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: Debonair and distinguished British star of stage and screen for more than 50 years, Sir Rex Harrison is best remembered for playing charming, slyly mischievous characters. Born Reginald Carey in 1908, he made his theatrical debut at age 16 with the Liverpool Repertory Theater, remaining with that group for three years. Making his British stage and film debut in 1930, Harrison made the first of many appearances on Broadway in Sweet Aloes in 1936. He became a bona fide British star that same year when he appeared in the theatrical production French Without Tears, in which he showed himself to be very skilled in black-tie comedy. He served as a flight lieutenant in the RAF during World War II, although this interruption in his career was quickly followed by several British films. Harrison moved to Hollywood in 1945, where his career continued to prosper. Among his many roles was that of the king in the 1946 production of Anna and the King of Siam. Harrison was perhaps best known for his performance as Professor Henry Higgins in the musical My Fair Lady, a character he played on Broadway from 1956-1958 (winning a Tony award in 1957) and again in its 1981 revival, as well as for a year in London in the late '50s; in 1964, he won an Oscar for his onscreen version of the role. He had previously received a Best Actor Oscar nomination for his portrayal of Julius Caesar in Cleopatra (1963). Harrison continued to act on both the stage and screen in the 1970s and into the '80s. He published his autobiography, Rex, in 1975, and, four years later, edited and published an anthology of poetry If Love Be Love. Knighted in 1989, he was starring in the Broadway revival of Somerset Maugham's The Circle (with Stewart Granger and Glynis Johns) until one month before he died of pancreatic cancer in 1990. Three of Harrison's six marriages were to actressesLilli Palmer, Kay Kendall, and Rachel Roberts.

Trivia: Throughout much of his screen career, actor George Sanders was the very personification of cynicism, an elegantly dissolute figure whose distinct brand of anomie distinguished dozens of films during a career spanning nearly four decades. Born in St. Petersburg on July 3, 1906, Sanders and his family fled to the U.K. during the Revolution, and he was later educated at Brighton College. After first pursuing a career in the textile industry, Sanders briefly flirted with a South American tobacco venture; when it failed, he returned to Britain with seemingly no other options outside of a stage career. After a series of small theatrical roles, in 1934 he appeared in Noel Coward's Conversation Piece; the performance led to his film debut in 1936's Find the Lady, followed by a starring role in Strange Cargo. After a series of other undistinguished projects, Sanders appeared briefly in William Cameron Menzies' influential science fiction epic Things to Come. In 1937, he traveled to Hollywood, where a small but effective role in Lloyd's of London resulted in a long-term contract with 20th Century Fox. A number of lead roles in projects followed, including Love Is News and The Lady Escapes, before Fox and RKO cut a deal to allow him to star as the Leslie Charteris adventurer the Saint in a pair of back-to-back 1939 features, The Saint Strikes Back and The Saint in London. The series remained Sanders' primary focus for the next two years, and in total he starred in five Saint pictures, culminating in 1941's The Saint at Palm Springs. Sandwiched in between were a variety of other projects, including performances in a pair of 1940 Alfred Hitchcock thrillers, Foreign Correspondent and the Best Picture Oscar-winner Rebecca.After co-starring with Ingrid Bergman in 1941's Rage in Heaven, Sanders began work on another adventure series, playing a suave investigator dubbed the Falcon; after debuting the character in The Gay Falcon, he starred in three more entries -- A Date With the Falcon, The Falcon Takes Over, and The Falcon's Brother -- before turning over the role to his real-life brother, Tom Conway. Through his work in Julien Duvivier's Tales of Manhattan, Sanders began to earn notice as a more serious actor, and his lead performance in a 1943 adaptation of the W. Somerset Maugham novel The Moon and Sixpence established him among the Hollywood elite. He then appeared as an evil privateer in the Tyrone Power swashbuckler The Black Swan, followed by Jean Renoir's This Land Is Mine. A pair of excellent John Brahm thrillers, 1944's The Lodger and 1945's Hangover Square, helped bring Sanders' contract with Fox to its close.With his portrayal of the world-weary Lord Henry Wooten in 1945's The Portrait of Dorian Gray, Sanders essayed the first of the rakish, cynical performances which would typify the balance of his career; while occasionally playing more sympathetic roles in pictures like The Strange Affair of Uncle Harry and The Ghost and Mrs. Muir, he was primarily cast as a malcontent, winning a Best Supporting Actor Oscar for his venomous turn in 1951's All About Eve. The award brought Sanders such high-profile projects as 1951's I Can Get It for You Wholesale, 1952's Ivanhoe, and Roberto Rossellini's 1953 effort Viaggio in Italia. However, his star waned, and the musical Call Me Madam, opposite Ethel Merman, was his last major performance. A series of historical pieces followed, and late in the decade he hosted a television series, The George Sanders Mystery Theater. In 1960, he also published an autobiography, Memoirs of a Professional Cad.Sanders spent virtually all of the 1960s appearing in little-seen, low-budget foreign productions. Exceptions to the rule included the 1962 Disney adventure In Search of the Castaways, the 1964 Blake Edwards Pink Panther comedy A Shot in the Dark, and 1967's animated Disney fable The Jungle Book, in which he voiced the character of Shere Khan the Tiger. After appearing on Broadway in the title role of The Man Who Came to Dinner, Sanders appeared in John Huston's 1970 thriller The Kremlin Letter, an indication of a career upswing; however, the only offers which came his way were low-rent horror pictures like 1972's Doomwatch and 1973's Psychomania. Prior to the release of the latter, Sanders killed himself on August 25, 1972, by overdosing on sleeping pills while staying in a Costa Brava hotel; his suicide note read, "Dear World, I am leaving you because I am bored." He was 66 years old.

