Trivia: South African-born Basil Rathbone was the son of a British mining engineer working in Johannesburg. After a brief career as an insurance agent, the 19-year-old aspiring actor joined his cousin's repertory group. World War I service as a lieutenant in Liverpool Scottish Regiment followed, then a rapid ascension to leading-man status on the British stage. Rathbone's movie debut was in the London-filmed The Fruitful Vine (1921). Tall, well profiled, and blessed with a commanding stage voice, Rathbone shifted from modern-dress productions to Shakespeare and back again with finesse. Very much in demand in the early talkie era, one of Rathbone's earliest American films was The Bishop Murder Case (1930), in which, as erudite amateur sleuth Philo Vance, he was presciently referred to by one of the characters as "Sherlock Holmes." He was seldom more effective than when cast in costume dramas as a civilized but cold-hearted villain: Murdstone in David Copperfield (1934), Evremonde in Tale of Two Cities (1935), and Guy of Gisbourne in The Adventures of Robin Hood (1938) (Rathbone was a good friend of Robin Hood star Errol Flynn -- and a far better swordsman). Never content with shallow, one-note performances, Rathbone often brought a touch of humanity and pathos to such stock "heavies" as Karenin in Anna Karenina (1936) and Pontius Pilate in The Last Days of Pompeii (1936). He was Oscar-nominated for his portrayals of Tybalt in Romeo and Juliet (1936) and the crotchety Louis XVI in If I Were King (1938). In 1939, Rathbone was cast as Sherlock Holmes in The Hound of the Baskervilles, the first of 14 screen appearances as Conan Doyle's master detective. He also played Holmes on radio from 1939 through 1946, and in 1952 returned to the character (despite his despairing comments that Holmes had hopelessly "typed" him in films) in the Broadway flop The Return of Sherlock Holmes, which was written by his wife, Ouida Bergere. Famous for giving some of Hollywood's most elegant and elaborate parties, Rathbone left the West Coast in 1947 to return to Broadway in Washington Square. He made a movie comeback in 1954, essaying saturnine character roles in such films as We're No Angels (1955), The Court Jester (1956), and The Last Hurrah (1958). Alas, like many Hollywood veterans, Rathbone often found the pickings lean in the 1960s, compelling him to accept roles in such inconsequential quickies as The Comedy of Terrors (1964) and Hillbillies in the Haunted House (1967). He could take consolation in the fact that these negligible films enabled him to finance projects that he truly cared about, such as his college lecture tours and his Caedmon Record transcriptions of the works of Shakespeare. Basil Rathbone's autobiography, In and Out of Character, was published in 1962.

Trivia: Though a British subject through and through, actor Nigel Bruce was born in Mexico while his parents were on vacation there. His education was interrupted by service in World War I, during which he suffered a leg injury and was confined to a wheelchair for the duration. At the end of the war, Bruce pursued an acting career, making his stage debut in The Creaking Door (1920). A stint in British silent pictures began in 1928, after which Bruce divided his time between stage and screen, finally settling in Hollywood in 1934 (though he continued to make sporadic appearances in such British films as The Scarlet Pimpernel). Nigel's first Hollywood picture was Springtime for Henry (1934), and soon he'd carved a niche for himself in roles as bumbling, befuddled middle-aged English gentlemen. It was this quality which led Bruce to being cast as Sherlock Holmes' companion Dr. Watson in The Hound of the Baskervilles (1939), a pleasurable assignment in that the film's Holmes, Basil Rathbone, was one of Bruce's oldest and closest friends. While Bruce's interpretation of Watson is out of favor with some Holmes purists (who prefer the more intelligent Watson of the original Conan Doyle stories), the actor played the role in 14 feature films, successfully cementing the cinema image of Sherlock's somewhat slower, older compatriot - even though he was in fact three years younger than Rathbone. Bruce continued to play Dr. Watson on a popular Sherlock Holmes radio series, even after Rathbone had deserted the role of Holmes in 1946. Bruce's last film role was in the pioneering 3-D feature, Bwana Devil (1952). He fell ill and died in 1953, missing the opportunity to be reunited with Basil Rathbone in a Sherlock Holmes theatrical production.

