Trivia: Athletic, dashing, and heroic onscreen, and a notorious bon vivant in his personal life, Errol Flynn ranked among Hollywood's most popular and highly paid stars from the mid-'30s through the early '40s, and his costume adventures thrilled audiences around the world. Unfortunately, a combination of hard-living, bad financial investments, and scandal brought Flynn's career to a tragic end in 1959. He was born on the isle of Tasmania, the son of distinguished Australian marine biologist/zoologist Prof. Theodore Thomson Flynn. In school, Flynn was more drawn to athletics than academics and he was expelled from a number of exclusive Australian and British schools. At age 15, he found work as a shipping clerk in Sydney, and the following year he sailed to New Guinea to work in the government service, but the daily grind proved not to the adventuresome Flynn's taste, so he took off to prospect for gold. In 1930, Flynn returned to Sydney and purchased a boat, and he and three friends embarked upon a seven-month voyage to New Guinea. Upon arrival, Flynn became the overseer of a tobacco plantation and also wrote a column for the Sydney Bulletin. Flynn's introduction to acting came via an Australian film producer who happened to see photographs of the extraordinarily good-looking young man and had him cast as Fletcher Christian in the low-budget docudrama In the Wake of the Bounty (1933). After a year of stage repertory acting to hone his dramatic skills, Flynn headed to London for film work. Attaining a contract at Warner Bros. in 1935, Flynn languished in tiny parts until star Robert Donat suddenly dropped out of the big-budget swashbuckler Captain Blood (1935). The studio took a chance on Flynn, and the result was overnight stardom. It was also during this year that Flynn married actress Lili Damita. Although he'd make stabs at modern-dress dramas and light comedies, Flynn was most effective in period costume films, leading his men "into the Valley of Death" in Charge of the Light Brigade (1936), trading swordplay and sarcasm with Basil Rathbone in The Adventures of Robin Hood (1938), and even making the West safe for women and children in Dodge City (1939). At his romantic best onscreen, Flynn was king of the rouges, egotistically strutting before such damsels as Olivia de Havilland and Alexis Smith, arrogantly taunting them and secretly thrilling them with his sharp, often cynical wit and his muscular legs. But despite such rapscallion behavior, the ladies and his cohorts loved Flynn because, undisguised in his arresting blue eyes, they could see that he was a man of honor, passion, sincerity, and even a little vulnerability. Thus, an Errol Flynn adventure caused female fans to swoon and male fans to imagine themselves in his place.By the early '40s, Flynn ranked among Warner Bros.' most popular and lucrative stars. It should come as no surprise that the actor, with his potent charisma and obvious zest for life onscreen, was no less a colorful character, albeit a less heroic one, offscreen. His antics with booze, young women, and brawling kept studio executives nervous, PR men busy, and fans titillated for years. In 1942, Flynn was brought up on statutory rape charges involving two teenage girls, but was acquitted. Such allegations could easily have destroyed a lesser star's career, but not in Flynn's case. Instead of finding his career in ruins, he found himself more popular than ever -- particularly with female fans. In fact, the matter inspired a new catch phrase: "In like Flynn." That same year, he divorced Damita. (The couple's son, actor Sean Flynn, a dead ringer for his father, worked as a photojournalist and war correspondent in Southeast Asia where he disappeared in 1970 and was presumed dead.)But while Flynn's pictures continued to score at the box office, the actor, himself, was declining; already demoralized by his inability to fight in World War II due to a variety of health problems -- including recurring malaria, tuberculosis, and a bad heart -- Flynn's drinking and carousing increased, and, although he remained a loyal and good friend to his cronies, the actor's overall behavior became erratic. By the time he starred in The Adventures of Don Juan (1949) -- a role he could have done blindfolded ten years earlier -- Flynn was suffering from short-term memory loss and seemed unsure of himself. He divorced his second wife, Nora Eddington, in 1949 and the following year married actress Patrice Wymore. In 1952, Flynn appeared to have regained his former prowess (but for several injuries during production) in Against All Flags, but the success was short-lived. As his box-office appeal lessened and his debts grew larger, the increasingly bitter Flynn left for Europe to make a few films, including The Master of Ballantrae (1953) and Crossed Swords (1954). The latter was poorly received stateside, something Flynn blamed on the distributor's (United Artists) lack of promotion. The final blow for Flynn came when he lost his entire fortune on an ill-fated, never-completed attempt to film the story of William Tell. To cope with his pain and losses, Flynn took to the sea, sailing about for long periods in his 120-foot ocean-going sailboat, the Zaca. Returning to Hollywood in 1956, Flynn made a final bid to recapture his earlier glory, offering excellent performances in The Sun Also Rises (1957), The Roots of Heaven (1958), and Too Much, Too Soon (1958). Ironically, in the latter film, Flynn played another self-destructive matinee idol, John Barrymore. Strapped for cash during this period, Flynn penned his memoirs, My Wicked, Wicked Ways, which were published after his death in 1959. It was Flynn's third book; the first two were Beam Ends (1937), a description of his voyage to New Guinea in the Scirocco, and Showdown (1946), a novel. His final film was the grade-Z Cuban Rebel Girls (1958), in which he appeared with his girlfriend at the time, 17-year-old Beverly Aadland. Four months after turning 50, Flynn's years of hard living caught up with him and he died of heart failure. According to the coroner's report, his body was so afflicted by various ailments that it looked as if it belonged to a much older man.

