Trivia: Laurence Olivier -- Sir Laurence after 1947, Lord Laurence after 1970 -- has been variously lauded as the greatest Shakespearean interpreter of the 20th century, the greatest classical actor of the era, and the greatest actor of his generation. Although his career took a rather desperate turn toward the end when he seemed willing to appear in almost anything, the bulk of Olivier's 60-year career stands as a sterling example of extraordinary craftsmanship. Olivier was the son of an Anglican minister, who, despite his well-documented severity, was an unabashed theater lover, enthusiastically encouraging young Olivier to give acting a try. The boy made his first public appearance at age nine, playing Brutus in an All Saint's production of Julius Caesar. No member of the audience was more impressed than actress Dame Sybil Thorndike, who knew then and there that Olivier had what it took. Much has been made of the fact that the 15-year-old Olivier played Katherine in a St. Edward's School production of The Taming of the Shrew; there was, however, nothing unusual at the time for males to play females in all-boy schools. (For that matter, the original Shakespeare productions in the 16th and 17th centuries were strictly stag.) Besides, Olivier was already well versed in playing female roles, having previously played Maria in Twelfth Night. Two years after The Taming of the Shrew, he enrolled at the Central School of Speech Training and Dramatic Art, where one of his instructors was Claude Rains. Olivier made his professional London debut the same year in The Suliot Officer, and joined the Birmingham Repertory in 1926; by the time Olivier was 20, he was playing leads. His subsequent West End stage triumphs included Journey's End and Private Lives. In 1929, he made his film debut in the German-produced A Temporary Widow. He married actress Jill Esmond in 1930, and moved with her to America when Private Lives opened on Broadway. Signed to a Hollywood contract by RKO in 1931, Olivier was promoted as "the new Ronald Colman," but he failed to make much of an impression onscreen. By the time Greta Garbo insisted that he be replaced by John Gilbert in her upcoming Queen Christina (1933), Olivier was disenchanted with the movies and vowed to remain on-stage. He graduated to full-fledged stardom in 1935, when he was cast as Romeo in John Gielgud's London production of Romeo and Juliet. (He also played Mercutio on the nights Gielgud assumed the leading role himself.) It was around this time that Olivier reportedly became fascinated with the works of Sigmund Freud, which led to his applying a "psychological" approach to all future stage and screen characters. Whatever the reason, Olivier's already superb performances improved dramatically, and, before long, he was being judged on his own merits by London critics, and not merely compared (often disparagingly) to Gielgud or Ralph Richardson. It was in collaboration with his friend Richardson that Olivier directed his first play in 1936, which was also the year he made his first Shakespearean film, playing Orlando in Paul Czinner's production of As You Like It. Now a popular movie leading man, Olivier starred in such pictures as Fire Over England (1937), 21 Days (1938), The Divorce of Lady X (1938), and Q Planes (1939). He returned to Hollywood in 1939 to star as Heathcliff in Samuel Goldwyn's glossy (and financially successful) production of Wuthering Heights, earning the first of 11 Oscar nominations. He followed this with leading roles in Alfred Hitchcock's Rebecca (1940),Pride and Prejudice (1940), and Alexander Korda's That Hamilton Woman (1941), co-starring in the latter with his second wife, Vivien Leigh. Returning to England during World War II, Olivier served as a parachute officer in the Royal Navy. Since he was stationed at home, so to speak, he was also able to serve as co-director (with Ralph Richardson) of the Old Vic. His most conspicuous contribution to the war effort was his joyously jingoistic film production of Henry V (1944), for which he served as producer, director, and star. Like all his future film directorial efforts, Henry V pulled off the difficult trick of retaining its theatricality without ever sacrificing its cinematic values. Henry V won Olivier an honorary Oscar, not to mention major prizes from several other corners of the world. Knighthood was bestowed upon him in 1947, and he served up another celluloid Shakespeare the same year, producing, directing and starring in Hamlet. This time he won two Oscars: one for his performance, the other for the film itself. The '50s was a transitional decade for Olivier: While he had his share of successes -- his movie singing debut in The Beggar's Opera (1953), his 1955 adaptation of Richard III -- he also suffered a great many setbacks, both personal (his disintegrating relationship with Vivien Leigh) and professional (1957's The Prince and the Showgirl, which failed despite the seemingly unbeatable combination of Olivier's directing and Marilyn Monroe's star performance). In 1956, Olivier boldly reinvented himself as the seedy, pathetically out-of-step music hall comic Archie Rice in the original stage production of John Osborne's The Entertainer. It was a resounding success, both on-stage and on film, and Olivier reprised his role in a 1960 film version directed by Tony Richardson. Thereafter, Olivier deliberately sought out such challenging, image-busting roles as the ruthless, bisexual Crassus in Spartacus (1960) and the fanatical Mahdi in Khartoum (1965). He also achieved a measure of stability in his private life in 1961 when he married actress Joan Plowright. In 1962, he was named the artistic director of Britain's National Theatre, a post he held for ten years. To periodically replenish the National's threadbare bank account, Olivier began accepting roles that were beneath him artistically, but which paid handsomely; in the early '70s, he even hawked Polaroid cameras on television. During this period, he was far more comfortable before the cameras than in the theater, suffering as he was from a mysterious bout of stage fright. He also committed two more directorial efforts to film, Othello (1965) and Dance of Death (1968), both of which were disappointingly stage-bound. In 1970, he became Lord Olivier and assumed a seat in the House of Lords the following year. Four years later, suffering from a life-threatening illness, he made his last stage appearance. From 1974 until his death in 1989, he seemingly took whatever film job was offered him, ostensibly to provide an income for his family, should the worst happen. Some colleagues, like director John Schlesinger, were disillusioned by Olivier's mercenary approach to his work. Others, like Entertainer director Tony Richardson, felt that Olivier was not really a sellout as much as he was what the French call a cabotin -- not exactly a ham: a performer, a vulgarian, someone who lives and dies for acting. Amidst such foredoomed projects as The Jazz Singer (1980) and Inchon (1981), Olivier was still capable of great things, as shown by his work in such TV productions as 1983's Mister Halpern and Mister Johnson and, in 1984, King Lear and Voyage Round My Father. In 1979, he was once more honored at Academy Awards time, receiving an honorary Oscar "for the full body of his work." His last appearance was in the 1988 film War Requiem.

