Trivia: Actor, screenwriter, and producer Stan Laurel was born to British stage performers. He started acting on stage in his mid-teens in music halls and theaters before touring the U.S. in 1910 and 1912 as Charlie Chaplin's understudy. He remained in the States to perform in vaudeville and, in 1917, supplemented his stage work by appearing as clownish misfit types in comedy shorts often spoofing dramatic films of the period. One of these was a two-reeler called Lucky Dog (1918), in which he appeared totally by accident with Oliver Hardy. The two would not appear together again until 1926, when they both found themselves working for comedy producer Hal Roach. Laurel, who had been hired by Roach as a gagman/director, was persuaded to appear in front of the camera and, thus, auspiciously again with Hardy. It soon became obvious that the two men had a certain comic onscreen chemistry, and they ended up starring together as an incredibly popular comedy team in more fifty films in the 1930s and early '40s, with their 1932 three-reeler The Music Box winning an Oscar for Best Short Subject. Laurel, the creative member of the team, had numerous run-ins with producer Roach; the actor wanted the team's films to aspire to the higher quality productions of their contemporaries, while Roach was firmly content with maintaining a low-budget norm. Laurel had a few short-lived victories, serving as producer on the team's Our Relations (1936) and Way out West (1937). The team left Roach in 1940 to seek more artistic control over their work, but were given even less at Fox and MGM. In the late '40s and early '50s, they enjoyed touring English music halls while continuing to make films. After Hardy's death in 1957, Laurel stopped performing but kept active. He died from a heart attack in 1965.

