Trivia: Though his popularity rose and fell during his long career, American actor Don Ameche, born Dominic Amici in Kenosha, WI, was one of Hollywood's most enduring stars. He began his acting career in college, where he had been studying law. He had a natural gift for acting and got his first professional opportunity when he filled in for a missing lead in the stock theater production of Excess Baggage. After that, he forewent his law career and became a full-time theatrical actor. He also worked briefly in vaudeville beside Texas Guinan. Following that he spent five years as a radio announcer. He made his screen debut in a feature short, Beauty at the World's Fair (1933). Following this, Ameche moved to Hollywood where he screen-tested with MGM; they rejected him. In 1935, he managed to obtain a small role in Clive of India and this resulted in his signing a seven-year contract with 20th Century Fox. Ameche, with his trim figure, pencil-thin mustache, and rich baritone voice was neither a conventionally handsome leading man nor the dashing hero type. Instead he embodied a wholesomeness and bland honesty that made him the ideal co-lead and foil for the more complex heroes. He played supporting roles for many years before he came into his own playing the leads in light romances and musicals such as Alexander's Rag Time Band (1938), where he demonstrated a real flair for romantic comedy. In 1939, Ameche played the title role in the classic biopic The Story of Alexander Graham Bell. The film was a tremendous success and for years afterward, fans quipped that it was he, not Bell who invented the telephone; for a time the telephone was even called an "ameche." He continued working steadily through the mid-'40s and then his film career ground to an abrupt halt. He returned to radio to play opposite Frances Langford in the long-running and popular series The Bickersons. During the 1950s he worked occasionally on television.He began appearing infrequently in low-budget films during the '60s and '70s, but did not make a comeback proper until 1983, when he was cast as a replacement for the ailing Ray Milland in the comedy Trading Places. The success of this film brought Ameche back in demand. In 1985, the aging actor received a Best Supporting Actor Oscar for his work as a retirement home Casanova in Cocoon. He followed up that role to even more acclaim in 1988's David Mamet-Shel Silverstein concoction Things Change, in which Ameche played the role of a impish shoemaker chosen to take the fall for a mob hit. Before his death in 1993, Ameche rounded out his career with brief but memorable performances in Oscar (1991) and Corrina, Corrina (1994).

Trivia: One of Hollywood's most luminous actresses, Gene Tierney remains best remembered for her performance in the title role of the 1944 mystery classic Laura. Born November 20, 1920, in Brooklyn, NY, Tierney was the daughter of a wealthy insurance broker, and was educated in Connecticut and Switzerland; she traveled in social circles, and at a party met Anatole Litvak, who was so stunned by her beauty that he requested she screen test at Warner Bros. The studio offered a contract, but the salary was so low that her parents dissuaded her from signing; instead, Tierney pursued a stage career, making her Broadway debut in 1938's Mrs. O'Brien Entertains. A six-month contract was then offered by Columbia, which she accepted. However, after the studio failed to find her a project, she returned to New York to star on-stage in The Male Animal. The lead in MGM's National Velvet was offered her, but when the project was delayed Tierney signed with Fox, where in 1940 she made her film debut opposite Henry Fonda in the Fritz Lang Western The Return of Frank James.A small role in Hudson's Bay followed before Tierney essayed her first major role in John Ford's 1940 drama Tobacco Road. She then starred as the titular Belle Starr. Fox remained impressed with her skills, but critics consistently savaged her work. Inexplicably and wholly inappropriately, she was cast as a native girl in three consecutive features: Sundown, The Shanghai Gesture, and Son of Fury. Closer to home was 1942's Thunder Birds, in which Tierney starred as a socialite; however, she was just as quickly returned to more exotic fare later that same year for China Girl. A supporting turn in Ernst Lubitsch's classic 1943 comedy Heaven Can Wait signalled an upward turn in Tierney's career, however, and the following year she starred as the enigmatic Laura in Otto's Preminger's masterful mystery. After 1945's A Bell for Adano, she next appeared as a femme fatale in the melodrama Leave Her to Heaven, a performance which won her a Best Actress Academy Award nomination -- her most successful film to date.Tierney continued working at a steady pace, and in 1946 co-starred with Tyrone Power in an adaptation of the W. Somerset Maugham novel The Razor's Edge. The 1947 The Ghost and Mrs. Muir was her last major starring role; from 1948's The Iron Curtain onward, she appeared primarily in smaller supporting performances in projects including the 1949 thriller Whirlpool and Jules Dassin's classic 1950 noir Night and the City. After 1952's Way of a Gaucho, Tierney's Fox contract expired, and at MGM she starred with Spencer Tracy in Plymouth Adventure, followed by the Clark Gable vehicle Never Let Me Go. The latter was filmed in Britain, and she remained there to shoot Personal Affair. While in Europe, Tierney also began a romance with Aly Khan, but their marriage plans were met by fierce opposition from the Aga Khan; dejectedly she returned to the U.S., where she appeared in 1954's Black Widow.After 1955's The Left Hand of God, Tierney's long string of personal troubles finally took their toll, and she left Hollywood and relocated to the Midwest, accepting a job in a small department store; there she was rediscovered in 1959, and Fox offered her a lead role in the film Holidays for Lovers. However, the stress of performing proved too great, and days into production Tierney quit to return to the clinic. In 1960 she married Texas oil baron Howard Lee. Two years later, Fox announced her for the lead role in Return to Peyton Place, but she became pregnant and dropped out of the project. Finally, Tierney returned to screens in 1962's Advise and Consent, followed a year later by Toys in the Attic. After 1964's The Pleasure Seekers, she again retired, but in 1969 starred in the TV movie Daughter of the Mind. Remaining out of the public eye for the next decade, in 1979 Tierney published an autobiography, Self-Portrait, and in 1980 appeared in the miniseries Scruples; the performance was her last -- she died in Houston on November 6, 1991.

