Trivia: Over the course of his extraordinary life, Audie Murphy went from being a poor Texas sharecropper's son to America's most decorated WWII hero to a popular Western and action movie star. Though he died in 1971, his accomplishments are still commemorated in a variety of ways that range from his native Hunt County's annual Audie Murphy Day celebration to his induction into the National Cowboy Hall of Fame and the Country Music Association of Texas. His name also appears on a VA hospital, a library room, a stretch of U.S. Highway 69 in Texas, and a San Antonio division of the Army. Murphy was born to a family of cotton growers near Kingston, TX. Boyish-looking and slender, he appeared an unlikely war hero, but while stationed in Europe with his infantry unit, Murphy was credited with killing 240 Germans, was promoted to lieutenant, and earned at least 24 medals, including a Purple Heart for a gunshot wound that shattered his hip and the coveted Congressional Medal of Honor. Following the war, Murphy worked as a clerk and a garage attendant before James Cagney invited him to his Hollywood home. Murphy stayed for 18 months and made his screen debut in Beyond Glory (1948), playing a guilt-ridden soldier. He had his first starring role in Bad Boy (1949) and was praised for his naturalistic acting style. Some critics chided him for only playing himself, but Murphy never claimed any acting ability. For audiences impressed with his war record and charmed by his charisma, Murphy playing himself was enough to sustain his busy film career for two decades. By the early '50s, Murphy was appearing in second-string Westerns. In 1953, distinguished director John Huston, whom Murphy regarded as a friend and mentor, starred him as the young soldier in his adaptation of Stephen Crane's The Red Badge of Courage (1953). He would again work with Huston in 1960s' The Unforgiven. In 1955, Murphy appeared in his signature film, To Hell and Back, a chronicle of his war experiences based on his published autobiography. This film's box-office success allowed Murphy to appear in larger-budget films through the early '60s when he once again returned to B-movies. All told, during his heyday, Murphy worked with some of the era's most prominent stars including Jimmy Stewart, Broderick Crawford, and Audrey Hepburn. But while Murphy's professional life flourished, he had to grapple with some tough situations in his personal life. In the late '60s, an Algerian oil field he'd purchased was blown up during the Seven Day War. Murphy lost around 250,000 dollars. In 1970, he was tried and acquitted for beating up and threatening to kill a man during a heated fight, the precise circumstances of which remain muddled. Despite this courtroom victory, rumors circulated that Murphy was suffering personal problems resulting from his war experiences. Murphy was once briefly married to actress Wanda Hendrix with whom he had appeared in Sierra (1950). In 1951, Murphy married Pamela Archer and they remained happily wed until he accidentally crashed his plane into a Virginia mountainside on Memorial Day 1971. Murphy was given a full military burial and was interred in Arlington Cemetery.

Trivia: A dark-haired, earthy beauty and a versatile actress, Anne Bancroft has actually had two film careers. The first, which took place during the 1950s, was generally undistinguished and featured her in films that usually failed to fully utilize her talents. The second, which began in the early '60s, established her as an actress of great acclaim in films like The Miracle Worker and granted her screen immortality with roles such as that of the iconic Mrs. Robinson in The Graduate. A first generation Italian-American hailing from the Bronx, Bancroft (born Anna Maria Louisa Italiano) was four years old when she began taking acting and dancing lessons. Billing herself as Anne Marno, she began appearing on television in 1950. Two years later she signed a contract with Fox and launched a six-year career in second-string Westerns and crime dramas that began with Don't Bother to Knock in 1952. By 1958, Bancroft had enough of Hollywood and turned her attentions to Broadway, where she spent the next five years. She proved her mettle as a serious dramatic actress by winning a Tony for Two for the Seesaw in 1958. Two years later, she won her second Tony and a New York Drama Critics Award for her portrayal of Annie Sullivan in The Miracle Worker. Armed with these triumphs, Bancroft returned to Hollywood to appear in the movie version of The Miracle Worker (1962), reprising her role opposite Patty Duke who played Helen Keller. Her performance earned her an Oscar for Best Actress; unable to attend the ceremony because she was performing on Broadway in Mother Courage, she was presented with the award by Joan Crawford a week later on the Broadway stage. Bancroft followed this victory with a string of emotional dramas that included The Pumpkin Eater, which was released in 1964, the same year she married filmmaker/comedian Mel Brooks. Just when it would look like she would be typecast in such dramas, Bancroft showed up in Mike Nichols' seminal comedy The Graduate, playing Mrs. Robinson, the ultimate "older woman," to Dustin Hoffman's confused Benjamin Braddock. Her role in the landmark film won her an Oscar nomination, to say nothing of a permanent dose of notoriety. Although Bancroft seemed destined for a stellar career and she remained one of the more well-respected actresses in Hollywood, a long string of so-so films kept her from reaching major stardom. Still, Bancroft turned in a number of memorable performances in films such as The Turning Point (1977), The Elephant Man (1980), To Be or Not to Be (her 1983 collaboration with husband Brooks), Agnes of God (1985), 84 Charing Cross Road (1986), and Torch Song Trilogy (1988). In 1980, Bancroft made her debut as a director/screenwriter in the darkly comic Dom DeLuise vehicle Fatso. Throughout the 1990s and into the new millennium, Bancroft continued to be visible onscreen, appearing in films like How to Make an American Quilt (1995), Home for the Holidays (1995), and Keeping the Faith (2000). Sadly, she became stricken with uterine cancer and succumbed to the disease in 2005. Her last performance would come postumously with a voice-role in the animated adventure Delgo.