Trivia: Professionally, British actor Robert Newton was two people: The wry, sensitive, often subtle performer seen in such plays as Noel Coward's Private Lives and such films as This Happy Breed (1944), and the eye-rolling, chop-licking ham in such roles as Bill Sykes in Oliver Twist (1948) and Long John Silver (arr! arr!) in Treasure Island (1950). Born into a gifted family -- his mother was a writer, his father and his siblings painters -- Newton made his professional debut when he was 15 with the British Repertory Company. Before he was 25, Newton had toured the world as an actor and stage manager, making his Broadway bow when he replaced Laurence Olivier in Private Lives. There was little of Olivier (except perhaps the older Olivier) in most of Newton's movie roles; despite his wide actor's range, he seemed happiest tearing a passion to tatters in such films as Jamaica Inn (1939), Blackbeard the Pirate (1952) and The Beachcomber (1954). Ripe though his acting could be, it was clear Newton knew his audience. From 1947 through 1951 he was one of Britain's top ten moneymaking film stars, so who were the critics to tell him what to do? Newton's final film role was the dogged Inspector Fix in the blockbuster Around the World in 80 Days (1956). Less than one month after completing Around the World in 80 Days, Robert Newton died of a heart attack in the arms of his wife.

Trivia: Oxford-educated Leslie Banks embarked upon a stage career at London's Vaudeville Theatre in 1911. During combat in World War I, Banks' face was scarred and partially paralyzed. Returning to the theater at war's end, Banks was able to use his disfigurement to his advantage, favoring the unblemished side of his face when playing comedy, then conversely utilizing his "marked" side when essaying villains. Some of his more celebrated stage roles included Captain Hook in Peter Pan, Petruchio in Taming of the Shrew, the capricious title character in Springtime for Henry, and the kindly, doddering lead in the original 1938 staging of Goodbye Mr. Chips. He also distinguished himself as a theatrical producer and director. Banks entered films in 1932, starring as diabolical "people hunter" Count Zaroff in The Most Dangerous Game (1932). Leslie Banks continued making occasional film appearances until 1950, most notably as the reluctant hero of Hitchcock's 1934 version of The Man Who Knew Too Much, and the Chorus in Olivier's brilliant Henry V (1945).

Trivia: A gold medalist at the Royal Academy of Dramatic Arts, Griffith Jones was still an RADA undergrad when he made his professional bow in 1930. Jones went on to play leading roles in everything from Shakespeare to Grand Guignol; he spent several seasons in the late 1950s touring as Archie Rice in John Osborne's The Entertainer. In films sporadically from 1932 to 1968, Jones was always welcome on-screen, but seldom given the sort of roles worthy of his talents. At age 65, Jones launched a seven-year tenure with the Royal Shakespeare Company. He had a field day in the RSC's marathon staging of Nicholas Nickleby, expertly essaying no fewer than seven roles within a space of eight hours. Griffith Jones is the father of actors Gemma and Nicholas Jones.

Trivia: Active the London theatrical circles from 1925, British actor Esmond Knight first set foot on a movie sound stage with 1931's The Ringer. His career momentum was almost permanently interrupted in 1941, when, while serving with the Royal Navy, he was temporarily blinded in battle. He regained enough of his sight to resume his filmmaking activities in 1943, appearing in such productions as Powell and Pressburger's A Canterbury Tale (1944), Black Narcissus (1946) and The Red Shoes (1947), Olivier's Henry V (1945) and Richard III (1955), and Jean Renoir's The River (1951). In 1960, Knight co-starred in Sink the Bismarck (1960), a reenactment of the naval battle in which he'd been blinded 19 years earlier. Long married to actress Nora Swinburne, Esmond Knight died in Egypt while filming The Balkan Trilogy.

Trivia: Smooth, refined British star Leo Genn is known for his relaxed charm and "black velvet" voice. Before becoming an actor, he received a law degree at Cambridge and worked as a barrister in the early '20s. In 1930 he debuted onstage; for several years he continued earning money with legal services, meanwhile gaining experience in both plays and films. In 1939 he finally gave up the law to make his Broadway debut. He served with the Royal Artillery during World War II; in 1943 he was promoted to lieutenant colonel, and in 1945 he was awarded the Croix de Guerre. On several occasions during the war he was granted leave to appear in films. At war's end he became one of Britain's investigators of war crimes at the Belsen concentration camp and went on to be an assistant prosecutor for the Belsen trial. After his small but noteworthy role as the Constable of France in Laurence Olivier's film Henry V (1944), he was invited to the U.S., where he had a great theatrical triumph in the 1946 Broadway production of Lillian Hellman's Another Part of the Forest. His stage and screen career flourished afterwards in both the U.S. and England. Onscreen he was usually cast in smart, likable, subtle character leads and supporting roles. For his portrayal of Gaius Petronius, Nero's counselor, in Quo Vadis (1951), he received a "Best Supporting Actor" Oscar nomination.

Trivia: British actor Felix Aylmer may not be popularly known in the United States, but his was one of the longest and most prestigious careers in the 20th-century British theatre. Aylmer's first stage work was done with another theatrical giant, Sir Seymour Hicks, in 1911. Two years later, Aylmer was engaged by the then-new Birmingham Repertory, premiering as Orsino ("If music be the food of love...") in Shakespeare's Twelfth Night. After World War I service, Aylmer established himself as one of the foremost interpreters of the works of George Bernard Shaw; he also concentrated on the London productions of such American plays as Abraham Lincoln and Robert E. Lee (no partisanship here!) Aylmer made his Broadway bow in a production of Galsworthy's Loyalties, periodically returning to the states in such plays as Flashing Stream, wherein he played First Lord of the Admiralty Walter Hornsby, which some regard as his finest performance. Like most British actors, Aylmer acted in plays to feed his soul and films to pay his bills. His motion picture debut was in Escape (1930), after which he averaged a picture a year. Aylmer was seen by American audiences in such internationally popular films as The Citadel (1938), Henry V (1944), Hamlet (1948), Quo Vadis (1951) and Separate Tables (1958). The actor was something of a hero to his fellow actors for his efforts in their behalf during his long tenure as president of British Equity, the performers' trade union; in 1965 Aylmer was knighted for his accomplishments. Active until his eighties, Sir Felix Aylmer made one of his last film appearances as the Judge in The Chalk Garden (1964), a role he'd originated on stage eight years earlier.

