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: Taking up dramatics while attending the University of Pittsburgh, Regis Toomey extended this interest into a profitable career as a stock and Broadway actor. He specialized in singing roles until falling victim to acute laryngitis while touring England in George M. Cohan's Little Nellie Kelly. In 1929, Toomey made his talking-picture bow in Alibi, where his long, drawn-out climactic death scene attracted both praise and damnation; he'd later claim that, thanks to the maudlin nature of this scene, producers were careful to kill him off in the first or second reel in his subsequent films. Only moderately successful as a leading man, Toomey was far busier once he removed his toupee and became a character actor. A lifelong pal of actor Dick Powell, Regis Toomey was cast in prominent recurring roles in such Powell-created TV series of the 1950s and 1960s as Richard Diamond, Dante's Inferno, and Burke's Law.

Trivia: Raised on a ranch near the Arizona border, American actress Lurene Tuttle took acting lessons in Phoenix while still a child. Feisty and naturally funny, she found work with Murphy's Comedians, a vaudeville troupe, then played traditional ingenues in a San Antonio stock company. Though she never appeared on Broadway, Tuttle was a busy stage actress throughout the '20s and '30s. When stock work dried up in the Depression, Ms. Tuttle entered radio, where she became one the busiest actresses in the business, playing everything from sugary high schoolers to hardbitten gun molls. Many of her fans feel that her best radio work was as Effie Perrine, the effusive and efficient secretary on The Adventures of Sam Spade, in which Howard Duff played private eye Spade. Concentrating on films and television as big-time radio faded, Tuttle played small character parts in several movies and was a regular on the TV sitcoms Life with Father, Father of the Bride and Julia. One of the actress' final performances was in the post-apocalyptic film drama Testament (1983), in which she was reunited with Leon Ames, her Life with Father and Father of the Bride costar. In private life, Lurene Tuttle was the wife of radio actor/announcer Mel Ruick, and the mother of musical comedy actress Barbara Ruick.

Trivia: Whenever Ellen Corby or Mary Field weren't available to play a timid, spinsterish film role, chances are the part would go to Dorothy Adams. Though far from a shrinking violet in real life, Ms. Adams was an expert at portraying repressed, secretive women, usually faithful servants or maiden aunts. Her best-remembered role was the overly protective maid of Gene Tierney in Laura (1944). Dorothy Adams was the wife of veteran character actor Byron Foulger; both were guiding forces of the Pasadena Playhouse, as both actors and directors. Dorothy and Byron's daughter is actress Rachel Ames, who played Audrey March on TV's General Hospital.

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: 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.