Trivia: Born in Missouri, entertainer Dick Van Dyke was raised in Danville, Illinois, where repeated viewings of Laurel & Hardy comedies at his local movie palace inspired him to go into show business. Active in high school and community plays in his teens, Van Dyke briefly put his theatrical aspirations aside upon reaching college age. He toyed with the idea of becoming a Presbyterian minister; then, after serving in the Air Force during World War II, opened up a Danville advertising agency. When this venture failed, it was back to show biz, first as a radio announcer for local station WDAN, and later as half of a record-pantomime act called The Merry Mutes (the other half was a fellow named Philip Erickson). While hosting a TV morning show in New Orleans, Van Dyke was signed to a contract by the CBS network. He spent most of his time subbing for other CBS personalities and emceeing such forgotten endeavors as Cartoon Theatre. After making his acting debut as a hayseed baseball player on The Phil Silvers Show, Van Dyke left CBS to free-lance. He hosted a few TV game shows before his career breakthrough as co-star of the 1959 Broadway review The Girls Against the Boys. The following year, he starred in the musical comedy Bye Bye Birdie, winning a Tony Award for his portrayal of mother-dominated songwriter Albert Peterson (it would be his last Broadway show until the short-lived 1980 revival of The Music Man). In 1961, he was cast as comedy writer Rob Petrie on The Dick Van Dyke Show, which after a shaky start lasted five seasons and earned its star three Emmies.He made his movie bow in the 1963 filmization of Bye Bye Birdie, then entered into a flexible arrangement with Walt Disney Studios. His best known films from that era include Mary Poppins (1964), Lt. Robin Crusoe, USN and The Comic, in which he played an amalgam of several self-destructive silent movie comedians. His TV specials remained popular in the ratings, and it was this fact that led to the debut of The New Dick Van Dyke Show in 1971. Despite the creative input of the earlier Dick Van Dyke Show's maven Carl Reiner, the later series never caught on, and petered out after three seasons. A chronic "people pleaser," Van Dyke was loath to display anger or frustration around his co-workers or fans, so he began taking solace in liquor; by 1972, he had become a full-fledged alcoholic. Rather than lie to his admirers or himself any longer, he underwent treatment and publicly admitted his alcoholism -- one of the first major TV stars ever to do so. Van Dyke's public confession did little to hurt his "nice guy" public image, and, now fully and permanently sober, he continued to be sought out for guest-star assignments and talk shows. In 1974, he starred in the TV movie The Morning After, playing an ad executive who destroys his reputation, his marriage and his life thanks to booze. After that Van Dyke, further proved his versatility when he began accepting villainous roles, ranging from a cold-blooded wife murderer in a 1975 Columbo episode to the corrupt district attorney in the 1990 film Dick Tracy. He also made several stabs at returning to weekly television, none of which panned out--until 1993, when he starred as Dr. Mark Sloan in the popular mystery series Diagnosis Murder. He made a few more movie appearances after Diagnosis Murder came to an end, most notably as a retired security guard in the hit family film Night at the Museum. As gifted at writing and illustrating as he is at singing, dancing and clowning, Van Dyke has penned two books, Faith, Hope and Hilarity and Those Funny Kids. From 1992 to 1994, he served as chairman of the Nickelodeon cable service, which was then sweeping the ratings by running Dick Van Dyke Show reruns in prime time. Van Dyke is the brother of award-winning TV personality Jerry Van Dyke, and the father of actor Barry Van Dyke.

Trivia: The only child of a very young married couple, American actress Janet Leigh spent her childhood moving from town to town due to her father's changing jobs. A bright child who skipped several grades in school, Leigh took music and dancing lessons, making her public debut at age 10 as a baton twirler for a marching band. Her favorite times were the afternoons spent at the local movie house, which she referred to as her "babysitter." In 1946, Leigh's mother was working at a ski lodge where actress Norma Shearer was vacationing; impressed by a photograph of Leigh, Shearer arranged for the girl (whose prior acting experience consisted of a college play) to be signed with the MCA talent agency. One year later Leigh was at MGM, playing the ingenue in the 1947 film Romance of Rosy Ridge. The actress became one of the busiest contractees at the studio, building her following with solid performances in such films as Little Women (1949), The Doctor and the Girl (1950), and Scaramouche (1952) -- and catching the eye of RKO Radio's owner Howard Hughes, who hoped that her several RKO appearances (on loan from MGM) would lead to something substantial in private life. Instead, Leigh married Tony Curtis (her second husband), and the pair became the darlings of fan magazines and columnists, as well as occasional co-stars (Houdini [1953], The Vikings [1958], Who Was That Lady? [1960]). Even as this "perfect" Hollywood marriage deteriorated, Leigh's career prospered. Among her significant roles in the '60s were that of Frank Sinatra's enigmatic lady friend in The Manchurian Candidate (1962), Paul Newman's ex-wife in Harper (1966), and, of course, the unfortunate embezzler in Alfred Hitchcock's Psycho (1960), who met her demise in the nude (actually covered by a moleskin) and covered with blood (actually chocolate sauce, which photographed better) in the legendary "shower scene." In the '80s, Leigh curtailed her film and TV appearances, though her extended legacy as both the star/victim of Psycho and the mother of actress Jamie Lee Curtis still found her a notable place in the world of cinema even if her career was no longer "officially" active.