Trivia: Unlike his future screen partner Stan Laurel, American comedian Oliver Hardy did not come from a show business family. His father was a lawyer who died when Hardy was ten; his mother was a hotel owner in both his native Georgia and in Florida. The young Hardy became fascinated with show business through the stories spun by the performers who stayed at his mother's hotel, and at age eight he ran away to join a minstrel troupe. Possessing a beautiful singing voice, Hardy studied music for a while, but quickly became bored with the regimen; the same boredom applied to his years at Georgia Military College (late in life, Hardy claimed to have briefly studied law at the University of Georgia, but chances are that he never got any farther than filling out an application). Heavy-set and athletic, Hardy seemed more interested in sports than in anything else; while still a teenager, he umpired local baseball games, putting on such an intuitively comic display of histrionics that he invariably reduced the fans to laughter. In 1910, he opened the first movie theater in Milledgeville, Georgia, and as a result became intrigued with the possibilities of film acting. Traveling to Jacksonville, Florida in 1913, he secured work at the Lubin Film Company, where thanks to his 250-pound frame he was often cast as a comic villain. From 1915-25, Hardy appeared in support of such comedians as Billy West (the famous Chaplin imitator), Jimmy Aubrey, Larry Semon (Hardy played the Tin Woodman in Semon's 1925 version of The Wizard of Oz), and Bobby Ray. An established "heavy" by 1926, Hardy signed with the Hal Roach studios, providing support to such headliners as Our Gang and Charley Chase. With the rest of the Roach stock company, Hardy appeared in the Comedy All-Stars series, where he was frequently directed by fellow Roach contractee Stan Laurel (with whom Hardy had briefly appeared on-screen in the independently produced 1918 two-reeler Lucky Dog). At this point, Laurel was more interested in writing and directing than performing, but was lured back before the cameras by a hefty salary increase. Almost inadvertently, Laurel began sharing screen time with Hardy in such All-Stars shorts as Slipping Wives (1927), Duck Soup (1927) and With Love and Hisses (1927). Roach's supervising director Leo McCarey, noticing how well the pair worked together, began teaming them deliberately, which led to the inauguration of the "Laurel and Hardy" series in late 1927. At first, the comedians indulged in the cliched fat-and-skinny routines, with Laurel the fall guy for the bullying Hardy. Gradually the comedians developed the multidimensional screen characters with which we're so familiar today. The corpulent Hardy was the pompous know-it-all, whose arrogance and stubbornness always got him in trouble; the frail Stan was the blank-faced man-child, whose carelessness and inability to grasp an intelligent thought prompted impatience from his partner. Underlining all this was the genuine affection the characters held for each other, emphasized by Hardy's courtly insistence upon introducing Stan as "my friend, Mr. Laurel." Gradually Hardy adopted the gestures and traits that rounded out the "Ollie" character: The tie-twiddle, the graceful panache with which he performed such simple tasks as ringing doorbells and signing hotel registers, and the "camera look," in which he stared directly at the camera in frustration or amazement over Laurel's stupidity. Fortunately Laurel and Hardy's voices matched their characters perfectly, so they were able to make a successful transition to sound, going on to greater popularity than before. Sound added even more ingredients to Hardy's comic repertoire, not the least of which were such catch-phrases as "Why don't you do something to help me?" and "Here's another nice mess you've gotten me into." Laurel and Hardy graduated from two-reelers to feature films with 1931's Pardon Us, though they continued to make features and shorts simultaneously until 1935. While Laurel preferred to burn the midnight oil as a writer and film editor, Hardy stopped performing each day at quitting time. He occupied his leisure time with his many hobbies, including cardplaying, cooking, gardening, and especially golf. The team nearly broke up in 1939, not because of any animosity between them but because of Stan's contract dispute with Hal Roach. While this was being settled, Hardy starred solo in Zenobia (1939), a pleasant but undistinguished comedy about a southern doctor who tends to a sick elephant. Laurel and Hardy reteamed in late 1939 for two more Roach features and for the Boris Morros/RKO production The Flying Deuces (1939). Leaving Roach in 1940, the team performed with the USO and the Hollywood Victory Caravan, then signed to make features at 20th Century-Fox and MGM. The resultant eight films, produced between 1941 and 1945, suffered from too much studio interference and too little creative input from Laurel and Hardy, and as such are but pale shadows of their best work at Roach. In 1947, the team was booked for the first of several music hall tours of Europe and the British Isles, which were resounding successes and drew gigantic crowds wherever Stan and Ollie went. Upon returning to the States, Hardy soloed again in a benefit stage production of What Price Glory directed by John Ford. In 1949, he played a substantial supporting role in The Fighting Kentuckian, which starred his friend John Wayne; as a favor to another friend, Bing Crosby, Hardy showed up in a comic cameo in 1950's Riding High. Back with Laurel, Hardy appeared in the French-made comedy Atoll K (1951), an unmitigated disaster that unfortunately brought the screen career of Laurel and Hardy to a close. After more music hall touring abroad, the team enjoyed a resurgence of popularity in the U.S. thanks to constant showings of their old movies on television. Laurel and Hardy were on the verge of starring in a series of TV comedy specials when Stan Laurel suffered a stroke. While he was convalescing, Hardy endured a heart attack, and was ordered by his doctor to lose a great deal of weight. In 1956, Hardy was felled a massive stroke that rendered him completely inactive; he held on, tended day and night by his wife Lucille, until he died in August of 1957. Ironically, Oliver Hardys passing occurred at the same time that he and Stan Laurel were being reassessed by fans and critics as the greatest comedy team of all time.

Trivia: In films from 1927, British comic actor Gordon Harker had to wait for the advent of sound to take full advantage of his eternal air of cockney belligerence. Perhaps because his cinematic career was launched by director Alfred Hitchcock, Harker seemed to pop up in every other mystery film produced in England between 1930 and 1945, sometimes as intrusive comedy relief, sometimes as a red-herring suspect. Among his more notable film credits were Rome Express (1932), Inspector Hornleigh (1940) and Saloon Bar. Gordon Harker's last film was the 1958 political satire Left, Right and Centre.

Trivia: Born and educated in England (where she studied the "oratorical arts"), Lillian Bond won a beauty contest on her home turf in 1926. Shortly afterward, she came to New York, where she was hired for The Ziegfeld Follies. Brought to Hollywood as a "WAMPAS Baby Star" in 1932, Lillian was prominently cast in such films as The Old Dark House (1932) and Fireman Save My Child (1932), where her refined British accent provided a unique contrast to the gold-digging characters she was required to play. One of Lillian Bond's last sizeable roles was as Lily Langtry in the closing scenes of The Westerner (1940).

