Trivia: Once quoted as saying "I've made a career of playing sons of bitches," Kirk Douglas is considered by many to be the epitome of the Hollywood hard man. In addition to acting in countless films over the course of his long career, Douglas has served as a director and producer, and will forever be associated with his role in helping to put an end to the infamous Hollywood black list.Douglas (born Issur Danielovitch) was the son Russian Jewish immigrant parents in Amsterdam, NY, on December 9, 1916. He waited tables to finance his education at St. Lawrence University, where he was a top-notch wrestler. While there, he also did a little work in the theater, something that soon gave way to his desire to pursue acting as a career. After some work as a professional wrestler, Douglas held various odd jobs, including a stint as a bellhop, to put himself through the American Academy of Dramatic Arts. In 1941, he debuted on Broadway, but had only two small roles before he enlisting in the Navy and serving in World War II. Following his discharge, Douglas returned to Broadway in 1945, where he began getting more substantial roles; he also did some work on radio. After being spotted and invited to Hollywood by producer Hal Wallis, Douglas debuted onscreen in The Strange Love of Martha Ivers (1946), but he did not emerge as a full-fledged star until he portrayed an unscrupulously ambitious boxer in Champion (1949); with this role (for which he earned his first Oscar nomination), he defined one of his principle character types: a cocky, selfish, intense, and powerful man. Douglas fully established his screen persona during the '50s thanks to strong roles in such classics as Billy Wilder's Ace in the Hole (1951), William Wyler's Detective Story (1951), and John Sturges' Gunfight at the O.K. Corral (1957). He earned Oscar nominations for his work in The Bad and the Beautiful (1952) and Lust for Life (1956), both of which were directed by Vincente Minnelli. In 1955, the actor formed his own company, Bryna Productions, through which he produced both his own films and those of others, including Stanley Kubrick's Paths of Glory (1957) and Spartacus (1960); both of these movies would prove to be two of the most popular and acclaimed of Douglas' career. In 1963, he appeared on Broadway in Ken Kesey's One Flew over the Cuckoo's Nest, but was never able to interest Hollywood in a film version of the work; he passed it along to his son Michael Douglas (a popular actor/filmmaker in his own right), who eventually brought it to the screen to great success.During the '60s, Douglas continued to star in such films as John Huston's The List of Adrian Messenger (1963) and John Frankenheimer's Seven Days in May (1964), both of which he also produced. He began directing some of his films in the early '70s, scoring his greatest success as the director, star, and producer for Posse (1975), a Western in which he played a U.S. marshal eager for political gain. Though he continued to appear in films, by the '80s Douglas began volunteering much of his time to civic duties. Since 1963, he had worked as a Goodwill Ambassador for the State Department and the USIA, and, in 1981, his many contributions earned him the highest civilian award given in the U.S., the Presidential Medal of Freedom. For his public service, Douglas was also given the Jefferson Award in 1983. Two years later, the French government dubbed him Chevalier of the Legion of Honor for his artistic contributions. Other awards included the American Cinema Award (1987), the German Golden Kamera Award (1988), and the National Board of Review's Career Achievement Award (1989). In 1995, the same year he suffered a debilitating stroke, Douglas was presented with an honorary Oscar by the Academy; four years later, he was the recipient of the American Film Institute's Lifetime Achievement Award, an honor that was accompanied by a screening of 16 of his films. In addition to his film work, Douglas has also written two novels: Dance with the Devil (1990) and The Secret (1992). He published his autobiography, The Ragman's Son, in 1988.In March of 2009, Douglas starred Before I Forget, a one man show that took place at the Center Theater Group's Kirk Douglas Theatre in Culver City, California. All four performances of the show were filmed and later made into a documentary that eventually screened in 2010. The following year, Douglas presented the Oscar for Best Supporting Actress at the 83rd Academy Awards.

