread handsomeness, there was a queasy quality in the performances of American actor Edward Norris that suggested a basic inner weakness. As such, he was ideally cast as the average Joe accused of a crime he didn't commit, or as the outwardly helpful chap who turned out to be the calculating murderer in the last reel. A former reporter, Norris began making films in the early '30s. He did everything from Our Gang comedies (Teacher's Beau [1935]) to Garbo features (Queen Christina [1933]). His most conspicuous "innocent victim" role was as the schoolteacher falsely convicted of murdering high school student Lana Turner in They Won't Forget (1937). Norris' mockery of a trial and subsequent lynching were patterned after the real-life fate of Leo Frank; that 1915 lynching was obviously fueled by anti-Semitism, but Warners hedged its bets by casting the aggressively Anglo-Saxon Norris as the Leo Frank counterpart. Offscreen, Norris was as self-assured as his screen characters were put-upon; he was married five times, and three of his wives (Lona Andre, Ann Sheridan and Sheila Ryan) were Hollywood co-workers. Edward Norris quit movies cold in 1955 to become a businessman, never looking backward at his long career nor harboring any regrets at abandoning it.

Trivia: From 1939 until his death in 1960, gangly, balding Douglas Spencer could be spotted in unbilled film roles as doctors and reporters. By the early '50s, Spencer had graduated to supporting parts, often in films with a science fiction or fantasy theme. One of his lengthier assignments was Simms, the seance-busting reporter in Houdini (1953). Douglas Spencer's best-ever film role was bespectacled reporter Ned "Scotty" Scott in the 1951 sci-fi classic The Thing, wherein he closed the film with the immortal cautionary words "Keep watching the skies!"

Trivia: Paul Wexler was born to play character roles -- well over six feet tall but seemingly thinner than the young Frank Sinatra, he was no one's idea of a leading man, but he could dominate a scene simply by standing in the shot with his long features and imposing height, and embellish the effect with his deep voice. Born in Oregon, Wexler's screen career began in 1952, when he was 23 years old, with a performance as a hillbilly in the Bowery Boys comedy Feudin' Fools. He had little to do in the movie except look and act like a slow-witted country bumpkin, in tandem with such gifted young players as Robert Easton and veterans like Russell Simpson; he obviously made an impression on the producers, because two years later he appeared in one of the most popular of all the movies in that series, The Bowery Boys Meet the Monsters, playing Grissom, the butler to a household of mad scientists seemingly lifted right out of Arsenic and Old Lace. He was funny in that film, but Wexler's first truly memorable role was much more serious, in Lewis Allen's presidential assassination thriller Suddenly (1954); portraying Slim the deputy, he managed to melt into the scenery despite his appearance, and into the part as well, portraying a tough, no-nonsense peace officer to the hilt, culminating with a violent shootout midway through the movie. In The Kentuckian, released the following year, it was back to playing backwoods roles as one of the murderous Frome brothers, alongside Douglas Spencer. Perhaps owing to his appearance, Wexler tended to get roles with a certain component of the macabre, or an element of threat, but he never had a role stranger or more memorable than his non-speaking part in Edward L. Cahn's The Four Skulls of Jonathan Drake (1959). His portrayal of Zutai, the mute Jivaro Indian zombie (his tissues permeated with curare), always ready with a curare-tipped blade to paralyze a victim and a basket for their head, was a brilliantly mimed portrayal and one of the grisliest elements of a very nasty horror film. Seemingly almost as a balance to his mute role in that movie, Wexler's next film involved only speaking, as he was one of the voice actors in Disney's original 101 Dalmatians (1961). He made appearances onscreen in roles of various sizes as late as 1967, in Andrew V. McLaglen's The Way West and the William Castle comedy The Busy Body. He cut back on his acting after that, possibly due to declining health, and gave one last film performance in the 1975 in Michael Anderson's feature Doc Savage: The Man of Bronze. On television, Wexler tended to work in Westerns, including The Rifleman, Gunsmoke, and Death Valley Days, although he also turned up during the later '60s in episodes of Get Smart and made his final onscreen appearance on an episode of Charlie's Angels in 1976. Wexler died of leukemia in 1979.

