Trivia: American actress Ann Harding, born Dorothy Walton Gatley, spent her childhood as an "army brat" constantly moving around the U.S. and Cuba. In her late teens, she worked as a freelance script reader for the Famous Players-Lasky company. In 1921 she made her stage acting debut with the Provincetown Players of Greenwich Village; later that year she appeared on Broadway. Soon she was a well-respected leading lady on Broadway and in stock, and as a result, was signed to a movie contract with Pathe in 1929. She was a Hollywood star within a year. Especially popular with women, she was usually cast as a gentle, refined heroine. For her work in Holiday (1930) she received a Best Actress Oscar nomination. For several years she remained a top star, but her career was hurt by typecasting; again and again she appeared in sentimental tearjerkers in which she played the noble woman who makes a grand sacrifice. After marrying symphony conductor Warner Janssen, she quit making films in 1937. Five years later she returned to the screen as a character actress, going on to make a number of films over the next decade, followed by another break of several years and then one last spurt of film acting in 1956. Later she went on to star on Broadway and appear in guest-star roles on TV. Her first husband was actor Harry Bannister.

Trivia: Son of a London stockbroker, British actor Leslie Howard worked as a bank clerk after graduating from London's Dulwich School. Serving briefly in World War I, Howard was mustered out for medical reasons in 1918, deciding at that time to act for a living. Working in both England and the U.S. throughout the 1920s, Howard specialized in playing disillusioned intellectuals in such plays as Outward Bound, the film version of which served as his 1930 film debut. Other films followed on both sides of the Atlantic, the best of these being Howard's masterful star turn in The Scarlet Pimpernel (1934). In 1935, Howard portrayed yet another disenchanted soul in The Petrified Forest, which co-starred Humphrey Bogart as a gangster patterned after John Dillinger. Howard was tapped for the film version, but refused to make the movie unless Bogart was also hired (Warner Bros. had planned to use their resident gangster type, Edward G. Robinson). Hardly a candidate for "Mr. Nice Guy" -- he was known to count the lines of his fellow actors and demand cuts if they exceeded his dialogue -- Howard was nonetheless loyal to those he cared about. Bogart became a star after The Petrified Forest, and in gratitude named his first daughter Leslie Bogart. Somehow able to hide encroaching middle-age when on screen, Howard played romantic leads well into his late 40s, none more so than the role of -- yes -- disillusioned intellectual Southern aristocrat Ashley Wilkes in the 1939 classic Gone with the Wind. In the late 1930s, Howard began dabbling in directing, notably in his starring films Pygmalion (1938) and Pimpernel Smith (1941). Fiercely patriotic, Howard traveled extensively on behalf of war relief; on one of these trips, he boarded a British Overseas Airways plane in 1943 with several other British notables, flying en route from England to Lisbon. The plane was shot down over the Bay of Biscay and all on board were killed. Only after the war ended was it revealed that Howard had selflessly taken that plane ride knowing it would probably never arrive in Lisbon; it was ostensibly carrying Prime Minister Winston Churchill, and was sent out as a decoy so that Churchill's actual plane would be undisturbed by enemy fire.

Trivia: During the late 1930s, when Clark Gable was named the King of Hollywood, Myrna Loy was elected the Queen. The legendary actress, who started her career as a dancer, moved into silent films and was typecast for a few years as exotic women. Her film titles from those early years include Arrowsmith (1931), Love Me Tonight (1932), The Mask of Fu Manchu (1932), and Manhattan Melodrama (1934), the film that gangster John Dillinger just had to see the night he was killed. Starting in 1934, with The Thin Man, opposite William Powell, she became Hollywood's ideal wife: bright, witty, humorous. She and Powell were often teamed throughout the '30s and '40s, and many of the characters she played were strong, independent, adventurous women. In addition to The Thin Man series, Loy's best appearances included The Great Ziegfeld (1936), Libeled Lady (1936), Wife vs. Secretary (1936), Test Pilot (1938), and Too Hot to Handle (1938). She took a break from filmmaking during WWII to work with the Red Cross, and in her later years she devoted as much time to politics as to acting (among her accomplishments, Loy became the first film star to work with the United Nations). She stands out in The Best Years of Our Lives (1946), Mr. Blandings Builds His Dream House (1948), Cheaper by the Dozen (1950), and its sequel Belles on Their Toes (1952). She received an honorary Oscar in 1991, two years before her death.

