Trivia: In the first ten years of his life, Raymond Burr moved from town to town with his mother, a single parent who supported her little family by playing the organ in movie houses and churches. An unusually large child, he was able to land odd jobs that would normally go to adults. He worked as a ranch hand, a traveling tinted-photograph salesman, a Forest service fire guard, and a property agent in China, where his mother had briefly resettled. At 19, he made the acquaintance of film director Anatole Litvak, who arranged for Burr to get a job at a Toronto summer-stock theater. This led to a stint with a touring English rep company; one of his co-workers, Annette Sutherland, became his first wife. After a brief stint as a nightclub singer in Paris, Burr studied at the Pasadena Playhouse and took adult education courses at Stanford, Columbia, and the University of Chunking. His first New York theatrical break was in the 1943 play Duke in Darkness. That same year, his wife Sutherland was killed in the same plane crash that took the life of actor Leslie Howard. Distraught after the death of his wife, Burr joined the Navy, served two years, then returned to America in the company of his four-year-old son, Michael Evan Burr (Michael would die of leukemia in 1953). Told by Hollywood agents that he was overweight for movies, the 340-pound Burr spent a torturous six months living on 750 calories per day. Emerging at a trim 210 pounds, he landed his first film role, an unbilled bit as Claudette Colbert's dancing partner in Without Reservations (1946). It was in San Quentin (1946), his next film, that Burr found his true metier, as a brooding villain. He spent the next ten years specializing in heavies, menacing everyone from the Marx Brothers (1949's Love Happy) to Clark Gable (1950's Key to the City) to Montgomery Clift (1951's A Place in the Sun) to Natalie Wood (1954's A Cry in the Night). His most celebrated assignments during this period included the role of melancholy wife murderer Lars Thorwald in Hitchcock's Rear Window (1954) and reporter Steve Martin in the English-language scenes of the Japanese monster rally Godzilla (1956), a characterization he'd repeat three decades later in Godzilla 1985. While he worked steadily on radio and television, Burr seemed a poor prospect for series stardom, especially after being rejected for the role of Matt Dillon on Gunsmoke on the grounds that his voice was too big. In 1957, he was tested for the role of district attorney Hamilton Burger in the upcoming TV series Perry Mason. Tired of playing unpleasant secondary roles, Burr agreed to read for Burger only if he was also given a shot at the leading character. Producer Gail Patrick Jackson, who'd been courting such big names as William Holden, Fred MacMurray, and Efrem Zimbalist Jr., agreed to humor Burr by permitting him to test for both Burger and Perry Mason. Upon viewing Burr's test for the latter role, Perry Mason creator Erle Stanley Gardner jumped up, pointed at the screen, and cried "That's him!" Burr was cast as Mason on the spot, remaining with the role until the series' cancellation in 1966 and winning three Emmies along the way. Though famous for his intense powers of concentration during working hours -- he didn't simply play Perry Mason, he immersed himself in the role -- Burr nonetheless found time to indulge in endless on-set practical jokes, many of these directed at his co-star and beloved friend, actress Barbara Hale. Less than a year after Mason's demise, Burr was back at work as the wheelchair-bound protagonist of the weekly detective series Ironside, which ran from 1967 to 1975. His later projects included the short-lived TVer Kingston Confidential (1976), a sparkling cameo in Airplane 2: The Sequel (1982), and 26 two-hour Perry Mason specials, lensed between 1986 and 1993. Burr was one of the most liked and highly respected men in Hollywood. Fiercely devoted to his friends and co-workers, Burr would threaten to walk off the set whenever one of his associates was treated in a less than chivalrous manner by the producers or the network. Burr also devoted innumerable hours to charitable and humanitarian works, including his personally financed one-man tours of Korean and Vietnamese army bases, his support of two dozen foster children, and his generous financial contributions to the population of the 4,000-acre Fiji island of Naitauba, which he partly owned. Despite his unbounded generosity and genuine love of people, Burr was an intensely private person. After his divorce from his second wife and the death from cancer of his third, Burr remained a bachelor from 1955 until his death. Stricken by kidney cancer late in 1992, he insisted upon maintaining his usual hectic pace, filming one last Mason TV movie and taking an extended trip to Europe. In his last weeks, Burr refused to see anyone but his closest friends, throwing "farewell" parties to keep their spirits up. Forty-eight hours after telling his longtime friend and business partner Robert Benevides, "If I lie down, I'll die," 76-year-old Raymond Burr did just that -- dying as he'd lived, on his own terms.