Trivia: Swedish siren Ann-Margret immigrated to the U.S. with her family at the age of seven, settling in a Chicago suburb and later studying Drama at Northwestern University. Despite an innate bashfulness, the girl set out to become a musical entertainer, making her professional debut as a singer at the age of 17. Fortunately, she was spotted by comedian George Burns, who hired her for his Las Vegas show and arranged for several professional doors to be opened for his protégée. Her first film was Pocketful of Miracles (1961), in which she played Bette Davis' daughter; this was followed by a lead in State Fair the following year. Ann-Margret tended to be withdrawn when interviewed, which earned her the media's "Sour Apple" award as least cooperative newcomer. But she was able to overcome this initial bad press via a show-stopping appearance at the 1962 Academy Awards telecast, which turned her into an "overnight" national favorite and encouraged the producers of Bye Bye Birdie (1963) to build up her role. Perhaps the best indication of her total public acceptance was her animated appearance in a 1963 episode of The Flintstones (as Ann Margrock). Ann-Margret's career faltered in the mid-'60s thanks to a string of forgettable pictures like Made in Paris (1966) and Kitten With a Whip (1964). (One of the few highlights of this period, however, was her appearance in Elvis Presley's Viva Las Vegas in 1964, which led to an offscreen relation with The King.) Her career in doldrums, Ann-Margret marshalled a comeback in the early '70s thanks to the tireless efforts of her husband and manager, former actor Roger Smith. Sold-out Las Vegas and concert performances were part of her career turnabout, although the most crucial aspect was her Oscar nomination for a difficult role in 1971's Carnal Knowledge. But the comeback nearly ended before it began in 1972 when the entertainer was seriously injured in a fall during her Vegas act. With the help of physical rehabilitation and plastic surgery (not to mention the loving ministrations and encouragement of Smith), the actress made a complete recovery and went on to even greater career heights. She received her second Oscar nomination for her bravura performance in the rock-opera film Tommy (1975), where, in one of the high points of '70s cinema bizarre, she sang a number while swimming in baked beans. Ann-Margret was equally impressive (though in a less messy manner) in such powerhouse TV movies as Who Will Love My Children? (1983) and A Streetcar Named Desire (1984). The low point of Ann-Margret's early-80s career doubtless arrived when she agreed to act in Hal Ashby's lousy 1982 gambling drama Lookin' to Get Out (aside a scream-happy Jon Voight) -- and probably regretted it for years afterward. A few triumphs marked the 1980s as well, however, such as the actress's turn as Steffy Blondell in Neil Simon's enjoyably bittersweet comedy-drama I Ought to Be in Pictures, and her role as a barmaid who strikes up an extramarital affair with - and later weds - Gene Hackman, in Bud Yorkin's finely-wrought domestic drama Twice in a Lifetime (1985). After Newsies (1992), Disney's glaringly awful attempt to revive the period musical, Ann-Margret took time out of her packed schedule to write her 1993 autobiography Ann-Margret: My Story, a work revelatory about herself and her own personal demons that nonetheless evinces respect toward her show-business mentors and co-workers. She exuded warmth as the bon vivant who falls in-between bickering Walter Matthau and Jack Lemmon in the 1993 box office hit Grumpy Old Men and its lackluster 1995 sequel, Grumpier Old Men (and played a satisfying straight man throughout). Yet the high profile of the Old Men releases made them exceptions to the actress's output in the mid-late nineties and early 2000s, which - though of varying quality - placed infinitely greater weight on television work than Ann-Margret had at any earlier point in her career. (In fact, for a period of about ten years, she became a veritable telemovie staple on par with Mary Tyler Moore and Meredith Baxter-Birney). These titles include but are not limited to: Nobody's Children (1994), Scarlett (1994), Seduced by Madness: The Diane Borchardt Story, Life of the Party: The Pamela Harriman Story (1998), Happy Face Murders (1999), Blonde (2001) and A Place Called Home (2004). One big-screen exception arrived in the late 1999 football drama Any Given Sunday, where Oliver Stone gave Ann-Margret her meatiest role since Carnal Knowledge, as the alcoholic mother of team owner Christina Pagliacci (Cameron Diaz. It entailed only a small part amid a massive ensemble cast (Dennis Quaid, Al Pacino, Jamie Foxx, James Woods, others), but provided an excellent showcase for the actress's craftsmanship. She landed a bit part as Wendy Meyers, the mother of Jennifer Aniston's character, in the Aniston-Vince Vaughn romantic comedy The Break-Up, and joined Tim Allen and Martin Short for that same year's Buena Vista holiday sequel Santa Clause 3: The Escape Clause. As the new decade began, she continued to appear regularly in projects as diverse as The 10th Kingdom, Taxi, The Break-Up, and Old Dogs. In 2011 she starred in the comedy All's Faire in Love as the queen of a Renaissance fair.