Trivia: British actor Ralph Truman may seldom have played a leading role in films, but on radio he was a 14-carat star. On the air since 1925 (he was one of the first), Truman once estimated that he'd appeared in 5000 broadcasts. The actor's film career commenced with City of Song in 1930, followed by a string of cheap "quota quickies" and a few worthwhile films like Mr. Cohen Takes a Walk (1936), Under the Red Robe (1937), Dinner at the Ritz (1938) and The Saint in London (1941). The '40s found Truman cast as Mountjoy in Laurence Olivier's filmization of Henry V (1945) and in such equally prestigious productions as Oliver Twist (1948) and Christopher Columbus (1949). American audiences were treated to Truman in the wildly extroverted role of pirate George Merry in Treasure Island (1950); he'd beem deliberately cast in that role by director Robert Stevenson so that his hammy costar Robert Newton (as Long John Silver) would look "downright underplayed" in comparison. Though hardly as well served as he'd been on radio, Ralph Truman stayed with films until retiring in 1970; his last appearance was in Lady Caroline Lamb (released in 1971).

Trivia: Irish stage actor Max Adrian was active in British films from 1934 until his death. Adrian's self-consciously "campy" style was ideally suited to such roles as the Dauphin in Olivier's Henry V, and, much later, the gesticulating theatrical impresario in Ken Russell's The Boy Friend (1971). For the most part, however, Adrian tended to be too much of a good thing. In the late 1960s, Max Adrian toured as George Bernard Shaw in the one-man presentation By George.

Trivia: British actor Valentine Dyall was a well-known radio performer of the '40s, introducing a weekly "scare" series with "This is your storyteller....the Man in Black." In films, Dyall looked more like a bank president than the voice of doom, and was cast accordingly. On stage since 1930 and films since 1942, Dyall remained busy into the '80s. Some of Dyall's best-known films include The Life and Death of Colonel Blimp (1943), Henry V (1945) (as the Duke of Burgundy), Caesar and Cleopatra (1946), Brief Encounter (1946), The Haunting (1963), The Wrong Box (1967) and Casino Royale (1967). Valentine Dyall made many of his final appearances where he began, on radio: he was indispensable to many Halloween broadcasts of the '70s and '80s, sometimes nostalgically recreating "The Man in Black."

