Trivia: American actor Richard Arlen was working as a messenger boy at Paramount studios in the early 1920s when he was injured in a slight accident; the story goes that Arlen went to the studio heads to thank them for their prompt medical care, whereupon the executives, impressed by Arlen's good looks, hired him as an actor. Whether the story is true or not, it is a fact that Arlen soon became one of Paramount's most popular leading men, earning a measure of screen immortality by costarring with Buddy Rogers and Clara Bow in the first-ever Oscar winning picture, Wings (1927). Arlen was memorably cast as a World War I flying ace, a part in which he felt uniquely at home because he'd been a member of the Royal Canadian Flying Corps during the "real" war (though he never saw any combat!) The actor retained his popularity throughout the 1930s, and when roles became harder to come by in the 1940s, he wisely invested his savings in numerous successful businesses. Keeping in character, Arlen was also part-owner of a civilian flying service, and worked as an air safety expert for the government during World War II. Still acting in TV and commercials into the 1960s, Richard Arlen was reunited with his Wings costar Buddy Rogers in an amusing episode of the TV sitcom Petticoat Junction.

Trivia: One of the most popular--and overworked--second-echelon leading ladies of the 1930s and 1940s, Ellen Drew was the daughter of a Kansas City barber. She came to Hollywood after winning a beauty contest, playing bits under her given name of Terry Ray until she was promoted to leads in 1938. A fixture of Paramount Pictures from 1938 through 1943, Drew appeared in as many as six films per year; among her leading men were Ronald Colman, William Holden, Basil Rathbone, Dick Powell, Robert Preston, George Raft, and even Jack Benny. She moved to Paramount's next-door neighbor RKO in 1944, then free-lanced in the 1950s. Ellen Drew retired from films in 1957, though her fervent fans continued to besiege her with letters of appreciation.

Trivia: Courtly character actor Minor Watson made his stage debut in Brooklyn in 1911. After 11 years of stock experience, Watson made his Broadway bow in Why Men Leave Home. By the end of the 1920s he was a major stage star, appearing in vehicles specially written for him. Recalling his entree into films in 1931, Watson was fond of saying, "I'm a stage actor by heart and by profession. I was a movie star by necessity and a desire to eat." Though never a true "movie star" per se, he remained gainfully employed into the 1950s in choice character roles. Often called upon to play show-biz impresarios, he essayed such roles as E.F. Albee in Yankee Doodle Dandy (1942) and John Ringling North in Trapeze (1956). One of Minor Watson's largest and most well-rounded screen assignments was the part of cagey Brooklyn Dodgers manager Branch Rickey in 1950's The Jackie Robinson Story.

Trivia: Forced to flee his native St. Petersburg after the Bolshevik revolution, Russian-born actor Leonid Kinskey arrived in New York in 1921. At that time, he was a member of the Firebird Players, a South American troupe whose act consisted of dance-interpreting famous paintings; since there was little call for this on Broadway, Kinskey was soon pounding the pavements. The only English words he knew were such translation-book phrases as "My good kind sir," but Kinskey was able to improve his vocabulary by working as a waiter in a restaurant. Heading west for performing opportunities following the 1929 Wall Street Crash, Kinskey joined the road tour of the Al Jolson musical Wonder Bar, which led to a role in his first film Trouble in Paradise (1932). His Slavic dialect and lean-and-hungry look making him ideal for anarchist, artist, poet and impresario roles, Kinskey made memorable appearances in such films as Duck Soup (1933), Nothing Sacred (1937) and On Your Toes (1939). His best known appearance was as Sacha, the excitable bartender at Rick's Cafe Americain in Casablanca (1942). The film's star, Humphrey Bogart, was a drinking buddy of Kinskey's, and when the first actor cast as the barkeep proved inadequate, Bogart arranged for Kinskey to be cast in the role. During the Red Scare of the '50s, Kinskey was frequently cast as a Communist spy, either comic or villainous. In 1956 he had a recurring role as a starving artist named Pierre on the Jackie Cooper sitcom The People's Choice. Kinskey cut down on acting in the '60s and '70s, preferring to write and produce, and help Hollywood distribution companies determine which Russian films were worth importing. But whenever a television script (such as the 1965 "tribute" to Stan Laurel) called for a "crazy Russian", Leonid Kinsky was usually filled the bill.

