Trivia: American actor Jackie Cooper was in movies at the age of three; his father had abandoned the family when Jackie was two, forcing his mother to rely upon the boy's acting income to keep food on the table. Shortly after earning his first featured part in Fox Movietone Follies of 1929. Cooper was hired for producer Hal Roach's "Our Gang" two-reeler series, appearing in 15 shorts over the next two years. The "leading man" in many of these comedies, he was most effective in those scenes wherein he displayed a crush on his new teacher, the beauteous Miss Crabtree. On the strength of "Our Gang," Paramount Pictures signed Cooper for the title role in the feature film Skippy (1931), which earned the boy an Oscar nomination. A contract with MGM followed, and for the next five years Cooper was frequently co-starred with blustery character player Wallace Beery. Cooper outgrew his preteen cuteness by the late 1930s, and was forced to accept whatever work that came along, enjoying the occasional plum role in such films as The Return of Frank James (1940) and What a Life! (1941). His priorities rearranged by his wartime Naval service, Cooper returned to the states determined to stop being a mere "personality" and to truly learn to be an actor. This he did on Broadway and television, notably as the star of two popular TV sitcoms of the 1950s, The People's Choice and Hennessey. Cooper developed a taste for directing during this period (he would earn an Emmy for his directorial work on M*A*S*H in 1973), and also devoted much of his time in the 1960s to the production end of the business; in 1965 he was appointed vice-president in charge of production at Screen Gems, the TV subsidiary of Columbia Pictures. From the early 1970s onward, Cooper juggled acting, producing and directing with equal aplomb. Modern audiences know Cooper best as the apoplectic Perry White in the Christopher Reeve Superman films. In 1981, Cooper surprised (and sometimes shocked) his fans with a warts-and-all autobiography, Please Don't Shoot My Dog. Cooper died in May 2011 at the age of 88 following a sudden illness.

Trivia: Dick Purcell was a good-natured, athletic leading man in the Regis Toomey/Lyle Talbot mold, so it seemed natural that he'd end up at Toomey's and Talbot's mutual stamping grounds of Warner Bros. For four years, Purcell was the uncrowned king of Warners' B-picture unit. After several handsome but unmemorable "hero" assignments, Purcell demonstrated a breezy gift for comedy as movie studio functionary Mackley Q. Greene in W.C. Fields' The Bank Dick (1940). Thereafter, it was back to Dick-the-stick leads and villains at Republic and Monogram. Dick Purcell's last film role was the title character in the 1943 Republic serial Captain America; one year later, he died of a heart condition at the age of 35.

Trivia: American performer Sidney Miller started out as a child actor in such films as Penrod and Sam (1930), The Penguin Pool Murder (1932) and The Mayor of Hell (1933). Miller's pronounced ethnic features precluded stardom in a Hollywood that celebrated blonde, blue-eyed children, but he brought a welcome touch of urbanity to his supporting and minor roles. In 1938, Miller attained one of his better roles as Mo Kahn in Boys Town, in which he acted with his longtime friend Mickey Rooney. Again featured with Rooney in Babes in Arms, an unbilled Miller was allowed to play the piano in accompaniment to Rooney's makeshift stage show and even got to do a couple of celebrity imitations. In the '40s, Miller specialized in portraying nerdish college freshmen (notably in Columbia's Glove Slingers two-reelers) and streetwise intellectuals (as in The East Side Kids' Mr. Wise Guy). He also toured USO bases and hospitals in a pantomime-boxing sketch with fellow child performer Frank Coghlan Jr. With the advent of television, Miller gained a measure of fame as Donald O'Connor's accompanist/cohort in several of O'Connor's TV series and in his subsequent nightclub act. Miller gave up performing briefly in the mid '50s when he assumed the directing chores on the daily TV series Mickey Mouse Club; perhaps due to his own experiences as a child actor, Miller saw to it that the kids were treated professionally but with dignity, and also insisted that stage mothers be banned from the set. Later on in the '60s, Miller directed four grown-up adolescents on several episodes of the music/comedy tver The Monkees. Sidney Miller made an acting comeback in the early '70s with such films as Which Way to the Front? (as Hitler!) and Everything You Always Wanted to Know About Sex (But Were Afraid to Ask) (1972); Miller was also on hand as director for the syndicated New Mickey Mouse Club in 1977. Sidney Miller was married to Dorothy Green; their son is actor Barry Miller.