Trivia: One of the most revered directors of his era, Elia Kazan was also one of the most -- arguably the most -- controversial. In addition to making his mark on film history with masterpieces such as A Streetcar Named Desire, On the Waterfront, and East of Eden, Kazan made a more dubious mark with his involvement in the House Committee on UnAmerican Activities (HUAC)'s anti-Communist witchhunt of the 1950s; his decision to name alleged industry Communists earned him the ire of many of his peers, resulting in what was essentially his own Hollywood blacklisting. Thus, any biography of Kazan cannot be written without mention of his political involvement, in tandem with the many cinematic contributions he made throughout a long and illustrious career. An Anatolian Greek, Kazan was born Elia Kazanjoglou in Istanbul (then Constantinople), Turkey, on September 7, 1909. In 1913, he emigrated with his parents to New York City, where his father sold rugs for a living. After an undergraduate education at Williams College and drama study at Yale, Kazan joined New York's left-leaning Group Theatre as an actor and assistant manager. During the 1930s, when Kazan was an active member, the theater was under the leadership of Harold Clurman, Cheryl Crawford, and Lee Strasberg. A focal point of New York artistic life during the decade, the Group Theatre also was a center for radical thought and activity; Kazan himself was a member of the Communist party from 1934 until 1936, when he quit the party in what he claimed was "disgust." He did continue to maintain close relations with many in and around the Stalinist movement, only terminating these relations in 1952 when he testified before HUAC. In addition to acting in such plays as Clifford Odets' Waiting for Lefty and Golden Boy, Kazan began directing in 1935. He went on to become one of the leading figures on Broadway during the next decade, directing debut productions of Thornton Wilder's Skin of Our Teeth, Tennessee Williams' A Streetcar Named Desire, Arthur Miller's Death of a Salesman, and Williams' Cat on a Hot Tin Roof. Hollywood took notice of the director's talent and in 1945 Kazan had a memorable directing debut with A Tree Grows in Brooklyn. Two years later, he found further success with Gentleman's Agreement, Sea of Grass, and Boomerang!. Although the latter two were considerable accomplishments, it was Gentleman's Agreement -- a bold exploration of anti-Semitism starring Gregory Peck and John Garfield -- that won Kazan his greatest accolades: the film was nominated for eight Academy Awards, winning Best Picture, Best Supporting Actress for Celeste Holm, and Best Director for Kazan. The same year, he co-founded the famed Actor's Studio with Strasberg; the school would serve as a training ground for legions of famous actors, including Marlon Brando. In 1949, the director found acclaim with the interracial love story Pinky, which received three Oscar nominations. Following 1950's Panic in the Streets, a tale of efforts to contain a New Orleans plague epidemic that mirrored the Communist scare taking hold in the U.S., Kazan scored his next major success with a film adaptation of A Streetcar Named Desire. Featuring a sensuous, explosive Marlon Brando in the role of Stanley Kowalski, the film garnered 12 Oscar nominations (eventually winning four, including Best Actress for Vivien Leigh), and made a star of Brando. The following year, Kazan and Brando collaborated again on Viva Zapata!, a biopic of Mexican revolutionary leader and President Emiliano Zapata. It was at this time that Kazan's offscreen life became irretrievably enmeshed with his cinematic work. In January 1952, the director was called before HUAC regarding his involvement with the Communist Party and the Group Theatre. During his hearing, he denied that the group was a "front" for Communist