Trivia: The son of British stage actor Frederick Rains, Claude Rains gave his first theatrical performance at age 11 in Nell of Old Drury. He learned the technical end of the business by working his way up from being a two-dollars-a-week page boy to stage manager. After making his first U.S. appearance in 1913, Rains returned to England, served in the Scottish regiment during WWI, then established himself as a leading actor in the postwar years. He was also featured in one obscure British silent film, Build Thy House. During the 1920s, Rains was a member of the teaching staff at the Royal Academy of Dramatic Art; among his pupils were a young sprout named Laurence Olivier and a lovely lass named Isabel Jeans, who became the first of Rains' six wives. While performing with the Theatre Guild in New York in 1932, Rains filmed a screen test for Universal Pictures. On the basis of his voice alone, the actor was engaged by Universal director James Whale to make his talking-picture debut in the title role of The Invisible Man (1933). During his subsequent years at Warner Bros., the mellifluous-voiced Rains became one of the studio's busiest and most versatile character players, at his best when playing cultured villains. Though surprisingly never a recipient of an Academy award, Rains was Oscar-nominated for his performances as the "bought" Senator Paine in Mr. Smith Goes to Washington (1939), the title character in Mr. Skeffington (1944), the Nazi husband of Ingrid Bergman in Notorious (1946), and, best of all, the cheerfully corrupt Inspector Renault in Casablanca (1942). In 1946, Rains became one of the first film actors to demand and receive one million dollars for a single picture; the role was Julius Caesar, and the picture Caesar and Cleopatra. He made a triumphant return to Broadway in 1951's Darkness at Noon. In his last two decades, Claude Rains made occasional forays into television (notably on Alfred Hitchcock Presents) and continued to play choice character roles in big-budget films like Lawrence of Arabia (1962) and The Greatest Story Ever Told (1965).

Trivia: Blonde, serene-looking film actress Gloria Stuart forsook her stage career when she was signed to two separate movie contracts in 1932. It took a court arbitrator to determine which studio would be permitted to make use of Stuart's services, Paramount or Universal. Universal won, and soon the actress was starring in such memorable films as James Whale's The Old Dark House (1932) and The Invisible Man (1933). From 1936 on, Stuart, who was born in Santa Monica, CA, on July 4, 1910, was contracted to 20th Century Fox, where among many other films she appeared in John Ford's Prisoner of Shark Island (1936), the Shirley Temple vehicle Rebecca of Sunnybrook Farm (1938), and the Ritz Brothers version of The Three Musketeers (1939). Gradually retiring from films in the early '40s to return to her stage origins, Stuart subsequently decided to devote her time to her second husband, screenwriter/wit Arthur Sheekman, whom she had married in 1934. She became an accomplished painter, staging several one-woman exhibits in New York, Austria, and Italy during the 1960s. In 1982, Stuart made a long-overdue return to the screen in the cameo role of Peter O'Toole's matronly dancing partner in My Favorite Year. Sixteen years later, she became known to a whole new generation of fans when she starred as 100-year-old Rose DeWitt, the heroine of James Cameron's Titanic. The only member of Titanic's cast and crew to have been alive at the time of the actual catastrophe, Stuart, who was 88 when the film was released, made history with her performance in the record-breaking movie. Nominated for an Oscar in the Best Supporting Actress category, she became the oldest person in history to be nominated for an Academy Award; in addition to various other award nominations, she won a Best Supporting Actress prize from the Screen Actors Guild, an organization she had helped to found in 1933. Thanks to Titanic, Stuart enjoyed a late-life career renaissance, and was soon appearing in magazines (People dubbed her one of the "50 Most Beautiful People in the World"), Hanson videos, and, most importantly, in new films that ranged from the romantic comedy The Love Letter (1999) to Wim Wenders' The Million Dollar Hotel (2000).