Trivia: Born in Ranelagh, Ireland, near Dublin, Maureen O'Hara was trained at the Abbey Theatre School and appeared on radio as a young girl before making her stage debut with the Abbey Players in the mid-'30s. She went to London in 1938, and made her first important screen appearance that same year in the Charles Laughton/Erich Pommer-produced drama Jamaica Inn, directed by Alfred Hitchcock. She was brought to Hollywood with Laughton's help and co-starred with him in the celebrated costume drama The Hunchback of Notre Dame, which established O'Hara as a major new leading lady. Although she appeared in dramas such as How Green Was My Valley with Walter Pidgeon, The Fallen Sparrow opposite John Garfield, and This Land Is Mine with Laughton, it was in Hollywood's swashbucklers that O'Hara became most popular and familiar. Beginning with The Black Swan opposite Tyrone Power in 1942, she always seemed to be fighting (or romancing) pirates, especially once Technicolor became standard for such films. Her red hair photographed exceptionally well, and, with her extraordinary good looks, she exuded a robust sexuality that made her one of the most popular actresses of the late '40s and early '50s.O'Hara was also a good sport, willing to play scenes that demanded a lot of her physically, which directors and producers appreciated. The Spanish Main, Sinbad the Sailor, and Against All Flags (the latter starring Errol Flynn) were among her most popular action films of the '40s. During this period, the actress also starred as young Natalie Wood's beautiful, strong-willed mother in the classic holiday fantasy Miracle on 34th Street and as John Wayne's estranged wife in the John Ford cavalry drama Rio Grande. O'Hara became Wayne's most popular leading lady, most notably in Ford's The Quiet Man, but her career was interrupted during the late '50s when she sued the scandal magazine Confidential. It picked up again in 1960, when she did one of her occasional offbeat projects, the satire Our Man in Havana, based on a Graham Greene novel and starring Alec Guinness. O'Hara moved into more distinctly maternal roles during the '60s, playing the mother of Hayley Mills in Disney's popular The Parent Trap. She also starred with Wayne in the comedy Western McLintock!, and with James Stewart in the The Rare Breed, both directed by Andrew V. McLaglen. Following her last film with Wayne, Big Jake, and a 1973 television adaptation of John Steinbeck's The Red Pony, O'Hara went into retirement, although returned to the screen in 1991 to play John Candy's overbearing mother in the comedy Only the Lonely, and later appeared in a handful of TV movies. In 2014, she received an Honorary Academy Award, despite having never been nominated for one previously. O'Hara died the following year, at age 95.