activity and that its three directors were Communists. He also refused to supply HUAC with the names of other Communists in the Group Theatre. However, it was not long before Kazan changed his testimony: in the spring of the same year, after being told by 20th Century Fox President Spyros P. Skouras that he would never work in Hollywood again if he refused to disclose names, Kazan once again testified before the committee. In his hearing, he supplied HUAC with several names, including those of writer Clifford Odets (who himself would later "name names"), Lillian Hellman, John Garfield, and Paula and Lee Strasberg. After his testimony, Kazan was scorned by many of his peers. Arthur Miller, who had once been a close friend, spoke out against him in a letter to the New York Post. However, the attitude greeting the clash between Kazan's dubious offscreen activities and his inarguable onscreen talents was summed up by Brando, who was quoted as saying: "that was a terrible thing [Kazan] did in Washington. I'm not going to work with him anymore. But he's good for me. Maybe I'll work with him a couple more times, at least once." He did so, collaborating with the director on the 1954 classic On the Waterfront. The film -- which was considered by many viewers to be Kazan and screenwriter Budd Schulberg's elaborate defense of an informer's rationale -- won almost universal acclaim, netting 12 Academy Award nominations and winning Best Picture, Best Actor for Brando, Best Supporting Actress for Eva Marie Saint, and another Best Director award for Kazan. Kazan's next effort, East of Eden, was also greeted with enthusiasm, netting him another Oscar nomination for Best Director. Aside from the critical acclaim it garnered, the film was notable for being James Dean's first starring vehicle; in directing the actor, Kazan helped him produce the type of nuanced tough-sensitive performance that he famously elicited from other actors such as Brando, John Garfield, and Montgomery Clift. Such performances became known as hallmarks of Kazan's films. In 1956, the director made Baby Doll, another Williams adaptation, which was memorable not so much for its quality (or lack thereof) as for the controversy its content inspired. Chock-full of steamy sexual suggestion and lots of thumb-sucking, the film was the first major motion picture ever to be publicly condemned by the Legion of Decency, the Catholic organization responsible for instituting the repressive Production Code. Somewhat less controversy surrounded Kazan's Wild River, a 1960 film starring Montgomery Clift, and the director found further success with his 1961 Splendor in the Grass. Starring Natalie Wood and Warren Beatty as ill-fated lovers, the film provided an interesting exploration of lust and insanity, and Wood was rewarded with a Best Actress Oscar nomination for her role as the girl who literally goes crazy over Beatty (screenwriter William Inge won a Best Original Screenplay Oscar for his work on the film). Kazan next made America, America, a 1963 film based on the early life of his Greek uncle, and thereafter became largely absent from the film industry, occasionally making acting appearances. In 1998, the 89-year-old director once again found himself at the center of controversy, this time due to the decision of the Academy of Motion Picture Arts and Sciences to present him with a Lifetime Achievement Award. A deep divide appeared in Hollywood, between those who supported the decision, maintaining that the director's body of work made him worthy, and those who didn't, maintaining that Kazan's offscreen activities amounted to a betrayal of his peers, thus making him an unfit award recipient. The Academy went ahead and presented the award regardless, honoring a director who, political actions aside, had made an indelible contribution to his chosen field.