Trivia: While still of high-school age, Marjorie Lord was a contract ingenue at RKO, playing the deadpan leading lady in two Wheeler and Woolsey comedies: Off Again On Again (1937) and High Flyers (1937). She moved to Universal Pictures in the 1940s, where she was decorative (and little else) in the studio's serials, westerns, and "B" pictures (notably 1942's Sherlock Holmes in Washington). Her best role during this period was opposite James Cagney in Johnny Come Lately (1943); she later had the chance to essay a villainous characterization in the independently produced The Strange Mrs. Crane (1948). Full stardom eluded Lord until 1957, when she replaced Jean Hagen as Mrs. Danny Williams on TV's The Danny Thomas Show (aka Make Room for Daddy). She played Kathy Williams until the series' cancellation in 1964, then re-created the role in the 1969 "revival" series Make Room For Granddaddy. She continued acting until the mid-1980s. The mother of actress Anne Archer, with whom she appeared in the 1978 TV movie Harold Robbins' The Pirate., Lord died in 2015, at age 97.

Trivia: With his haughty demeanor and near-satanic features, British actor Henry Daniell was the perfect screen "gentleman villain" in such major films of the 1930s and 1940s as Camille (1936) and The Great Dictator (1940). An actor since the age of 18, Daniell worked in London until coming to America in an Ethel Barrymore play. He co-starred with Ruth Gordon in the 1929 Broadway production Serena Blandish, in which he won critical plaudits in the role of Lord Iver Cream. Making his movie debut in Jealousy (1929)--which co-starred another stage legend, Jeanne Eagels--Daniell stayed in Hollywood for the remainder of his career, most often playing cold-blooded aristocrats in period costume. He was less at home in action roles; he flat-out refused to participate in the climactic dueling scene in The Sea Hawk (1940), compelling star Errol Flynn to cross swords with a none too convincing stunt double. Daniell became something of a regular in the Basil Rathbone-Nigel Bruce Sherlock Holmes films made at Universal in the 1940s--he was in three entries, playing Professor Moriarty in The Woman in Green (1945). Though seldom in pure horror films, Daniell nonetheless excelled in the leading role of The Body Snatcher (1945). When the sort of larger-than-life film fare in which Daniell specialized began disappearing in the 1950s, the actor nonetheless continued to prosper in both films (Man in the Grey Flannel Suit [1956], Witness for the Prosecution [1957]) and television (Thriller, The Hour of St. Francis, and many other programs). While portraying Prince Gregor of Transylvania in My Fair Lady (1964), under the direction of his old friend George Cukor, Daniell died suddenly; his few completed scenes remained in the film, though his name was removed from the cast credits.

Trivia: Born in England, George Zucco launched his theatrical career in Canada in 1908. During his first decade as a performer, Zucco toured in American vaudeville with his wife, Frances, in a sketch entitled "The Suffragette." He established himself as a leading actor in England in the 1920s, entering films with 1931's The Dreyfus Case. Zucco returned to the U.S. in 1935 to play Disraeli opposite Helen Hayes in Victoria Regina. He came to Hollywood to re-create his stage role in the film version of Autumn Crocus (1937), remaining to play mostly minor roles for the next two years. He finally found his villainous niche in the role of the erudite but deadly Professor Moriarity in 1939's The Adventures of Sherlock Holmes. Throughout the 1940s, Zucco apparently took every role that was offered him, playing mad scientists, master criminals, and occasional red herrings in films ranging from Universal's The Mad Ghoul (1943) to PRC's Fog Island (1945). He played the fanatical Egyptian priest Anhodeb in 1940's The Mummy's Hand, and, though supposedly killed in that film, showed up none the worse for wear in the 1942 sequel The Mummy's Tomb. His quirkiest horror role was as a gas station attendant who doubled as a kidnapper and voodoo drum-thumper in Monogram's incredible Voodoo Man (1944). When not scaring the daylights out of his audience, Zucco could be found playing roles requiring quiet whimsy, notably the detective in Lured (1947) and the judge in Let's Dance (1950). After completing his final, unbilled film assignment in David and Bathsheba (1951), George Zucco completely disappeared from view; seriously ill for many years, he died in a Hollywood sanitarium at the age of 74.