Trivia: Oklahoma-born William Benedict is fondly remembered by fans for his shock of unkempt blond hair; ironically, he lost his first job at a bank because he refused to use a comb. Stagestruck at an early age, the skinny, ever-boyish Benedict took dancing lessons while in high school and appeared in amateur theatricals. After phoning a 20th Century-Fox talent scout, the 17-year-old Benedict hitchhiked to Hollywood and won a film contract (if for no other reason than nerve and persistence). He appeared in the first of his many office-boy roles in his debut film, $10 Raise (1935), and spent the next four decades popping up in bits as bellboys, caddies, hillbillies, delivery men and Western Union messengers. He portrayed so many of the latter, in fact, that Western Union paid tribute to Benedict by giving him his own official uniform -- an honor bestowed on only one other actor, Benedict's lifelong friend Frank Coghlan Jr. (the two actors costarred in the 1941 serial The Adventures of Captain Marvel). In 1939, Benedict played a bicycle messenger in the Little Tough Guys film Call a Messenger; four years later he appeared with another branch of the Little Tough Guys clan, the East Side Kids, in Ghosts on the Loose. He remained with the Kids as "Skinny," then stayed on when the East Siders transformed into the Bowery Boys in 1946. As "Whitey," Benedict was the oldest member of the team, a fact occasionally alluded to in the dialogue -- though Leo Gorcey, two months younger than Benedict, was firmly in charge of the bunch. Benedict left the Bowery Boys in 1951, gradually easing out of acting; for several years, he worked as an assistant designer of miniature sets for movie special-effects sequences. He returned to performing in the 1960s, still playing the newsboy and delivery man roles he'd done as a youth. Film and TV fans of the 1970s might recall Billy Benedict as a world-weary croupier in the early scenes of The Sting (1973), and in the regular role of Toby the Informant on the 1975 TV series The Blue Knight.

Trivia: A mustachioed supporting player from Russia, Jack Chefe (sometimes credited as Chefé) played exactly what he looked and sounded like: headwaiters. That was also his occupation when not appearing in films, of which he did literally hundreds between 1932 and 1959, serving such stars as Carole Lombard (My Man Godfrey, 1936), Jeanette MacDonald (Bitter Sweet, 1940), Bob Hope (My Favorite Brunette, 1947), and even Dick Tracy (in the 1945 RKO feature film). Once in a while, Chefe managed to escape typecasting, playing one of the legionnaires in Laurel and Hardy's Flying Deuces (1939) and a croupier in The Big Sleep (1946).

Trivia: Open-faced, prominently chinned character actor Lyle Latell began surfacing in films in the late 1930s. Only occasionally did Latell rise above the status of bit player; he was most often seen as a wisecracking reporter, griping military man or cheerful cabbie. From 1945 through 1947, Latell was a regular in RKO's Dick Tracy "B"-picture series, playing Tracy's assistant Pat Patton. Lyle Latell was married to Mary Foy, one of the "Seven Little Foys" of vaudeville fame.

Trivia: According to his publicity, Russian opera singer-turned-Hollywood bit-part player Adia Kuznetzoff could sing full throttle in "all languages." He did so both often and well in films ranging from the Jeanette MacDonald-Nelson Eddy operetta Maytime (1937) to the 1943 Universal horror flick Frankenstein Meets the Wolf Man. Kuznetzoff was in especially fine fettle in the latter, leading the villagers in a rousing rendition of "Faro-La, Faro-Li," a ditty composed for the occasion by Curt Siodmak and Hans J. Salter and containing the chilly refrain: "For life is short, but death is long, Faro-La, Faro-Li!" In the Paramount musical Rainbow Island (1944), Kuznetzoff, as an executioner, equally memorably joined comedian Gil Lamb in a chorus or two of "Boogie-Woogie-Boogie Man."