Trivia: American actress Laraine Day, born Laraine Johnson, a descendant of a prominent Mormon pioneer leader, moved with her family from Utah to California, where she began her acting career with the Long Beach Players. In 1937 she debuted onscreen in a bit part in Stella Dallas; shortly afterwards she won lead roles in several George O'Brien westerns at RKO, in which she was billed as "Laraine Hays" and then "Laraine Johnson." In 1939 she signed with MGM, going on to become popular and well-known (billed as "Laraine Day") as Nurse Mary Lamont, the title character's fiancee in a string of seven "Dr. Kildare" movies beginning with Calling Dr. Kildare (1939); Lew Ayres played Dr. Kildare. During the '40s and '50s she played a variety of leads in medium-budget films made by several studios. She rarely appeared in films after 1960, but later occasionally appeared on TV, portraying matronly types. She was married to famous baseball player Leo Durocher from 1947-60, when she was sometimes referred to as "the first lady of baseball." Her first husband was singer Ray Hendricks, and her third, TV producer Michael Grilkhas. She is the author of a book of memoirs, Day With Giants (1952), and an inspirational book, The America We Love; in the '70s she was the official spokeswoman for the Make America Better program of the National Association of Real Estate Boards, traveling across the country speaking on environmental issues. Day died at age 87 in November 2007.

Trivia: Actor Keenan Wynn was the son of legendary comedian Ed Wynn and actress Hilda Keenan, and grandson of stage luminary Frank Keenan. After attending St. John's Military Academy, Wynn obtained his few professional theatrical jobs with the Maine Stock Company. After overcoming the "Ed Wynn's Son" onus (his father arranged his first job, with the understanding that Keenan would be on his own after that), Wynn developed into a fine comic and dramatic actor on his own in several Broadway plays and on radio. He was signed to an MGM contract in 1942, scoring a personal and professional success as the sarcastic sergeant in 1944's See Here Private Hargrove (1944). Wynn's newfound popularity as a supporting actor aroused a bit of jealousy from his father, who underwent professional doldrums in the 1940s; father and son grew closer in the 1950s when Ed, launching a second career as a dramatic actor, often turned to his son for moral support and professional advice. Wynn's film career flourished into the 1960s and 1970s, during which time he frequently appeared in such Disney films as The Absent-Minded Professor (1960) and The Love Bug (1968) as apoplectic villain Alonso Hawk. Wynn also starred in such TV series as Troubleshooters and Dallas. Encroaching deafness and a drinking problem plagued Wynn in his final years, but he always delivered the goods onscreen. Wynn was the father of writer/director Tracy Keenan Wynn and writer/actor Edmund Keenan (Ned) Wynn.

Trivia: "A beauty with brains" was the demeaning tag once attached to such actresses as Claudette Colbert, Madeline Carroll and Irene Dunne (it was assumed by some thick-eared publicists that individual qualities of beauty and brains normally cancelled each other out). In 1942, Helen Walker, fresh from her Broadway triumph in a play called Jason, was added to the intelligent-beauty categorization thanks to her impressive film debut in Lucky Jordan. Walker continued impressing fans and critics alike with her work in The Man in Half Moon Street (1944) and Murder He Says (1945). Just as her career was gaining momentum, Helen was seriously injured in a 1946 auto accident. She made a courageous comeback in roles calling for sophisticated shrewery -- 1947's Nightmare Alley was probably her best post-accident film -- but neither she nor her career ever completely recovered. In 1955, she retired from the screen; five years later, a group of her actress friends staged a benefit for her when her house burned to the ground. Helen Walker died of cancer at the age of 47.

Trivia: Born Hubert Vallee, he began playing the saxophone in his teens, then formed his own band in college. After graduating he formed another band, The Connecticut Yankees. He soon became popular as a singer on radio, in nightclubs, and on the stage; he became known as a "crooner," and his singing had a mysterious effect on some of the women in his audience, who were said to "swoon." He began appearing in films at the advent of the sound era; he starred in numerous light romantic films and shorts in the '30s, often seen holding his trademark, a megaphone. Later a second phase of his screen career began when he specialized in caricaturing stuffy, eccentric millionaires. From 1943-44 he was married to actress Jane Greer. He wrote two memoirs, My Time is Your Time (1962) and Let the Chips Fall (1975).

