Trivia: Few would argue with the opinion that American entertainer Fred Astaire was the greatest dancer ever seen on film. Born to a wealthy Omaha family, young Astaire was trained at the Alvienne School of Dance and the Ned Wayburn School of Dancing. In a double act with his sister Adele, Fred danced in cabarets, vaudeville houses, and music halls all over the world before he was 20. The Astaires reportedly made their film bow in a 1917 Mary Pickford vehicle, same year of their first major Broadway success, Over the Top. The two headlined one New York stage hit after another in the 1920s, their grace and sophistication spilling into their social life, in which they hobnobbed with literary and theatrical giants, as well as millionaires and European royalty. When Adele married the British Lord Charles Cavendish in 1931, Fred found himself soloing for the first time in his life. As with many other Broadway luminaries, Astaire was beckoned to Hollywood, where legend has it his first screen test was dismissed with "Can't act; slightly bald; can dance a little." He danced more than a little in his first film, Dancing Lady (1933), though he didn't actually play a role and was confined to the production numbers. Later that year, Astaire was cast as comic/dancing relief in the RKO musical Flying Down to Rio, which top-billed Dolores Del Rio and Gene Raymond. Astaire was billed fifth, just below the film's female comedy relief Ginger Rogers. Spending most of the picture trading wisecracks while the "real" stars wooed each other, Astaire and Rogers did a very brief dance during a production number called "The Carioca." As it turned out, Flying Down to Rio was an enormous moneymaker -- in fact, it was the film that saved the studio from receivership. Fans of the film besieged the studio with demands to see more of those two funny people who danced in the middle of the picture. RKO complied with 1934's The Gay Divorcee, based on one of Astaire's Broadway hits. Supporting no one this time, Fred and Ginger were the whole show as they sang and danced their way through such Cole Porter hits as "Night and Day" and the Oscar-winning "The Continental." Astaire and Rogers were fast friends, but both yearned to be appreciated as individuals rather than a part of a team. After six films with Rogers, Astaire finally got a chance to work as a single in Damsel in Distress (1937), which, despite a superb George Gershwin score and top-notch supporting cast, was a box-office disappointment, leading RKO to re-team him with Rogers in Carefree (1938). After The Story of Vernon and Irene Castle (1939), Astaire decided to go solo again, and, after a few secondary films, he found the person he would later insist was his favorite female co-star, Rita Hayworth, with whom he appeared in You'll Never Get Rich (1942) and You Were Never Lovelier (1946). Other partners followed, including Lucille Bremer, Judy Garland, Betty Hutton, Jane Powell, Cyd Charisse, and Barrie Chase, but, in the minds of moviegoers, Astaire would forever be linked with Ginger Rogers -- even though a re-teaming in The Barkeleys of Broadway (1949) seemed to prove how much they didn't need each other. Astaire set himself apart from other musical performers by insisting that he be photographed full-figure, rather than have his numbers "improved" by tricky camera techniques or unnecessary close-ups. And unlike certain venerable performers who found a specialty early in life and never varied from it, Astaire's dancing matured with him. He was in his fifties in such films as The Band Wagon (1953) and Funny Face (1957), but he had adapted his style so that he neither drew attention to his age nor tried to pretend to be any younger than he was. Perhaps his most distinctive characteristic was making it look so easy. One seldom got the impression that Astaire worked hard to get his effects, although, of course, he did. To the audience, it seemed as though he was doing it for the first time and making it up as he went along. With the exceptions of his multi-Emmy-award-winning television specials of the late '50s and early '60s, Astaire cut down on his dancing in the latter stages of his career to concentrate on straight acting. While he was superb as a troubled, suicidal scientist in On the Beach (1959) and was nominated for an Oscar for his work in The Towering Inferno (1974), few of his later films took full advantage of his acting abilities. (By 1976, he was appearing in such films as The Amazing Dobermans.) In 1981, more than a decade after he last danced in public, Astaire was honored with a Lifetime Achievement Award from the American Film Institute. While this award was usually bestowed upon personalities who had no work left in them, Astaire remained busy as an actor almost until his death in 1987. The same year as his AFI prize, Astaire joined fellow show business veterans Melvyn Douglas, Douglas Fairbanks Jr., and John Houseman in the movie thriller Ghost Story.