Trivia: The scion of a wealthy Detroit family, William Talman would later claim that he learned to "champion the underdog" while a member of his Episcopal church boxing team. In his 20s, Talman became an evangelist for the Moral Re-Armament Movement, and later made at stab at studying law. He drifted to New York, where, through the intervention of an actor friend of his father, he began picking up small stage roles. After extensive experience in New York and in the touring company of Of Mice and Men, Talman moved to Hollywood, where in 1949 he played his first important screen role as a gangster in Red, Hot and Blue (1949). At his best when his characters were at their worst, Talman developed into one of Tinseltown's most fearsome screen villains, never more so than when he played a psycho killer who slept with one eye open in the noir classic The Hitchhiker (1955). In 1957, Talman was cast as Hamilton Burger, the perennially losing District Attorney on the popular TV weekly Perry Mason. He remained with the series until March of 1960, when he was arrested for throwing a wild party where vast quantities of illegal substances were consumed. The Perry Mason producers had every intention of firing Talman from the series, but he was reinstated thanks to the loyal intervention of his co-stars -- particularly Raymond Burr, who threatened to quit the show if Talman wasn't given a second chance. William Talman was last seen on TV in a series of anti-smoking public service announcements; these spots were run posthumously, at Talman's request, following his death from lung cancer at the age of 53.

Trivia: Connie Cezon's main claim to fame is as a comic actress, and a romantic and slapstick foil for the Three Stooges; but it was her resemblance to Bette Davis that earned her a place (albeit uncredited) in the feature film Dead Ringer, and a mention in the actress' autobiography. Connie Cezon (whose name was often spelled "Cezan" in credits) is probably best remembered by fans of the Three Stooges for the five screen appearances she made with the trio, beginning with Corny Casanovas in 1952. Cezon proved in her onscreen run-ins with the Stooges that she could give as good as she could get, leading them to comedic ruin with her romantic wiles in the movie. In Tricky Dicks (1953), the trio's parody of Detective Story, she played a slick pickpocket, and in Hot Stuff (1956), Cezon dished out mayhem to an annoyingly flirtatious Moe Howard; and she was on the receiving end of the slapstick humor for Rusty Romeos (1957), a remake of Corny Casanovas. Born Consuelo Cezon, she trained in musical comedy and melodrama at the Pasadena Playhouse, appeared for four years in blackouts for Ken Murray, and worked in legitimate theater in Hollywood and New York. Her comedic skills brought her to the attention of playwright Moss Hart, who used her in a handful of his productions. She did variety television with Murray, and also did straight acting roles -- with some understated comedy -- in the recurring role of receptionist Gertie Lade on the classic late-'50s series Perry Mason, starring Raymond Burr. Cezon's feature-film performances have been few in number -- apart from a small role in the Jerry Lewis feature The Errand Boy (1962), her most notable big-screen appearances were as a waitress in Bruno Ve Sota's low-budget film noir The Female Jungle (1956), and serving as Bette Davis' seen-from-the-back double in Dead Ringer (1964). Her resemblance to the star was essential in making the movie -- in which Davis played identical twins -- and so impressed Davis that she later remarked that the director could have used Cezon in place of her in certain shots.

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: Few actresses of the 1950s could play shanty tramps and "trailer trash" with more gusto than Fay Spain. The actress' signature role was Darlin' Jill, the inbred temptress in Erskine Caldwell's God's Little Acre (1958). Spain also worked for quickie-movie king Albert Zugsmith, playing the Earthly emissary of the demonic Mickey Rooney in Private Lives of Adam and Eve (1960). Spain also played a relatively sympathetic character in 1960's Al Capone. Periodically retiring in the late 1960s and early 1970s, Fay Spain's last important film role was Marcia Roth, wife of mobster Hyman Roth (Lee Strasberg), in The Godfather, Part II (1972).