Trivia: American actress Florence Bates had been a moderately successful lawyer for two decades when, as a lark, she started acting at California's Pasadena Playhouse in the mid 1930s. After playing a small role in the 1937 film Man In Blue (1937), Bates was "officially" discovered by Hollywood when she was cast as vainglorious dowager Mrs. Van Hopper in Alfred Hitchcock's Oscar-winning Rebecca (1940). From that point onward, Bates became one of Hollywood's favorite "society dragons," most effectively cast in comedies like Heaven Can Wait (1943), as one of Don Ameche's hell-bound old flames, and in The Secret Life of Walter Mitty (1948), as Danny Kaye's terrifying future mother-in-law. Her most significant "straight" part was in I Remember Mama (1948), as the forbiddingly famous author Florence Dana Morehead, whom Irene Dunne, as Mama, timidly approaches on behalf of Dunne's aspiring-writer daughter. Though in fragile health, Florence Bates entered television with the same forcefulness as she'd invaded movies, providing a welcome touch of professionalism to the otherwise atrocious early 1950s situation comedy The Hank McCune Show.

Trivia: Born to a non-theatrical British family, Alan Mowbray was in his later years vague concerning the exact date that he took to the stage. In some accounts, he was touring the provinces before joining the British Navy in World War I; in others, he turned to acting after the war, purportedly because he was broke and had no discernible "practical" skills. No matter when he began, Mowbray climbed relatively quickly to Broadway and London stardom, spending several seasons on the road with the Theater Guild; his favorite stage parts were those conceived by Bernard Shaw and Noel Coward. Turning to films in the early talkie era, Mowbray received good notices for his portrayal of George Washington in 1931's Alexander Hamilton (a characterization he'd repeat along more comic lines for the 1945 musical Where Do We Go From Here?). He also had the distinction of appearing with three of the screen's Sherlock Holmeses: Clive Brook (Sherlock Holmes [1932]), Reginald Owen (A Study in Scarlet [1933], in which Mowbray played Lestrade), and Basil Rathbone (Terror by Night [1946]). John Ford fans will remember Mowbray's brace of appearances as alcoholic ham actors in My Darling Clementine (1946) and Wagonmaster (1950). Lovers of film comedies might recall Mowbray's turns as the long-suffering butler in the first two Topper films and as "the Devil Himself" (as he was billed) in the 1942 Hal Roach streamliner The Devil With Hitler. And there was one bona fide romantic lead (in Technicolor yet), opposite Miriam Hopkins in Becky Sharp (1935). Otherwise, Mowbray was shown to best advantage in his many "pompous blowhard" roles, and in his frequent appearances as the "surprise" killer in murder mysteries (Charlie Chan in London, The Case Against Mrs. Ames, Abbott and Costello Meet the Killer: Boris Karloff, and so many others). In his off hours, Mowbray was a member of several acting fraternities, and also of the Royal Geographic Society. One of Alan Mowbray's favorite roles was as the softhearted con man protagonist in the TV series Colonel Humphrey Flack, which ran on the Dumont network in 1953, then as a syndicated series in 1958.

Trivia: While visiting a high school pal in Los Angeles in 1924, roly-poly Grady Sutton made the acquaintance of his friend's brother, director William A. Seiter. Quite taken by Sutton's bucolic appearance and comic potential, Seiter invited Sutton to appear in his next film, The Mad Whirl. Sutton enjoyed himself in his bit role, and decided to remain in Hollywood, where he spent the next 47 years playing countless minor roles as dimwitted Southerners and country bumpkins. Usually appearing in comedies, Sutton supported such master clowns as Laurel and Hardy and W.C. Fields (the latter reportedly refused to star in 1940's The Bank Dick unless Sutton was given a good part); he also headlined in two short-subjects series, Hal Roach's The Boy Friends and RKO's The Blondes and the Redheads. Through the auspices of Blondes and the Redheads director George Stevens, Sutton was cast as Katharine Hepburn's cloddish dancing partner in Alice Adams (1935), the first of many similar roles. Sutton kept his hand in movies until 1971, and co-starred on the 1966 Phyllis Diller TV sitcom The Pruitts of Southampton. A willing interview subject of the the 1960s and 1970s, Grady Sutton went into virtual seclusion after the death of his close friend, director George Cukor.

