Trivia: The daughter of a Vienesse banker, Hedy Lamarr began her acting career at 16 under the tutelage of German impresario Max Reinhardt. She began appearing in German films in 1930, but garnered little attention until her star turn in Czech director Gustav Machaty's Extase (Ecstasy) in 1933. It wasn't just because Lamarr appeared briefly in the nude; Extase was filled to overflowing with orgasmic imagery, including tight close-ups of Lamarr in the throes of delighted passion. Though her first husband, Austrian businessman Fritz Mandl, tried to buy up and destroy all prints of Extase, the film enjoyed worldwide distribution, the result being that Lamarr was famous in America before ever setting foot in Hollywood. She was signed by producer Walter Wanger to co-star with Charles Boyer in the American remake of the French Pepe Le Moko, titled Algiers (1938). That Lamarr wasn't much of an actress was compensated with several scenes in which she was required to merely stand around silently and look beautiful (she would later downgrade these performances, equating sex appeal with "looking stupid"). The prudish Louis B. Mayer was willing to forgive Lamarr the "indiscretion" of Extase by signing her to a long MGM contract in 1939. Most of her subsequent roles were merely decorative (never more so than as Tondelayo in White Cargo [1940]), though she was first rate in the complex role of the career woman who "liberates" stuffy Bostonian Robert Young in H.M. Pulham, Esq. (1942). In 1949, Lamarr, tastefully under-dressed, appeared opposite the equally attractive Victor Mature in Cecil B. DeMille's Samson and Delilah (1949). Lamarr's limited acting skills became more pronounced in her 1950s films, especially when she gamely tried to play Joan of Arc in the all-star disaster The Story of Mankind (1957). She disappeared from films in 1958. An autobiography, Ecstasy and Me, enabled her to pay many of her debts, though she'd later sue her collaborators for distorting the facts. In another legal action, Lamarr took on director Mel Brooks for using the character name "Hedley Lamarr" in his 1974 Western spoof Blazing Saddles. In 1990, Lamarr made an unexpected return before the cameras in the obscure low-budget Hollywood satire Instant Karma, in which she was typecast in the role of Movie Goddess.