Trivia: A cross between Buck Jones and Lash LaRue, or so his publicity claimed, Whip Wilson is by many fans of B-Westerns considered the final nail in the genre's coffin. A fairly successful singer, Wilson (born Roland Charles Meyers) was discovered by Jones' longtime business partner, Monogram producer Scott R. Dunlap, who tested the waters by awarding him a supporting role in the Jimmy Wakely Western Silver Trails (1948). Despite plenty of evidence to the contrary, Dunlap was convinced of Wilson's potential and starred him in no less than 23 oaters (1949-1952), beginning with Crashing Thru (1949), which at least had the saving grace of Andy Clyde as the comic sidekick. But Clyde was later replaced by Fuzzy Knight and former Red Ryder Jim Bannon, neither of whom was of much help to the newcomer. To compound matters, the bizarre popularity of PRC's Lash LaRue led Dunlap and Wilson to concentrate on the latter's whip-wielding skills, an entertaining dexterity but not enough to insure sustained popularity. Following his stint as a B-Western hero, Wilson taught Burt Lancaster how to use a whip in The Kentuckian (1955) and ran a Los Angeles apartment building complex.

Trivia: San Franciscan Will Wright was a newspaper reporter before he hit the vaudeville, legitimate stage, and radio circuit. With his crabapple face and sour-lemon voice, Wright was almost instantly typecast as a grouch, busybody, or small-town Scrooge. Most of his film roles were minor, but Wright rose to the occasion whenever given such meaty parts as the taciturn apartment house manager in The Blue Dahlia (1946). In one of his best assignments, Wright remained unseen: He was the voice of the remonstrative Owl in the Disney cartoon feature Bambi (1942). Will Wright didn't really need the money from his long movie and TV career: His main source of income was his successful Los Angeles ice cream emporium, which was as popular with the movie people as with civilians, and which frequently provided temporary employment for many a young aspiring actor.

Trivia: In films from 1941, American character actor Norman Leavitt spent much of his career in uncredited bits and supporting roles. Leavitt can briefly be seen in such "A" pictures of the 1940s and 1950s as The Inspector General (1949) and Harvey (1950). His larger roles include Folsom in the 1960 budget western Young Jesse James. Three Stooges fans will immediately recognize Norman Leavitt from The Three Stooges in Orbit (1962), in which he player scientist Emil Sitka's sinister butler--who turned out to be a spy from Mars!

Trivia: James Seay was groomed for romantic leads by Paramount Pictures beginning in 1940. After several nondescript minor roles, Seay finally earned a major part--not as a hero, but as a villainous gang boss in the Columbia "B" The Face Behind the Mask (1941). Never quite reaching the top ranks, Seay nonetheless remained on the film scene as a dependable general purpose actor, appearing in such small but attention-getting roles as Dr. Pierce, the retirement-home physician who explains the eccentricities of "Kris Kringle" (Edmund Gwenn) in Miracle on 34th Street (1947). In the 1950s, James Seay joined the ranks of horror and sci-fi movie "regulars;" he could be seen in films like The Day the Earth Stood Still (1951), Killers from Space (1954), The Beginning of the End (1957), and--as the luckless military officer who is skewered by a gigantic hypodermic needle--The Amazing Colossal Man (1957).

Trivia: A New Mexican of Native American extraction, actor Glenn Strange held down several rough-and-tumble jobs, from deputy sheriff to rodeo rider, before settling on a singing career. He made his radio bow on Los Angeles station KNX (the CBS-owned affiliate) as a member of the Arizona Wranglers singing group. Thanks to his husky physique and plug-ugly features, Strange had no trouble finding work as a stuntman/villain in western films and serials. He also displayed a flair for comedy as the sidekick to singing cowboy Dick Foran in a series of B-sagebrushers of the late '30s. During the war years, Strange became something of a bargain-basement Lon Chaney Jr., playing homicidal halfwits in a handful of horror pictures made at PRC and other low-budget studios. These appearances led to his being cast as the Frankenstein monster in the 1944 Universal programmer House of Frankenstein; he was coached in this role by the "creature" from the original 1931 Frankenstein, Boris Karloff. Given very little to do in House of Frankenstein and the 1945 sequel House of Dracula other than stalk around with arms outstretched at fadeout time, Strange brought none of the depth and pathos to the role that distinguished Karloff's appearances. Strange was shown to better advantage in his last appearance as The Monster in Abbott and Costello Meet Frankenstein (1948) where he convincingly menaced the eternally frightened Lou Costello and even indulged in a couple of time-honored "scare" routines, while still remaining in character (Some scenes had to be reshot because Strange couldn't stop laughing at Costello's antics; towards the end of shooting, Strange broke his ankle and had to be replaced in a few shots by Lon Chaney Jr., who was costarring in the film as the Wolf Man). Though typecast as heavies in both movies and television -- he played the hissable Butch Cavendish in the Lone Ranger TV pilot -- Strange was well known throughout Hollywood as a genuine nice guy and solid family man. Glenn Strange's last engagement of note was his 11-year run (1962-73) as Sam, the Long Branch bartender on TV's Gunsmoke.