Trivia: American actress Pat Crowley was the daughter of a coal mine foreman. Pat' s older sister Ann took the plunge into acting first, and it was during Ann's appearance in a Chicago musical production that ten-year-old Pat was given a walk-on. Ann introduced her sister to a stock company producer, and from then on Pat was one of the busiest ingenues in New England, finally making her Broadway bow in Southern Exposure; Crowley was still only 16. Two years later, following a run on the live TV series A Date With Judy, Crowley was hired for a major role in Forever Female (1953), in which she and Ginger Rogers vied for the affections of William Holden. After becoming the center of much publicity at that time, Crowley then experienced a long spell of unemployment. When jobs became plentiful again, Crowley worked on both the stage and on TV, usually in one-shot guest roles; she had the distinction of being Robert Vaughn's first "leading lady" on the premiere episode of Man From U.N.C.L.E. in 1964. One year later, Crowley was cast as an unorthodox housewife on the NBC sitcom Please Don't Eat the Daisies. After two years of Daisies, Crowley's work load subsided; she did more supporting work until 1974, when she received a sizeable role on the Lloyd Bridges cop show Joe Forrester. Since that time, Patricia Crowley has confined her activities to TV character roles, notably a season's worth of appearances as Emily Falmont on the '80s nighttime serial Dynasty.

Trivia: Actor/dancer Tommy Rall is, rather unfairly, something of the odd man out in the pantheon of MGM musical stars. In a way, it's almost understandable how this would occur -- he only appeared in three of the studio's productions. Two of those three, however -- Kiss Me Kate and Seven Brides for Seven Brothers -- were among MGM's biggest hits of the 1950s, and Rall was prominent in both, yet he is hardly ever mentioned in discussions of either film. His lack of recognition for his work in Kiss Me Kate, in which he does a dazzling rooftop dance (which looks even more impressive in the restored 3-D version of the film) set to Cole Porter's "Why Can't You Behave," is particularly frustrating -- true, Bob Fosse did some impressive choreography on "From This Moment On" from the same movie, and Howard Keel, Kathryn Grayson, and Ann Miller were never funnier or better -- but Rall also should be better noticed than he is.Born in Kansas City, MO, in 1929, but raised in Seattle, WA, Rall became a dancer by accident, starting at the age of four. His eyesight had been diagnosed as so poor that his mother, recognizing that any profession involving reading or study would be a problem, thought that dancing would eventually lead him to a career that was within reach. He also proved to be very good at it, and although his eyes ultimately became strong enough after surgery to permit him to study normally, he also discovered that he loved dancing and he never stopped the lessons. By age eight, he was performing in vaudeville in the area around Seattle, and had begun developing his acrobatic skills as well. He made a few tries at a child acting career without much success until the beginning of the 1940s, when Universal Pictures signed him up as part of an entire corps of young juvenile performers that the studio intended for a series of pleasant, low-budget musicals. Rall was cast as one of the Jivin' Jacks and Jills and Jills in Give Out, Sisters (1942), a breezy vehicle for the Andrews Sisters, Dan Dailey, and Grace McDonald. He got a small role (with screen credit this time) in another movie that same year, Get Hep to Love, starring Donald O'Connor and Gloria Jean, but then the company was broken up by the studio and most of the young contract players, including Rall, were released. During his early teens, Rall appeared uncredited in The North Star (1943) as a peasant dancer, and played a similar role in Song of Russia that same year. All the while, he continued studying dance with Adolf Bohm, David Lichine, and Bronislava Nijinska, all of whom facilitated Rall's conversion to the cause of ballet. On Lichine's recommendation, the 14-year-old Rall joined the Ballet Theater company, a touring ensemble, in 1944. He spent three and a half years becoming a seasoned professional while still in his teens, and dancing principal roles. By 1947, he'd gone as far as he could with the company and, for the moment, with ballet, and was ready to make the jump to theatrical work. He made his debut in a West Coast revival of Louisiana Purchase. From there, it was a quick leap to Broadway and small featured spots in Look Ma, I'm Dancing (1948) and Small Wonder, which led to top dancing roles Miss Liberty (1949-1950) and Call Me Madam (1950-1951). Those Broadway performances later payed serious dividends when they were recalled by Gene Kelly, while the latter was preparing his film Invitation to the Dance -- Kelly remembered seeing Rall's work and put him into the most personal of all the films he made at MGM. Meanwhile, television beckoned in the early '50s as Rall joined the production team of The Faye Emerson Show as the program's choreographer. Then it was back to Hollywood, where he put his athletic ability as well as his dancing and acting skills to use in Kiss Me Kate, in the role of Bill Calhoun, the would-be paramour of Ann Miller's showgirl Lois Lane, whose gambling streak and IOUs signed in the name of the show's star, Fred Graham, helps propel the plot. He also got to do that delightful rooftop dance with Miller, one great highlight of a movie filled with them. Rall was also part of the unexpected success of Seven Brides for Seven Brothers, playing Frank Pontipee. Roles in the musical My Sister Eileen and The Second Greatest Sex followed, along with his portrayal of the Flashy Boyfriend in Invitation to the Dance. He also played straight acting roles on occasion, as in Universal's production of Walk the Proud Land, a fact-based Western starring Audie Murphy, in which Rall portrayed a Native American. He was in one of Danny Kaye's more fondly remembered later successes, Merry Andrew, and then Broadway beckoned again in Jose Ferrer's production of Juno, a musical by Marc Blitzstein and Joseph Stein (based on Sean O'Casey's play Juno and the Paycock), in which Rall worked in a cast that included Shirley Booth, Melvyn Douglas, Jean Stapleton, and Sada Thompson. He was busy on Broadway during the 1960s, returning to films for an uncredited appearance (as the Prince in the parody of Swan Lake) in Funny Girl (1968). Rall's next screen appearance was in Pennies From Heaven (1981), and he followed this with That's Dancing (1985) and Dancers (1987), in which he was credited as Thomas Rall. In 1997, he also showed up out of character in the documentary The Making of Seven Brides for Seven Brothers.