Trivia: Throughout much of his screen career, actor George Sanders was the very personification of cynicism, an elegantly dissolute figure whose distinct brand of anomie distinguished dozens of films during a career spanning nearly four decades. Born in St. Petersburg on July 3, 1906, Sanders and his family fled to the U.K. during the Revolution, and he was later educated at Brighton College. After first pursuing a career in the textile industry, Sanders briefly flirted with a South American tobacco venture; when it failed, he returned to Britain with seemingly no other options outside of a stage career. After a series of small theatrical roles, in 1934 he appeared in Noel Coward's Conversation Piece; the performance led to his film debut in 1936's Find the Lady, followed by a starring role in Strange Cargo. After a series of other undistinguished projects, Sanders appeared briefly in William Cameron Menzies' influential science fiction epic Things to Come. In 1937, he traveled to Hollywood, where a small but effective role in Lloyd's of London resulted in a long-term contract with 20th Century Fox. A number of lead roles in projects followed, including Love Is News and The Lady Escapes, before Fox and RKO cut a deal to allow him to star as the Leslie Charteris adventurer the Saint in a pair of back-to-back 1939 features, The Saint Strikes Back and The Saint in London. The series remained Sanders' primary focus for the next two years, and in total he starred in five Saint pictures, culminating in 1941's The Saint at Palm Springs. Sandwiched in between were a variety of other projects, including performances in a pair of 1940 Alfred Hitchcock thrillers, Foreign Correspondent and the Best Picture Oscar-winner Rebecca.After co-starring with Ingrid Bergman in 1941's Rage in Heaven, Sanders began work on another adventure series, playing a suave investigator dubbed the Falcon; after debuting the character in The Gay Falcon, he starred in three more entries -- A Date With the Falcon, The Falcon Takes Over, and The Falcon's Brother -- before turning over the role to his real-life brother, Tom Conway. Through his work in Julien Duvivier's Tales of Manhattan, Sanders began to earn notice as a more serious actor, and his lead performance in a 1943 adaptation of the W. Somerset Maugham novel The Moon and Sixpence established him among the Hollywood elite. He then appeared as an evil privateer in the Tyrone Power swashbuckler The Black Swan, followed by Jean Renoir's This Land Is Mine. A pair of excellent John Brahm thrillers, 1944's The Lodger and 1945's Hangover Square, helped bring Sanders' contract with Fox to its close.With his portrayal of the world-weary Lord Henry Wooten in 1945's The Portrait of Dorian Gray, Sanders essayed the first of the rakish, cynical performances which would typify the balance of his career; while occasionally playing more sympathetic roles in pictures like The Strange Affair of Uncle Harry and The Ghost and Mrs. Muir, he was primarily cast as a malcontent, winning a Best Supporting Actor Oscar for his venomous turn in 1951's All About Eve. The award brought Sanders such high-profile projects as 1951's I Can Get It for You Wholesale, 1952's Ivanhoe, and Roberto Rossellini's 1953 effort Viaggio in Italia. However, his star waned, and the musical Call Me Madam, opposite Ethel Merman, was his last major performance. A series of historical pieces followed, and late in the decade he hosted a television series, The George Sanders Mystery Theater. In 1960, he also published an autobiography, Memoirs of a Professional Cad.Sanders spent virtually all of the 1960s appearing in little-seen, low-budget foreign productions. Exceptions to the rule included the 1962 Disney adventure In Search of the Castaways, the 1964 Blake Edwards Pink Panther comedy A Shot in the Dark, and 1967's animated Disney fable The Jungle Book, in which he voiced the character of Shere Khan the Tiger. After appearing on Broadway in the title role of The Man Who Came to Dinner, Sanders appeared in John Huston's 1970 thriller The Kremlin Letter, an indication of a career upswing; however, the only offers which came his way were low-rent horror pictures like 1972's Doomwatch and 1973's Psychomania. Prior to the release of the latter, Sanders killed himself on August 25, 1972, by overdosing on sleeping pills while staying in a Costa Brava hotel; his suicide note read, "Dear World, I am leaving you because I am bored." He was 66 years old.

Trivia: Born in South Africa, roguishly handsome leading man Louis Hayward was educated in England and the Continent. Hayward briefly managed a London nightclub before he went on stage as a protégé of playwright Noel Coward. He co-starred in the London stage productions of several Broadway plays, among them Dracula and Another Language, and in 1933 made his screen bow in the British Self Made Lady. Hayward came to Broadway in 1935 to star in Point Verlaine (1935), which won him a Hollywood contract. His first American film role of note was as the hero's father in the prologue of Warner Bros.' Anthony Adverse (1936). Hayward went on to play both heroes and heels, and sometimes a charming combination thereof. He starred as Leslie Charteris' soldier-of-fortune Simon Templar in the first and the last entries in the "Saint" "B"-picture series. He also thrived in costume swashbucklers, appearing twice as the Count of Monte Cristo and once each as D'Artagnan, Captain Blood and Dick Turpin. In 1941, he was cast in a pivotal role in Orson Welles' The Magnificent Ambersons, but his part ended up on the cutting room floor. Serving as a Marine during World War II, Hayward supervised the filming of the battle of Tarawa, winning a Bronze Star for his courage under fire. After the war, he developed one of first percentage-of-profits deals, ensuring him a steady income in perpetuity for both the theatrical and TV releases of his post-1949 films. In 1954, Hayward produced and starred in the 39-week TV series The Lone Wolf (aka Streets of Danger), after buying exclusive rights to several of Louis Joseph Vance's original "Lone Wolf" stories. His later TV projects included the British series The Pursuers (1966) and the American The Survivors (1970). The first of Louis Hayward's three wives was actress Ida Lupino; the others were Peggy Morrow and June Blanchard.