Trivia: For as long as she could remember, Irene Ryan was performing on some stage or other. From the 1920s onward, she and her husband Timothy Ryan formed the popular vaudeville duo Tim and Irene. They carried over their song, dance and snappy patter into a brief series of two-reel comedies and several radio programs. During her first burst of filmmaking activity in the 1940s, Ryan played comedy relief parts in a number of B pictures scripted by her husband. Her standard characterization at this time was the traditional wisecracking, man-hungry spinster. During and after her divorce, Ryan continued accepting roles of varying sizes in such pictures as Woman on the Beach (1948), My Dear Secretary (1948), Mighty Joe Young (1949), Bonzo Goes to College (1952) and Blackbeard the Pirate (1952). By the early 1960s, Ryan was (as she would later cheerfully admit) pretty much washed up in show business. All this changed when she was invited to audition for an upcoming sitcom about a family of mountaineers who suddenly come into a fortune. Ryan read one single line and was hired on the spot: she played Granny on The Beverly Hillbillies from 1962 through 1971, never missing an opportunity to express gratitude for her involvement in so popular a project. No sooner had Hillbillies folded than Irene Ryan was cast in a show-stopping role in the 1971 Broadway musical Pippin, scoring yet another personal success--which, sadly, turned out to be her last.

Trivia: Statuesque brunette actress Gale Robbins started out as a model and nightclub singer. Entering films in 1944, Robbins spent most of her screen time playing alluring temptresses and brassy showgirls, bearing such character names as Dawn, Dixie, Shirlee, and Ruby. In 1950's The Fuller Brush Girl, she socks across a sizzling striptease rendition of "Put the Blame on Mame"; and in 1953's Calamity Jane, she is briefly seen as the pink-tight-clad Chicago songstress Adelaide Adams, wowing the first-nighters with her performance of "It's Harry I'm Planning to Marry." Retiring in 1958, Robbins made a brief comeback on the nightclub trail nearly 20 years later. Gale Robbins was 58 years old when she died of lung cancer in 1980.

Trivia: Actress Virginia Hewitt appeared in a few films from the late '40s though the mid '50s, but she is best remembered for her work in the early 1950s sci-fi television show Space Patrol. Hewitt got her start modeling and working in regional theater.

Trivia: Actress, dancer, and model Helene Stanley got her start in films singing in 1942's Girl's Town. She then danced for a time with the Jivin' Jacks and Jills in a few films. Around 1950, she became a live-action model for the Walt Disney-animated feature Cinderella. The movements and body type of Cinderella belong to Stanely. She went on to provide the models for Sleeping Beauty and the wife in 101 Dalmations. She also continued appearing in a few live-action features. Stanley retired from film in the early '60s.

Trivia: Joe Kirk was seldom more than a supporting actor -- and usually a bit player -- in feature films, but he left an indelible mark on 1950s television comedy, through his association with Bud Abbott and Lou Costello. That association was partly professional and largely personal, as he was Costello's brother-in-law. Some sources credit Kirk with film appearances as far back as the mid-'30s in movies such as Circle of Death and The Taming of the West, but his main body of movie work began at around the same time that Abbott & Costello first arrived in Hollywood in 1940. His early appearances weren't in their comedies (though that would soon change) but, rather, in the movies of the East Side Kids at Monogram, specifically Spooks Run Wild, Mr. Wise Guy, Smart Alecks, and Dick Tracy vs. Crime Inc., usually as gangsters and thugs who had little more to do than stand there and look menacing in a group. He began appearing in his brother-in-law's movies with Pardon My Sarong (1942). Usually in small roles and often as gangsters and henchmen with occasional comic bits and once in a while advancing the plot, it wasn't until Abbott & Costello Go To Mars (1953) that Kirk got a featured scene; in a comic slapstick battle of wits (or half-wits) with Lou Costello. By that time, Abbott & Costello had already given Kirk the role by which he would become best known, as Mr. Bacciagalupe on The Abbott & Costello Show. With his phony moustache and broken English, Kirk was a masterpiece of politically incorrect characterization, but also extremely funny in his slapstick interactions with Costello, usually batting Costello around the set in one way or other. Most of the rest of Kirk's career was as a general purpose actor, playing a succession of clerks, police officers, workers, and character roles in films by directors as different as Jean Yarbrough's (Hot Shots) and Fritz Lang's (Beyond a Reasonable Doubt). He retired in 1956, around the same time that Abbott & Costello split up and their respective careers ended.