Trivia: A stage actor in the British Isles from 1894, Henry Travers settled permanently in America in 1901. Even as a comparative youngster, the pudding-faced, wispy-voiced Travers specialized in portraying befuddled old men. He was brought to Hollywood in 1933 to recreate his stage role as Father Krug in Robert E. Sherwood's Reunion in Vienna. Though often cast in amiable, self-effacing roles, Travers was perfectly capable of meatier stuff: as a downtrodden Chinese farmer in Dragon Seed (1944), he delivers a terse monologue describing how he has regained his self respect by beating his shrewish wife! Travers' best-remembered movie assignments included his Oscar-nominated portrayal of British postman Mr. Ballard in Mrs. Miniver (1942); his amusing turn as bank clerk and mystery-magazine fanatic Joseph Newton in Hitchcock's Shadow of a Doubt (1943); and, of course, his matchless performance as wingless guardian angel Clarence Oddbody in the Yuletide perennial It's a Wonderful Life (1946). After several years in retirement, Henry Travers died of arteriosclerosis at the age of 91.

Trivia: William Harrigan was the son of playwright/actor Edward Harrigan, one-half of the legendary Harrigan and Hart musical comedy team. Beginning his own acting career in the pre-WW I era, the younger Harrigan made his film debut in 1917. Most of his screen characters seemed destined for an early and unpleasant demise, as witness the duplicitous Dr. Kemp in The Invisible Man (1933) and retired gangster McKay in G-Men (1935). In 1947, Harrigan scored a personal triumph in the role of the irascible Captain in the original Broadway production of Mister Roberts; the play was co-written and staged by Joshua Logan, the husband of Harrigan's actress sister Nedda. William Harrigan's final screen assignments included the ghostly baseball great Red O'Malley in the risible Roogie's Bump (1954).

Trivia: With the body of a scarecrow, the contemptuous stare of a house detective, and the voice of an air-raid siren, Irish-born Una O'Connor was one of filmdom's most unforgettable character actresses. Beginning her career with Dublin's Abbey Players and extending her activities to the London's West End and Broadway, O'Connor was cast as the socially conscious housekeeper in Noel Coward's 1932 London production Cavalcade; it was this role which brought her to Hollywood in 1933. She rapidly became a favorite of two prominent directors, James Whale and John Ford, neither of whom were inclined to ask her to tone down her film performances. For Whale, O'Connor screeched her way through two major 1930s horror films, The Invisible Man (1933) and The Bride of Frankenstein (1935); for Ford, O'Connor played the grieving mother of martyred IRA activist Wallace Ford in The Informer (1935) and Mrs. Grogan in The Plough and the Stars (1936). For those detractors who believe that O'Connor never gave a subtle, controlled performance in her life, refer to Lubitsch's Cluny Brown (1946), wherein Ms. O'Connor spoke not a single word as the glowering mother of upper-class twit Richard Haydn. Fourteen years after portraying Charles Laughton's overprotective mother in This Land Is Mine (1943), Una O'Connor once more appeared opposite Laughton in 1957's Witness for the Prosecution, playing a hard-of-hearing housekeeper; it was her last screen performance.

Trivia: Diminuitive Irish actor Forrester Harvey was most often cast as cockney tradesmen, family gardeners and pub hangers-on. He entered films in 1922, but only with the advent of talking pictures were his talents exploited to full advantage. Part subservient, part pugnacious, Harvey became a fixture of Hollywood films set in England, Ireland or Scotland. His better-known film stints included Beamish in Tarzan, the Ape Man (1932) and Meredith the valet in Laurel and Hardy's A Chump at Oxford (1940). So ubiquitous was Forrester Harvey that he managed to appear in a film five years after his death! That film was Frank Capra's Riding High (1950), a remake of Broadway Bill (1934) which utilized extensive footage from the earlier film -- including virtually all of Harvey's scenes as a horse trainer.

Trivia: A former circus and minstrel-show performer, British actor Holmes Herbert toured on the provincial-theatre circuit as a juvenile in the early 1900s. Born Edward Sanger, Herbert adopted his professional first name out of admiration for Sherlock Holmes -- a role which, worse luck, he never got to play. Herbert never appeared in films in his native country; he arrived in Hollywood in 1918, appeared in a film version of Ibsen's A Doll's House (1918), and never looked homeward. Talking pictures enabled Holmes Herbert to join such countrymen as Reginald Denny and Roland Young in portraying "typical" British gentlemen. The stately, dynamic-featured Herbert nearly always appeared in a dinner jacket, selflessly comforting the heroine as she pined for the man she really loved. He received some of his best roles in the early-talkie era; he appeared as a soft-spoken police inspector in The Thirteenth Chair (1929), then recreated the role for the 1937 remake. Herbert also appeared as Dr. Lanyon, Henry Jekyll's closest friend and confidante in the Fredric March version of Dr. Jekyll and Mr. Hyde (1931). By the '40s, many of Herbert's roles were uncredited, but he was still able to make a maximum impression with a minimum of lines in such roles as the village council head in Ghost of Frankenstein (1942). Herbert's second wife was another supporting-cast stalwart of the '30s, Beryl Mercer (best remembered as James Cagney's mother in Public Enemy [1931]). Holmes Herbert remained in films until 1952's The Brigand; reportedly, he also appeared in a few early west-coast television productions.