Trivia: In step with Fred Astaire, Ginger Rogers was one half of the most legendary dancing team in film history; she was also a successful dramatic actress, even winning a Best Actress Oscar. Born Virginia McMath on July 16, 1911, in Independence, MO, as a toddler, she relocated to Hollywood with her newly divorced mother, herself a screenwriter. At the age of six, Rogers was offered a movie contract, but her mother turned it down. The family later moved to Fort Worth, where she first began appearing in area plays and musical revues. Upon winning a Charleston contest in 1926, Rogers' mother declared her ready for a professional career, and she began working the vaudeville circuit, fronting an act dubbed "Ginger and the Redheads." After marrying husband Jack Pepper in 1928, the act became "Ginger and Pepper." She soon traveled to New York as a singer with Paul Ash & His Orchestra, and upon filming the Rudy Vallee short Campus Sweethearts, she won a role in the 1929 Broadway production Top Speed.On Broadway, Rogers earned strong critical notice as well as the attention of Paramount, who cast her in 1930's Young Man of Manhattan, becoming typecast as a quick-witted flapper. Back on Broadway, she and Ethel Merman starred in Girl Crazy. Upon signing a contract with Paramount, she worked at their Astoria studio by day and returned to the stage in the evenings; under these hectic conditions she appeared in a number of films, including The Sap From Syracuse, Queen High, and Honor Among Lovers. Rogers subsequently asked to be freed of her contract, but soon signed with RKO. When her Broadway run ended, she went back to Hollywood, starring in 1931's The Tip-Off and The Suicide Fleet. When 1932's Carnival Boat failed to attract any interest, RKO dropped her and she freelanced around town, co-starring with Joe E. Brown in the comedy The Tenderfoot, followed by a thriller, The Thirteenth Guest, for Monogram. Finally, the classic 1933 musical 42nd Street poised her on the brink of stardom, and she next appeared in Warner Bros.' Gold Diggers of 1933.Rogers then returned to RKO, where she starred in Professional Sweetheart; the picture performed well enough to land her a long-term contract, and features like A Shriek in the Night and Sitting Pretty followed. RKO then cast her in the musical Flying Down to Rio, starring Delores Del Rio; however, the film was stolen by movie newcomer Astaire, fresh from Broadway. He and Rogers did not reunite until 1934's The Gay Divorcee, a major hit. Rogers resisted typecasting as strictly a musical star, and she followed with the drama Romance in Manhattan. Still, the returns from 1935's Roberta, another musical venture with Astaire, made it perfectly clear what kinds of films audiences expected Rogers to make, and although she continued tackling dramatic roles when the opportunity existed, she rose to major stardom alongside Astaire in classics like Top Hat, 1936's Follow the Fleet, Swing Time, and Shall We Dance? Even without Astaire, Rogers found success in musical vehicles, and in 1937 she and Katharine Hepburn teamed brilliantly in Stage Door.After 1938's Carefree, Rogers and Astaire combined for one final film, the following year's The Story of Vernon and Irene Castle, before splitting. She still harbored the desire to pursue a dramatic career, but first starred in an excellent comedy, Bachelor Mother. In 1940, Rogers starred as the titular Kitty Foyle, winning an Academy Award for her performance. She next appeared in the 1941 Garson Kanin comedy Tom, Dick and Harry. After starring opposite Henry Fonda in an episode of Tales of Manhattan, she signed a three-picture deal with Paramount expressly to star in the 1944 musical hit Lady in the Dark. There she also appeared in Billy Wilder's The Major and the Minor and Leo McCarey's Once Upon a Honeymoon. Rogers then made a series of films of little distinction, including 1945's Weekend at the Waldorf (for which she earned close to 300,000 dollars, making her one of the highest-paid women in America), the following year's Magnificent Doll, and the 1947 screwball comedy It Had to Be You. Rogers then signed with the short-lived production company Enterprise, but did not find a project which suited her. Instead, for MGM she and Astaire reunited for 1949's The Barkleys of Broadway, their first color collaboration. The film proved highly successful, and rekindled her sagging career. She then starred in a pair of Warner Bros. pictures, the 1950 romance Perfect Strangers and the social drama Storm Warning. After 1951's The Groom Wore Spurs, Rogers starred in a trio of 1952 Fox comedies -- We're Not Married, Monkey Business, and Dreamboat -- which effectively halted whatever momentum her reunion with Astaire had generated, a situation remedied by neither the 1953 comedy Forever Female nor by the next year's murder mystery Black Widow. In Britain, she filmed Beautiful Stranger, followed by 1955's lively Tight Spot. With 1957's farcical Oh, Men! Oh, Women!, Rogers' Hollywood career was essentially finished, and she subsequently appeared in stock productions of Bell, Book and Candle, The Unsinkable Molly Brown, and Annie Get Your Gun.In 1959, Rogers traveled to Britain to star in a television musical, Carissima. A few years later, she starred in a triumphant TV special, and also garnered good notices, taking over for Carol Channing in Hello, Dolly! She also starred in Mame in London's West End, earning over 250,000 pounds for her work -- the highest sum ever paid a performer by the London theatrical community. In 1965, Rogers entered an agreement with the Jamaican government to produce films in the Caribbean; however, shooting there was a disaster, and the only completed film to emerge from the debacle was released as Quick, Let's Get Married. That same year, she also starred as Harlow, her final screen performance. By the 1970s, Rogers was regularly touring with a nightclub act, and in 1980 headlined Radio City Music Hall. A tour of Anything Goes was among her last major performances. In 1991, she published an autobiography, Ginger: My Story. Rogers died April 25, 1995.