Trivia: American actor Charles Coburn had already put in nearly forty years as a stage actor, producer, and director (specializing in Shakespeare) before making his screen debut at age 61 in Of Human Hearts (1938). At home in any kind of film, Coburn was most popular in comedies, and in 1943 won an Academy Award for his role in The More the Merrier as the bombastic but likable business executive forced by the wartime housing shortage to share a Washington D.C. apartment with Jean Arthur and Joel McCrea. Coburn continued playing variations on his elderly scalawag character (he was the living image of the Monopoly-board millionaire) throughout the late 1940s and 1950s, most notably as Marilyn Monroe's erstwhile "sugar daddy" in Gentlemen Prefer Blondes (1953). The actor also kept busy on stage, touring with the Theatre Guild as Falstaff in Merry Wives of Windsor and supervising the annual Mohawk Drama Festival at Schenectady's Union College, which he'd founded in 1934. Moving into television work with the enthusiasm of a novice, the octogenarian Coburn continued acting right up to his death. Coburn's last appearance, one week before his passing, was as Grandpa Vanderhoff in an Indianapolis summer-stock production of You Can't Take It With You.

Trivia: Scratchy-voiced American character actress who appeared in dozens of Hollywood vehicles following years on the Chautauqua and Orpheum circuits, Marjorie Main eventually worked with W.C. Fields on Broadway, where she appeared in several productions. Widowed in 1934, she entered films in 1937, repeating her Broadway stage role as the gangster's mother in Dead End (1937). Personally eccentric, Main had an almost pathological fear of germs. Best known among her close to 100 film appearances, most for MGM, are Stella Dallas (1937), Test Pilot (1938), Too Hot to Handle (1938), The Women (1939), Another Thin Man (1939), I Take This Woman (1940), Susan and God (1940), Honky Tonk (1941), Heaven Can Wait (1943), Meet Me in St. Louis (1944), Murder, He Says (1945), The Harvey Girls (1946), Summer Stock (1950), The Long, Long Trailer (1954), Rose Marie (1954), and Friendly Persuasion (1956). Starting with their appearances in The Egg and I (1947), which starred Fred MacMurray and Claudette Colbert, Main and Percy Kilbride became starring performers as Ma and Pa Kettle in a series of rural comedies.

Trivia: The son of a prosperous Philadelphian, Laird Cregar was educated at Winchester Academy in England, spending his summers as a page boy and bit player with the Stratford-on-Avon theatrical troupe. Upon completing his schooling, Cregar won a scholarship at California's Pasadena Playhouse, supporting himself as a nightclub bouncer when funds ran out. So broke that at times he had to sleep in his car, Cregar forced Hollywood to pay attention to him by staging his own one-man show, in which he portrayed Oscar Wilde. After a few minor film roles, the 24-year-old Cregar was signed to a 20th Century-Fox contract; among his first major roles was the middle-aged Francis Chesney in Charley's Aunt (1941), the first of several showcases for the actor's delightful comic flair. With his sinister portrayal of the psychopathic detective in I Wake Up Screaming (1941), Cregar became one of filmdom's top "heavies"--both figuratively and literally. Seldom weighing less than 300 pounds throughout his adult life, Cregar came to a tragic end because of his obsession to become a slim "beautiful man". After top-billing in The Lodger (1944), playing the reclusive British musician who may or may not be Jack the Ripper, the increasingly sensitive Cregar was growing tired of being thought of as merely a hulking villain. When assigned the role of demented pianist George Bone in Hangover Square (1945), Cregar decided to give the character a romantic veneer, and to that end lost one hundred pounds in a crash diet. The strain on his system resulted in severe abdominal problems; a few days after undergoing stomach surgery, the 28-year-old Laird Cregar died of heart attack.