Trivia: Born in Wales, E. E. Clive studied for a medical career before switching his field of endeavor to acting at age 22. Touring the provinces for a decade, Clive became an expert at virtually every sort of regional dialect in the British Isles. He moved to the U.S. in 1912, where after working in the Orpheum vaudeville circuit he set up his own stock company in Boston. By the 1920s, his company was operating in Hollywood; among his repertory players were such up-and-comers as Rosalind Russell. He made his film debut as a rural police officer in 1933's The Invisible Man, then spent the next seven years showing up in wry bit roles as burgomeisters, butlers, reporters, aristocrats, shopkeepers and cabbies. Though he seldom settled down too long in any one characterization, E. E. Clive was a semi-regular as Tenny the Butler in Paramount's Bulldog Drummond "B" series.

Trivia: Bluff, blustery Irish character actor Dudley Digges spent many of his earliest acting years at Dublin's Abbey Players. In the U.S., Digges was most closely associated with the Theatre Guild before making his cinema debut in the early talkie Condemned (1929). Permitted a wide range of characterizations on stage, Digges was usually pigeonholed in films as a pompous villain or fallen-from-grace drunkard. On two occasions, Dudley Digges essayed film roles that would later be recreated by his Theatre Guild colleague Sidney Greenstreet: The Heavenly Examiner in Outward Bound (1930), (remade as Between Two Worlds in 1944), and Kasper Gutman in The Maltese Falcon (1931 version).

Trivia: Born in Kansas and raised in Colorado, Dwight Frye studied for a career in music, and by his mid-teens was a talented concert pianist. He switched to acting when he joined the O.D. Woodward stock company in 1918. During his years on Broadway, Frye specialized in comedy parts. When Hollywood called, however, the actor found himself typed as a neurotic villain. The role that both made and broke him was the bug-eating lunatic Renfield in 1931's Dracula. Though he begged producers to allow him to play comic or "straight" parts, he was hopelessly typed as Renfield, and spent the bulk of his career portraying murderers, grave robbers, crazed hunchbacks and mad scientists. When the first "horror" cycle subsided, Frye found himself accepting nondescript bit roles in films like The People vs. Dr. Kildare (1939). During the 1940s, Frye bounced from one "B" factory to another, doing his usual in such cheap thrillers as Dead Men Walk (1942). In between acting jobs, he supported himself and his family as a designer in an aircraft factory. Dwight Frye was about to undertake the stereotype-breaking role of Secretary of War Newton D. Baker in the lavish 20th Century-Fox biopic Wilson when he died of a sudden heart attack at the age of 44.