Trivia: The celebrated "pin-up girl" of World War II, American actress Betty Grable was the daughter of a stockbroker and an aggressive "stage mother." When her older sister Marjorie balked at a show business career, Grable was taken in hand by her mother and trained to sing, dance, tell jokes and play the ukulele and saxophone. Despite her father's objections, Grable begged her mother to take her to Los Angeles for a movie career, preparing herself with a two-girl musical act while attending Hollywood Professional School. Lying about her age, 13-year-old Grable was hired as a chorus girl for short subjects, getting her first important exposure as the energetic blonde "cowgirl" who sings the first chorus of the first song in the Eddie Cantor film musical Whoopee! (1930). Grable played supporting parts in two-reelers and bits in features for the next couple of years, attaining her first major role in Hold 'Em Jail (1932), a comedy starring the comedy team of Wheeler and Woolsey. Bert Wheeler had promised Grable's mother several years earlier that he'd get the girl a break in pictures if she came to Hollywood, and with this film, Wheeler kept his word. More bits and indifferent supporting roles followed until Grable was signed by Paramount, who loaned her to 20th Century-Fox for Pigskin Parade (1936), which established her with the public. Grable finally landed top billing in Paramount's Million Dollar Legs (1939)--the title referred not to the star but to a college athletic team--which co-starred her first husband, Jackie Coogan. Grable's career stalled at Paramount, but a Broadway appearance in the Cole Porter musical DuBarry Was a Lady led to a contract with 20th Century-Fox, where she remained a number-one box-office attraction from 1940 through 1955. Fox wisely allowed Grable to shed her "college co-ed" image for a more salable screen persona as a wholesomely sexy musical comedy star, emphasizing her greatest attributes: her shapely figure and shapelier legs. After a misfire attempt at heavy dramatics in I Wake Up Screaming (1941), Grable insisted that she be required only to sing and dance, not act, and Fox complied with a string of nonsensical but lavish Technicolor musicals. Grable was enormously popular with American GIs during the war, most of this popularity resting on her famous "pin-up" picture in which, dressed in a one-piece bathing suit and with her back to the camera, Grable glanced saucily over one shoulder. This rear-view image was borne not out of a desire to titillate but from necessity: she was several months pregnant when the picture was taken! Grable furthered her acceptance with the overseas troops when she married trumpeter-bandleader Harry James in 1943. Her popularity undimmed by war's end, Grable continued making Technicolor frolics, though her frequent tiffs with the Fox executives led the studio to try out any number of potential replacements, including Vivian Blaine, June Haver, and even Marilyn Monroe. A few miscalculated breakaways from her accepted screen image--Mother Wore Tights (1947), The Beautiful Blonde From Bashful Bend (1949) and The Shocking Miss Pilgrim (1949)--hurt Grable's box-office status, even though these films hold up better than some of her wartime hits. Free-lancing after her last film, the lackluster How to Be Very, Very Popular (1955), Grable inadvertently offended producer Sam Goldwyn, thereby losing out on the chance of playing the plum role of Adelaide in Goldwyn's Guys and Dolls (1955); this and a few disappointing TV appearances prompted the actress into semi-retirement, save for a few nightclub appearances. After divorcing Harry James in 1965, Grable made a triumphal return to Broadway as Carol Channing's replacement in Hello, Dolly. Her later foray into musical comedy, Belle Starr, was less satisfying, closing its London run after two weeks. Shortly before her death, Grable appeared in advertisements for a number of low-calorie food products, her alluring figure and beautiful "gams" belying her age.

