Trivia: The son of a San Francisco shoe factory owner, American actor Lloyd Nolan made it clear early on that he had no intention of entering the family business. Nolan developed an interest in acting while in college, at the expense of his education -- it took him five years to get through Santa Clara College, and he flunked out of Stanford, all because of time spent in amateur theatricals. Attempting a "joe job" on a freighter, Nolan gave it up when the freighter burned to the waterline. In 1927, he began studying at the Pasadena Playhouse, living on the inheritance left him by his father. Stock company work followed, and in 1933 Nolan scored a Broadway hit as vengeful small-town dentist Biff Grimes in One Sunday Afternoon (a role played in three film versions by Gary Cooper, James Cagney, and Dennis Morgan, respectively -- but never by Nolan). Nolan's first film was Stolen Harmony (1935); his breezy urban manner and Gaelic charm saved the actor from being confined to the bad guy parts he played so well, and by 1940 Nolan was, if not a star, certainly one of Hollywood's most versatile second-echelon leading men. As film historian William K. Everson has pointed out, the secret to Nolan's success was his integrity -- the audience respected his characters, even when he was the most cold-blooded of villains. The closest Nolan got to film stardom was a series of B detective films made at 20th Century-Fox from 1940 to 1942, in which he played private eye Michael Shayne -- a "hard-boiled dick" character long before Humphrey Bogart popularized this type as Sam Spade. Nolan was willing to tackle any sort of acting, from movies to stage to radio, and ultimately television, where he starred as detective Martin Kane in 1951; later TV stints would include a season as an IRS investigator in the syndicated Special Agent 7 (1958), and three years as grumpy-growley Dr. Chegley on the Diahann Carroll sitcom Julia (1969-1971). In 1953, Nolan originated the role of the paranoid Captain Queeg in the Broadway play The Caine Mutiny Court Martial, wherein he'd emerge from a pleasant backstage nap to play some of the most gut-wrenching "character deterioration" scenes ever written. Never your typical Hollywood celebrity, Nolan publicly acknowledged that he and his wife had an autistic son, proudly proclaiming each bit of intellectual or social progress the boy would make -- this at a time when many image-conscious movie star-parents barely admitted even having children, normal or otherwise. Well liked by his peers, Nolan was famous (in an affectionate manner) for having a photographic memory for lines but an appallingly bad attention span in real life; at times he was unable to give directions to his own home, and when he did so the directions might be three different things to three different people. A thorough professional to the last, Nolan continued acting in sizeable roles into the 1980s; he was terrific as Maureen O'Sullivan's irascible stage-star husband in Woody Allen's Hannah and Her Sisters (1986). Lloyd Nolan's last performance was as an aging soap opera star on an episode of the TV series Murder She Wrote; star Angela Lansbury, fiercely protective of an old friend and grand trouper, saw to it that Nolan's twilight-years reliance upon cue cards was cleverly written into the plot line of the episode.

Trivia: Educated at the University of Kentucky and the University of Indiana, Marjorie Weaver was a band singer, model, and stock-company actress before making her first film appearance in Transatlantic Merry-Go-Round. From 1936 to 1942, Weaver was under contract to 20th Century-Fox, where she played any number of nice but no-nonsense leading ladies. Her co-stars during this period ranged from Henry Fonda to the Ritz Brothers. Her most notable assignment was the role of Mary Todd in John Ford's Young Mr. Lincoln (1939). After serving as Lloyd Nolan's vis-a-vis in the first two "Michael Shayne" B mysteries, Marjorie Weaver free-lanced; she made her last starring appearance at Republic in 1945, re-emerging seven years later to play an unbilled supporting role in Fox's We're Not Married.