Trivia: Trained in prep school for a career as a businessman, Baltimore-born Russell Hicks chucked his predestined lifestyle for a theatrical career, over the protests of his family. As an actor, Hicks came full circle, spending the bulk of his career playing businessmen! Though he claimed to have appeared in D.W. Griffith's Birth of a Nation (1915) and Intolerance (1916), Hicks' earliest recorded Hollywood job occured in 1920, when he was hired as an assistant casting director for Famous Players (later Paramount). Making his stage debut in It Pays to Smile, Hicks acted in stock companies and on Broadway before his official film bow in 1934's Happiness Ahead. The embodiment of the small-town business booster or chairman of the board, the tall, authoritative Hicks frequently used his dignified persona to throw the audience off guard in crooked or villainous roles. He was glib confidence man J. Frothingham Waterbury in W.C. Fields' The Bank Dick (1940) ("I want to be honest with you in the worst way!"), and more than once he was cast as the surprise killer in murder mysteries. Because of his robust, athletic physique, Hicks could also be seen as middle-aged adventurers, such as one of The Three Musketeers in the 1939 version of that classic tale, and as the aging Robin Hood in 1946's Bandit of Sherwood Forest (1946). Russell Hicks continued accepting film assignments until 1956's Seventh Cavalry.

Trivia: Gertrude Astor did so much work in Hollywood in so many different acting capacities that it's not simple or easy to characterize her career. Born in Lakewood, OH, she joined a stock company at age 13, in the year 1900, and worked on showboats during that era. She played in vaudeville as well, and made her movie debut in 1914 as a contract player at Universal. She was an accomplished rider, which got her a lot of work as a stuntwoman, sometimes in conjunction with a young Maine-born actor named John Ford in pictures directed by the latter's brother, Francis Ford. But Astor soon moved into serious acting roles; a tall, statuesque, angular woman, she frequently towered over the leading men of the era, and was, thus, ideal as a foil in comedies of the 1910s and '20s, playing aristocrats, gold diggers, and the heroine's best friend (had the character of Brenda Starr existed that far back, she'd have been perfect playing Hank O'Hair, her crusty female editor). Astor was the vamp who plants stolen money on Harry Langdon in The Strong Man (1926), Laura La Plante's wisecracking traveling companion in The Cat and the Canary (1927), and the gold digger who got her hooks into Otis Harlan (as well as attracting the attention of fellow sailor Eddie Gribbon) in Dames Ahoy. When talkies came in, Astor's deep, throaty voice assured her steady work in character parts, still mostly in comedy. Her roles weren't huge, but she worked prolifically at Hal Roach studios with such headliners as Laurel and Hardy, in the Our Gang shorts, and especially with Charley Chase, and also worked at Columbia Pictures' short subjects unit. Astor's specialty at this time was outraged dignity; she was forever declaring, "I've never been so embarrassed in all my life!" and stalking out of a slapstick situation, usually with a comedy prop (a balloon, a folding chairs, a cream puff) affixed to her posterior. Astor worked regularly into the early '60s; she was briefly glimpsed as the first murder victim in the Sherlock Holmes adventure The Scarlet Claw (1944) and was among the ranks of dress extras in Around the World in 80 Days (1956). Her longtime friend John Ford also gave her roles in his feature films right into the early '60s, culminating with her appearance in The Man Who Shot Liberty Valance. Gertrude Astor remained alert and quick-witted into her eighties, cheerfully sharing her memories of the glory days of comedy short subjects with fans and film historians. And in a town that can scarcely remember last year's studio presidents, in 1975, when she was 87 years old, Astor was given a party at Universal, where she was honored by a gathering of old friends, including the directors George Cukor, Allan Dwan, and Henry Hathaway. She passed away suddenly and peacefully on the day of her 90th birthday in 1977.