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: As a boy growing up in Sacramento, Robert Warwick sang in his church choir. Encouraged to pursue music as a vocation, Warwick studied in Paris for an operatic career. He abandoned singing for straight acting when, in 1903, he was hired by Clyde Fitch as an understudy in the Broadway play Glad of It. Within a few year, Warwick was a major stage star in New York. He managed to retain his matinee-idol status when he switched from stage to screen, starring in such films as A Modern Othello and Alias Jimmy Valentine and at one point heading his own production company. He returned to the stage in 1920, then resumed his Hollywood career in authoritative supporting roles. His pear-shaped tones ideally suited for talkies, Warwick played such characters as Neptune in Night Life of the Gods (1933), Sir Francis Knolly in Mary of Scotland (1936) and Lord Montague in Romeo and Juliet (1936). He appeared in many of the Errol Flynn "historicals" at Warner Bros. (Prince and the Pauper, Adventures of Robin Hood, The Private Lives of Elizabeth and Essex); in more contemporary fare, he could usually be found in a military uniform or wing-collared tuxedo. From The Great McGinty (1940) onward, Warwick was a particular favorite of producer/director Preston Sturges, who was fond of providing plum acting opportunities to veteran character actors. Warwick's best performance under Sturges' guidance was as the brusque Hollywood executive who insists upon injecting "a little sex" in all of his studio's product in Sullivan's Travels (1942). During the 1950s, Warwick played several variations on "Charles Waterman," the broken-down Shakespearean ham that he'd portrayed in In a Lonely Place (1950). He remained in harness until his eighties, playing key roles on such TV series as The Twilight Zone and The Law and Mr. Jones. Robert Warwick was married twice, to actresses Josephine Whittell and Stella Lattimore.

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: American-born Anthony Caruso decided early in his showbiz career to cash in on his last name by becoming a singer. Though he enjoyed some success in this field, Caruso had better luck securing acting roles. Typecast as a villain from his first film, Johnny Apollo (1940), onward, he remained a reliable screen menace until the 1980s. Usually cast as an Italian (he was Louis Chiavelli in 1950's The Asphalt Jungle), he has also played his share of Greeks, Spaniards, Slavs, and Indian chiefs. He was occasionally afforded an opportunity to essay sympathetic characters on the various TV religious anthologies of the 1960s and 1970s, notably This Is the Life. In 1976, Anthony Caruso enjoyed one of his biggest and most prominent screen roles in Zebra Force.On April 4, 2003 Anthony Caruso died following an extended illness in Brentwood, CA. He was 86.