Trivia: Earthy and at times exuberant, Anthony Quinn was one of Hollywood's more colorful personalities. Though he played many important roles over the course of his 60-year career, Quinn's signature character was Zorba, a zesty Greek peasant who teaches a stuffy British writer to find joy in the subtle intricacies of everyday life in Zorba the Greek (1964), which Quinn also produced. The role won him an Oscar nomination and he reprised variations of Zorba in several subsequent roles. Although he made a convincing Greek, Quinn was actually of Irish-Mexican extraction. He was born Antonio Rudolfo Oaxaca Quinn in Chihuahua, Mexico, on April 21, 1915, but raised in the U.S. Before becoming an actor, Quinn had been a prizefighter and a painter. He launched his film career playing character roles in several 1936 films, including Parole (his debut) and The Milky Way, after a brief stint in the theater. In 1937, he married director Cecil B. DeMille's daughter Katherine De Mille, but this did nothing to further his career and Quinn remained relegated to playing "ethnic" villains in Paramount films through the 1940s. By 1947, he was a veteran of over 50 films and had played everything from Indians, Mafia dons, Hawaiian chiefs, Chinese guerrillas, and comical Arab sheiks, but he was still not a major star. So he returned to the theater, where for three years he found success on Broadway in such roles as Stanley Kowalski in A Streetcar Named Desire. Upon his return to the screen in the early '50s, Quinn was cast in a series of B-adventures like Mask of the Avenger (1951). He got one of his big breaks playing opposite Marlon Brando in Elia Kazan's Viva Zapata! (1952). His supporting role as Zapata's brother won Quinn his first Oscar and after that, Quinn was given larger roles in a variety of features. He went to Italy in 1953 and appeared in several films, turning in one of his best performances as a dim-witted, thuggish, and volatile strongman in Federico Fellini's La Strada (1954). Quinn won his second Best Supporting Actor Oscar portraying the painter Gaugin in Vincente Minnelli's Lust for Life (1956). The following year, he received another Oscar nomination for George Cukor's Wild Is the Wind. During the '50s, Quinn specialized in tough, macho roles, but as the decade ended, he allowed his age to show. His formerly trim physique filled out, his hair grayed, and his once smooth, swarthy face weathered into an appealing series of crags and crinkles. His careworn demeanor made him an ideal ex-boxer in Requiem for a Heavyweight and a natural for the villainous Bedouin he played in Lawrence of Arabia (both 1962). The success of Zorba the Greek in 1964 was the highwater mark of Quinn's career during the '60s -- it offered him another Oscar nomination -- and as the decade progressed, the quality of his film work noticeably diminished. The 1970s offered little change and Quinn became known as a ham, albeit a well-respected one. In 1971, he starred in the short-lived television drama Man in the City. His subsequent television appearances were sporadic, though in 1994, he became a semi-regular guest (playing Zeus) on the syndicated Hercules series. Though his film career slowed considerably during the 1990s, Quinn continued to work steadily, appearing in films as diverse as Jungle Fever (1991), Last Action Hero (1993), and A Walk in the Clouds (1995). In his personal life, Quinn proved as volatile and passionate as his screen persona. He divorced his wife Katherine, with whom he had three children, in 1956. The following year he embarked on a tempestuous 31-year marriage to costume designer Iolanda Quinn. The union crumbled in 1993 when Quinn had an affair with his secretary that resulted in a baby; the two shared a second child in 1996. In total, Quinn has fathered 13 children and has had three known mistresses. He and Iolanda engaged in a public and very bitter divorce in 1997 in which she and one of Quinn's sons, Danny Quinn, alleged that the actor had severely beaten and abused Iolanda for many years. Quinn denied the allegations, claiming that his ex-wife was lying in order to win a larger settlement and part of Quinn's priceless art collection. When not acting or engaging in well-publicized court battles, Quinn continued to paint and became a well-known artist. He also wrote and co-wrote two memoirs, The Original Sin (1972) and One Man Tango (1997). In the latter, Quinn is candid and apologetic about some of his past's darker moments. Shortly after completing his final film role in Avenging Angelo (2001), Anthony Quinn died of respiratory failure in Boston, MA. He was 86.

Trivia: Fresh out of Bryn Mawr college, American actress Mildred Natwick started the road to stage success in amateur shows in her native Baltimore. By 1932 Natwick was on Broadway in Carrie Nation; establishing what would become her standard operating procedure, the actress played a character much older than herself. In 1940, Natwick was introduced to movie audiences as the cockney "lady of the evening" in John Ford's The Long Voyage Home (1940) -- the first of several assignments for Ford, which included Three Godfathers (1948), She Wore a Yellow Ribbon (1948) and The Quiet Man (1952). Seldom starring in a film role, Natwick nonetheless made the most of what she was given, as in her one-scene part as an advocate of birth control who inadvertently pitches her program to the parents of 12 children in Cheaper By the Dozen (1950). And it was Natwick who, as skulking sorceress Grizelda in Danny Kaye's The Court Jester (1956), inaugurates the side-splitting "The pellet with the poison's in the vessel with the pestle" routine. A frequent visitor to TV, Natwick briefly settled down on the tube in the mystery series "The Snoop Sisters," which costarred Helen Hayes. In films until 1988, Natwick was honored with a long-overdue Oscar nomination for her work as Jane Fonda's martyr mama in 1967's Barefoot in the Park.

