Trivia: The son of British stage actor Frederick Rains, Claude Rains gave his first theatrical performance at age 11 in Nell of Old Drury. He learned the technical end of the business by working his way up from being a two-dollars-a-week page boy to stage manager. After making his first U.S. appearance in 1913, Rains returned to England, served in the Scottish regiment during WWI, then established himself as a leading actor in the postwar years. He was also featured in one obscure British silent film, Build Thy House. During the 1920s, Rains was a member of the teaching staff at the Royal Academy of Dramatic Art; among his pupils were a young sprout named Laurence Olivier and a lovely lass named Isabel Jeans, who became the first of Rains' six wives. While performing with the Theatre Guild in New York in 1932, Rains filmed a screen test for Universal Pictures. On the basis of his voice alone, the actor was engaged by Universal director James Whale to make his talking-picture debut in the title role of The Invisible Man (1933). During his subsequent years at Warner Bros., the mellifluous-voiced Rains became one of the studio's busiest and most versatile character players, at his best when playing cultured villains. Though surprisingly never a recipient of an Academy award, Rains was Oscar-nominated for his performances as the "bought" Senator Paine in Mr. Smith Goes to Washington (1939), the title character in Mr. Skeffington (1944), the Nazi husband of Ingrid Bergman in Notorious (1946), and, best of all, the cheerfully corrupt Inspector Renault in Casablanca (1942). In 1946, Rains became one of the first film actors to demand and receive one million dollars for a single picture; the role was Julius Caesar, and the picture Caesar and Cleopatra. He made a triumphant return to Broadway in 1951's Darkness at Noon. In his last two decades, Claude Rains made occasional forays into television (notably on Alfred Hitchcock Presents) and continued to play choice character roles in big-budget films like Lawrence of Arabia (1962) and The Greatest Story Ever Told (1965).

Trivia: Michael Rennie always claimed that he "turned actor" to escape becoming an executive for his family's wool business. The Cambridge-educated Rennie haunted the casting offices until he was hired by Alfred Hitchcock for his first film, The Secret Agent (1936). Handsome but hollow, Rennie decided that if he was to be a film star, he'd better learn to act, thus he spent several seasons with the York Repertory. Serving in World War II as a flying officer in the RAF, Rennie came to the United States for the first time to be a training instructor in Georgia. Small roles in postwar British films led to a 20th Century Fox contract. It was during his stay at Fox that Rennie truly began to blossom with major roles in 1951's The Day the Earth Stood Still (as Klaatu), 1952's Les Miserables (as Jean Valjean), 1953's The Robe, and many other films. On television, Michael Rennie spent two years and 76 episodes portraying suave soldier of fortune Harry Lime on the syndicated series The Third Man. Rennie died of emphysema on June 10, 1971.

Trivia: Born Albert Hedison, David Hedison billed himself as Al Hedison when he signed his 20th Century-Fox contract in 1958. He was still Al when he starred in his best-known film, The Fly, as the unfortunate researcher who ends up as lunch for a slavering spider ("Hellllp meeeeee"). By 1959, he was David Hedison, both as leading man of the 17-episode TV series Five Fingers and as romantic lead of still another fantasy film, The Lost World (1960). In 1964, Hedison worked off his Fox contract in the role of Captain Lee Crane in the weekly TVer Voyage to the Bottom of the Sea (1964-67). The most amusing episode of that Irwin Allen production was a 1963 entry which utilized generous stock footage from Lost World, with Hedison "out of uniform" so that he could match shots of himself lensed three years earlier. In the last three decades, David Hedison has co-starred in numerous made-for-TV movies, and has been seen on two television soap operas: the daytime Another World and the nighttime The Colbys.

Trivia: The daughter of an ambitious but relatively benign "stage mama," Los Angeles-native Jill St. John was acting on stage at age 5, and on radio from the time she could read; in the late '40s Jill was a regular on the marathon soap opera One Man's Family. Jill's mother changed the girl's name from Oppenheim to St. John when she was 11, and (via surgery) changed her nose from Romanesque to turned-up when Jill was 16. By that time, Jill had been attending UCLA for two full years; she was assessed by experts as having an IQ of 162. Jill wanted to be a comedienne like her idol, Kay Kendall; but when she was signed for a 20th Century-Fox contract in 1958, it was on the basis of her pulchritude rather than her comic timing. After a series of non-descript heroines in such pictures as Holiday for Lovers (1959) and The Lost World (1960), Jill came into her own on the TV guest star circuit. She was most frequently seen on the specials of comedian Bob Hope (ever the connoiseur of feminine beauty) and was also shown to good advantage in a couple of Frank Sinatra films. Virtually all of Jill's film assignments contrived to get her into the skimpiest of swimwear; in the 1971 James Bond film Diamonds are Forever, Jill spent at least three-quarters of the picture in brief bikinis. Though not as active on screen in the '80s and '90s as she'd been before, Jill kept busy as the "in house" cooking expert on the daytime TV series Good Morning America and as the food columnist of the USA Weekend newspaper supplement; she has also published several well-received cookbooks. Jil's hobbies have ranged from collecting model trains to dating such high-profile celebrities as Henry Kissinger. Thrice married, Jill St. John was wed in 1990 to actor Robert Wagner, a longtime friend and coworker.