Trivia: Though he frequently adopted a British accent, actor Gavin Muir was a Chicago boy. After stage work, Muir went to Hollywood for Mary of Scotland (1936), then spent the next quarter century menacing various stars as sly, slow-speaking villains. His indeterminate nationality made him useful in war films like The Master Race (1945), while his tendency to look as though he was hiding some awful secret enabled him to shine in such melodramas as Nightmare (1942). A more benign but still not altogether above-board Muir appeared in the role of a scientist coerced into inflicting invisibility upon Arthur Franz in Abbott and Costello Meet the Invisible Man (1951). As late as 1959, Muir was throwing roadblocks in the way of sweetness 'n' light as a snooty butler on TV's The Betty Hutton Show. Gavin Muir's last film before slipping into retirement was Night Tide (1963), an appropriately glum ghost story.

Trivia: Muscular American general-purpose actor Edmund MacDonald entered films in 1933. MacDonald was briefly a 20th Century-Fox contractee in the early 1940s; his best role under the Fox banner was the antagonistic Sgt. Hippo in Laurel & Hardy's Great Guns (1941). At other studios, he was usually cast as plainclothes detectives or minor gangsters. Aficionados of "film noir" will remember Edmund MacDonald as Charles Haskell Jr., the foredoomed motorist who gives Tom Neal a lift in Edgar Ulmer's Detour (1945).

Trivia: American leading man Don Terry entered films in 1928, freelancing until he was signed to a Columbia contract in 1937. Briefly groomed for stardom, he never quite rose above B-picture and serials, but was successful within those terms. Chapter play aficionados are most familiar with his virile characterization of the title character in Universal's Don Winslow of the Navy (1942) and Don Winslow of the Coast Guard (1943). Don Terry retired in his early forties, pursuing a number of other interests until his death four decades later.

Trivia: Mustachioed character actor Bradley Page had the slick looks that made him the ideal choice for playing oily villains or crime lords and it was into those roles that he was most frequently cast in the '30s and '40s.

Trivia: A former circus and minstrel-show performer, British actor Holmes Herbert toured on the provincial-theatre circuit as a juvenile in the early 1900s. Born Edward Sanger, Herbert adopted his professional first name out of admiration for Sherlock Holmes -- a role which, worse luck, he never got to play. Herbert never appeared in films in his native country; he arrived in Hollywood in 1918, appeared in a film version of Ibsen's A Doll's House (1918), and never looked homeward. Talking pictures enabled Holmes Herbert to join such countrymen as Reginald Denny and Roland Young in portraying "typical" British gentlemen. The stately, dynamic-featured Herbert nearly always appeared in a dinner jacket, selflessly comforting the heroine as she pined for the man she really loved. He received some of his best roles in the early-talkie era; he appeared as a soft-spoken police inspector in The Thirteenth Chair (1929), then recreated the role for the 1937 remake. Herbert also appeared as Dr. Lanyon, Henry Jekyll's closest friend and confidante in the Fredric March version of Dr. Jekyll and Mr. Hyde (1931). By the '40s, many of Herbert's roles were uncredited, but he was still able to make a maximum impression with a minimum of lines in such roles as the village council head in Ghost of Frankenstein (1942). Herbert's second wife was another supporting-cast stalwart of the '30s, Beryl Mercer (best remembered as James Cagney's mother in Public Enemy [1931]). Holmes Herbert remained in films until 1952's The Brigand; reportedly, he also appeared in a few early west-coast television productions.

Trivia: The living image of the man on the Monopoly cards, Thurston Hall began his six-decade acting career on the New England stock-company circuit. Forming his own troupe, Hall toured America, Africa and New Zealand. On Broadway, he was starred in such venerable productions as Ben-Hur and Mrs. Wiggs of the Cabbage Patch. In films from 1915, Hall appeared in dozens of silents, notably the 1917 Theda Bara version of Cleopatra, in which he played Mark Antony. After 15 years on Broadway, Hall returned to films in 1935, spending the next 20 years portraying many a fatuous businessman, pompous politician, dyspeptic judge or crooked "ward heeler." From 1953 through 1955, Hall was seen as the choleric bank president Mr. Schuyler on the TV sitcom Topper. Towards the end of his life, a thinner, goateed Thurston Hall appeared in several TV commercials as the Kentucky-colonel spokesman for a leading chicken pot pie manufacturer.