Trivia: Orphaned as a child, Colorado-born Spring Byington became a professional actress with the Elitch Garden stock company at age 14. Even as a young woman, Ms. Byington specialized in portraying middle-aged dowagers, fussbudgets, flibbertigibbets and small-town gossips. Her first Broadway success was in the role of Louella Parsons clone Helen Hobart in Kaufman and Hart's Once in a Lifetime (1930). Three years later, she made her film debut as Marmee in Little Women. Her myriad of film credits included You Can't Take It With You (1938), for which she was Oscar-nominated. Her TV acting credits include her portrayal of Lily Ruskin on the popular sitcom December Bride, which ran from 1954 through 1959; she then rather unexpectedly popped up as a regular on a western, Laramie. One of Spring Byington's last performances was as society dowager "J. Pauline Spaghetti" on a 1967 episode of Batman.

Trivia: Allyn Joslyn was the son of a Pennsylvania mining engineer. On stage from age 17, Joslyn scored as a leading man in such Broadway productions as Boy Meets Girl (1936) and Arsenic and Old Lace (1941), appearing in the latter as beleaguered theatrical critic Mortimer Brewster. Joslyn's leading-man qualities surprisingly evaporated on camera, thus he spent most of his movie career playing obnoxious reporters, weaklings, and gormless "other men" who never got the girl. Among his more notable film appearances were as Don Ameche's snobbish rival for the attentions of Gene Tierney in Lubitsch's Heaven Can Wait (1943), and as the jellyfish cardsharp who sneaks onto a lifeboat disguised as a woman in Titanic (1953). In the sprightly "B" picture It Shouldn't Happen to a Dog (1946), Joslyn was for once cast in the lead, even winning heroine Carole Landis at fade-out time. A prolific radio and TV performer, Allyn Joslyn played one-half of the title role on the 1962 TV-sitcom McKeever and the Colonel.

