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: Jeanne Bal's career took her from important roles in the musicals of Richard Rodgers and Oscar Hammerstein II to the science fiction of Gene Roddenberry, all in less than 20 years. She was a natural fit in show business by temperament and birth. Born in 1928 in California, she was the daughter of Peter Bal, a scene designer at Monogram Pictures. By her own account, she was a gangly girl -- too tall and gawky until her final year of high school when she blossomed and developed an interest in acting. Bal attended Los Angeles City College until she was lured away by a role in Gypsy Lady, a musical that took her from Los Angeles to New York and then to London. She returned to New York after the show closed and discovered that she also made an excellent model on top of being an actress; she supported herself that way between shows. Bal appeared in a series of flops until George Abbott picked her for a role in Call Me Madam. She subsequently joined the cast of Guys and Dolls as Sarah Brown, replacing Jan Clayton during the Los Angeles run of its national tour. Bal later made her mark as Nellie Forbush in the national touring company of South Pacific. Bal married Russ Bowman, the show's stage manager, during the tour. In between stage engagements, Bal made numerous appearances on television during the '50s in comedy and drama, and sang at local night spots such as The Maisonette in the St. Regis Hotel in midtown Manhattan. In 1958, Bal became a regular on the Sid Caesar Show on ABC, doing sketches with Caesar and co-stars Imogene Coca and Carl Reiner. The following season she was a regular cast member of the situation comedy Love and Marriage, playing William Demarest's daughter. From there she returned to Broadway in the cast of The Gay Life, and during the early '60s appeared in such dramatic series as Perry Mason, Route 66, Wagon Train, and The Fugitive. In 1963, she was also a regular member of the cast of the series Mr. Novak, starring James Franciscus. Bal occasionally played romantic roles, such as a guest on the touching "Instant Family" episode of the sitcom Hey Landlord (co-created by Garry Marshall), in which she played a single mother with a child who becomes seriously involved with the young protagonist Woody Banner (Will Hutchins). But her most memorable television role was ultimately far-removed from (though intertwined with) romance: Bal had the honor in 1966 of portraying the first monster ever seen on Star Trek, in the episode "The Man Trap." She gave a bravura performance in the role of Nancy Crater, the one-time love of series regular Dr. Leonard McCoy (DeForest Kelley); the role was far more complex than that, however, for the being who appears to be Nancy Crater to the starship's landing party is actually the last surviving member of a predatory alien species that has adopted the guise of the woman, stalking members of the crew, killing them for the salt content of their bodies. Bal plays a this deadly, thirsting predator (and immensely strong, as we see when she tosses Leonard Nimoy across a room) and was convincingly vulnerable, loving, and even flirtatious, and intensely ferocious and savage, having a look of desperate hunger in her eyes. At other times, she was just bone-chilling as she switched from acting like "Nancy" to behaving as the "salt vampire," touching her victims' faces in a mysterious deadly caress, the purpose of which becomes horribly clear in the final two minutes. Bal retired from television and from acting at the outset of the '70s.

Trivia: Broad-shouldered leading man John Hart was signed to a standard contract by Paramount in 1938. He appeared in a few "B"s like Tip-Off Girls (1938) and King of Alcatraz (1938) before his option was permitted to lapse. Returning to Hollywood after World War II, Hart worked as a journeyman actor in low-budget films: his biggest assignment of the late 1940s was the title role in the Columbia serial Jack Armstrong (1947). When Clayton Moore left the Lone Ranger TV series during a salary dispute in 1952, Hart was hired to play the Masked Rider of the Plains in 26 Ranger episodes. The replacement did not go unnoticed, and soon fans were demanding the return of Moore. Five years later, Hart co-starred with Lon Chaney Jr. in the Canadian-filmed syndicated TVer Hawkeye and the Last of the Mohicans. He spent the next two decades essaying small roles in films and TV shows and also worked prolifically as a voice-over artist. John Hart came back into the spotlight when the Wrather Corporation produced the 1981 theatrical feature Legend of the Lone Ranger; while Clayton Moore was once more on the "outs" with Wrather, the white-haired, virile Hart was available to play the key supporting role of Lucas Stryker (an inside joke: one of the principal writers of the Lone Ranger radio series was Fran Stryker).

Trivia: A man often referred to as "the Henry Higgins of Hollywood," Robert Easton was one of the most sought-after dialect coaches in the movie industry for decades. In that capacity, he worked with A-list clients including Sir Laurence Olivier, Gregory Peck, Anne Hathaway, Ben Kingsley and Robert Duvall. Easton devoted the rest of his time to supporting character roles, that took advantage of his uncanny ability to slip from one regional or ethnic accent into another.In the beginning, Milwaukee native Easton earned much of his cinematic bread and butter playing Southerners. He first gained national attention as one of the "Quiz Kids" on the radio series of the same name. In films from 1949, the gangling Easton was often seen as a blank-faced, slow-talking hayseed. He appeared in guest spots on series including The Beverly Hillbillies, Get Smart, The Mod Squad and The Bionic Woman, voiced a regular character on the animated program Stingray from 1964 through 1965, and turned up in features such as Pete's Dragon, Working Girl, Pet Sematary II, Needful Things and Primary Colors. Easton died at age 81 in December 2011.

Trivia: It's hard to believe that American actor Walter Brooke, who always looked about 45 years old, actually made his first film in 1942 when he was all of 27. Confined for the most part to B productions after his film debut in Bullet Scars (1942), Brooke's film roles improved as he grew into his familiar businesslike demeanor, as in his plot-motivating character in Conquest of Space (1953). Character actors never seem to be out of work, and Brooke was no exception. A full two decades after his film bow, he was still getting good parts in films like The Graduate (1967) (as Mr. Maguire) and Tora! Tora! Tora! (1970). In between film assignments, Brooke kept busy on television. Among his many guest-starring spots (including the 1963 Twilight Zone episode "A Short Drink from a Certain Fountain"), Walter Brooke played Bill Herbert for two years on the early serial One Man's Family (1950-52); he was a regular two other soap operas, Three Steps to Heaven (1953) and Paradise Bay (1965); and he was seen as District Attorney Scanlon on the adventure series The Green Hornet (1966), costarring with Van Williams and a young Bruce Lee.