Trivia: It had originally been the hope of Walter Brennan (and his family) that he would follow in the footsteps of his father, an engineer; but while still a student, he was bitten by the acting bug and was already at a crossroads when he graduated in 1915. Brennan had already worked in vaudeville when he enlisted at age 22 to serve in World War I. He served in an artillery unit and although he got through the war without being wounded, his exposure to poison gas ruined his vocal chords, leaving him with the high-pitched voice texture that made him a natural for old man roles while still in his thirties. His health all but broken by the experience, Brennan moved to California in the hope that the warm climate would help him and he lost most of what money he had when land values in the state collapsed in 1925. It was the need for cash that drove him to the gates of the studios that year, for which he worked as an extra and bit player. The advent of the talkies served Brennan well, as he had been mimicking accents in childhood and could imitate a variety of different ethnicities on request. It was also during this period that, in an accident during a shoot, another actor (some stories claimed it was a mule) kicked him in the mouth and cost him his front teeth. Brennan was fitted for a set of false teeth that worked fine, and wearing them allowed him to play lean, lanky, virile supporting roles; but when he took them out, and the reedy, leathery voice kicked in with the altered look, Brennan became the old codger with which he would be identified in a significant number of his parts in the coming decades. He can be spotted in tiny, anonymous roles in a multitude of early-'30s movies, including King Kong (1933) (as a reporter) and one Three Stooges short. In 1935, however, he was fortunate enough to be cast in the supporting role of Jenkins in The Wedding Night. Directed by King Vidor and produced by Samuel Goldwyn, it was supposed to launch Anna Sten (its female lead) to stardom; but instead, it was Brennan who got noticed by the critics. He was put under contract with Goldwyn, and was back the same year as Old Atrocity in Barbary Coast. He continued doing bit parts, but after 1935, his films grew fewer in number and the parts much bigger. It was in the rustic drama Come and Get It (1936) that Brennan won his first Academy Award as Best Supporting Actor. Two years later, he won a second Best Supporting Actor Oscar for his performance in Kentucky (1938). That same year, he played major supporting roles in The Texans and The Buccaneer, and delighted younger audiences with his moving portrayal of Muff Potter, the man wrongfully accused of murder in Norman Taurog's The Adventures of Tom Sawyer. Brennan worked only in high-profile movies from then on, including The Story of Vernon and Irene Castle, Stanley and Livingston, and Goldwyn's They Shall Have Music, all in 1939. In 1940, he rejoined Gary Cooper in The Westerner, playing the part of a notoriously corrupt judge. Giving a beautifully understated performance that made the character seem sympathetic and tragic as much as dangerous and reprehensible, he won his third Best Supporting Actor award. There was no looking back now, as Brennan joined the front rank of leading character actors. His ethnic portrayals gradually tapered off as Brennan took on parts geared specifically for him. In Frank Capra's Meet John Doe and Howard Hawks' Sergeant York (both 1941), he played clear-thinking, key supporting players to leading men, while in Jean Renoir's Swamp Water (released that same year), he played another virtual leading role as a haunted man driven by demons that almost push him to murder. He played only in major movies from that point on, and always in important roles. Sam Wood used him in Goldwyn's The Pride of the Yankees (1942), Lewis Milestone cast him as a Russian villager in The North Star (1943), and he was in Goldwyn's production of The Princess and the Pirate (1944) as a comical half-wit who managed to hold his own working alongside Bob Hope. Brennan played the choice role of Ike Clanton in Ford's My Darling Clementine (1946) and reprised his portrayal of an outlaw clan leader in more comic fashion in Burt Kennedy's Support Your Local Sheriff some 23 years later. He worked with Cooper again on Delmer Daves' Task Force (1949) and played prominent roles in John Sturges' Bad Day at Black Rock and Anthony Mann's The Far Country (both 1955). In 1959, the 64-year-old Brennan got one of the biggest roles of his career in Hawks' Rio Bravo, playing Stumpy, the game-legged jailhouse keeper who is backing up the besieged sheriff. By that time, Brennan had moved to television, starring in the CBS series The Real McCoys, which became a six-season hit built around his portrayal of the cantankerous family patriarch Amos McCoy. The series was such a hit that John Wayne's production company was persuaded to release a previously shelved film, William Wellman's Goodbye, My Lady (1956), about a boy, an old man (played by Brennan), and a dog, during the show's run. Although he had disputes with the network and stayed a season longer than he had wanted, Brennan also liked the spotlight. He even enjoyed a brief, successful career as a recording artist on the Columbia Records label during the 1960s. Following the cancellation of The Real McCoys, Brennan starred in the short-lived series The Tycoon, playing a cantankerous, independent-minded multimillionaire who refuses to behave the way his family or his company's board of directors think a 70-year-old should. By this time, Brennan had become one of the more successful actors in Hollywood, with a 12,000-acre ranch in Northern California that was run by his sons, among other property. He'd invested wisely and also owned a share of his first series. Always an ideological conservative, it was during this period that his political views began taking a sharp turn to the right in response to the strife he saw around him. During the '60s, he was convinced that the anti-war and civil rights movements were being run by overseas communists -- and said as much in interviews. He told reporters that he believed the civil rights movement, in particular, and the riots in places like Watts and Newark, and demonstrations in Birmingham, AL, were the result of perfectly content "Negroes" being stirred up by a handful of trouble-makers with an anti-American agenda. Those on the set of his last series, The Guns of Will Sonnett -- in which he played the surprisingly complex role of an ex-army scout trying to undo the damage caused by his being a mostly absentee father -- say that he cackled with delight upon learning of Martin Luther King Jr.'s assassination in 1968. Brennan later worked on the 1972 presidential campaign of reactionary right-wing California Congressman John Schmitz, a nominee of the American Party, whose campaign was predicated on the notion that the Republican Party under Richard Nixon had become too moderate. Mostly, though, Brennan was known to the public for his lovable, sometimes comical screen persona, and was still working as the '60s drew to a close, on made-for-TV movies such as The Over-the-Hill Gang, which reunited him with one of his favorite directors, Jean Yarbrough, and his old stablemate Chill Wills. Brennan died of emphysema in 1974 at the age of 80.