Trivia: It's a source of amazement to those filmgoers born after 1915 -- which is to say, most of us in the early 21st century -- that rotund, frog-voiced, barrel-shaped Eugene Pallette started out in movies as a rough-and-tumble stuntman and graduated to romantic leading man, all in his first five years in pictures. Indeed, Pallette led enough differing career phases and pursued enough activities outside of performing to have made himself a good subject for an adventure story or a screen bio, à la Diamond Jim Brady, except that nobody would have believed it. He was born into an acting family in Winfield, KS, in the summer of 1889; his parents were performing together in a stage production of East Lynne when he came into the world. He grew up on the road, moving from town to town and never really putting down roots until he entered a military academy to complete high school -- which he apparently never quite managed to do. By his teens, Pallette, who was slender and athletic, was working as a jockey and had a winning record, too. Before long, he was part of a stage act involving riding, in a three-horse routine that proved extremely popular. He began acting on the stage as well, and was scraping out a living in the Midwest and West Coast, hoping to make it to New York. At one point, he was allowing a company manager in whose troupe he was working to pocket a major part of his earnings in anticipation of using the sum to finance a trip to New York, only to see the man abscond with the cash and leave him stranded. Pallette turned to movies when he arrived in Los Angeles looking for stage work and found that there was nothing for him. He headed to a nearby studio, where he was told they were looking for riders and took a job as a stuntman for $1.50 a day. He quickly realized that there was a need -- and much more money offered -- for leading men, and he was able to put himself forward in that role. In a matter of a few days, Pallette had managed to make the jump from bit player to lead, and by 1914, he was working opposite the likes of Dorothy Gish. Such was his range that he was just as capable of playing convincingly menacing villains as romantic leads and dashing heroes. He was in D.W. Griffith's The Birth of a Nation in a small role as a wounded soldier. That same year, he played starring roles in three movies by director Tod Browning -- The Spell of the Poppy, The Story of a Story, and The Highbinders -- as, respectively, a drug-addicted pianist, a writer struggling with his conscience, and an abusive Chinese husband of a white woman. In Griffith's Intolerance, he had a much bigger heroic part in that movie's French sequences, while in Going Straight, also made in 1916, he gave a memorable performance as a sadistic villain. Pallette's career was interrupted by the American entry into the First World War, for which he joined the flying corps and served stateside. When he returned to acting in 1919, he discovered that he had to restart his career virtually from square one -- a new generation of leading men had come along during his two years away. He'd also begun putting on weight while in uniform and, with his now bland-seeming features, found that only supporting parts were open to him -- and that's what he got, including an important role in Douglas Fairbanks' 1921 adaptation of The Three Musketeers. For a time, he even gave up acting, pulling his available funds together and heading to the oil fields of Texas, where he made what was then a substantial fortune -- 140,000 dollars in less than a year -- only to see it disappear in a single bad investment. Pallette spent an extended period in seclusion, hospitalized with what would now be diagnosed as severe depression, and then turned back to acting. He reestablished himself during the late silent era in character roles, built on his newly rotund physique and a persona that was just as good at being comical as menacing. Pallette signed with Hal Roach Studios in 1927, where work as a comedy foil was plentiful, and his notable two-reel appearances included the role of the insurance man in the Laurel and Hardy classic The Battle of the Century that same year. It was with the advent of the talkies, however, that he truly came into his own; his croaky but distinctive, frog-like voice -- acquired from time spent as a streetcar conductor calling off stops to his passengers -- completed a picture that made him one of the movies' most memorable, beloved, and highly paid character actors and even a character lead at times. Paramount kept Pallette especially busy, and among his more notable movies were The Virginian, playing "Honey" Wiggin, and The Canary Murder Case and The Greene Murder Case in the studio's Philo Vance series, in which he portrayed Det. Sgt. Heath. He became especially good at portraying excitable wealthy men and belligerent officials. Pallette was a veritable fixture in Hollywood for the next decade and a half, playing prominent roles in every kind of movie from sophisticated screwball comedies such as My Man Godfrey (1936) to the relatively low-brow (but equally funny) Abbott & Costello vehicle It Ain't Hay, with digressions into Preston Sturges' unique brand of comedy (The Lady Eve), fantasy (The Ghost Goes West), musicals (The Gang's All Here, in which he also got to sing as part of the finale), and swashbucklers (The Adventures of Robin Hood). The latter, in which he portrayed Friar Tuck to Errol Flynn's Robin Hood, is probably the movie for which he is best remembered. He was earning more than 2,500 dollars a week and indulged himself freely in his main offscreen hobby: gourmet cooking. He was unique among Hollywood's acting community for having free round-the-clock access to the kitchen of The Ambassador Hotel. Not surprisingly, Pallette's girth increased dramatically between the late '20s and the mid-'40s -- his weight rising to well over 300 pounds -- but it all meant more work and higher fees, right until the middle of the 1940s. He was diagnosed with what he referred to as a throat problem then, and gave up acting. By then, he had a ranch in Oregon where he and his wife lived. Pallette was also extremely pessimistic about the future of the human race, was on record as believing that some catastrophe would wipe us out, and reportedly had stockpiled food and water in a survivalist frame of mind. He died of throat cancer in the late summer of 1954, at age 65.

Trivia: Born in New York City, Louis Calhern moved to St. Louis with his family as a child. There he played high-school football, and while engaged in gridiron activity he was spotted by a theatrical manager and hired as a supernumerary in a local stage troupe. Borrowing money from his father, Calhern headed to New York to pursue acting. Because World War I was going on at the time, the young actor thought it expedient to change his Teutonic given name of Carl Henry Vogt ("Calhern" was a rearrangement of the letters in his first and second names). After his first Broadway break in the 1923 George M. Cohan production Song and Dance Man, the tall, velvet-voiced Calhern became a matinee idol by virtue of a play titled The Cobra. In films from 1921, Calhern thrived in the early talkie era as a cultured, saturnine villain. For a time, Calhern battled alcoholism and lost several important stage and screen assignments because of his personal problems, but by the late 1940s, Calhern had gone cold turkey and completely cleaned up his act. He was brilliant as Oliver Wendell Holmes in both the Broadway and film versions of The Magnificent Yankee, and from 1950 onward made several well-reviewed appearances as Shakespeare's King Lear (his favorite role). An MGM contract player throughout the 1950s, Calhern was seen as Buffalo Bill in Annie Get Your Gun (1950), the above-suspicion criminal mastermind (and "uncle" of kept woman Marilyn Monroe) in The Asphalt Jungle (1950), and the title character in Julius Caesar (1953). Louis Calhern died of a sudden heart attack while filming The Teahouse of the August Moon in Japan; he was replaced by character actor Paul Ford.