Trivia: Composer Buddy Pepper (born Jack Starkey) got his start at age 13 after winning the "Major Bowes Amateur Hour" on radio. From there he appeared on vaudeville and in 1939 appeared as an actor in Streets of New York. He appeared in a few more films until he became a member of the Air Corps during WWII. He became a composer for Universal after the war, penning such songs as the standard "When Johnny Comes Marching Home" and "Vaya con Dios." Pepper also worked as an arranger and a lyricist.

Trivia: A master at abrasive and intrusive old-codger roles, George Cleveland enjoyed a 58-year career in vaudeville, stage, movies and television. Spending his earliest professional days in his native Canada, Cleveland barnstormed around the U.S. with his own stock company until settling in New York. He came to Hollywood in 1934 for an assignment in the Noah Beery Sr. programmer Mystery Liner and remained in Tinseltown for the next two decades. At first appearing in small roles in serials and westerns, Cleveland's screen time increased when he signed with RKO in the early 1940s. In the Fibber McGee and Molly feature Here We Go Again, Cleveland essayed the "Old Timer" role played on radio by Bill Thompson (who also showed up in Here We Go Again in another of his radio characterizations, Wallace Wimple). Other choice '40s assignments for Cleveland included the role of Paul Muni's faithful butler in Angel on My Shoulder (1946), and featured parts in two Abbott and Costello comedies, 1946's Little Giant (as Costello's uncle) and 1947's Wistful Widow of Wagon Gap (as a corrupt western judge). George Cleveland appeared on TV as a befuddled postman on the forgettable 1952 sitcom The Hank McCune Show; a far more memorable assignment was his three-year gig as Gramps on the Lassie series, which kept Cleveland busy until his sudden death in the spring of 1957.

Trivia: The embodiment of businesslike dignity, actor Robert Emmett Keane was active in films from his 1929 debut in the talkie short Gossip through the 1956 second feature When Gangland Strikes. Because of his distinguished, above-reproach demeanor, Keane was often effectively cast as confidence men, shady attorneys and mystery murderers: after all, if he can convince the gullible folks people on-screen that he's honest, it's likely the audience will fall for the same line. Keane is warmly remembered by Laurel and Hardy fans for his roles in three of the team's 20th Century-Fox films of the '40s, playing con artists in two of them (A-Haunting We Will Go and Jitterbugs). In the early '50s, Keane played Captain Brackett in the national touring company of Rodgers and Hammerstein's musical triumph South Pacific. In private life, Robert Emmett Keane was the husband of Claire Whitney.

Trivia: Actor and director George Irving gained fame on both the Broadway stage and in feature films. Before launching his professional career, Iriving graduated from New York's City College and the American Academy of Dramatic Arts. He then went on to play the leads in numerous Broadway shows before breaking into film in 1913, where he played many different character roles.

Trivia: As a child actress, Marjorie Goodspeed was featured in such silent films as Scaramouche (1923). As a preteen, she acted and danced under the name Marjorie Moore in musicals like Collegiate (1935). Billed as Marjorie Reynolds from 1937 onward, she played bits in A-pictures like Gone With the Wind (1939) and co-starred in several bread-and-butter epics produced by such minor studios as Monogram and Republic. Her first leading role of consequence was as the dauntless girl reporter in Monogram's Mr. Wong series. Lightening her hair to blonde, Reynolds was signed by Paramount in 1942, getting off to a good start in Holiday Inn as the girl to whom Bing Crosby sings "White Christmas." She was also shown to good advantage in the Fritz Lang thriller Ministry of Fear (1944) before Paramount dropped her option in 1946. Her oddest assignment in her immediate post-Paramount years was as a Revolutionary-era ghost in Abbott and Costello's The Time of Their Lives (1946). In 1953, she replaced Rosemary DeCamp in the role of Mrs. Riley in the popular sitcom The Life of Riley, remaining with the series until its cancellation in 1958. After this lengthy engagement, Marjorie Reynolds was seen in character parts in such TV series as Leave It to Beaver and Our Man Higgins. Reynolds died of congestive heart failure in Manhattan Beach, CA, at the age of 76.

Trivia: American actor William Gould's credits are often confused with those of silent-movie actor Billy Gould. Thus, it's difficult to determine whether William made his film debut in 1922 (as has often been claimed) or sometime in the early 1930s. What is known is that Gould most-often appeared in peripheral roles as police officers and frontier types. Two of William Gould's better-known screen roles were Marshall Kragg in the 1939 Universal serial Buck Rogers and the night watchman who is killed during the nocturnal robbery in Warner Bros.' High Sierra (1940).