Trivia: Born in New York and raised in England, character actor Gilbert Emery thrived as a stage actor, director and playwright on both sides of the Atlantic in the teens and twenties. In British films from 1929, Emery made his American movie debut (and his talkie debut as well) in Behind That Curtain (1929). Briefly parting company with Hollywood in 1932 and 1933 to concentrate on stage work, he returned to films on a permanent basis in 1934. His better-known roles include the pipe-smoking police inspector in Dracula's Daughter (1936), Mae West's business manager in Goin' to Town (1937), Thomas Jefferson in The Remarkable Andrew (1942) and the self-effacing Mr. Cliveden-Banks in Between Two Worlds (1944). As a screenwriter, he worked on such films as Cuban Love Song (1931), Mata Hari (1932) and Gallant Lady (1934). Gilbert Emery's credits are sometimes combined with those of American bit player Gilbert C. Emery, who died in 1934.

Trivia: Welsh-born actor Gerald Hamer was one of a legion of British actors working in Hollywood in the 1930s and 1940s. A character player who could melt into any part he portrayed, he might be totally forgotten today except that he has the distinction of playing one of the most sinister roles in any of the Basil Rathbone/Nigel Bruce Sherlock Holmes movies, the part of Potts/Tanner/Ramsden in The Scarlet Claw. A true psychopath, with none of the suave villainy of, say, George Zucco or Henry Daniell in their portrayals of Holmes' antagonists, Potts is memorably crafty and savage in a series that usually prided itself on glib-tongued villainy. It's also a tribute to Hamer's skills as an actor that the producers saw no reason not to use him in roles in four other films in the series, as John Grayson/Alfred Pettibone in Sherlock Holmes in Washington, Kingston in Pursuit to Algiers, Major Langford in Sherlock Holmes Faces Death, and Mr. Shallcross in Terror By Night, the latter two after The Scarlet Claw. A British stage veteran from 1916, whose theatrical credits included King Henry VIII, The Taming of the Shrew, and The Admirable Chrichton, Hamer worked in Hollywood from the mid-'30s until 1951, his other thrillers include Bulldog Drummond's Bride and The Lodger, but he also slipped into more benign settings, such as the cast-of-hundreds war relief effort Forever and a Day and George Stevens' Swing Time, equally well.

Trivia: Black actor of Hollywood films, onscreen from 1929. He graduated from law school, but in his early '30s he abandoned law to work as an actor in New York with the Lincoln Players; he co-founded his next acting company, the Lafayette Players. He was offered a role in the all-black film musical Hearts in Dixie (1929), and accepted after the studio signed him for $1250 a week. He made films for almost five decades, and much of the time he was busy almost constantly; he often played Uncle Tom types, but also gave many performances that were invested with considerable dignity and intelligence. In 1973 he was inducted in the Black Filmmakers Hall of Fame.

Trivia: Ian Wolfe was determined to become an actor even as a youth in his hometown of Canton, IL. His Broadway debut was in the warhorse Lionel Barrymore vehicle The Claw. While acting with Katherine Cornell in The Barretts of Wimpole Street in 1934, Wolfe was spotted by MGM producer Irving Thalberg, who brought the actor to Hollywood to re-create his Barretts role. Though not yet 40, Wolfe had the receding hairline and lined features necessary for aged character roles. By his own count, Wolfe appeared in over 200 films, often uncredited assignments in the roles of judges, attorneys, butlers, and shopkeepers. Some of his best screen moments occurred in producer Val Lewton's Bedlam (1946), wherein Wolfe played an 18th century scientist confined to a mental asylum for proposing the invention of motion pictures. Because his actual age was difficult to pinpoint, Wolfe kept working into the 1990s (and his nineties); he was a particular favorite of TV's MTM productions, appearing on such sitcoms as The Mary Tyler Moore Show, The Bob Newhart Show, and Rhoda. Co-workers during this period noted affectionately that, despite his many years as a professional, Wolfe was always seized with "stage fright" just before walking on the set. Though often cast in timid roles, Ian Wolfe was quite outspoken and fiercely defensive of his craft; when asked what he thought of certain method actors who insist upon playing extensions of "themselves," Wolfe snapped that he became an actor to pretend to be other people.