Trivia: Born Signe Larsson, she was billed "Signe Lars" in Sweden. She began working on the Swedish stage at age 13, and by her late teens was appearing in Swedish films, in which she was active in starring roles until 1940. At the outbreak of World War Two she emigrated to the U.S., going on to appear as strong-willed leads in Hollywood films of the '40s; she became an American citizen in 1948. Hasso worked on stage, screen, and TV in both the U.S. and Europe. Later, she was most active as a guest-star in TV dramas. She has also been a successful professional writer, having written many articles, short stories and books published in Sweden. She also writes music and lyrics in English, German, and Swedish. One of her English lyric credits is the album Scandinavian Folk Songs Sung & Swung (by singers Alice Babs and Svend Asmussen), which was honored as "Best European Recording Achievement of the Year." In 1972 the King of Sweden awarded her The Royal Order of Vasa, with the rank of Knight First Class -- the equivalent of the English knighthood.

Trivia: Character actor Aubrey Mather launched his stage career in 1905, touring the British provinces until his 1909 London debut in Brewster's Millions. Ten years later, Mather made his first Broadway appearance in Luck of the Navy. In British films from 1931, he essayed such supporting roles as Corin in As You Like It. Moving to Hollywood in 1940, he worked with regularity at 20th Century-Fox, playing roles like Colonel Dent in Jane Eyre (1943), the Scotland Yard chief inspector in The Lodger (1944), and, best of all, mild-mannered Nazi spy Mr. Fortune in Careful Soft Shoulders (1942). Other assignments included Professor Peagram, one of the "seven dwarfs" in Goldwyn's Ball of Fire (1941), and James Forsyte in That Forsyte Woman (1949). Like his fellow Britons Arthur Treacher and Charles Coleman, Aubrey Mather is fondly remembered for his butler roles, notably Merriman in the British The Importance of Being Earnest (1952).

Trivia: Twice in his career, once in the late '30s and again at the end of the 1940s, it seemed as though Tod Andrews was poised for a major career, first in movies and later on Broadway. Somehow, however, he never realized the promise that was shown at those two points in his life. There is much that is mysterious about the early career of this actor who, at one time, bid fair to become another Henry Fonda; beyond the two different names that he worked under in movies, there were multiple years of birth reported, anywhere from 1914 to 1920, different places of birth, and original names ranging from John Buchanan to Ted Anderson. He was definitely raised in California, and initially took up acting (along with journalism) at Washington State College to overcome a neurotic shyness. He later joined the Pasadena Playhouse, specializing in male ingenue roles, and was seen there in the play Masque of Kings by author Maxwell Anderson, who encouraged him to continue in his acting career. He made it to New York and it was in a production of My Sister Eileen, in the role of one of the "six future admirals" from Brazil, that he was spotted by Jack L. Warner, the head of Warner Bros., and offered a screen test. He passed it, was duly signed up, and first began working in movies under the name Michael Ames. He played uncredited parts in such big-budget features as Dive Bomber and They Died With Their Boots On, and got his first screen credit in a small role in the feature International Squadron, which seemed to bode well for his future. His subsequent vehicles, however, were mostly in the B-movie category, including the Warner Bros. crime drama I Was Framed (which seemed like a warmed-over rewrite of the John Garfield vehicle Dust Be My Destiny) and Truck Busters, a cheap remake of a James Cagney vehicle that was more than a decade old. He was cast as Don Ameche's son in the big-budget 20th Century Fox fantasy-comedy Heaven Can Wait but then turned up in a pair of ultra-cheap horror thrillers, Voodoo Man and Return of the Ape Man, playing the callow male heroes in both. By this time, he was using both his Tod Andrews and Michael Ames personae, depending upon the prominence of the production, but after 1944 Michael Ames disappeared entirely. Dispirited by his first experience of Hollywood, Andrews headed for New York, where he was fortunate enough to join the Margo Jones Company, through which, in 1948, he was cast as the lead in the new Tennessee Williams play Summer and Smoke. His career on Broadway seemed headed in directions that Hollywood never afforded him; having outgrown his youthful callowness, he retained a touch of vulnerability and sensitivity that projected well on the stage. Andrews was seen during the run of the Williams play by producer/director Joshua Logan, who made note of the actor's qualities. He returned to Hollywood briefly in 1950 to play a lead role in Ida Lupino's drama Outrage and then Broadway beckoned again, with one of the best parts of the period -- Henry Fonda was set to leave the title role in the stage production of Mr. Roberts. The director, Joshua Logan, remembered Andrews, who inherited the role for the remainder of its Broadway run and the national tour that followed. Six good years followed, in which the actor enjoyed his good fortune on the stage and was never out of work. He also returned to Hollywood once more, for work in the excellent wartime drama Between Heaven and Hell for Fox. And then something bizarre happened in his career -- what it was may never be known, because all of the principals involved are gone -- Andrews, established Broadway and theatrical star, subject of columnists and feature writers, suddenly turned up the following year in the cheap Allied Artists B-horror film From Hell It Came, playing the hero-scientist battling a killer tree stump on a radioactive South Pacific island. He did well enough in the part, but this was not the sort of film -- the whole production budget was smaller than the outlay on film stock alone for Between Heaven and Hell -- that was going to enhance the professional standing of anyone with an actual career. Andrews next turned up on television, playing Colonel John Singleton Mosby in the syndicated adventure series The Gray Ghost, before returning to the theater. He seemed to be doing well enough until 1961, when, days before the opening of a new play appropriately entitled A Whiff of Melancholy, he attempted suicide. He later said that it was a result of stress over the role. He resumed his career after a convalescence and next turned up in movies in 1965, as Captain Tuthill in Otto Preminger's World War II action blockbuster In Harm's Way. He later made a small but impressive appearance as a defense attorney in Ted Post's Hang 'Em High and had an excellent scene in Post's Beneath the Planet of the Apes, as James Franciscus's stricken commanding officer. Andrews' final screen appearances were as the President of the United States in the political thriller The President's Plane Is Missing (1973), and as a doctor in the chiller The Baby, released a year later.

