Trivia: American actor Melvyn Douglas began his stage career shortly after being mustered out of World War I Army service. Douglas secured a position with the Owens Repertory Company, making his debut in a production of Merchant of Venice. He spent the first part of the 1920s touring with Owens Repertory and with the Jessie Bonstelle Company, reaching Broadway in the 1928 drama A Free Soul. Brought to Hollywood in the early talkie "gold rush" for stage-trained actors, Douglas made his film bow in 1931's Tonight or Never. With The Old Dark House (1932), the actor established his standard screen character: a charming, blase young socialite who could exhibit great courage and loyalty when those attributes were called upon. After a brief return to Broadway in 1933, Douglas returned to films in 1935, signing a joint contract with Columbia and MGM. Most often appearing in sophisticated comedies, Douglas was one of the busiest stars in Hollywood, playing in as many as eight films per year. One of the actor's better roles was a supporting one: as Cary Grant's beleaguered lawyer and business adviser in Mr. Blandings Builds His Dream House (1947), who spends most of the film trying to keep Grant from spending himself into bankruptcy. Douglas found movie roles scarce in the early 1950s thanks to the "Red Scare." The actor was married to Congresswoman Helen Gahagan, the woman labeled by Richard Nixon as the "pink lady" friendly to communism. The more rabid anti-communists in Washington went after Douglas himself, suggesting that because he was Jewish and had changed his name for professional reasons, he was automatically politically suspect. Douglas began recovering his career with a 1950s detective program, Hollywood Off-Beat - ironically playing a disbarred lawyer trying to regain his reputation. He headed back to Broadway, gaining high critical praise for his "emergence" as a topnotch character actor (his prior stage and film credits were virtually ignored). Some of Douglas' stage triumphs included Inherit the Wind (replacing Paul Muni in the Clarence Darrow part) and The Best Man (which had a character based on Richard Nixon) Douglas' long-overdue Academy Award was bestowed upon the actor for his role as Paul Newman's dying father in Hud (1963); other highlights of Douglas' final Hollywood days included I Never Sang for My Father (1971) and Being There (1979), the latter film winning the actor his second Oscar. Melvyn Douglas died at age 80, just before the release of his final film, Ghost Story (1981).

Trivia: Born in India to an Indian mother and an Indo-Irish father, Estelle Merle O'Brien Thompson spent an impoverished childhood in the subcontinent, before coming to England in 1928 to pursue an acting career. Because her bi-racial parentage would have been a subject of immense prejudice, Oberon began telling others that she was born to white parents on the Australian island of Tasmania -- a story she would keep up until almost the end of her life. It was Hungarian-born film mogul Alexander Korda who first spotted Oberon's screen potential, and began giving her parts in his pictures, building her up toward stardom with role such as Anne Boleyn in The Private Life of Henry VIII (1933). Although she was an actress of very limited range, Oberon acquitted herself well in movies such as The Scarlet Pimpernel (1934), as Sir Percy Blakeney's wife, and her exotic good looks made her extremely appealing. She was cast opposite Laurence Olivier in the 1938 comedy The Divorce of Lady X, which was shot in Technicolor and showed Oberon off to even better advantage. Seeking to build her up as an international star, Korda sold half of Oberon's contract to Samuel Goldwyn in America, who cast her as Cathy in Wuthering Heights (1939). She moved to America with the outbreak of war, and also married Korda (1939-1945), but despite some success in That Uncertain Feeling, The Lodger, and A Song to Remember, her star quickly began to fade, and the Korda vehicle Lydia (1941), a slow-moving melodrama that had her aging 50 years, didn't help her career at all. Even a good acting performance in the Hitchcock-like chiller Dark Waters (1944) failed to register with the public. Oberon re-emerged only occasionally after the early '50s, until 1973 when she starred in, produced, and co-edited Interval, a strange romantic drama that costarred her future husband Robert Wolders, that failed to find good reviews or an audience.Oberon would marry three more times, to cinematographer Lucien Ballard in the late forties, to Italian industrialist Bruno Pagliali throughout the 60's, and finally, to actor Robert Wolders from the mid 70's until her death in 1979 at the age of 68.