Trivia: American actress Alice Brady first came to prominence in the silent films produced by World Studios, which was owned and operated by Brady's father, the influential theatrical producer William H. Brady. A star from her first film, As Ye Sow (1914), onward, she was applauded for her acting skills, though critics at the time noted that her somewhat offbeat facial features would be better suited to character roles than to ingenues. Brady devoted the 1920s to motherly and matronly portrayals on stage - which, as it turned out, were far more rewarding professionally than the heroines she'd played at World. Making her talking-picture debut in 1933's When Ladies Meet, Brady rapidly became one of Hollywood's most prolific portrayers of addlebrained society matrons and world-weary matriarchs. Her comic skills won her roles in such classics as My Man Godfrey (1936) and Three Smart Girls, but it was for her dramatic portrayal of the resilient, much-maligned Mrs. O'Leary in In Old Chicago (1938) that she won an Academy Award. Shortly after completing her work on John Ford's Young Mr. Lincoln (1939), Brady passed away at the age of 46.

Trivia: Few actors were more beloved of audiences across multiple generations -- and from more different fields of entertainment -- than Edward Everett Horton. For almost 70 years, his work delighted theatergoers on two coasts (and a lot of the real estate in between) and movie audiences, first in the silents and then in the talkies, where he quickly became a familiar supporting player and then a second lead, often essaying comically nervous "fuddy-duddy" parts, and transcended the seeming limitations of character acting to rival most of the leading men around him in popularity; he subsequently moved into television, both as an actor and narrator, and gained a whole new fandom for his work as the storyteller in the animated series "Fractured Fairy Tales." Edward Everett Horton was born in Brooklyn, NY, in 1886 -- when it was a separate city from New York City -- the son of Edward Everett Horton and Isabella Diack Horton. His grandfather was Edward Everett Hale, the author of the story The Man Without a Country. He attended Boys High School and later studied at the Brooklyn Polytechnic Institute and at Oberlin College in Ohio, and Columbia University in Manhattan. His path to graduation was thwarted when he joined the university's drama club -- despite his 6'2" build, his first role had him cast as a woman. He never did graduate from Columbia, but he embarked on a performing career that was to keep him busy for more than six decades. In those days, he also sang -- in a baritone -- and joined the Staten Island-based Dempsey Light Opera Company for productions of Michael Balfe's The Bohemian Girl and Gilbert & Sullivan's The Mikado. His singing brought him to the Broadway stage as a chorus member, and he subsequently spent three years with the Louis Mann company honing his acting skills while playing in stock -- Horton made his professional acting debut in 1908 with a walk-on role in The Man Who Stood Still. By 1911, he was working steadily and regularly, and often delighting audiences with his comedic talents, and remained with the Mann company for another two years. He was a leading man in the Crescent Theatre stock company, based in Brooklyn, and spent the remainder of the teens playing leading roles in theater companies across the United States, eventually basing himself in Los Angeles. Horton entered movies in 1918, and became well known to screen audiences with his performance in the 1923 version of Ruggles of Red Gap. He was identified almost entirely with comedic work after that, and by the end of the '20s had starring roles in a string of comedic shorts. It was after the advent of sound, however, that he fully hit his stride on the big screen. Horton's first talking feature was The Front Page (1931), directed by Lewis Milestone, based on the hit play by Ben Hecht and Charles MacArthur, in which he played fidgety reporter Roy Bensinger. Starting in the early '20s, Horton based most of his stage work on the West Coast, producing as well as acting. He leased the