Trivia: At age 11 he began appearing in the Australian ballet, and later appeared in stage musicals and toured with Pavlova's dance company. In 1933 he moved to England and joined the Sadler's Wells Ballet; soon he became that company's principal dancer, and in the '40s he choreographed many of its productions. He devoted most of the '50s to acting, appearing with the Old Vic in productions of Shakespeare, then returned to ballet in the '60s; in 1965 he was appointed co-director of the Australian Ballet company. Beginning in the early '40s, he appeared sporadically in films; some of his work involved dancing -- such as The Red Shoes (1948), which he also choreographed -- and some involved straight dramatic roles. He co-directed (with Rudolf Nureyev) and played the title role in the ballet-film Don Quixote (1973). He was knighted in 1950.

Trivia: Educated at the University of England at Nottingham, Freda Jackson made her professional stage bow in 1934. In films, Jackson cornered the market in spiteful (or at the very least, disgruntled) middle-aged shrews. She played such well-known literary harpies as Mistress Quickly in Henry V (1944), Mrs. Joe Gargery in Great Expectations (1947), and "Vengeance" in Tale of Two Cities (1958). Freda Jackson's final film was Clash of the Titans (1981), in which she played three blind witches.

Trivia: British actor Jimmy Hanley was something of a manufactured star. The Rank Organisation, anxious to create a juvenile actor to carry the lightweight romances and musicals that were so much a part of the British filmgoing scene, developed the teenaged Hanley into what historian Leslie Halliwell described as "the boy next door." Hanley made his film bow at age 16 in The Red Wagon (1934), and continued to appear in such adolescent affairs as Boys will be Boys (1935) and There Ain't No Justice (1937). Jimmy's roles matured along with the actor, and in 1944 he could be seen as Williams in Laurence Olivier's Henry V. In 1949 Hanley settled down for two years' worth of appearances in the Huggett Family series costarring former musical hall headliner Jack Warner. Jimmy Hanley perservered in second leads and character parts until his final appearance in The Lost Continent (1968).

Trivia: Bantam-weight Scotsman John Laurie abandoned a career in architecture when he first stepped on stage in 1921. Laurie spent most of the next five decades playing surly, snappish types: the taciturn farmer who betrays fugitive Robert Donat in Hitchcock's The 39 Steps (1935), the repugnant Blind Pew in Disney's Treasure Island (1950) et. al. A friend and favorite of Laurence Olivier, Laurie showed up in all three of Olivier's major Shakespearean films. He played Captain Jamie in Henry V (1944), Francisco ("For this relief, much thanks") in Hamlet (1948) and Lord Lovel in Richard III (1955). Intriguingly, Olivier and Laurie portrayed the same historical character in two entirely different films. Both portrayed the Mahdi, scourge of General "Chinese" Gordon: Laurie essayed the part in The Four Feathers (1939), while Olivier played the role in Khartoum (1965). Millions of TV fans worldwide have enjoyed Laurie in the role of Fraser on the BBC sitcom Dad's Army. One of John Laurie's few starring assignments was in the 1935 film Edge of the World, set on the remote Shetland isle of Foula; 40 years later, a frail-looking Laurie was one of the participants in director Michael Powell's "reunion" documentary Return to the Edge of the World (1978).