Trivia: An established stage actress, Margaret Seddon made the transition to films in 1915. During the silent era, Seddon alternated between motherly roles and haughty matronly types; one of her best parts of the 1920s was Miss Trafalgar Gowes in The Actress, a 1927 adaptation of Arthur Wing Pinero's Trelawny of the Wells. Active until 1951, she essayed minor roles in everything from Gone With the Wind (1939) to the Dr. Kildare films. Margaret Seddon earned an honored spot in the annals of film history as Jane Faulkner, one of the two "pixilated" Faulkner sisters, in Frank Capra's Mr. Deeds Goes to Town (1936); she later toured with her Deeds co-star Margaret McWade in a vaudeville act called "the Pixilated Sisters."

Trivia: Born on New Year's Day in 1883 (some sources say 1880), British actress Mary Forbes was well into her stage career when she appeared in her first film, 1916's Ultus and the Secret of the Night. By the time she made her first Hollywood film in 1919, the thirtysomething Forbes was already matronly enough for mother and grande-dame roles. Her most prolific movie years were 1931 through 1941, during which time she appeared in two Oscar-winning films. In Cavalcade (1933), she had the small role of the Duchess of Churt, while in You Can't Take It With You (1938) she was assigned the more substantial (and funnier) part of James Stewart's society dowager mother. Mary Forbes continued in films on a sporadic basis into the '40s, making her screen farewell in another Jimmy Stewart picture, You Gotta Stay Happy (1948).

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: Diminutive Scottish stage and screen actress Mary Gordon was seemingly placed on this earth to play care-worn mothers, charwomen and housekeepers. In films from the silent area (watch for her towards the end of the 1928 Joan Crawford feature Our Dancing Daughters), Gordon played roles ranging from silent one-scene bits to full-featured support. She frequently acted with Laurel and Hardy, most prominently as the stern Scots innkeeper Mrs. Bickerdyke in 1935's Bonnie Scotland. Gordon was also a favorite of director John Ford, portraying Irish, Scottish, Welsh and Englishwomen with equal aplomb (and sometimes with the same accent). She was the screen mother of actors as diverse as Jimmy Cagney, Leo Gorcey and Lou Costello; she parodied this grey-haired matriarch image in Olsen and Johnson's See My Lawyer (1945), wherein her tearful court testimony on behalf of her son (Ed Brophy) is accompanied by a live violinist. Mary Gordon is most fondly remembered by film buffs for her recurring role as housekeeper Mrs. Hudson in the Sherlock Holmes films of 1939-46 starring Basil Rathbone and Nigel Bruce, a role she carried over to the Holmes radio series of the '40s.

Trivia: Lantern-jawed British actor Dennis Hoey was 25 when he launched his theatrical career. A character player almost from the outset, Hoey was a valuable supporting presence in British films from 1927 through 1936. He came to America in 1941, where he worked steadily in films and in Hollywood-based radio programs until his retirement a decade later. Dennis Hoey is most fondly remembered for his portrayal of the thick-eared Inspector Lestrade in Universal's Sherlock Holmes films of the 1940s, a role that he carried over into the Holmes radio series.

Trivia: Milburn Stone got his start in vaudeville as one-half of the song 'n' snappy patter team of Stone and Strain. He worked with several touring theatrical troupes before settling down in Hollywood in 1935, where he played everything from bits to full leads in the B-picture product ground out by such studios as Mascot and Monogram. One of his few appearances in an A-picture was his uncredited but memorable turn as Stephen A. Douglas in John Ford's Young Mr. Lincoln. During this period, he was also a regular in the low-budget but popular Tailspin Tommy series. He spent the 1940s at Universal in a vast array of character parts, at one point being cast in a leading role only because he physically matched the actor in the film's stock-footage scenes! Full stardom would elude Stone until 1955, when he was cast as the irascible Doc Adams in Gunsmoke. Milburn Stone went on to win an Emmy for this colorful characterization, retiring from the series in 1972 due to ill health.