Trivia: A highly respected character actress of stage, screen, and occasional television, Maureen Stapleton has specialized in playing slightly unkempt, earthy, and/or eccentric women in dramas and comedies. Born June 21, 1925, Stapleton grew up dreaming of becoming a thespian like her idol Joel McCrea, and she went on to work her way through the Herbert Berghof Acting School as a waitress and a model. She made her Broadway debut in Burgess Meredith's production of The Playboy of the Western World (1946) and found herself a Broadway sensation five years later when she starred in Tennessee Williams' The Rose Tattoo, which earned her a Tony Award. This led to a successful stage career in which Stapleton often appeared in Williams' plays.Stapleton made her feature film debut playing a deeply disturbed advice columnist in Lonelyhearts (1958), a role that won her a Best Supporting Actress Oscar nomination. Throughout her career she would receive two more Best Supporting Actress Oscar nominations, for her work in Airport (1970) and Woody Allen's first drama, Interiors (1978), before winning the award for playing Emma Goldman in Reds (1981). Stapleton continued to appear on the screen throughout the 1980s and 1990s, showing up in such films as Cocoon (1985), Heartburn (1986), and the black comedy Addicted to Love (1987). She also continued to act on television, her notable efforts ranging from the romantic drama Queen of the Stardust Ballroom (1975) to the highly acclaimed Miss Rose White in 1992.

Trivia: Though he is most fondly remembered for his TV hosting duties of the 1950s, 1960s, and 1970s, New York newspaper columnist Ed Sullivan was a show business personality as far back as 1932. Hired by the CBS network as a potential rival for radio commentator Walter Winchell, Sullivan took to the air with a heady combination of gossip and entertainment. Among the future radio luminaries introduced on Sullivan's program were Jack Benny and Jack Pearl (aka Baron Munchhausen). In 1933 Sullivan made his film debut in Mr. Broadway, which he also wrote. His subsequent screenplay and story contributions included the screwball comedy There Goes My Heart (1938) and the Universal "pocket" musical Ma, He's Making Eyes at Me (1940). In 1947, he entered the fledgling medium of television to host a variety hour titled Toast of the Town, later re-christened The Ed Sullivan Show. Though hardly a likely candidate for TV stardom -- he appeared to have a permanently stiff neck, wandered aimlessly around the stage, slurred his words ("Rilllly big shew!"), and frequently mispronounced the names of his guest stars -- Sullivan remained a Sunday night fixture until his series left the air in 1971. As an adjunct to his TV fame, he appeared as "himself" in such films as Bye Bye Birdie (1961), The Patsy (1964), and The Singing Nun (1965), and was parodied by countless impressionists, most notably Will Jordan. To three generations of rock music fans, Ed Sullivan will always be remembered for those five immortal words, "Here they are -- THE BEATLES!"

Trivia: Biting, sarcastic comic actor Paul Lynde made his Broadway debut in Leonard Sillman's New Faces of 1952, which was transferred to film virtually intact in 1953. Far heavier than most of his fans remember him (he tipped the scales at 260 pounds), Lynde scored with a "sick" monologue in which he described the various injuries that had befallen him. The undercurrent of pain inherent in his comedy has been attributed by some observers to Lynde's lifelong insecurities, many of these stemming from the time when his father, mother, and favorite brother all died within a three-month period. By the time Lynde was cast as the long-suffering father in the 1961 Broadway play Bye Bye Birdie, he had slimmed down considerably and his comic gifts had sharpened to a fine point. Beginning with the 1963 Disney film Son of Flubber, Lynde played a series of movie character parts in which he made snide, cynical comments about everyone and everything. Funny in small doses, Lynde's screen character was a bit too much to take on an extended basis, though he was very funny in the recurring character of Uncle Arthur on the '60s TV sitcom Bewitched, and, after several busted pilots, managed to survive a full season with The Paul Lynde Show in 1972. He also provided a number of cartoon voices, notably the villainous Sylvester Sneakley on Hanna-Barbera's Saturday morning opus The Perils of Penelope Pitstop (1969). During the late '70s, Lynde cultivated a fan following for his wisecracking appearances as the "center square" on the TV celebrity game show The Hollywood Squares. He died in 1982 at the age of 55.