Trivia: Sandpaper-voiced British character actor Cecil Parker was able to channel his stuffy, aristocratic demeanor into characters of both authority and menace. Kicking off his stage career after World War I, Parker made his stage bow in 1922 and his first film appearance seven years later. In his film roles, he was frequently addressed as "Colonel," "Your Majesty," or "Your Lordship," though these titles were not always an indication of his character's basic integrity. American filmgoers of the 1930s were most familiar with Parker's portrayal of the philandering, cowardly businessman in Hitchcock's The Lady Vanishes (1938). He played leads in such post-World War II films as Captain Boycott (1947), The Weaker Sex (1948), The Amazing Mr. Beecham (1949), Tony Draws a Horse (1950), and I Believe in You (1952). He also played such prominent supporting roles as Britannus in Caesar and Cleopatra (1946), the usurping king in Danny Kaye's The Court Jester (1956), Lord Loam in The Admirable Crichton (1957), and Jarvis Lorry in A Tale of Two Cities (1958). Cecil Parker's last film appearance was a comedy cameo in Oh, What a Lovely War (1969).

Trivia: British actress Margaretta Scott made her first stage appearance at age 17 in 1929; five years later, she launched her lengthy film career. At first merely another of producer Alexander Korda's resident ingénues, she later carved a niche for herself in upper middle-class character roles. An early arrival on television (she was playing Shakespearean roles on the small screen as far back as 1937!), she was a fixture of the BBC historical miniseries of the 1960s and 1970s, notably as Catherine De Medici in the multipart Elizabeth R (1971). Among Margaretta Scott's handful of American film roles was Donna Lucia D'Alvadorez in the 1952 musical farce Where's Charley?

Trivia: On the British stage from the age of 15, Basil Sydney first toured the U.S. in 1914, just before his army service in World War I. During the postwar years, Sydney established himself as a dependable leading man, rising to matinee idol status with the London stage hit Romance. It was this property which also launched his screen career in 1920. Though he spent most of the 1930s in America, Sydney avoided film work in Hollywood because the producers would not honor his request that he only appear in movie versions of Shakespeare and Shaw. He resettled in England in the early '40s, where he appeared in such roles as Rufio in the 1945 filmization of Shaw's Caesar and Cleopatra, Claudius in Laurence Olivier's 1948 film version of Hamlet, and Captain Smollett in Walt Disney's British-filmed Treasure Island (1950). In 1956, Basil Sydney, together with several of his fellow British thespians, played an amusing cameo in Mike Todd's all-star Around the World in 80 Days.

Trivia: Versatile character actor Lucien Littlefield attended a military academy before making his first stage appearance at the age of 17, and his first film in 1913. Short and balding even in his teens, Littlefield began impersonating old men before he was of voting age. In 1925, he played the grizzled comedy relief sidekick of William S. Hart (27 years Littlefield's senior!) in Tumbleweeds; three years later he portrayed the sore-footed father of Mary Pickford (born two years before Littlefield) in My Best Girl. His most memorable silent role was as the menacing red-herring doctor in the "old dark house" mystery The Cat and the Canary (1927). When talkies came in, Littlefield was able to provide a fresh new voice for each characterization. He starred in his own Vitaphone short subjects series, The Potters, and played roles both large and small in any number of feature films. He was veterinarian Horace Meddick in Laurel and Hardy's Sons of the Desert (1934), a prissy office manager in W.C. Fields' The Man on the Flying Trapeze (1935), the snobbish Belknap-Jackson in Ruggles of Red Gap (1935), and an ancient rustic sheriff in Whistling in Brooklyn (1942). In Paramount's Henry Aldrich "B"-picture series of the 1940s, Littlefield played the recurring role of ill-tempered schoolteacher Mr. Crosley. He also wrote several screenplays, most notably the Charlie Ruggles/Mary Boland vehicle Early to Bed (1936). Reversing the usual process, Lucien Littlefield's characters became younger as he grew older, as witness his spirited performances on such TV series as Superman and The Abbott and Costello Show.