Trivia: Classically handsome film leading man Neil Hamilton was trained in stock companies before making his 1918 film bow. He rose to stardom under the guidance of D. W. Griffith, who cast Hamilton in leading roles in The Great Romance (1919), The White Rose (1923), America (1924) and Isn't Life Wonderful? (1924). In an era when sturdy dependability was one of the prerequisites of male stardom, Hamilton was one of the silent screen's most popular personalities, as well suited to the role of faithful Nick Carraway in The Great Gatsby (1925) as he was to the Foreign Legion derring-do of Beau Geste (1927). His pleasant voice and excellent diction enabled Hamilton to make the transition to sound with ease. Unfortunately, he always seemed a bit of a stick in his talkie portrayals, and it wasn't long before he found himself shunted off to "other man" assignments (Tarzan and His Mate) and villainous characterizations (The Saint Strikes Back). By the early 1940s, he had lost both fame and fortune -- and, as he'd ruefully observe later, most of his so-called industry friends. Only the love of his wife and his rock-solid religious convictions saw him through his darkest days. Hamilton made a comeback as a character actor, playing brusque, businesslike types in TV series like Perry Mason and Fireside Theatre. From 1966 through 1968, Neil Hamilton co-starred as poker-faced Commissioner Gordon on the TV series Batman.

Trivia: Actor William Gargan began his career in 1924, shortly after leaving high school, and made it to Broadway within a year. In 1932 he won great acclaim for his work in the play The Animal Kingdom, leading to an invitation from Hollywood where he made his film debut in 1932. During the '30s he played high-energy, gregarious leads in many "B"-movies and second leads in major films; later he moved into character roles. For his work in They Knew What They Wanted (1940), he received a "Best Supporting Actor" Oscar nomination. He made few films after 1948, but from 1949 to 1951 he starred in the title role of the TV series Martin Kane, Private Eye then reprised the role in 1957 in The New Adventures of Martin Kane. He was stricken by cancer of the larynx, and in 1960 his voice box was removed in surgery, ending his career. He learned esophageal speech then taught this method for the American Cancer Society; the same group enlisted him as an anti-smoking campaigner. Two years after losing his speech, he gave his final performance, portraying a mute clown on TV in King of Diamonds. He authored an autobiography, Why Me? (1969), recounting his struggle with cancer. His brother was actor Edward Gargan.

Trivia: Like his fellow character actors C. Aubrey Smith and Sir Guy Standing, the dignified Henry Stephenson was seemingly born with a relief map of the British Empire chiseled on his countenance. Born in the British West Indies, Stephenson was educated at England's Rugby College. He turned to acting in his twenties, touring the provinces before settling into leading roles in London and New York. Though he made a smattering of silent film appearances, Stephenson's movie career did not really begin until 1932, with his supporting appearance in The Animal Kingdom. Virtually always cast as an aristocrat or man of means, Stephenson essayed such roles as Mr. Laurence in Little Women (1933), Sir Joseph Banks in Mutiny on the Bounty (1935), the Duke of Norfolk in The Prince and the Pauper, and Count Matthieu de Lesseps in Suez (1938). Henry Stephenson acted in films until his mid-seventies; his last film assignments included the part of Mr. Brownlow in the David Lean-directed Oliver Twist (1948).

Trivia: A stage actress from the mid-'20s, Ilka Chase made her initial film appearance in 1929's Why Leave Home? Though she continued to turn in excellent work as a character actress well into the 1940s -- her best performance was arguably as the waspish Lisa Vale in Now Voyager (1942) --Chase's true fame rested in her prolific output as a newspaper columnist. Many of her journalistic reminiscences were gathered together in a brace of books, such as Past Imperfect (1945) and Free Admission (1948). She made a handful of film appearances in the 1950s, most memorably as a Hedda Hopper type in The Big Knife (1955), and devoted most of her energies to television, where she hosted several talk shows and guested on such quizzers as Masquerade Party. Her last major TV work was as Peter Falk's former mother-in-law in the 1965 legal series Trials of O'Brien. She died at the age of 72, from injuries sustained in a fall. Married three times, Ilka Chase's first husband was actor Louis Calhern.