Trivia: Black lead actor Mike Evans appeared onscreen in the '70s.

Trivia: Born John Paige, this versatile leading man of many '40s B-movies and musicals attended West Point before dropping out to work as a radio singer and announcer. In 1931 he began appearing in film shorts, billed as David Carlyle. In the mid '30s he began appearing in features, changing his name to Robert Paige in 1938; by the early '40s he was a busy leading man, appearing in every genre of film. He was onscreen infrequently after 1949, but did much work on TV; besides acting in TV productions (he was a regular on the series Run Buddy Run), he also worked as a quiz-show host and Los Angeles newscaster. He finished his career as a public relations executive in Hollywood.

Trivia: American actor and violinist Gregory Morton played character roles on stage, television, and screen. With his white hair and severe angular features, Morton was often cast as a commanding character.

Trivia: American actor Milton Frome made an unlikely film debut as the cowboy star of Grand National's Ride 'Em Cowgirl (1939)--unlikely in that the tall, bald actor spent the rest of his career playing nervous corporate types and "second bananas" for some of show business' greatest clowns. After touring with the USO during World War II, the vaudeville-trained Frome was an early arrival on the television scene: he worked as a straight man and foil on Milton Berle's variety series, and also functioned as the hapless target of the antics of Martin and Lewis on The Colgate Comedy Hour. The actor was also busy in live and filmed detective and action series (he frequently appeared in Superman with his good friend George Reeves) as well as in two-reel comedies with The Three Stooges. After Jerry Lewis broke away from Dean Martin, Frome continued to function as one of Lewis' stock company in such films as The Delicate Delinquent (1957), The Nutty Professor (1963) and Disorderly Orderly (1964). TV sitcom buffs remember Milton Frome best as Lawrence Chapman, the hapless mogul who ran a film studio owned by rustic millionaire Jed Clampett on The Beverly Hillbillies.

Trivia: Some actors can convey wide-eyed confusion, others are adept at business-like pomposity; Frank Albertson was a master of both acting styles, albeit at the extreme ends of his film career. Entering movies as a prop boy in 1922, Albertson played bit roles in several late silents, moving up the ladder to lead player with the 1929 John Ford talkie Salute. The boyish, open-faced Albertson was prominently cast in a number of Fox productions in the early 1930s, notably A Connecticut Yankee in King Arthur's Court (1931) and Just Imagine (1931). By the mid-1930s he had settled into such supporting roles as Katharine Hepburn's insensitive brother in Alice Adams (1935) and the green-as-grass playwright who falls into the clutches of the Marx Brothers in Room Service (1938). His best showing in the 1940s was as the wealthy hometown lad who loses Donna Reed to Jimmy Stewart in It's a Wonderful Life (1946). By the 1950s, a graying, mustachioed Albertson was playing aging corporate types. Frank Albertson's more memorable roles in the twilight of his career included the obnoxious millionaire whose bank deposit is pilfered by Janet Leigh in Hitchcock's Psycho (1960) and his uncredited turn as the flustered mayor of Sweetapple in Bye Bye Birdie (1963).

Trivia: American character actor Frank Sully worked as a vaudeville and Broadway comedian before drifting into movies in 1935. Often typecast as musclebound, doltish characters, the curly-haired, lantern-jawed Sully was seen in a steady stream of hillbilly, GI and deputy sheriff roles throughout the '40s and '50s. He was prominently cast as Noah in John Ford's memorable drama The Grapes of Wrath (1940), one of the few times he essayed a non-comic role. During the '50s, Sully accepted a number of uncredited roles in such westerns as Silver Lode (1954) and was a member in good standing of the Columbia Pictures 2-reel "stock company," appearing as tough waiters, murderous crooks and jealous boyfriends in several short comedies, including those of the Three Stooges (Fling in the Ring, A Merry Mix-Up etc.) Frank Sully's last screen appearance was a bit as a bartender in Barbra Streisand's Funny Girl (1968).

Trivia: Kim Darby's assertive acting style was likened by one film historian to "a 1938 Judy Garland forever waiting to burst into song." The daughter of "The Dancing Zerbies," Kim was a stage performer from childhood, when she was billed as Derby Zerby. Her short stature and cherubic face enabled Kim to play teenagers well into her twenties. After several TV appearances, she began her film career in 1965, reaching a peak with the role of Maddie Ross in True Grit (1968). Forever feisty, Kim earned one of the biggest laughs in 1977's The One and Only when she decked Henry Winkler with a one-two punch. Kim Darby has continued in secondary roles into the 1990s, recently making a guest appearance on that crowded way-station for former celebrities, TV's Murder She Wrote.