Trivia: American actor Victor Millan played character roles on stage, television, and in feature films during the '50s and in the '70s and '80s. When not acting, associate professor Millan taught theater arts at Santa Monica College.

Trivia: American actor Morris Ankrum graduated from the University of Southern California with a law degree, then went on to an associate professorship in economics at the University of California at Berkeley. Here he founded a collegiate little theatre, eventually turning his hobby into a vocation as a teacher and director at the Pasadena Playhouse. (He was much admired by his students, including such future luminaries as Robert Preston and Raymond Burr.) Having already changed his name from Nussbaum to Ankrum for professional reasons, Ankrum was compelled to undergo another name change when he signed a Paramount Pictures contract in the 1930s; in his first films, he was billing as Stephen Morris. Reverting to Morris Ankrum in 1939, the sharp-featured, heavily eyebrowed actor flourished in strong character roles, usually of a villainous nature, throughout the 1940s. By the 1950s, Ankrum had more or less settled into "authority" roles in science-fiction films and TV programs. Among his best known credits in this genre were Rocketship X-M (1950), Red Planet Mars (1952), Flight to Mars (1952), Invaders From Mars (1953) (do we detect a subtle pattern here?), Earth Vs. the Flying Saucers (1956) and From the Earth to the Moon (1958). The fact that Morris Ankrum played innumerable Army generals was fondly invoked in director Joe Dante's 1993 comedy Matinee: the military officer played by Kevin McCarthy in the film-within-a-film Mant is named General Ankrum.

Trivia: An alumnus of both Washington State University and Pomona College, Addison Richards began acting on an amateur basis in California's Pilgrimage Play, then became associate director of the Pasadena Playhouse. In films from 1933, Richards was one of those dependable, distinguished types, a character player of the Samuel S. Hinds/Charles Trowbridge/John Litel school. Like those other gentlemen, Richards was perfectly capable of alternating between respectable authority figures and dark-purposed villains. He was busiest at such major studios as MGM, Warners, and Fox, though he was willing to show up at Monogram and PRC if the part was worth playing. During the TV era, Addison Richards was a regular on four series: He was narrator/star of 1953's Pentagon USA, wealthy Westerner Martin Kingsley on 1958's Cimarron City, Doc Gamble in the 1959 video version of radio's Fibber McGee and Molly, and elderly attorney John Abbott on the short-lived 1963 soap opera Ben Jerrod.

Trivia: Diminutive character actor Frank Chase appeared in nearly two dozen movies during the 1950s, ranging from Westerns to science fiction, and also enjoyed a career as a screenwriter, principally for television. The son of veteran author and screenwriter Borden Chase, Frank first came to movies as an actor, his short stature and animated persona making him ideal for portraying comical eccentrics, though he could also play straight, non-comedic roles. He spent most of his acting career at Universal in the 1950s, appearing in some surprisingly high-profile movies, including Winchester '73, Red Ball Express, and Walk the Proud Land, though his most memorable work on the big screen was, ironically, in the lowest-budgeted movie he ever worked in, Nathan Juran's Attack of the 50 Foot Woman (1958), made for Allied Artists. Chase stole most of the scenes in which he appeared, portraying Charlie, the whining, slow-on-the-uptake deputy sheriff (picture an amalgam of Jason Alexander and Don Knotts at their most manic). Chase moved into television work in the early '60s, acting primarily in Westerns such as The Virginian, and he also became a screenwriter, authoring episodes of The High Chaparral, The Virginian and its successor series The Men From Shiloh, and several shows from the early seasons of Bonanza ("The Medal," "The Jackknife"). He wrote one Bonanza episode, "The Ballerina," especially as a vehicle for his sister, actress/dancer Barrie Chase.

Trivia: Baby boomers will recall silver-maned actor William Forrest as Major Swanson, the brusque but fair-minded commander of Fort Apache in the 1950s TV series The Adventures of Rin Tin Tin. This character was but one of many military officers portrayed by the prolific Forrest since the late 1930s. Most of his film appearances were fleeting, and few were billed, but Forrest managed to pack more authority into 30 seconds' film time than many bigger stars were able to manage in an hour and a half. Outside of Rin Tin Tin, William Forrest is probably most familiar as the sinister fifth-columnist Martin Crane in the 1943 Republic serial The Masked Marvel.

Trivia: A stunning blonde from Minnesota, Dani Crayne was offered a Universal stock contract in 1955. After performing the usual starlet duties of leg art and bit parts, she landed the role of Helen of Troy in The Story of Mankind (1957). Unfortunately, the star-studded but low-budget "epic" became a notorious failure and Crayne spent the remainder of her brief career in television Westerns. She was the second wife of actor David Janssen.