Trivia: A stage juvenile from Ohio who had appeared opposite Robert Hilliard and Virginia Pearson in A Fool There Was, Curtis Benton broke into films when some of his short stories were purchased by the Victor company in 1915. Mainly an actor in the 1910s, he turned to screenwriting in the 1920s, penning such programmers as W.S. Van Dyke's Half-a-Dollar Bill (1924) and Hoot Gibson's The Phantom Bullet (1926). Benton went into radio announcing after the changeover to sound.

Trivia: A former member of the Metropolitan Stock company and a riding double for Marion Davies, the old-fashioned, gallant Bill Cody became a star on the independent market in the 1920s and was especially well liked by those who steadfastly resisted the flamboyant style of showmen like Tom Mix. Veteran genre director Harry L. Fraser found him to be "one of the most unimpressive Western stars" he had ever worked with, adding that Cody "couldn't memorize lines no matter how hard he tried." Not surprisingly, Cody's starring Westerns in the 1930s are considered some of the era's worst. Looking emaciated, he last costarred with son Bill Cody, Jr. (1924-1989) in a no-budget series for Spectrum in 1934-1936, but was obviously no longer any threat to virile newcomers like John Wayne or Charles Starrett. Cody, a native of Minnesota and no relation to legendary Buffalo Bill Cody, left films in the late '30s to tour with "Bill Cody's Ranch Wild West Show." His final screen appearance was a bit in Joan of Arc (1948).

Trivia: Blunt, burly American actor William B. Davidson was equally at home playing gangster bosses, business executives, butlers and military officials. In films since 1914, Davidson seemed to be in every other Warner Bros. picture made between 1930 and 1935, often as a Goliath authority figure against such pint-sized Davids as James Cagney and Edward G. Robinson. In the early '40s, Davidson was a fixture of Universal's Abbott and Costello comedies, appearing in In the Navy (1941), Keep 'Em Flying (1941) and In Society (1944). In Abbott & Costello's Hold That Ghost (1941), Davidson shows up as Moose Matson, the dying gangster who sets the whole plot in motion. An avid golfer, William B. Davidson frequently appeared in the all-star instructional shorts of the '30s starring legendary golf pro Bobby Jones.

Trivia: Although not as remembered as Yakima Canutt or even Cliff Lyons, brawny George DeNormand became one of the founding fathers of modern movie stunt work. In films from the early '30s, DeNormand performed stunts and played bit roles in scores of action thrillers, B-Westerns, and serials, working mostly for that memorable factory of thrills, Republic Pictures. His career lasted well into the television era and he was especially visible on such shows as The Cisco Kid, Range Rider, and Sky King. Married to writer/director Wanda Tuchock (1898-1985), DeNormand spent his last years at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: Sour-visaged Danish actor Torben Meyer entered films as early as 1913, when he was prominently featured in the Danish super-production Atlantis. Despite his Scandinavian heritage, Meyer was usually typecast in Germanic roles after making his American screen debut in 1933. Many of his parts were fleeting, such as the Amsterdam banker who is offended because "Mister Rick" won't join him for a drink in Casablanca (1942). He was shown to excellent advantage in the films of producer/director Preston Sturges, beginning with Christmas in July (1940) and ending with The Beautiful Blonde of Bashful Bend (1949). Evidently as a private joke, Sturges nearly always cast Meyer as a character named Schultz, with such conspicuous exceptions as "Dr. Kluck" in The Palm Beach Story (1942). Torben Meyer made his last movie appearance in Judgment at Nuremberg (1961), playing one of the German judges on trial for war crimes; Meyer's guilt-ridden inability to explain his actions was one of the film's most powerful moments.

Trivia: At age three Florence Turner began appearing in stage productions, and was already a veteran actress when she joined Vitagraph at age 21; the year was 1906 and the dawn of popular cinema was at hand. Credited only as the Vitagraph Girl, she became one of the screen's first stars. In 1913, she went to England with Larry Trimble, her frequent director and long-time friend; they performed together in London music halls and formed Turner Films, their own production company. Turner sometimes co-wrote and/or directed her own films. From 1916-20 she lived in the U.S.; from 1920-24 in England; and after 1924 in Hollywood. However, her popularity had greatly decreased as the popularity of films boomed; she went on to play secondary roles and eventually had to beg for work. In the '30s she was put on the MGM payroll, but it was an act of charity: she was used only as an extra and in bit parts.