Trivia: Canadian-born Gene Lockhart made his first stage appearance at age 6; as a teenager, he appeared in comedy sketches with another fledgling performer, Beatrice Lillie. Lockhart's first Broadway production was 1916's Riviera. His later credits on the Great White Way included Eugene O'Neill's Ah, Wilderness and Arthur Miller's Death of a Salesmen, in which Lockhart replaced Lee J. Cobb in the role of Willy Loman. In between acting assignments, Lockhart taught stage technique at the Juilliard School of Music. A prolific writer, Lockhart turned out a number of magazine articles and song lyrics, and contributed several routines to the Broadway revue Bunk of 1926, in which he also starred. After a false start in 1922, Lockhart launched his film career in 1934. His most familiar screen characterization was that of the cowardly criminal who cringed and snivelled upon being caught; he also showed up in several historical films as small-town stuffed shirts and bigoted disbelievers in scientific progress. When not trafficking in petty villainy, Lockhart was quite adept at roles calling for whimsy and confusion, notably Bob Cratchit in the 1938 version of A Christmas Carol and the beleaguered judge in A Miracle on 34th Street (1947). Extending his activities to television, Lockhart starred in the 1955 "dramedy" series His Honor, Homer Bell. Gene Lockhart was the husband of character actress Kathleen Lockhart, the father of leading lady June Lockhart, and the grandfather of 1980s ingenue Anne Lockhart.

Trivia: Her cultured Mayfair accent notwithstanding, frosty blonde actress Hillary Brooke was born on Long Island. After attending Columbia University, Hillary launched a modelling career, which led to film work in 1937. Though a handful of her screen portrayals were sympathetic, Hillary's talents were best utilized in roles calling for sophisticated truculence: "other women," murderesses, wealthy divorcees and the like. She is also known for her extensive work with the comedy team of Abbott and Costello. First appearing with the team in 1949's Africa Screams, she was briefly nonplused by their ad-libs and prankishness, but soon learned to relax and enjoy their unorthodox working habits. Retiring in 1960 upon her marriage to MGM general manager Ray Klune, Hillary Brooke has devoted much of her time since to religious and charitable work.

Trivia: Few of the performers in director John Ford's How Green Was My Valley (1941) were as qualified to appear in the film as Rhys Williams. Born in Wales and intimately familiar from childhood with that region's various coal-mining communities, the balding, pug-nosed Williams was brought to Hollywood to work as technical director and dialect coach for Ford's film. The director was so impressed by Williams that he cast the actor in the important role of Welsh prize fighter Dai Bando. Accruing further acting experience in summer stock, Rhys Williams became a full-time Hollywood character player, appearing in such films as Mrs. Miniver (1942), The Spiral Staircase (1946), The Inspector General (1949), and Our Man Flint (1966).

Trivia: Blonde, dimpled, and vivacious, June Storey became the perfect leading lady for cowboy troubadour Gene Autry, opposite whom she starred in no less than ten singing Westerns. In the U.S. since the age of five, the Canadian-born starlet was awarded a screen test with Fox (soon to become 20th Century Fox) in 1934, courtesy of an uncle's friendship with production head Winfield Sheehan. Despite a highly inadequate performance, Sheehan liked her pluck and Storey was awarded a player's contract. She didn't do much actual screen work, however, but spent most of her time at Fox studying acting with Florence Enright and taking dancing lessons from Rita Hayworth's father, Eduardo Cansino. A small role as a German girl in Henry King's In Old Chicago (1938) got the attention of low-budget concern Republic Pictures, who saw in the winsome Storey the perfect foil for Gene Autry, the company's biggest draw at the time.Under term contract with Republic from April 21, 1939, through October 20, 1940, Storey managed to squeeze in ten Westerns with Autry and five additional films before the contract was terminated by mutual agreement. In many ways she was the perfect leading lady for Autry: very agreeable to look upon, competent as a performer by then, and willing to work long, hard hours on location. Often there was not even a dressing room available for the heroine; she later stated, "...and I'd have to find a secluded canyon to change into my cowgirl clothes." The films themselves -- from Home on the Range (1939) to Ride, Tenderfoot, Ride (1940) -- included some of Autry's most genial, and Storey became very popular with the genre's target audience of rural moviegoers. But like most performers, she eventually found B-Westerns too limiting, and apart from Columbia's Song of the Prairie (1945), she never did another.Returning to Fox in the late '40s, Storey appeared in non-Western programmers and retired to marry an Oregon rancher. Divorced and the survivor of a near-fatal car accident, she later took up nursing, re-married, and became active in charity work. In her final years, a much heavier but still sparkling June Storey became a treasured guest speaker at various nostalgia and B-Western fairs.

