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 son of legendary Broadway actor DeWolfe Hopper and movie actress Hedda Hopper, William Hopper made his film debut as an infant in one of his father's films. The popular consensus is that the younger Hopper was given his first talking-picture break because of his mother's reputation as the most feared of the Hollywood gossips. Not so: Hopper was signed to his first Warner Bros. contract in 1937, a year or so before Hedda had established herself as the queen of the dirt-dishers. At first billing himself as DeWolfe Hopper Jr., Hopper languished in bit parts and walk-ons for several years. He wasn't able to graduate to better roles until the 1950s, by which time he was calling himself William Hopper. After a largely undistinguished film career (notable exceptions to his usual humdrum assignments were his roles in 20 Million Miles to Earth [1957] and The Bad Seed [1956]) Hopper finally gained fame -- and on his own merits -- as private detective Paul Drake on the enormously popular Perry Mason television series, which began its eight-season run in 1957. In a bizarre coincidence, Perry Mason left the air in 1966, the same year that William Hopper's mother Hedda passed away.

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: From the end of the '50s until the mid-'60s, perky, buxom Joan O'Brien was one of Hollywood's most promising leading ladies, specializing in comedic roles. Born in Cambridge, MA, she was raised in Southern California and started singing at an early age. At 15, she was discovered by Tennessee Ernie Ford's manager, Cliffie Stone, and was signed up as a regular performer on the local television country music showcase Hometown Jamboree. By 1953, at 17, she had moved to the CBS network as a singer on The Bob Crosby Show, an engagement that lasted four years. She was married very briefly during this period to guitarist Billy Strange, with whom she had one son. O'Brien took her first screen test in 1957 at MGM and earned a co-starring role opposite Dean Jones in David Friedkin's crime drama Handle With Care (1958). By that time, O'Brien was on her second marriage and was pregnant, so she put her fledgling movie career on hold for almost two years. She tested for Blake Edwards' Operation Petticoat (1959) and was cast alongside Cary Grant and Tony Curtis. Though the movie made ample use of her 38-inch bosom as part of its plot (about army nurses and an all-male navy crew), it also gave O'Brien a chance to show off her comedic skills as the accident-prone Lt. Crandall, who wins the heart of Cary Grant's character by the movie's end. She later played a role in John Wayne's historical epic The Alamo (1960), but it was soon after her work in this film that O'Brien's personal problems began slowing her career momentum. She continued doing television over the next few years, including episodes of Wagon Train, Bachelor Father, and other television series; however, her performances attracted less attention than her stormy marital problems and other serious personal difficulties. With her looks and comedic skills, O'Brien could easily have been a rival to Barbara Eden, but instead she receded from public life following performances on The Man From U.N.C.L.E. and Perry Mason in late 1964. Her final big-screen appearances were in the Elvis Presley film It Happened at the World's Fair (1963) and MGM's jukebox movie Get Yourself a College Girl (1964).

Trivia: A former concert pianist and beauty contest winner, well-endowed blonde leading lady Allison Hayes entered films in 1954 as a Universal-International contract starlet. Most of her film work in the late 1950s was confined to inexpensive drive-in fare, notably such monster rallies as The Unearthly, Zombies of Mora Tau and The Hypnotic Eye. In 1961, Allison appeared on a weekly basis as nightclub songstress Chloe on the TV detective series Acapulco. Though her career was by and large unmemorable, Hayes achieved immortality of sorts as the scantily clad star of the original 1957 version of The Attack of the 50 Foot Woman; few who've seen this picture can forget the awesome spectacle of the gigantasized Allison stalking through a tinker-toy Las Vegas, bellowing "HAAARRRYYY.....I want my HUSBAAAAND". After several years' inactivity, Allison Hayes was rediscovered for the nostalgia-convention circuit by actor and horror enthusiast Barry Brown; alas, soon afterward, the 47-year-old actress died of blood poisoning.

Trivia: Character actor, onscreen from 1937.

Trivia: Broadway actor Richard Gaines made his initial film appearance as Patrick Henry in The Howards of Virginia (1940). Gaines is best-known to modern audiences as Jean Arthur's stuffy suitor C. J. Pendergast in George Stevens' The More the Merrier (1942). Less pompous but no less dignified were his performances as George Washington in DeMille's Unconquered (1947) and Professor Jackson in Flight to Mars (1953). Either by accident or design, Richard Gaines made most of his last screen appearances at MGM, playing DAs, doctors and other briskly professional types.

Trivia: Bald, hook-nosed character actor John Harmon launched his film career in 1939. Harmon's screen assignments ranged from shifty-eyed gangsters, rural law enforcement officials and hen-pecked husbands. He was seen in films as diverse as Chaplin's Monsieur Verdoux (1947) and the "B" horror flick Monster of Piedra Blancas. Star Trek fans will remember John Harmon for his supporting role in the 1967 episode "City on the Edge of Forever."

Trivia: Michael Fox played character parts--usually villains--in scores of television shows and in more than 100 films, mostly during the '50s and '60s. Fans of the CBS daily serial The Bold and the Beautiful will remember him for having played Saul Feinberg from 1987-1986. Born and raised in Yonkers, New York and first made his name on Broadway starring opposite Lillian Gish in The Story of Mary Stuart. Fox made his film debut in films such as Voodoo Tiger and Backhawks (both 1952). Later in his career, Fox founded the Theater East actors organization. Fox passed away at the Motion Picture Home, Woodland Hills, California. The 75-year-old was suffering from pneumonia at the time.

Trivia: Character actor Harry Fleer appeared in several feature films from the late '50s through the mid-'60s, as well as in many 1960s television shows. His early film career was characterized by appearances in low-budget horror outings. Fleer's television credits include guest-starring roles on shows ranging from Superman and Bat Masterson to Twilight Zone and The Green Hornet.

Trivia: Probably no one came by the label "Runyon-esque" more honestly than Polish-born actor George E. Stone; a close friend of writer Damon Runyon, Stone was seemingly put on this earth to play characters named Society Max and Toothpick Charlie, and to mouth such colloquialisms as "It is known far and wide" and "More than somewhat." Starting his career as a Broadway "hoofer," the diminutive Stone made his film bow as "the Sewer Rat" in the 1927 silent Seventh Heaven. His most prolific film years were 1929 to 1936, during which period he showed up in dozens of Warner Bros. "urban" films and backstage musicals, and also appeared as the doomed Earle Williams in the 1931 version of The Front Page. He was so closely associated with gangster parts by 1936 that Warners felt obligated to commission a magazine article showing Stone being transformed, via makeup, into an un-gangsterish Spaniard for Anthony Adverse (1936). For producer Hal Roach, Stone played three of his oddest film roles: a self-pitying serial killer in The Housekeeper's Daughter (1938), an amorous Indian brave in Road Show (1940), and Japanese envoy Suki Yaki in The Devil With Hitler (1942). Stone's most popular role of the 1940s was as "the Runt" in Columbia's Boston Blackie series. In the late '40s, Stone was forced to severely curtail his acting assignments due to failing eyesight. Though he was totally blind by the mid-'50s, Stone's show business friends, aware of the actor's precarious financial state, saw to it that he got TV and film work, even if it meant that his co-stars had to literally lead him by the hand around the set. No one was kinder to George E. Stone than the cast and crew of the Perry Mason TV series, in which Stone was given prominent billing as the Court Clerk, a part that required nothing more of him than sitting silently at a desk and occasionally holding a Bible before a witness.