Trivia: Growing up in the squalid Brownsville section of Brooklyn, Phil Silvers used his excellent tenor voice and facility for cracking jokes to escape a life of poverty. He was discovered as a young teen by vaudevillian Gus Edwards who hired him to perform in his schoolroom act. Silvers' singing career ended when his voice changed at 16, whereupon he took acting jobs in various touring vaudeville sketches. During his subsequent years in burlesque, he befriended fellow comic Herbie Faye, with whom he would work off and on for the rest of his career. While headlining in burlesque, Silvers was signed to star in the 1939 Broadway musical comedy Yokel Boy. This led to film work, first in minor roles, then as comedy relief in such splashy 1940s musicals as Coney Island (1943) and Cover Girl (1944). Silvers became popular if not world famous with his trademark shifty grin, horn-rimmed glasses, balding pate, and catchphrases like "Gladda see ya!" He returned to Broadway in 1947, where he starred as a turn-of-the-century con man in the Jule Styne-Sammy Cahn musical High Button Shoes. In 1950, he scored another stage success as a Milton Berle-like TV comedian in Top Banana, which won him the Tony and Donaldson Awards. From 1955 through 1959, Silvers starred as the wheeling-dealing Sgt. Ernie Bilko on the hit TV series You'll Never Get Rich, for which he collected five Emmy awards. Upon the demise of this series, Silvers stepped into another success, the 1960 Styne-Comden-Green Broadway musical Do Re Mi. The failure of his 1963 sitcom The New Phil Silvers Show marked a low point in his career, but the ever scrappy Silvers bounced back again to appear in films and TV specials. In 1971, he starred in a revival of A Funny Thing Happened on the Way to the Forum (nine years after turning down the original 1962 production because he felt the show "wouldn't go anywhere."). He collected yet another Tony for his efforts -- then suffered a severe stroke in August of 1972. While convalescing, Silvers wrote his very candid autobiography, The Laugh Is on Me. He recovered to the extent that he could still perform, but his speech was slurred and his timing was gone. Still, Silvers was beloved by practically everyone in show business, so he never lacked for work. Phil Silvers was the father of actress Cathy Silvers, best known for her supporting work on the TV series Happy Days.

Trivia: Tall, outgoing American actress Janis Carter had initially planned to become a concert pianist, but switched her interests to opera while attending Western Reserve University. She worked steadily on Broadway in such musicals as DuBarry Was a Lady and Panama Hattie, the latter musical winning her a 20th Century-Fox contract. Curiously, Janis sang only in her first film, Cadet Girl. Thereafter, she was shunted off to comedy-relief and "other woman" roles. Her best screen performance was as the hard-boiled anti-heroine in the Columbia noir programmer Framed (1947). Janis Carter and the movie industry parted company in 1952, after which she focused her energies upon television; from 1954 through 1956, Janis and Bud Collyer co-hosted the daytime quiz show Feather Your Nest.

Trivia: American leading man Richard Derr made his first film appearances as a 20th Century-Fox contractee in 1941 and 1942. Physically indistinguishable from most others of his ilk, Derr nonetheless was an above-average actor, as he occasionally proved in such films as When Worlds Collide (1951). In 1957, Derr was cast as Lamont Cranston in the New Orleans-filmed pilot episode for the TV version of radio's The Shadow; the series didn't sell, but the pilot was released theatrically as Invisible Avenger. Richard Derr spent the 1970s and 1980s as a utility character man in films like The Drowning Pool (1975) and American Gigolo (1980).

Trivia: American stage actor Don Costello was brought to films via an MGM contract in 1939. A valuable screen menace, Costello played such steely-eyed toughies as "Noose" in Red Skelton's Whistling in the Dark (1941). He moved to 20th Century-Fox in 1942, where among other things he was seen as the elderly--but no less criminally inclined--Doc Lake in Laurel and Hardy's A-Haunting We Will Go (1942). Perhaps his frequent association with comedians enabled his screen characters to develop a sense of humor, albeit a wicked one. In the Republic "Red Ryder" western The Great Stagecoach Robbery (1945), he scores several solid laughs as an outlaw leader posing as a schoolteacher, assuring an anxious mother that he'll learn to love her children, then muttering "If they live that long...." Don Costello died suddenly at the age of 44; his last appearance was in the Alan Ladd thriller The Blue Dahlia (1946).