Trivia: Originally a newspaper reporter, Burgess Meredith came to the screen in 1936, repeating his stage role in Winterset, a part written for him by Maxwell Anderson. Meredith has had a long and varied film career, playing everything from George in Of Mice and Men (1939) to Sylvester Stallone's trainer in Rocky (1976). He received Oscar nominations for The Day of the Locust (1975) and Rocky. As comfortable with comedy as with drama, Meredith also appeared in Idiot's Delight (1939); Second Chorus (1940), with Fred Astaire; Diary of a Chambermaid (1942), which he also wrote and produced; The Story of G.I. Joe (1945); and Mine Own Executioner (1947). He also directed Man on the Eiffel Tower (1949). On television, he made countless guest appearances in dozens of dramatic and variety productions, including one of the first episodes of The Twilight Zone, the touching Time Enough at Last, and as host on the first episode of Your Show of Shows. He was a regular on Mr. Novak (1963-64) and Search (1972-73), hosted Those Amazing Animals (1981), co-starred with Sally Struthers in Gloria (1982-83), and made classic appearances as the Penguin on Batman (1966-68). He won an Emmy in 1977 for Tailgunner Joe and has done voiceover work for innumerable commercials, notably Volkswagen. Meredith made his final feature film appearance playing crusty Grandpa Gustafson in Grumpier Old Men (1995), the sequel to Grumpy Old Men (1993) in which he also appeared. In 1996, he played a role in the CD-rom video game Ripper. He was briefly married to Paulette Goddard in the 1940s. Meredith died in his Malibu home at the age of 88 on September 9, 1997.

Trivia: Born to a non-theatrical British family, Alan Mowbray was in his later years vague concerning the exact date that he took to the stage. In some accounts, he was touring the provinces before joining the British Navy in World War I; in others, he turned to acting after the war, purportedly because he was broke and had no discernible "practical" skills. No matter when he began, Mowbray climbed relatively quickly to Broadway and London stardom, spending several seasons on the road with the Theater Guild; his favorite stage parts were those conceived by Bernard Shaw and Noel Coward. Turning to films in the early talkie era, Mowbray received good notices for his portrayal of George Washington in 1931's Alexander Hamilton (a characterization he'd repeat along more comic lines for the 1945 musical Where Do We Go From Here?). He also had the distinction of appearing with three of the screen's Sherlock Holmeses: Clive Brook (Sherlock Holmes [1932]), Reginald Owen (A Study in Scarlet [1933], in which Mowbray played Lestrade), and Basil Rathbone (Terror by Night [1946]). John Ford fans will remember Mowbray's brace of appearances as alcoholic ham actors in My Darling Clementine (1946) and Wagonmaster (1950). Lovers of film comedies might recall Mowbray's turns as the long-suffering butler in the first two Topper films and as "the Devil Himself" (as he was billed) in the 1942 Hal Roach streamliner The Devil With Hitler. And there was one bona fide romantic lead (in Technicolor yet), opposite Miriam Hopkins in Becky Sharp (1935). Otherwise, Mowbray was shown to best advantage in his many "pompous blowhard" roles, and in his frequent appearances as the "surprise" killer in murder mysteries (Charlie Chan in London, The Case Against Mrs. Ames, Abbott and Costello Meet the Killer: Boris Karloff, and so many others). In his off hours, Mowbray was a member of several acting fraternities, and also of the Royal Geographic Society. One of Alan Mowbray's favorite roles was as the softhearted con man protagonist in the TV series Colonel Humphrey Flack, which ran on the Dumont network in 1953, then as a syndicated series in 1958.

Trivia: Though born just across the river from Cincinnati, actress Olive Blakeney achieved stardom on the London stage. Among Blakeney's many West End credits was The Gay Divorce, in which she co-starred with Fred Astaire. She made her film bow in 1934 as the title character in Leave It to Blanche. When her American-born actor husband Bernard Nedell, likewise a fixture of British films, decided to try his luck in Hollywood in 1938, Blakeney joined him. A familiar presence in many a 1940s production, Blakeney is best known for her appearances as James Lydon's mother in Paramount's Henry Aldrich series. Their on-screen relationship spilled over into real life when Lydon married Blakeney's daughter. Olive Blakeney continued accepting featured roles in films until her death in 1959, and was also a regular on the syndicated TV series Dr. Hudson's Secret Journal (1955-56).

Trivia: Harry Davenport was descended from a long and illustrious line of stage actors who could trace their heritage to famed 18th-century Irish thespian Jack Johnson. Davenport made his own stage bow at the age of five, racking up a list of theatrical credits that eventually would fill two pages of Equity magazine. He started his film career at the age of 48, co-starring with Rose Tapley as "Mr. and Mrs. Jarr" in a series of silent comedy shorts. He also directed several silent features in the pre-World War I era. Most of his film activity was in the sound era, with such rich characterizations as Dr. Mead in Gone With the Wind (1939) and Louis XI in The Hunchback of Notre Dame (1939) to his credit. He also essayed a few leading film roles, notably as a lovable hermit in the 1946 PRC programmer The Enchanted Forest. At the time of his final screen performance in Frank Capra's Riding High (1950), much was made in the press of the fact that this film represented Davenport's seventy-eighth year in show business. Married twice, Harry Davenport was the father of actors Arthur Rankin and Dorothy Davenport.