Trivia: British-born, California-educated Marten Lamont enjoyed a varied career that included a stint as a feature writer for Time, managing editor of Arts & Architecture (1938-1942), writing and producing for NBC and, in 1941, a flying instructor for the Army Air Corps. In between all these endeavors, Lamont found time to appear in scores of Hollywood productions, almost always playing dignified gentlemen from the British Isles: Sir Guy's Squire in The Adventures of Robin Hood (1938), Mr. Denny in Pride and Prejudice (1940), and Yestyn, the mine owner's son in How Green Was My Valley (1944), to name a few. With his comfortable features and Cary Grant-like voice, Lamont was perhaps the least obvious serial star of all time but there he was, starring as Jerry Blake in Republic's Federal Operator 99, a "4-F" hero as ever there was one.

Trivia: American actor Charles Halton was forced to quit school at age 14 to help support his family. When his boss learned that young Halton was interested in the arts, he financed the boy's training at the New York Academy of Dramatic Arts. For the next three decades, Halton appeared in every aspect of "live" performing; in the '20s, he became a special favorite of playwright George S. Kaufman, who cast Halton in one of his most famous roles as movie mogul Herman Glogauer in Once in a Lifetime. Appearing in Dodsworth on Broadway with Walter Huston, Halton was brought to Hollywood to recreate his role in the film version. Though he'd occasionally return to the stage, Halton put down roots in Hollywood, where his rimless spectacles and snapping-turtle features enabled him to play innumerable "nemesis" roles. He could usually be seen as a grasping attorney, a rent-increasing landlord or a dictatorial office manager. While many of these characterizations were two-dimensional, Halton was capable of portraying believable human beings with the help of the right director; such a director was Ernst Lubitsch, who cast Halton as the long-suffered Polish stage manager in To Be or Not to Be (1942). Alfred Hitchcock likewise drew a flesh and blood portrayal from Halton, casting the actor as the small-town court clerk who reveals that Robert Montgomery and Carole Lombard are not legally married in Mr. and Mrs. Smith (1942). Charles Halton retired from Hollywood after completing his work on Friendly Persuasion in 1956; he died three years later of hepatitis.

Trivia: Actor Stanley Andrews moved from the stage to the movies in the mid 1930s, where at first he was typed in steadfast, authoritative roles. The tall, mustachioed Adrews became familiar to regular moviegoers in a string of performances as ship's captains, doctors, executives, military officials and construction supervisors. By the early 1950s, Andrews had broadened his range to include grizzled old western prospectors and ageing sheriffs. This led to his most lasting contribution to the entertainment world: the role of the Old Ranger on the long-running syndicated TV series Death Valley Days. Beginning in 1952, Andrews introduced each DVD episode, doing double duty as commercial pitchman for 20 Mule Team Borax; he also became a goodwill ambassador for the program and its sponsor, showing up at county fairs, supermarket openings and charity telethons. Stanley Andrews continued to portray the Old Ranger until 1963, when the US Borax company decided to alter its corporate image with a younger spokesperson -- a 51-year-old "sprout" named Ronald Reagan.

Trivia: Cruelly but accurately described by one film historian as "that female mountain of flesh," actress/singer Jody Gilbert was one of moviedom's busiest "large" ladies. The major difference between Gilbert and other "sizeable" character actresses is that she could give back as good as she got in the insult department. As the surly waitress in Never Give a Sucker an Even Break (1941), Gilbert was more than a match for her troublesome customer W. C. Fields. She went on to trade quips with Shemp Howard in Olsen and Johnson's Hellzapoppin' (1941) and to aggressively pursue the hapless Lou Costello in Ride 'Em Cowboy (1942). On television, Gilbert was seen as J. Carroll Naish's plump would-be sweetheart Rosa in Life with Luigi (1952), a role she'd previously essayed on radio. One of Gilbert's last screen appearances was the belligerent railroad passenger whom holdup man Paul Newman imitates in Butch Cassidy and the Sundance Kid (1969). Jody Gilbert died at the age of 63 as the result of injuries sustained in an auto accident.