Trivia: From his talking picture debut in Laughter (1930), British actor Leonard Carey nearly always played butlers. His more notable family-retainer assignments included The Awful Truth (1937), Heaven Can Wait (1943, a rare billed role) and Alfred Hitchcock's Strangers on a Train (1951). In an earlier Hitchcock effort, the Oscar-winning Rebecca, Carey was seen as feeble-minded beach hermit Ben, whose very presence gives heroine Joan Fontaine (and most of the audience) a good case of the creeps. In the latter stages of his career (he retired in the mid-1950s and lived to be ninety), Leonard Carey was typed in "doctor" roles in such films as Snows of Kilimanjaro (1952) and Thunder in the East (1953).

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: At age one he debuted onscreen (playing John Barrymore as a baby) in The Beloved Rogue (1927), then appeared in a number of films as a toddler. He stayed onscreen through his childhood and adolescence, becoming one of Hollywood's favorite child stars. He appeared in many Our Gang comedy shorts and more than 100 feature films. He was less successful as a teenage actor and young adult, and he retired from the screen in the early '50s. He went on to teach and write books about acting, edit Equity magazine, perform on Broadway, in stock, and on TV, write and direct for TV, produce an Oscar-nominated short film (The Boy and the Eagle), and produce industrial shows; he wrote the book Twinkle, Twinkle, Little Star (But Don't Have Sex or Take the Car) (1984), an insider's account of the hazards of being a child star. He was married to actress Jane Powell from 1988 until his death, at age 89, in 2015.

Trivia: A former New York model, Trudy Marshall came to Hollywood in 1942 when signed to a 20th Century-Fox contract. Few of her roles at Fox were of much consequence; among the actress' more pleasant memories from this period was her ingenue stint in the Laurel and Hardy comedy The Dancing Masters (1943). After her Fox years, Marshall was best represented as shadowy "other women," notably in the 1947 Red Skelton vehicle The Fuller Brush Man. Trudy Marshall is the mother of actress Deborah Raffin.

Trivia: American actress Florence Bates had been a moderately successful lawyer for two decades when, as a lark, she started acting at California's Pasadena Playhouse in the mid 1930s. After playing a small role in the 1937 film Man In Blue (1937), Bates was "officially" discovered by Hollywood when she was cast as vainglorious dowager Mrs. Van Hopper in Alfred Hitchcock's Oscar-winning Rebecca (1940). From that point onward, Bates became one of Hollywood's favorite "society dragons," most effectively cast in comedies like Heaven Can Wait (1943), as one of Don Ameche's hell-bound old flames, and in The Secret Life of Walter Mitty (1948), as Danny Kaye's terrifying future mother-in-law. Her most significant "straight" part was in I Remember Mama (1948), as the forbiddingly famous author Florence Dana Morehead, whom Irene Dunne, as Mama, timidly approaches on behalf of Dunne's aspiring-writer daughter. Though in fragile health, Florence Bates entered television with the same forcefulness as she'd invaded movies, providing a welcome touch of professionalism to the otherwise atrocious early 1950s situation comedy The Hank McCune Show.