Trivia: Little Eunice Quedens' first brush with the performing arts came at age seven, when she won a WCTU medal for her recital of the pro-temperance poem "No Kicka My Dog." After graduating from high school, she became a professional actress on the California stock company circuit. Still using her given name, she played a blonde seductress in the 1929 Columbia talkie Song of Love then joined a touring repertory theater. After another brief film appearance in 1933's Dancing Lady, she was urged by a producer to change her name for professional purposes. Allegedly inspired by a container of Elizabeth Arden cold cream, Eunice Quedens reinvented herself as Eve Arden. Several successful appearances in the annual Ziegfeld Follies followed, and in 1937 Arden returned to films as a young character actress. From Stage Door (1937) onward, she was effectively typecast as the all-knowing witheringly sarcastic "best friend" who seldom got the leading man but always got the best lines. Her film roles in the 1940s ranged from such typical assignments as sophisticated magazine editor "Stonewall" Jackson in Cover Girl (1944) to such hilariously atypical performances as athletic Russian sniper Natalia Moskoroff in The Doughgirls (1944). In 1945, she earned an Oscar nomination for her portrayal of Joan Crawford's sardonic but sympathetic business partner in Mildred Pierce. In July of 1948, she launched the popular radio situation comedy Our Miss Brooks, earning a place in the hearts of schoolteachers (and sitcom fans) everywhere with her award-winning portrayal of long-suffering but ebullient high school teacher Connie Brooks. Our Miss Brooks was transferred to television in 1952, running five successful seasons. Less successful was the 1957 TVer The Eve Arden Show, in which the star played authoress Liza Hammond. This failure was neutralized by her subsequent stage tours in such plays as Auntie Mame and Hello, Dolly! and her well-received film appearances in Anatomy of a Murder (1959) and Dark at the Top of the Stairs (1960). In 1967, she returned to TV to co-star with Kaye Ballard on the chucklesome The Mothers-in-Law which lasted two years. And in 1978, she became a favorite of a new generation with her performance as Principal McGee in the phenomenally successful film version of Broadway's Grease. In 1985, Eve Arden came out with her autobiography, The Three Phases of Eve.

Trivia: Born in Germany, actor Sig Rumann studied electro-technology in college before returning to his native Hamburg to study acting. He worked his way up from bits to full leads in such theatrical centers as Stettin and Kiel before serving in World War I. Rumann came to New York in 1924 to appear in German-language plays. He was discovered simultaneously by comedian George Jessel, playwright George S. Kaufman, and critic Alexander Woollcott. He began chalking up an impressive list of stage roles, notably Baron Preysig in the 1930 Broadway production of Grand Hotel (in the role played by Wallace Beery in the 1932 film version). Rumann launched his film career at the advent of talkies, hitting his stride in the mid 1930s. During his years in Hollywood, he whittled down his stage name from Siegfried Rumann to plain Sig Ruman. The personification of Prussian pomposity, Rumann was a memorable foil for the Marx Brothers in A Night at the Opera (1935), A Day at the Races (1937), and A Night in Casablanca (1946). He also was a favorite of director Ernst Lubitsch, appearing in Ninotchka (1939) as a bombastic Soviet emissary and in To Be or Not to Be (1942) as the unforgettable "Concentration Camp Ehrardt." With the coming of World War II, Ruman found himself much in demand as thick-headed, sometimes sadistic Nazis. Oddly, in The Hitler Gang (1944), Rumann was cast in a comparatively sympathetic role, as the ailing and senile Von Hindenburg. After the war, Rumann was "adopted" by Lubitsch admirer Billy Wilder, who cast the actor in such roles as the deceptively good-natured Sgt. Schultz in Stalag 17 (1953) and a marinet doctor in The Fortune Cookie (1966); Wilder also used Rumann's voice to dub over the guttural intonations of German actor Hubert von Meyerinck in One, Two, Three (1961). In delicate health during his last two decades, Rumann occasionally accepted unbilled roles, such as the kindly pawnbroker in O. Henry's Full House (1952). During one of his heartier periods, he had a recurring part on the 1952 TV sitcom Life with Luigi. Rumann's last film appearance was as a shoe-pounding Russian UN delegate in Jerry Lewis' Way... Way Out (1967).

Trivia: Dignified, shiny-domed American actor/playwright Richard Carle acted in both the U.S. and England for several decades before making his first film in 1916. Usually fitted with a pince-nez and winged collar, Carle was perfect for roles calling for slightly faded dignity. Comedy fans will recall Carle as the genially mad scientist in the Laurel and Hardy 2-reeler Habeas Corpus (1928) and as the besotted ship's captain who takes six months to travel from New York to Paris in Wheeler and Woolsey's Diplomaniacs (1933). He went on to appear as college deans, bankers and judges until his death in 1941, a year in which he showed up in no fewer than eight films. What might have been Richard Carle's finest screen role, the eccentric Father William in the 1933 version of Alice in Wonderland, was cut from the final release print of that film.