Trivia: A London stage actor from the early 1900s, Jameson Thomas made his film debut in 1923's Chu Chin Chow. With such exceptions as Hitchcock's The Farmer's Wife (1928), Thomas was dissatisfied with the British phase of his film career, though he remained philosophical, observing, "If one wants to live by playing in British films, it is better to be miscast than never to be cast at all." Moving to Hollywood in the early talkie era, he was largely confined to minor roles until his death in 1939. His larger assignments included the role of Claudette Colbert's fortune-hunting husband King Westley in It Happened One Night (1934) and Charles Craig in the 1934 version of Jane Eyre. Jameson Thomas was married to actress Dorothy Dix.

Trivia: Though best known to modern filmgoers as a horror star, cadaverous John Carradine was, in his prime, one of the most versatile character actors on the silver screen. The son of a journalist father and physician mother, Carradine was given an expensive education in Philadelphia and New York. Upon graduating from the Graphic Arts School, he intended to make his living as a painter and sculptor, but in 1923 he was sidetracked into acting. Working for a series of low-paying stock companies throughout the 1920s, he made ends meet as a quick-sketch portrait painter and scenic designer. He came to Hollywood in 1930, where his extensive talents and eccentric behavior almost immediately brought him to the attention of casting directors. He played a dizzying variety of distinctive bit parts -- a huntsman in Bride of Frankenstein (1935), a crowd agitator in Les Miserables (1935) -- before he was signed to a 20th Century Fox contract in 1936. His first major role was the sadistic prison guard in John Ford's Prisoner of Shark Island (1936), which launched a long and fruitful association with Ford, culminating in such memorable screen characterizations as the gentleman gambler in Stagecoach (1939) and Preacher Casy ("I lost the callin'!") in The Grapes of Wrath (1940). Usually typecast as a villain, Carradine occasionally surprised his followers with non-villainous roles like the philosophical cab driver in Alexander's Ragtime Band (1938) and Abraham Lincoln in Of Human Hearts (1938). Throughout his Hollywood years, Carradine's first love remained the theater; to fund his various stage projects (which included his own Shakespearean troupe), he had no qualms about accepting film work in the lowest of low-budget productions. Ironically, it was in one of these Poverty Row cheapies, PRC's Bluebeard (1944), that the actor delivered what many consider his finest performance. Though he occasionally appeared in an A-picture in the 1950s and 1960s (The Ten Commandments, Cheyenne Autumn), Carradine was pretty much consigned to cheapies during those decades, including such horror epics as The Black Sleep (1956), The Unearthly (1957), and the notorious Billy the Kid Meets Dracula (1966). He also appeared in innumerable television programs, among them Twilight Zone, The Munsters, Thriller, and The Red Skelton Show, and from 1962 to 1964 enjoyed a long Broadway run as courtesan-procurer Lycus in A Funny Thing Happened on the Way to the Forum. Though painfully crippled by arthritis in his last years, Carradine never stopped working, showing up in films ranging from Everything You Always Wanted to Know About Sex But Were Afraid to Ask (1972) to Peggy Sue Got Married (1984). Married four times, John Carradine was the father of actors David, Keith, Robert, and Bruce Carradine.