Majestic Theater in Los Angeles and found success with works such as The Nervous Wreck, in which he worked with Franklin Pangborn, a character actor who would also -- like Horton -- specialize in nervous, fidgety roles (though Pangborn, unlike Horton, never rose beyond character actor and supporting player status in features). In 1932, he leased the Hollywood Playhouse, which he subsequently operated for a season starring in Benn Wolfe Levy's Springtime for Henry, in which he performed more than 3000 times, making enough money from that play alone to buy his summer home in the Adirondacks. Horton fit in his movie work in between productions of Springtime for Henry (which was filmed in 1934, without Horton), and was always in demand. Amid his many roles over the ensuing decade, Horton worked in a half-dozen of the Fred Astaire/Ginger Rogers musicals at RKO. His other notable roles onscreen during the 1930s included a portrayal of The Mad Hatter in the 1933 Alice in Wonderland, and a neurotic paleontologist (who first appears disguised as a woman) in Frank Capra's Lost Horizon (1937). He worked in at least six movies a year from the early '30s through the end of the 1940s, and there were occasional serious variations in his roles -- Horton played an unusually forceful part in Douglas Sirk's Summer Storm (1944), and he delivered a comedic tour de force (highlighted by a delightful scene with Carmen Miranda) in Busby Berkeley's The Gang's All Here (1943). Horton kept busy for more than 60 years, and not just in acting -- along with his brother George he bought up property in the San Fernando Valley from the 1920s onward, eventually assembling Beleigh Acres, a 23-acre development where he lived with his mother (who passed away at age 102). His hobbies included antiques, and at the time of his death in 1970, he had a collection with an estimated value of a half million dollars. He was busy on television throughout the 1950s and '60s, not only in onscreen work but also voice-overs for commercials, and he even hosted the Westminster Kennel Club dog show at Madison Square Garden. Horton was a regular cast member on the comedy Western series F Troop, playing Roaring Chicken (also referred to as Running Chicken), the Hekawi indian tribe medicine man. But his most enduring work from the 1960s was as the narrator of "Fractured Fairy Tales," the Jay Ward-produced co-feature to Rocky & Bullwinkle, in which he was prominently billed in the opening credits of every episode. That engagement endeared him to millions of baby boomers and their parents, and his work in those cartoons continues to gain Horton new fans four decades after his death. He grew frail in appearance during the 1960s, and was not averse to playing off of that reality on series such as Dennis the Menace, where he did a guest-star spot in one episode as Uncle Ned, a health-food and physical-culture fanatic. Horton never married, and shared a home later in life with his sister, Hannabelle Grant. He was hospitalized weeks before his death from cancer in September 1970, and was so busy that during that hospitalization he showed up as a guest star in two episodes of the sitcom The Governor and J.J., His final big-screen appearance was in the Bud Yorkin/Norman Lear comedy Cold Turkey, which wasn't released until the following year.

Trivia: Tall, sharp-featured American comic actor Erik Rhodes made his film debut in the 1934 Astaire/Rogers musical Gay Divorcee, playing genial Italian "professional correspondent" Tonetti ("Your wife is safe with Tonetti: He prefers spaghetti."). Rhodes essayed virtually the same part in Astaire's and Rogers' 1935 vehicle Top Hat, then settled into a short but lively Hollywood career, playing mostly gigolos and sharpers. A master dialectician, Rhodes was at home with the "silly ass Englishman" cadence of his character in Mysterious Mr. Moto (1938) as he was with the Manhattanite intonations of his murder suspect character in The Nitwits (1935). He forsook Hollywood in favor of stage work in 1939, working without interruption (except for wartime service in the Army Air Force) until his retirement in the early '70s.