Trivia: Making her first stage appearance at age 17, British actress Edna Best scored a substantial hit in the original 1926 staging of The Constant Nymph. Her most frequent stage co-star was Herbert Marshall, to whom she was married from 1928 until 1940; their daughter Sarah Marshall became an actress herself in the 1950s. Ms. Best's New York stage triumphs included the starring roles in Shaw's Captain Brassbound's Conversion and Maugham's Jane. Infrequently seen in films, Edna Best's most memorable movie assignment included the mother of kidnap victim Nova Pilbeam in Hitchcock's The Man Who Knew Too Much (1934) and the wife of prodigal violinist Leslie Howard in Intermezzo (1939).

Trivia: Austrian-born actress Vanessa Brown was on the Broadway stage from age 13 in Watch on the Rhine, and at the same time was featured as a contestant on the popular radio series Quiz Kids. Billed as Tessa Brind, Vanessa made her screen bow in the Val Lewton-produced study of wartime juvenile delinquency Youth Runs Wild (1944). She became "Vanessa Brown" for good with 1946's I've Always Loved You, spending the next six years as a popular film ingenue. In 1950 Brown joined the ever-growing ranks of movie "Janes" in Tarzan and the Slave Girl. She also appeared in the 1955 sitcom My Favorite Husband, replacing the series' original star, Joan Caulfield. Brown retired from films to marry director Mark Sandrich Jr. in the mid-'50s, returning briefly before the cameras in 1967. Vanessa worked on the 1977 satirical TV soap opera All That Glitters, and also had a recurring role on the still-thriving real soap opera General Hospital. Back in radio in the early '70s, Vanessa was an occasional guest speaker on the short-wave Voice of America service. In her later years, Vanessa Brown added writing to her accomplishments, penning two books and several magazine articles.