Trivia: As a theater actor, John Merivale was one of the last "matinee idols" of the post-World War II era, enjoying nearly three decades of success on-stage in England and America, interspersed with occasional leading roles in movies and guest-starring parts on television. The son of actor Philip Merivale (who had originated the role of Colonel Pickering in George Bernard Shaw's Pygmalion, and is most familiar to filmgoers as Justice Longstreet, the father of the Loretta Young character in Orson Welles' The Stranger [1946]) and actress Gladys Cooper, John Merivale was born in Toronto, Canada, in 1917. He was educated in England, at Rugby and New College, Oxford, although his studies were curtailed when his father lost a fortune investing in a failed theatrical production. Merivale began his film career almost prematurely, playing a newsboy in the James Whale horror-fantasy-thriller The Invisible Man (1933) when he was 15, but his real movie career didn't begin until the 1950s. Merivale's stage career started when he was 21, as an understudy in a production of A Midsummer Night's Dream, where he first met Vivien Leigh. He later worked in the production of Romeo and Juliet by Leigh and her husband, Laurence Olivier -- an infamous failure that cost the couple most of their savings (and made it necessary for them to do the movie That Hamilton Woman). Merivale later married actress Jan Sterling. His profile, one of the most stunning among his generation of actors, and his good manners, coupled with his talent and range, made him an ideal prospect as a leading man, but realizing that potential had to wait for the end of World War II. Merivale served as a pilot with both the British and Canadian air forces during the war, and resumed his career in 1946. That year, he had a starring role in a successful American production of Lady Windermere's Fan. He remained active in theater over the ensuing 25 years, earning great notices in such productions as Venus Observed, Anne of a Thousand Days, The Reluctant Debutante (later the basis for the movie of the same name and its remake, What a Girl Wants), and The Last of Mrs. Cheyney. Merivale occasionally did films, usually in gentlemanly leading roles -- notably in A Night to Remember (1958), and with key roles in King Rat, Arabesque, and The List of Adrian Messenger. He also became a familiar figure on television, as a guest star on such dramatic series as The Third Man. Merivale had divorced Sterling in 1948, and in 1960, while he was appearing on Broadway in Duel of Angels, he once more crossed paths with Vivien Leigh. The two began a romantic affair that became public after Leigh admitted that her marriage to Olivier was effectively over, and the new couple remained devoted to each other after she and Olivier were divorced. Merivale was able to provide the actress with much of what happiness she had during the final seven years of her life. After Leigh's death, he met actress Dinah Sheridan, who was married to Rank Organization head John Davis. Sheridan later divorced Davis and married Merivale, and was devoted to him for the rest of their lives together. In 1970, Merivale, then 52, was informed that he suffered from a congenital condition that would result in total renal failure in less than ten years (his father, in declining health in the 1940s, had succumbed to heart failure at 59); Sheridan's emotional support, coupled with the existence of dialysis, made it possible for Merivale to live twice as long as his doctors believed possible, to age 72.

Trivia: Despite hailing from San Francisco, dark-haired Robert A'Dair (sometimes given as Robert Adair) spent his screen career playing English military personnel, bobbies, butlers, footmen, and so on. A'Dair played the cockroach racing Captain Hardy in the 1930 Hollywood screen version of the anti-war play Journey's End (1930), the highlight of a long screen career spent mostly in small supporting roles.

Trivia: With the pioneering Edison Company from the beginning, this ascetic-looking stage veteran played Captain de Treville in a 1911 version of The Three Musketeers. Over the years, Brower specialized in portraying stern aristocrats, lawyers, doctors, and others in a wide variety of films ranging from Vanity Fair (1915; as Mr. Osborne) to William Wellman's Beggars of Life (1928; as the hobo Blind Sims). The seemingly indefatigable but by then quite elderly actor continued in films until the year of his death.

Trivia: A former lawyer, Irish-born D'Arcy Corrigan came to films with a varied background that included a stint as private secretary for a member of Parliament and as a stock company leading man. In Hollywood from 1925, Corrigan played everything from barristers to opium addicts to cockneys to undertakers. Rarely onscreen for more than a minute or two, he usually made every second count. He is especially memorable as the morgue keeper in Bela Lugosi's Murders in the Rue Morgue (1932), the blind man in John Ford's The Informer, and as the Spirit of Christmas Future in A Christmas Carol (1938).

