Trivia: British actor Roddy McDowall's father was an officer in the English merchant marine, and his mother was a would-be actress. When it came time to choose a life's calling, McDowall bowed to his mother's influence. After winning an acting prize in a school play, he was able to secure film work in Britain, beginning at age ten with 1938's Scruffy. He appeared in 16 roles of varying sizes and importance before he and his family were evacuated to the U.S. during the 1940 Battle of Britain. McDowall arrival in Hollywood coincided with the wishes of 20th Century-Fox executive Darryl F. Zanuck to create a "new Freddie Bartholomew." He tested for the juvenile lead in Fox's How Green Was My Valley (1941), winning both the role and a long contract. McDowall's first adult acting assignment was as Malcolm in Orson Welles' 1948 film version of Macbeth; shortly afterward, he formed a production company with Macbeth co-star Dan O'Herlihy. McDowall left films for the most part in the 1950s, preferring TV and stage work; among his Broadway credits were No Time for Sergeants, Compulsion, (in which he co-starred with fellow former child star Dean Stockwell) and Lerner and Loewe's Camelot (as Mordred). McDowall won a 1960 Tony Award for his appearance in the short-lived production The Fighting Cock. The actor spent the better part of the early 1960s playing Octavius in the mammoth production Cleopatra, co-starring with longtime friend Elizabeth Taylor. An accomplished photographer, McDowall was honored by having his photos of Taylor and other celebrities frequently published in the leading magazines of the era. He was briefly an advising photographic editor of Harper's Bazaar, and in 1966 published the first of several collections of his camerawork, Double Exposure. McDowall's most frequent assignments between 1968 and 1975 found him in elaborate simian makeup as Cornelius in the Planet of the Apes theatrical films and TV series. Still accepting the occasional guest-star film role and theatrical assignment into the 1990s, McDowall towards the end of his life was most active in the administrative end of show business, serving on the executive boards of the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences. A lifelong movie collector (a hobby which once nearly got him arrested by the FBI), McDowall has also worked diligently with the National Film Preservation Board. In August, 1998, he was elected president of the Academy Foundation. One of Hollywood's last links to its golden age and much-loved by old and new stars alike -- McDowell was famed for his kindness, generosity and loyalty (friends could tell McDowall any secret and be sure of its safety) -- McDowall's announcement that he was suffering from terminal cancer a few weeks before he died rocked the film community, and many visited the ailing actor in his Studio City home. Shortly before he was diagnosed with cancer, McDowall had provided the voiceover for Disney/Pixar's animated feature A Bug's Life. A few days prior to McDowall's passing, the Academy of Motion Picture Arts and Sciences named its photo archive after him.

Trivia: Ruth Shoecraft was born in Michigan and raised in Ohio, where her father served as a county sheriff. At 20, Shoecraft attended the American Academy of Dramatic Arts, but put her theatrical aspirations on the back burner when she married a Florida widower named Patrick John McDevitt. When her husband died in 1934, Shoecraft returned to the stage asRuth McDevitt, first in community theatre, then on Broadway and in radio. She made her first film in 1951, but for the most part steered clear of Hollywood, preferring to appear in such Manhattan-based plays as The Solid Gold Cadillac, Picnic, The Best Man and Absence of a Cello. McDevitt's entree into weekly television was on the classic early-1950s Wally Cox sitcom Mr. Peepers, in which she played Wally's mom. Her next series stint was as rifle-wielding Grandma Hanks in the short-lived 1967 western comedy Pistols and Petticoats. During the 1960s, she returned to films, usually playing a dotty little old lady with more on the ball than people suspected. Still going strong in the early 1970s, Shoecraft played recurring roles on the TV series All in the Family and Kolchak. Ruth McDevitt made her last appearance at age 80 in the made-for-TV feature One of My Wives is Missing (1976).

Trivia: African-American actress Juanita Moore entered films in the early '50s, a time in which few black actresses were given much to do in major-studio films. Fortunately, Juanita's roles began improving as Hollywood tentatively developed a social consciousness toward the end of the decade. In 1959, she received an Academy Award nomination for her performance in Imitation of Life (1959), a glossy updating of a once-controversial Fannie Hurst novel about racial inequity. Within the next decade Hollywood underwent several sociological upheavals, and Juanita Moore was one of the beneficiaries; she became a fixture of such black-oriented films of the '70s as Uptight (1969), Thomasine and Bushrod (1974) and Abby (1974). She continued to work sporatically through the 1980s and '90s, appearing as a grandmother in Disney's The Kid (2000) and in an episode of Judging Amy in 2001. Moore died in 2014 at age 99.

Trivia: Character actor, onscreen from 1959.

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: From his first film appearance in 1946 until his retirement sometime in the late 1960s, the wizened, rusty-voiced actor William Fawcett specialized in cantankerous farmers, grizzled old prospectors and Scroogelike millionaires. He worked frequently at Columbia, appearing in that studio's quota of "B" westerns and Arabian Nights quickies, as well as such serials as The Adventures of Sir Galahad (1949), in which he played the juicy bad-guy role of Merlin the Magician. Though occasionally seen in sizeable parts in "A" pictures--he played Andy Griffith's septuagenarian father in No Time For Sergeants (1957)--Fawcett's appearances in big-budgeters frequently went unbilled, as witness The Music Man (1962) and What a Way to Go (1964). Baby boomers will fondly recall William Fawcett as ranch-hand Pete ("who cut his teeth on a brandin' iron") in the Saturday-morning TV series Fury (1956-60).

Trivia: American character actor Lew Brown has been appearing on stage, screen and television for over 50 years.

Trivia: Australian actress Marjorie Bennett made her first film appearances in the pre-World War I years at the suggestion of her sister, silent film star Enid Bennett. Marjorie wasn't yet under the spell of the acting bug, so she abandoned performing for several years, re-emerging as a stage rather than screen actress. She returned to films in the late 1940s as a character player, notably in Charles Chaplin's Monsieur Verdoux (1947) and Limelight (1952). A prolific film and TV performer of the 1950s and 1960s, Marjorie Bennett was usually cast as huffy society matrons and haughty domestics; her massive bulk and easily outraged demeanor made her a perfect straight woman for such iconoclastic comedians as Red Skelton and the Three Stooges.

Trivia: A graduate of the Roger Corman school of fast-n-furious filmmaking, American cinematographer John A. Alonzo has been fortunate enough to be associated with some of the most significant films of the 1970s. He oversaw the photography of such classics as Harold and Maude (1971), Sounder (1972), Lady Sings the Blues (1972), and Norma Rae, and was co-photographer for Close Encounters of the Third Kind (1978). The ever-inventive Alonzo was the man whose 1974 Chinatown set the industry standard for the use of soft focus and saturated color to convey the "look" of the 1930s. He remained in demand into the 1980s and 1990s, shooting films as varied as the airborne actioner Blue Thunder (1981) and the cartoon/live action hybrid Cool World (1992). Thus far, Alonzo's only foray into film directing has been the engaging rock-n-roll comedy FM (1978).