Trivia: Most often cast as a snide gentleman's gentleman or dissipated nobleman, British actor Eric Blore abandoned the business world for the theatre when he was in his mid-twenties. Established in both London and New York, Blore began adding movies to his acting achievements with 1920's A Night Out and a Day In(1920); he also appeared in the 1926 silent version of F. Scott Fitzgerald's The Great Gatsby. A scene-stealing role in RKO's Fred Astaire-Ginger Rogers musical Flying Down to Rio (1933) led to Blore's becoming a fixture in such subsequent Astaire-Rogers projects as Gay Divorcee (1934), Top Hat (1935) and Shall We Dance? (1937). The actor also became a "regular" in the unorthodox film comedies of Preston Sturges, notably The Lady Eve (1941) and Sullivan's Travels(1942). In addition, Blore found himself in support of several "star" comedians, from Laurel and Hardy to Bob Hope to The Marx Brothers. When pickings became lean for "veddy" British character actors in the mid 1950s, Blore was reduced to co-starring with the bargain-counter Bowery Boys in Bowery to Baghdad (1955); he played an inebriated genie in this, his last film. On a more artistically rewarding note, cartoon fans will recall the pixilated voice of Blore as the automobile-happy Mr. Toad in the 1949 Disney animated feature Ichabod and Mr. Toad.

Trivia: A graduate of Drake University, blonde torch singer Lillian Miles is best remembered for playing Blanche, one of the young innocents lured into a life of depravity by marijuana-peddling Thelma White in the notorious Reefer Madness (1938). Back in 1932, Miles had been submitted by Columbia Pictures for the WAMPAS Baby Star honors, but apparently left the studio before the final selection was made. Columbia's second choice, Toshia Mori, was awarded the spot instead, becoming the first and only non-white winner. Miles' own screen career may have suffered as a consequence and apart from Blanche in Reefer Madness, none of her screen assignments were memorable.

Trivia: Together with Arthur Treacher, Olaf Hytten and Wilson Benge, Charles Coleman was one of Hollywood's "perfect butlers." On stage, he was Pauline Frederick's leading man for many years. After touring the U.S. and Australia, he settled in Hollywood in 1923. Coleman was virtually always cast as a gentleman's gentleman, often with a streak of effeminacy; representative Charles Coleman assignments include Bachelor Apartment (1931), Diplomaniacs (1933), Three Smart Girls (1937) and Cluny Brown (1946). Charles Coleman is best remembered by film buffs for two classic lines of dialogue. Explaining why he falsely informed his master Charlie Ruggles that he was to dress for a costume ball in Love Me Tonight (1932), Coleman "I did so want to see you in tights!" And when asked by Deanna Durbin in First Love (1939) why butlers are always so dour, Coleman moans "Gay butlers are extremely rare."

Trivia: A former opera singer in his native Sicily, bull-necked, waxed-moustached character actor Paul Porcasi made his screen bow in 1917's Fall of the Romanoffs. Porcasi flourished in the talkie era, playing innumerable speakeasy owners, impresarios, chefs, and restaurateurs. The nationalities of his screen characters ranged from Italian to French to Greek to Spanish; most often, however, he played Greeks with such onomatopoeic monikers as Papapopolous. Porcasi's best-remembered film roles include Nick the Greek in Broadway (1929), the obsequious garment merchant in Devil in the Deep (1932), dour border guard Gonzalez in Eddie Cantor's The Kid From Spain (1932), and the apoplectic apple vendor ("Hey! You steal-a!") in King Kong (1933). Paul Porcasi was also starred in the first three-strip Technicolor short subject, La Cucaracha (1934), wherein his face turned a deep crimson after he ingested one too many hot chili peppers.

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: In films from 1919, Dutch vaudeville comic George Davis played one of the featured clowns in Lon Chaney's He Who Gets Slapped (1924) and was also in Buster Keaton's Sherlock, Jr. that same year. In the sound era, Davis specialized in playing waiters but would also turn up as bus drivers, counter men, and circus performers, often assuming a French accent. When told that Davis' business as a hotel porter included carrying Greta Garbo's bags, the soviet envoy opined: "That's no business. That's social injustice." "Depends on the tip," replied Davis. He continued to play often humorous bits well into the '50s, appearing in such television shows as Cisco Kid and Perry Mason. The veteran performer died of cancer at the Motion Picture Country House and Hospital.