Trivia: Billy Crystal notwithstanding, Argentine actor Fernando Lamas did not spend his entire career saying "You...look...MAHHHHvelous". A well-established film star in his native Buenos Aires, Lamas was brought to Hollywood in 1950 with an MGM contract. He went on to play several variations on the standard "Latin Lover" type, with occasional opportunities to display his well-trained singing voice. Beginning with the 1961 Spanish film The Magic Fountain, Lamas entered a whole new phase of his career as a director. In this respect, he was busiest on television, directing episodes of such series as Mannix, Alias Smith and Jones, Gavilan, and Falcon Crest. This last-named series starred Lorenzo Lamas, the son of Fernando and his third wife Arlene Dahl. At the time of his death, Fernando Lamas was married to wife number four, aquatic film star Esther Williams.

Trivia: Tweedy, eccentric character actor Richard Haydn failed at several professions -- including music hall entertainer and overseer of a Jamaican banana plantation -- before latching onto a touring British theatre troupe. While performing on radio, Haydn created the character of nerdish, nasal "fish expert" Edwin Carp, a role which earned him a spot in the American variety revue Set to Music and later resulted in several satirical books written by the actor (he would reprise the Edwin Carp character on a memorable 1964 episode of The Dick Van Dyke Show). Signed to a 20th Century-Fox film contract in 1940, Haydn's first film assignment was the comparatively straight role of Charley Wyckham in Charley's Aunt (1941). Versatile to a fault, Haydn's film roles ranged from normal, sobersided types like the schoolteacher in the Green Years (1946), to the despicable British nobleman in Forever Amber (1946). His most enjoyable performances were as fey, prissy, often mother-dominated types: Cluny Brown (1946) and Sitting Pretty (1947) were his best assignments in this vein. Haydn directed three films for Paramount, playing small roles in each (under such pseudonyms as Richard Rancyd): Miss Tatlock's Millions (1947), Dear Wife (1948) and Mr, Music (1950), The biggest hit with which Haydn was associated was 1965's The Sound of Music (1965), in which he played the vacillating theatrical entrepreneur Max Detweiller. He also sparkled in TV roles on such series as Lassie, The Man From UNCLE and Bonanza. His last film role (heavily cut before release) was a tiny expository part at the beginning of Mel Brooks' Young Frankenstein (1974). Almost as mercurial offscreen as on, Richard Haydn was averse to granting interviews, usually making comments like "There is no Richard Haydn. It is probably something you ate".

Trivia: One of many handsome studio contractees of the '50s, American actor Ray Stricklyn seldom rose any farther than "second lead" status. After a few years' stage work and his film debut in Paramount's Proud and the Profane (1956), Stricklyn signed with 20th Century-Fox, where he offered steadfast support to such larger luminaries as Richard Widmark (The Last Wagon [1956]), Gary Cooper (Ten North Frederick [1957]) and Claude Rains (The Lost World [1960]). Good-looking in an assembly line way, Stricklyn was a stalwart of second-feature westerns in the '60s like Young Jesse James (1960) and Arizona Raiders (1965). Ray Stricklyn never quite achieved full stardom, but it certainly wasn't from lack of exposure.

Trivia: American actor Jay Novello began his film career with Tenth Avenue Kid (1938). Small, wiry and mustachioed, Novello found a home in Hollywood playing shifty street characters and petty thieves; during the war he displayed a friendlier image as a Latin-American type, appearing as waiters and hotel clerks in innumerable Good Neighbor films set south of the border. Once the war was over, it was back to those scraggly little characters, even in such period pieces as The Robe (1953), in which Novello played the unsavory slave dealer who sold Victor Mature to Richard Burton. Adept in TV comedy roles as meek milquetoasts and henpecked husbands, Novello was a particular favorite of Lucille Ball, who used the actor prominently in both I Love Lucy (first as the man duped by the "Ethel to Tillie" seance, then as a gondolier in a later episode) and The Lucy Show (as a softhearted safecracker). Jay Novello remained active in films into the '60s, as scurrilous as ever in such fantasy films as The Lost World (1960) and Atlantis, the Lost Continent (1961); he also stayed busy in such TV programs as The Mothers in Law, My Three Sons and McHale's Navy, playing a recurring role in the latter series as a resourceful Italian mayor.

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: Scotland-born John Graham played supporting roles in numerous British productions of stage, screen, television and radio. He also appeared in documentaries and was a screenwriter, television writer and a playwright.

Trivia: Of the many movie-industryites bearing the name "Colin Campbell," the best known was the Scots-born silent film director listed below. Emigrating to the U.S. at the turn of the century, Campbell barnstormed as a stage actor and director before settling at the Selig studios in 1911. The best-remembered of his Selig directorial efforts was 1914's The Spoilers, a crude but ruggedly realistic Alaskan adventure film climaxed by a brutal fistfight. It was during his Selig years that Campbell helped to nurture the talents of future western star Tom Mix. Considered an "old-timer" and has-been by the early 1920s, Colin Campbell ended his career with such plodding time-fillers as Pagan Passions (1924) and The Bowery Bishop (1924).