Trivia: Diminutive actress Clara Blandick was technically a U.S. citizen, since she was born aboard an American ship docked in the harbor of Hong Kong. She remained in Hong Kong with her family, making her stage debut in Richard Lovelace with visiting actor E. H. Sothern. Blandick made her first film in 1910, but she preferred the theatre, where she could count on being cast in leading roles. Nearly fifty when talkies came in, Blandick slipped easily into such character roles as Aunt Polly in Tom Sawyer (1930) and Huckleberry Finn (1931). By the mid 1930s she was a day player, appearing in unbilled bits and supporting parts in a number of top productions including A Star is Born (1937). In 1939, she was cast in her most memorable role, as Auntie Em in The Wizard of Oz (1939). Ironically, many Wizard of Oz fans of the 1950s and 1960s didn't know the real name of the actress portraying Auntie Em; Ms. Blandick's name does not appear in the opening credits, while the film's closing cast list (in which she is billed last, below Pat Walshe as the head flying monkey) was never telecast during the ten years that CBS owned the TV rights to Wizard. After her week's work as Auntie Em, Blandick went back to playing tiny uncredited roles in "A" pictures like One Foot in Heaven (1941) and The Big Store (1941), as well as good supporting parts in such "B" efforts as Pillow of Death (1945) and Philo Vance Returns (1947) -- playing a cold-blooded killer in the latter film. Clara Blandick retired in 1950; 12 years later, suffering from arthritis and encroaching blindness, she committed suicide in her modest Hollywood apartment.

Trivia: A member of Ireland's famed Abbey Theatre, sharp-featured character actress Anita Bolster (sometimes billed Anita Sharp-Bolster) had enjoyed a long career on the British stage and screen before coming to America in 1938. She received rave reviews on Broadway in Lady in Waiting, with which she also toured until making her American screen debut in 1941. Bolster became one of the busiest character actresses of the 1940s, usually playing prissy spinsters, gossips, and housekeepers. In the 1950s, she twice played "second witch" in television versions of Macbeth and she finished her career playing yet another housekeeper, this time in the cult daytime soap opera Dark Shadows.

Trivia: The lengthy screen career of actress Claire DuBrey got under way in 1917. Alternating between leading roles and choice character parts, DuBrey appeared in such major productions as The Sea Hawk (1924). When talkies came in, she could be seen in dozens of minor roles as waitresses, nurses, landladies and Native Americans. She also played three of the least fortunate wives in screen history: the raving Bertha Rochester in Jane Eyre (1934), Mrs. Bob "Dirty Little Coward" Ford in Jesse James (1939), and Emma Smith, widow of slain Mormon leader Joseph Smith, Brigham Young, Frontiersman (1940). A busy television performer, DuBrey was a regular during the 1953-54 season of The Ray Bolger Show. Retiring in 1958 at the age of 76, Claire DuBrey died in 1993, just a month shy of her 101st birthday.

Trivia: American actor Charles Halton was forced to quit school at age 14 to help support his family. When his boss learned that young Halton was interested in the arts, he financed the boy's training at the New York Academy of Dramatic Arts. For the next three decades, Halton appeared in every aspect of "live" performing; in the '20s, he became a special favorite of playwright George S. Kaufman, who cast Halton in one of his most famous roles as movie mogul Herman Glogauer in Once in a Lifetime. Appearing in Dodsworth on Broadway with Walter Huston, Halton was brought to Hollywood to recreate his role in the film version. Though he'd occasionally return to the stage, Halton put down roots in Hollywood, where his rimless spectacles and snapping-turtle features enabled him to play innumerable "nemesis" roles. He could usually be seen as a grasping attorney, a rent-increasing landlord or a dictatorial office manager. While many of these characterizations were two-dimensional, Halton was capable of portraying believable human beings with the help of the right director; such a director was Ernst Lubitsch, who cast Halton as the long-suffered Polish stage manager in To Be or Not to Be (1942). Alfred Hitchcock likewise drew a flesh and blood portrayal from Halton, casting the actor as the small-town court clerk who reveals that Robert Montgomery and Carole Lombard are not legally married in Mr. and Mrs. Smith (1942). Charles Halton retired from Hollywood after completing his work on Friendly Persuasion in 1956; he died three years later of hepatitis.