Trivia: Born and educated in Utah, tall, piercing-eyed actor Moroni Olsen learned how to entertain an audience as a Chautaqua tent-show performer. In the 1920s, he organized the Moroni Olsen Players, one of the most prestigious touring stock companies in the business. After several successful seasons on Broadway, Olsen came to films in the role of Porthos in the 1935 version of The Three Musketeers. Though many of his subsequent roles were not on this plateau, Olsen nearly always transcended his material: In the otherwise middling Wheeler and Woolsey comedy Mummy's Boys (1936), for example, Olsen all but ignites the screen with his terrifying portrayal of a lunatic. Thanks to his aristocratic bearing and classically trained voice, Olsen was often called upon to play famous historical personages: he was Buffalo Bill in Annie Oakley (1935), Robert E. Lee in Santa Fe Trail (1940), and Sam Houston in Lone Star (1952). Throughout his Hollywood career, Moroni Olsen was active as a director and performer with the Pasadena Playhouse, and was the guiding creative force behind Hollywood's annual Pilgrimage Play.

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: Though no one in his family had ever pursued a theatrical career (one of his more illustrious relatives was British Prime Minister Neville Chamberlain), Alan Napier was stagestruck from childhood. After graduating from Clifton College, the tall, booming-voiced Napier studied at the Royal Academy of Dramatic Art, then was engaged by the Oxford Players, where he worked with such raw young talent as John Gielgud and Robert Morley. He continued working with the cream of Britain's acting crop during his ten years (1929-1939) on the West End stages. Napier came to New York in 1940 to co-star with Gladys George in Lady in Waiting. Though his film career had begun in England in the 1930s, Napier had very little success before the cameras until he arrived in Hollywood in 1941. He essayed dignified, sometimes waspish roles of all sizes in such films as Cat People (1942), The Uninvited (1943), and House of Horror (1946); among his off-the-beaten-track assignments were the bizarre High Priest in Orson Welles' Macbeth (1948) and a most elegant Captain Kidd in the 1950 Donald O'Connor vehicle Double Crossbones. In 1966, Alan Napier was cast as Bruce Wayne's faithful butler, Alfred, on the smash-hit TV series Batman, a role he played until the series' cancellation in 1968. Alan Napier's career extended into the 1980s, with TV roles in such miniseries as QB VII and such weeklies as The Paper Chase.

Trivia: Tall, handsome, golden-throated leading man Ian Keith became a Broadway favorite in the 1920s. He also pursued a sporadic silent film career, appearing opposite the illustrious likes of Gloria Swanson and Lon Chaney Sr. A natural for talkies, Keith appeared in such early sound efforts as Raoul Walsh's The Big Trail (1930) and D.W. Griffith's Abraham Lincoln (1930) (in which he played John Wilkes Booth). A favorite of Cecil B. DeMille, Keith stole the show as the cultured, soft-spoken Saladin in DeMille's The Crusades (1935). A rambunctious night life and an inclination towards elbow-bending reduced Keith's stature in Hollywood, and by the mid-1940s he was occasionally obliged to appear in such cheapies as the 1946 "Bowery Boys" epic Mr. Hex. His final screen appearance was a cameo as Rameses I in DeMille's The Ten Commandments (1956). Among Ian Keith's wives was stage luminary Blanche Yurka and silent-film leading lady Ethel Clayton.