Trivia: In films from 1926, former vaudevillian and stage actor/playwright Alphonse Martell was one of Hollywood's favorite Frenchmen. While he sometimes enjoyed a large role, Martell could usually be found playing bits as maitre d's, concierges, gendarmes, duelists, and, during WW II, French resistance fighters. In 1933, he directed the poverty-row quickie Gigolettes of Paris. Alphonse Martell remained active into the 1960s, guest-starring on such TV programs as Mission: Impossible.

Trivia: Diminutive British knockabout comedian Jimmy Aubrey got his start with the legendary Fred Karno troupe, working alongside such budding stars as Charlie Chaplin and Stan Laurel. Like Charley and Stan, Aubrey flourished as a silent screen comic. He headlined a series of Vitagraph two-reelers in 1919 and 1920, with a young Oliver Hardy lending support. In the mid-1920s, he starred in another comedy series for producer Joe Rock. By 1927, Aubrey's stardom was a thing of the past, and he found himself virtually unemployable. His old colleagues Laurel and Hardy cast Aubrey in supporting roles in three of their starring vehicles, most memorably as the flirtatious drunk in the 1929 2-reeler That's My Wife. Jimmy Aubrey continued taking movie jobs until his retirement in 1952, playing bits and featured roles as drunken sailors, hoboes, store clerks and cowboy sidekicks.

Trivia: A mustachioed supporting player from Russia, Jack Chefe (sometimes credited as Chefé) played exactly what he looked and sounded like: headwaiters. That was also his occupation when not appearing in films, of which he did literally hundreds between 1932 and 1959, serving such stars as Carole Lombard (My Man Godfrey, 1936), Jeanette MacDonald (Bitter Sweet, 1940), Bob Hope (My Favorite Brunette, 1947), and even Dick Tracy (in the 1945 RKO feature film). Once in a while, Chefe managed to escape typecasting, playing one of the legionnaires in Laurel and Hardy's Flying Deuces (1939) and a croupier in The Big Sleep (1946).

Trivia: Not to be confused with the character actor of the same name, London-born Leslie Goodwins came to the U.S. in the 1930s, almost immediately securing work as a director of Edgar Kennedy and Leon Errol 2-reelers at RKO Radio. Promoted to features in 1936, Goodwins became a member in good standing of RKO's "B"-unit directorial pool. His best-known films include the Wally Brown-Alan Carney vehicles and several of Lupe Velez' "Mexican Spitfire" entries. Occasionally, he paid visits to other studios like Paramount (Glamour Boy) and Universal (The Mummy's Curse). His last theatrical features include the Buddy Hackett-Hugh O'Brian effort Fireman Save My Child (1954) and the five-day wonder Paris Follies of 1956. In addition, Leslie Goodwins churned out scores of 30-minute episodes of such TV series as Topper and Tammy.

Trivia: Bleach-blonde chorus girl Lois Lindsay is remembered for one movie role only, that of debutante Dorothy Farley in the cautionary exploitation melodrama Cocaine Fiends, aka The Pace That Kills (1935). It is Lindsay who discovers, to her utter dismay, that her prominent father is the brains behind a scheme to ply cocaine to high school girls. Long retired from show business, the former starlet was the mother of television director-producer Madison D. Lacy.

Trivia: Not to be confused with the film editor of the same name, British character actor William Austin made his Hollywood debut in Edward Everett Horton's 1923 film version of Ruggles of Red Gap. Together with Claud Allister, Austin became one of Hollywood's favorite "silly ass" Englishmen in the talkie period, usually armed with monocle and high-pitched laugh. He worked at every studio, in any kind of film, playing roles ranging from the epicene hospital patient who is "all aflutter" in the Laurel and Hardy two-reeler County Hospital (1932) to the humorless husband of divorce-bound Ginger Rogers in The Gay Divorcee (1934). He also made occasional return trips to England to appear in such films as The Private Life of Henry VIII (1933) (as the Duke of Cleves). One of William Austin's last film assignments before his retirement in the mid-1940s was as Alfred the Butler in the 1942 Columbia serial Batman.