Trivia: For two decades, the diminutive American actor ChesterClute played a seemingly endless series of harassed clerks, testy druggists, milquetoast husbands, easily distracted laboratory assistants and dishevelled streetcar passengers. A New York-based stage actor, Clute began his movie career at the Astoria studios in Long Island, appearing in several early-talkie short subjects. He moved to the West Coast in the mid '30s, remaining there until his final film appearance in Colorado Territory (1952). While Chester Clute seldom had more than two or three lines of dialogue in feature films, he continued throughout his career to be well-served in short subjects, most notably as Vera Vague's wimpish suitor in the 1947 Columbia 2-reeler Cupid Goes Nuts.

Trivia: Slight, owlish American actor Francis Pierlot made his film debut in 1914, but it wasn't until 1931 that he abandoned the stage to settle permanently in Hollywood. Pierlot generally essayed minor roles, showing up briefly but memorably as scores of judges, professors, priests, and orchestra leaders. Film buffs have a special place in their hearts for the actor's sly portrayal of lovable pyromaniac Nero Smith in 1942's Henry Aldrich, Editor. Francis Pierlot made his final screen appearance in a surprisingly sizeable role as Jean Simmons' manservant in the 1953 biblical epic The Robe.

Trivia: Scratch a banker, businessman, or state senator, and in 1940s Hollywood you would more than likely find George Carleton. Bespectacled, balding, and self-important despite his small stature, Carleton was all over the place during World War II and beyond, from portraying Dr. Paul Meredith, the inventor of a new oxygen respirator, in the Republic serial The Purple Monster Strikes (1945) to playing General Finney in Billy Wilder's witty A Foreign Affair (1948). Coming to films rather late in life, Carleton was a well-known Broadway and stock company actor who had originated the role of the Coroner in George Gershwin's Porgy and Bess (1934). He had come to Hollywood in the early '30s as a dialogue director and coach. The veteran actor died in from a heart attack in 1950.

Trivia: William Haade spent most of his movie career playing the very worst kind of bully--the kind that has the physical training to back up his bullying. His first feature-film assignment was as the arrogant, drunken professional boxer who is knocked out by bellhop Wayne Morris in Kid Galahad (37). In many of his western appearances, Haade was known to temper villainy with an unexpected sense of humor; in one Republic western, he spews forth hilarious one-liners while hacking his victims to death with a knife! William Haade also proved an excellent menace to timorous comedians like Laurel and Hardy and Abbott and Costello; in fact, his last film appearance was in Abbott and Costello Meet the Keystone Kops (55).

Trivia: British actor Leyland Hodgson launched his theatrical career at the advanced age of six. From 1915 to 1919, Hodgson toured the British provinces of the Orient with the Bandmann Opera Company, then retraced most of this tour as head of his own stock company. A star of the Australian stage from 1920 to 1929, Hodgson moved to Hollywood, where he made his film bow in RKO's The Case of Sergeant Grischa (1930). Largely confined to minor roles in films, Hodgson enjoyed some prominence as a regular of Universal's Sherlock Holmes films of the 1940s. Otherwise, he contented himself with bits as butlers, military officers, hotel clerks, reporters and chauffeurs until his retirement in 1948. Either by accident or design, Leyland Hodgson was frequently teamed on screen with another busy British utilitarian player, Charles Irvin.

Trivia: American stage-actor Oscar O'Shea made his first screen appearance in the 1937 MGM musical Rosalie. O'Shea spent most of the rest of his movie career as an MGM utility player. One of his best-remembered roles, however, was for producer Hal Roach: O'Shea appeared as the ranch boss in 1939's Of Mice and Men. Otherwise, Oscar O'Shea was generally consigned to one- or two-scene roles, usually as salty sea captains.