Trivia: Diminutive Scottish stage and screen actress Mary Gordon was seemingly placed on this earth to play care-worn mothers, charwomen and housekeepers. In films from the silent area (watch for her towards the end of the 1928 Joan Crawford feature Our Dancing Daughters), Gordon played roles ranging from silent one-scene bits to full-featured support. She frequently acted with Laurel and Hardy, most prominently as the stern Scots innkeeper Mrs. Bickerdyke in 1935's Bonnie Scotland. Gordon was also a favorite of director John Ford, portraying Irish, Scottish, Welsh and Englishwomen with equal aplomb (and sometimes with the same accent). She was the screen mother of actors as diverse as Jimmy Cagney, Leo Gorcey and Lou Costello; she parodied this grey-haired matriarch image in Olsen and Johnson's See My Lawyer (1945), wherein her tearful court testimony on behalf of her son (Ed Brophy) is accompanied by a live violinist. Mary Gordon is most fondly remembered by film buffs for her recurring role as housekeeper Mrs. Hudson in the Sherlock Holmes films of 1939-46 starring Basil Rathbone and Nigel Bruce, a role she carried over to the Holmes radio series of the '40s.

Trivia: Elegant British leading man Crauford Kent launched his American film career in 1915. Kent's more notable movie roles included Lolius in Mary Garden's 1917 filmization of Faust, and plot-motivating producer Hal Bentley in both the 1925 and 1929 screen versions of the George M. Cohan/Earl Derr Biggers stage hit Seven Keys to Baldpate. As the district attorney in the all-talking version of The Unholy Three (1930), it was Kent who exposed the true gender of "sweet little old lady" Lon Chaney Sr. Thereafter, Kent played featured roles as doctor, military officers, "other men" and the like in both features and 2-reel comedies. Busy right up to his death at the age of 72, Crauford Kent continued to essay such supporting parts as the Astrologer in Cecil B. DeMille's Samson and Delilah (1949).

Trivia: From 1923 until his retirement in 1949, American character actor Monte Montague was an adventure-film "regular." In both his silent and sound appearances, Montague was usually seen in comic-sidekick roles. He was busiest at Universal in the 1930s, where he appeared in such serials as Tailspin Tommy (1934), The Adventures of Frank Merriwell(1934) and Radio Patrol (1938). He also showed up in bit parts in the Universal "A" product; he was, for example, Dr. Praetorius' miniaturized King in Bride of Frankenstein (1935). Monte Montague wound up his career at Republic, playing utility roles in that studio's serial and western efforts.

Trivia: Burly 6'2", 200 pound Bob Reeves, a Texan, was a rodeo champion and stunt double at Universal until a prominent role in the action-packed serial The Great Radium Mystery (1919) paved the way for a starring series of 2-reel westerns. A bit bland as an action lead, Reeves nevertheless worked steadily through the 1920s for small Gower Gulch outfits like Cactus Features and Anchor. Reeves vehicles such as Cyclone Bob (1926), Desperate Chances (1926), Fighting Luck (1926) and Iron Fist (1926) had no production values whatsoever, suffered from nondescript direction (often old hacks like J.P. McGowan), and were saddled with amateurish supporting casts. But they almost always offered non-stop action and were usually filmed on locations in real-life California villages. Unfortunately, Hollywood suffered a glut of inexpensive western fare in the mid 1920s, and Reeves was demoted to minor supporting roles by the time talkies came around. He continued in films for another three decades or so, playing scores of henchmen, cops, security guards, or simply a face in the crowd, rarely billed but always a welcome presence in films ranging from The Amazing Dr. Clitterhouse (1939; he played a policeman) to Canadian Mounties vs. Atomic Invaders (1953; as a bartender). Bob Reeves died of a heart attack in his Los Angeles home in 1960.

Trivia: A veteran touring company actress, Emma Tansey is perhaps best remembered as the mother of the low-budget Tansey dynasty, a clan that included her three sons, producer/writer/director Robert Emmett Tansey and actors Sheridan Tansey and John Tansey. Emma Tansey appeared in many of her sons' films but is probably more remembered for playing nice old ladies in the comedies of W.C. Fields.