Trivia: American actor James Flavin was groomed as a leading man when he first arrived in Hollywood in 1932, but he balked at the glamour treatment and was demonstrably resistant to being buried under tons of makeup. Though Flavin would occasionally enjoy a leading role--notably in the 1932 serial The Airmail Mystery, co-starring Flavin's wife Lucille Browne--the actor would devote most of his film career to bit parts. If a film featured a cop, process server, Marine sergeant, circus roustabout, deckhand or political stooge, chances are Jimmy Flavin was playing the role. His distinctive sarcastic line delivery and chiselled Irish features made him instantly recognizable, even if he missed being listed in the cast credits. Larger roles came Flavin's way in King Kong (1933) as Second Mate Briggs; Nightmare Alley (1947), as the circus owner who hires Tyrone Power; and Abbott and Costello Meet the Killer, Boris Karloff (1949), as a long-suffering homicide detective. Since he worked with practically everyone, James Flavin was invaluable in later years as a source of on-set anecdotes for film historians; and because he evidently never stopped working, Flavin and his wife Lucille were able to spend their retirement years in comfort in their lavish, sprawling Hollywood homestead.

Trivia: When Scotty Beckett was three years old, his father was hospitalized in Los Angeles. During a visit, Beckett entertained his convalescing dad by singing several songs. A Hollywood casting director overheard the boy and suggested to his parents that Beckett had movie potential. The wide-eyed, tousle-haired youngster made his screen debut opposite Ann Harding and Clive Brook in 1933's Gallant Lady. In 1934, he was signed by Hal Roach for the Our Gang series; in the 13 two-reelers produced between 1934 and 1935, Beckett appeared as the best pal and severest critic of rotund Gang star Spanky McFarland. This stint led to such choice feature-film assignments as Anthony Adverse (1936) (in which Beckett played the out-of-wedlock son of Fredric March and Olivia De Havilland), Marie Antoinette (1938) (as the Dauphin) and My Favorite Wife (1940) (as one of the two kids of Cary Grant and his long-lost wife Irene Dunne). In 1939, Beckett briefly returned to the Our Gang fold, playing "Alfalfa" Switzer's brainy Cousin Wilbur in a brace of one-reelers. Beckett was frequently called upon for "the leading man as a child" roles, playing youthful versions of Louis Hayward in My Son, My Son (1940), Don Ameche in Heaven Can Wait (1943), and Jon Hall in Ali Baba and the Forty Thieves (1940). As he matured, Beckett was often cast as obnoxious younger brothers, notably in the 1943 Broadway play Slightly Married and the 1948 Jane Powell vehicle A Date with Judy (playing the sibling of none other than Elizabeth Taylor). On radio, Beckett played Junior Riley in the popular William Bendix sitcom The Life of Riley, and on television he was seen as Cadet Winky in the early sci-fi series Rocky Jones, Space Ranger. Scotty Beckett's last film was 1956's Three For Jamie Dawn.

Trivia: A reliable British stage, screen, and radio actor, Gerald Oliver Smith came to Hollywood in 1937 and played scores of bit parts, often proper English gentlemen complete with monocle and haughty demeanor. Smith, who played the butler in Deanna Durbin's One Hundred Men and a Girl (1937), Colonel Fitzwilliam in Pride and Prejudice (1940), and Constance Bennett's major domus in As Young as You Feel (1951), retired in the mid-'50s. At the time of his death, Smith was a resident at the Motion Picture House and Hospital in Woodland Hills, CA.

Trivia: After a considerable career on stage as an actor and director, Dublin-born Edwin Maxwell made his screen debut as Baptista in the Doug Fairbanks-Mary Pickford version of Taming of the Shrew (1929). The stocky, balding Maxwell spent the 1930s specializing in oily bureaucrats, crooked businessmen and shyster lawyers. Once in a while, he'd play a sympathetic role, notably the scrupulously honest Italian-American detective in Scarface. More often (especially in the films of director Frank Capra), his characters existed merely as an easily deflatable foil. One of Maxwell's most flamboyant performances was as the maniacal serial killer, in Night of Terror(1933), who rose from the dead at fade-out time to warn the audience not to reveal the end of the film or else! Essaying more benign characters in 1940s, he was seen as William Jennings Bryan in Wilson (1944) and as Oscar Hammerstein in The Jolson Story (1946). From 1939 to 1942, Maxwell served as dialogue director for the films of Cecil B. DeMille. Edwin Maxwell holds the distinction of appearing in four Academy Award-winning films: All Quiet on the Western Front (1930), Grand Hotel (1932), The Great Ziegfeld (1936) and You Can't Take It With You (1938).