Trivia: As a boy growing up in Sacramento, Robert Warwick sang in his church choir. Encouraged to pursue music as a vocation, Warwick studied in Paris for an operatic career. He abandoned singing for straight acting when, in 1903, he was hired by Clyde Fitch as an understudy in the Broadway play Glad of It. Within a few year, Warwick was a major stage star in New York. He managed to retain his matinee-idol status when he switched from stage to screen, starring in such films as A Modern Othello and Alias Jimmy Valentine and at one point heading his own production company. He returned to the stage in 1920, then resumed his Hollywood career in authoritative supporting roles. His pear-shaped tones ideally suited for talkies, Warwick played such characters as Neptune in Night Life of the Gods (1933), Sir Francis Knolly in Mary of Scotland (1936) and Lord Montague in Romeo and Juliet (1936). He appeared in many of the Errol Flynn "historicals" at Warner Bros. (Prince and the Pauper, Adventures of Robin Hood, The Private Lives of Elizabeth and Essex); in more contemporary fare, he could usually be found in a military uniform or wing-collared tuxedo. From The Great McGinty (1940) onward, Warwick was a particular favorite of producer/director Preston Sturges, who was fond of providing plum acting opportunities to veteran character actors. Warwick's best performance under Sturges' guidance was as the brusque Hollywood executive who insists upon injecting "a little sex" in all of his studio's product in Sullivan's Travels (1942). During the 1950s, Warwick played several variations on "Charles Waterman," the broken-down Shakespearean ham that he'd portrayed in In a Lonely Place (1950). He remained in harness until his eighties, playing key roles on such TV series as The Twilight Zone and The Law and Mr. Jones. Robert Warwick was married twice, to actresses Josephine Whittell and Stella Lattimore.

Trivia: There's a bit of a cloud surrounding the origins of character actor Harry Cording. The 1970 biographical volume The Versatiles lists his birthplace as New York City, while the exhaustive encyclopedia Who Was Who in Hollywood states that Cording was born in England. Whatever the case, Cording made his mark from 1925 through 1955 in distinctly American roles, usually portraying sadistic western bad guys. A break from his domestic villainy occurred in the 1934 Universal horror film The Black Cat, in which a heavily-made-up Harry Cording played the foreboding, zombie-like servant to Satan-worshipping Boris Karloff.

Trivia: Character actor, onscreen from 1952.

Trivia: Moderately successful as a leading man in British films from 1931 through 1934, Lester Matthews moved to the U.S. in the company of his then-wife, actress Anne Grey. Though Grey faded from view after a handful of Hollywood pictures (Break of Hearts [35] and Bonnie Scotland [35] among them), Matthews remained in Tinseltown until his retirement in 1968. At first, his roles were substantial, notably his romantic-lead stints in the Karloff/Lugosi nightmare-inducer The Raven (35) and the thoughtful sci-fier Werewolf of London (35), which starred Henry Hull in the title role. Thereafter, Matthews was consigned to supporting roles, often as British travel agents, bankers, solicitors, company clerks and military officers. Active in films, radio and television throughout the 1940s and 1950s, Lester Matthews was last seen in the Julie Andrews musical Star (1968).

Trivia: French character actor Maurice Marsac, in films since 1944's To Have and Have Not, has played dozens of maitre d's and concierges; he plays the waiter in The Jerk (1978) who must deflect Steve Martin's complaint that his plate of escargot is covered with snails. Less typical Maurice Marsac roles include Nicodemus in 1961's The King of Kings and Charles DeGaulle in the 1982 TV biopic Jacqueline Bouvier Kennedy. Marsac's catchphrase was "how you say," as in "Monsieur, I have a gun. I am going to--how you say?--'scram' with zee loot." Marsac died of cardiac arrest on May 6, 2007 in Santa Rosa, California. He was 92.