Trivia: Burly, ruddy-faced Irish actor Niall MacGinnis looked as though he'd be well suited for an alley fight, but most of his film and stage roles were of an intellectual bent. Active on stage with the Old Vic, MacGinnis made his first film in 1935. For many film buffs, MacGinnis' fame rests on two dymamic leading roles. He portrayed the crafty black-arts practitioner (based on Alisteir Crowley) who falls victim to his own deviltry in the 1958 chiller Night of the Demon. And, as every Lutheran who ever attended a church-basement "movie night" well knows, Niall MacGinnis essayed the title role in the 1953 film Martin Luther.

Trivia: Trained for a stage career at the Morden Council School, 14-year-old George Cole made his London stage debut in the 1939 production White Horse Inn. Cole ascended to juvenile stardom as a young evacuee in 1940's Cottage to Let, repeating the role in the 1941 film version. As an adult, Cole specialized in light, semicomic characterizations on both stage and screen. His most cherished movie roles include the mother-dominated protagonist in the "Kite" segment of Quartet (1948) and shifty salesman Flash Harry in the first two St. Trinians farces of the 1950s. He entered the household-word category as a klutzy con man in the British TV series Minder, which ran from 1979 to 1984. George Cole's other weekly TV credits include Don't Forget to Write (1977-1979), The Bounder (1982-1988), Heggerty Haggerty (1984-1985), Comrade Dad (1986), and Root Into Europe (1992). Cole continued to act into his advanced years; he died in 2015 at age 90.

Trivia: Renee Ashershon made her stage bow at age 15 in John Gielgud's theatrical troupe. The most fondly remembered of her film appearances was the French-speaking princess Katherine in the climactic scenes of Olivier's Henry V (1945). Renee Ashershon was the widow of actor Robert Donat, whom she married in 1953.

Trivia: Gaunt -- nay, skeletal -- British actor Ernst Thesiger had originally studied to be an artist. While he retained his delicate manual skills for the rest of his days (he wrote several books on needlepoint), Thesiger cast his lot with Thespis when he made his first stage appearance in 1909, at the tender age of 30. He scored a personal and professional triumph as star of the stage farce A Little Bit of Fluff, which opened in 1915 and ran for several years. In 1916, he made the first of a handful of silent film appearances, and in 1924 he played the Dauphin in the original production of Shaw's St. Joan. Thesiger was well enough known in 1927 to write an autobiography, Practically True; he hadn't an inkling that his greatest acting days still lay ahead of him. In 1932, he made his talkie debut in James Whale's The Old Dark Horse, creating an indelible impression as Horace Femm, the imperious, condescending lord of the forbidding domicile of the title. Whale took full advantage of Thesiger's cadaverous features and his sneering erudition, while the actor made a meal of such simple lines as "Have a potato." Even better was the next Whale-Thesiger collaboration The Bride of Frankenstein, wherein the actor had the role of a lifetime as prissy, posturing mad scientist Dr. Praetorious. With such notable exceptions as the Whale films and the British melodramas The Ghoul (1933) and They Drive By Night (1938), most of Thesiger's screen characters were more snobbish than sinister. All of his film roles, however, can be regarded as extensions of the actor's real-life personality; from all accounts, the line between Thesiger's screen self and real self was thin indeed, as demonstrated by his disdainful public comments regarding his profession and his co-workers. Witheringly patronizing to the end, Ernest Thesiger made his final stage and screen appearances in 1960, the year before his death at age 81.