Trivia: American actor Robert Burton had the haunted eyes and funereal manner of a city coroner. As such, his film roles were confined to such stock parts as the crooked politician, the unfeeling physician, the self-absorbed scientist, the crooked attorney, the weakling politician, the hidden killer, or the surly fellow whom the heroine shouldn't have married. Burton's movies seldom made the "classic" category; while he appeared in several "A" films like The Big Heat (1953), Compulsion (1959) and The Manchurian Candidate (1962) (appearing in the latter as the convention chairman in the climactic assassination sequence), most of his movies were along the lines of I Was a Teenage Frankenstein (1957) and Invasion of the Animal People (1962) (for which he was top-billed). Robert Burton was also a frequent TV guest star, though his credits should not be confused with those of soap-opera regular Robert "Skip" Burton.

Trivia: Hatchet-faced character actor Charles Lane has been one of the most instantly recognizable non-stars in Hollywood for more than half a century. Lane has been a familiar figure in movies (and, subsequently, on television) for 60 years, portraying crotchety, usually miserly, bad-tempered bankers and bureaucrats. Lane was born Charles Levison in San Francisco in 1899 (some sources give his year of birth as 1905). He learned the ropes of acting at the Pasadena Playhouse during the middle/late '20s, appearing in the works of Shakespeare, Chekhov, and Noel Coward before going to Hollywood in 1930, just as sound was fully taking hold. He was a good choice for character roles, usually playing annoying types with his high-pitched voice and fidgety persona, encompassing everything from skinflint accountants to sly, fast-talking confidence men -- think of an abrasive version of Bud Abbott. His major early roles included the stage manager Max Jacobs in Twentieth Century and the tax assessor in You Can't Take It With You. One of the busier character men in Hollywood, Lane was a particular favorite of Frank Capra's, and he appeared in Mr. Deeds Goes to Town, Mr. Smith Goes to Washington, Arsenic and Old Lace, It's a Wonderful Life -- with a particularly important supporting part in the latter -- and State of the Union. He played in every kind of movie from screwball comedy like Ball of Fire to primordial film noir, such as I Wake Up Screaming. As Lane grew older, he tended toward more outrageously miserly parts, in movies and then on television, where he turned up Burns & Allen, I Love Lucy, and Dear Phoebe, among other series. Having successfully played a tight-fisted business manager hired by Ricky Ricardo to keep Lucy's spending in line in one episode of I Love Lucy (and, later, the U.S. border guard who nearly arrests the whole Ricardo clan and actor Charles Boyer at the Mexican border in an episode of The Lucy-Desi Comedy Hour), Lane was a natural choice to play Lucille Ball's nemesis on The Lucy Show. Her first choice for the money-grubbing banker would have been Gale Gordon, but as he was already contractually committed to the series Dennis the Menace, she hired Lane to play Mr. Barnsdahl, the tight-fisted administrator of her late-husband's estate during the first season of the show. Lane left the series after Gordon became available to play the part of Mr. Mooney, but in short order he moved right into the part that came very close to making him a star. The CBS country comedy series Petticoat Junction needed a semi-regular villain and Lane just fit the bill as Homer Bedloe, the greedy, bad-tempered railroad executive whose career goal was to shut down the Cannonball railroad that served the town of Hooterville. He became so well-known in the role, which he only played once or twice a season, that at one point Lane found himself in demand for personal appearance tours. In later years, he also turned up in roles on The Beverly Hillbillies, playing Jane Hathaway's unscrupulous landlord, and did an excruciatingly funny appearance on The Odd Couple in the mid-'70s, playing a manic, greedy patron at the apartment sale being run by Felix and Oscar. Lane also did his share of straight dramatic roles, portraying such parts as Tony Randall's nastily officious IRS boss in the comedy The Mating Game (1959), the crusty River City town constable in The Music Man (1962) (which put Lane into the middle of a huge musical production number), the wryly cynical, impatient judge in the James Garner comedy film The Wheeler-Dealers (1963), and portraying Admiral William Standley in The Winds of War (1983), based on Herman Wouk's novel. He was still working right up until the late '80s, and David Letterman booked the actor to appear on his NBC late-night show during the middle of that decade, though his appearance on the program was somewhat disappointing and sad; the actor, who was instantly recognized by the studio audience, was then in his early nineties and had apparently not done live television in many years (if ever), and apparently hadn't been adequately prepped. He seemed confused and unable to say much about his work, which was understandable -- the nature of his character parts involved hundreds of roles that were usually each completed in a matter or two or three days shooting, across almost 60 years. Lane died at 102, in July 2007 - about 20 years after his last major film appearance.