Trivia: In films from 1932, American actor/stunt man Chuck Hamilton was a handy fellow to have around in slapstick comedies, tense cop melodramas and swashbucklers. Hamilton showed up in the faintly fascistic law-and-order epic Beast of the City (1932), the picaresque Harold Lloyd comedy Professor Beware (1938), and the flamboyant Errol Flynn adventure Against All Flags (1952). When not doubling for the leading players, he could be seen in minor roles as policemen, reporters, chauffeurs, stevedores and hoodlum. From time to time, Chuck Hamilton showed up in Native American garb, as he did in DeMille's Northwest Mounted Police (1940).

Trivia: Piping-voice, hamster-faced Scottish character actor Olaf Hytten left the British stage for films in 1921. By the time the talkie era rolled around, Hytten was firmly established in Hollywood, playing an abundance of butlers and high-society gentlemen. The actor was primarily confined to one or two-line bits in such films as Platinum Blonde (1931), The Sphinx (1933), Bonnie Scotland (1935), Beloved Rebel (1936), The Howards of Virginia (1940) and The Bride Came COD (1941). He was a semi-regular of the Universal B-unit in the '40s, appearing in substantial roles as military men and police official in the Rathbone/Bruce Sherlock Holmes series and as burgomeisters and innkeepers in the studio's many horror films (Ghost of Frankenstein, House of Frankenstein, etc.) Olaf Hytten was active until at least 1956; one of his more memorable assignments of the '50s was as the larcenous butler who participates in a scheme to drive Daily Planet editor Perry White crazy in the "Great Caesar's Ghost" episode of the TV series Adventures of Superman.

Trivia: An outdoorsman from an early age, gangling Montana-born actor Ethan Laidlaw began showing up in westerns during the silent era. Too menacing for lead roles, Laidlaw was best suited for villains, usually as the crooked ranch hand in the employ of the rival cattle baron, sent to spy on the hero or heroine. During the talkie era, Laidlaw began alternating his western work with roles as sailors and stevedores; he is quite visible chasing the Marx Brothers around in Monkey Business (1931). Though usually toiling in anonymity, Ethan Laidlaw was given prominent billing for his "heavy" role in the 1936 Wheeler and Woolsey sagebrush spoof Silly Billies.

Trivia: It is usually axiomatic that any actor who uses the nickname "Tiny" is anything but. Such was the case of tall, stockily built Paul "Tiny" Newlan. Born in Nebraska, Newlan began his acting career in repertory at the Garden Theater in Kansas City. After attending the University of Missouri, he played pro football and basketball, then returned to acting. In films from 1935, he signed a two-year Paramount contract in 1938, leading to dozens of tiny roles as bartenders, bouncers, stevedores, and the like. The size of his screen roles increased in the late '40s-early '50s, though Newlan didn't start landing truly important parts until he entered television. Paul Newlan is best remembered for his recurring appearances as Captain Grey on the TV cop show M-Squad (1957-1960).

Trivia: Dour, lantern-jawed character actor John Anderson attended the University of Iowa before inaugurating his performing career on a Mississippi showboat. After serving in the Coast Guard during World War II, Anderson made his Broadway bow, then first appeared on screen in 1952's The Crimson Pirate. The actor proved indispensable to screenwriters trafficking in such stock characters as The Vengeful Gunslinger, The Inbred Hillbilly Patriarch, The Scripture-Spouting Zealot and The Rigid Authority Figure. Anderson's many screen assignments included used-car huckster California Charlie in Psycho (1960), the implicitly incestuous Elder Hammond in Ride the High Country (1962), the title character in The Lincoln Conspiracy (1977) and Caiaphas in In Search of Historic Jesus (1980). A dead ringer for 1920s baseball commissioner Judge Kenesaw Mountain Landis, Anderson portrayed that uncompromising gentleman twice, in 1988's Eight Men Out and the 1991 TV biopic Babe Ruth. A veteran of 500 TV appearances (including four guest stints on The Twilight Zone), John Anderson was seen as FDR in the 1978 miniseries Backstairs in the White House, and on a regular basis as Michael Spencer Hudson in the daytime drama Another World, Virgil Earp in The Life and Legend of Wyatt Earp (1955-61) and the leading man's flinty father in MacGiver (1985-92).