Trivia: Born to Russian-immigrant parents, Natalie Wood made her first film appearance at age four as an extra in Happy Land (1943). When she was promoted to supporting roles, the young Wood was well prepared for the artistic discipline expected of her: She'd been taking dancing lessons since infancy. By 1947, she earned up to a thousand dollars per week for such films as Miracle on 34th Street. She made a reasonably smooth transition to grown-up roles, most notably as James Dean's girlfriend in Rebel Without a Cause (1955) and Warren Beatty's steady in Splendor in the Grass (1961). She was also a regular on the 1953 sitcom Pride of the Family, playing the teenaged daughter of Paul Hartman and Fay Wray. Despite being romantically linked with several of her leading men, Wood settled down to marriage relatively early, wedding film star Robert Wagner in 1957. The union didn't last, and she and Wagner were divorced in 1962. Continuing to star in such important films as West Side Story (1961), Gypsy (1963), Inside Daisy Clover (1967), and Bob and Carol and Ted and Alice (1969), Wood always managed to bounce back from her numerous career setbacks, and in 1971, after an interim marriage to screenwriter Richard Gregson, Wood remarried Robert Wagner, this time for keeps. Opinions of her acting ability varied: Her adherents felt that she was one of Hollywood's most versatile stars, while her detractors considered her to be more fortunate than talented. The Oscar people thought enough of Wood to nominate her three times, for Rebel Without a Cause, Splendor in the Grass, and Love With the Proper Stranger (1963). In the midst of filming the 1981 sci-fier Brainstorm, 43-year-old Natalie Wood drowned in a yachting accident just off Catalina Island. Among her survivors was her sister, actress Lana Wood.

Trivia: Born in London and educated at Sussex' Hurstpierpont College, actor Robert Coote can be described as Britain's Ralph Bellamy. After making his film debut in the Gracie Fields vehicle Sally in Our Alley (1931) and spending several years on the London stage, the gangly, mustached Coote settled in Hollywood, where in film after film he played stuffed-shirt aristocrats, snooty military officers and clueless young twits who never got the girl. Coote interrupted his film career for World War II service as a squadron leader with the Canadian Air Force, then returned to supporting roles in such films as The Ghost and Mrs. Muir (1947) and Forever Amber (1948). In 1956, Coote was cast as Col. Pickering in the long-running Broadway musical My Fair Lady; eight years later he appeared in the weekly TV series The Rogues, generally carrying the series' plotlines when the "official" stars--David Niven, Charles Boyer and Gig Young--were indisposed. Robert Coote's last film appearance was as one of the theatrical critics dispatched by looney Shakespearean actor Vincent Price in Theatre of Blood.

Trivia: Born Joanna Winnifrith, Anna Lee was a petite, charming, blond British actress. At age 14 she ran away from home to join a circus. After brief stage experience she began appearing in British films in 1932, playing leads and supporting roles; in 1940 she moved to Hollywood and began making films there. She is best remembered as Bronwyn Morgan, Roddy McDowall's sister-in-law, in How Green was My Valley (1941). Rarely onscreen after the late '60s, she had a regular role as Lila Quartermaine on the TV soap opera General Hospital. She married and divorced director Robert Stevenson. She was the widow of novelist/playwright/poet Robert Nathan and the mother of actors Jeffrey Byron and Venetia Stevenson.

Trivia: A stage actress of long standing in her native England, aristocratic leading lady Isobel Elsom made her first Broadway appearance in 1926. Her biggest stage hit was in the role of the wealthy murder victim in 1939's Ladies in Retirement, a role she repeated (after a two-year, nonstop theatrical run) in the 1941 film version. Nearly always cast as a stately lady of fine breeding, Elsom played everything from Gary Cooper's soon-to-be mother-in-law in Casanova Brown (1946) to a movie studio executive in Jerry Lewis' The Errand Boy (1962). She was also seen as Mrs. Eynesford-Hill in the 1964 movie adaptation of My Fair Lady. At one time married to director Maurice Elvey, Isobel Elsom was sometimes billed under the last name of another husband, appearing as Isobel Harbold.

Trivia: Whitford Kane spent most of his career on-stage, in Ireland, England, or America, but managed to fit movies and television into his work as well. The son of a physician, he was born in 1881 in Lame, Ireland (now Northern Ireland) and studied acting in Belfast. He made his London debut in 1910 and followed this with his first Broadway performance in 1912. Kane spent most of the rest of his career in America, where he became a highly regarded actor, equally good at comedy and tragedy, and his range of parts covered the territory from gormless Will Mossop in Hobson's Choice to Judas Iscariot in Dust of the Road, both in 1915. He aged gracefully into character roles that were also occasionally leads, in the manner of Edmund Gwenn or Walter Huston, and was particularly acclaimed for his Shakespearean portrayals. Kane's work was of sufficient regard to merit the publishing of an autobiography, entitled Are We All Met?, in 1931. During the 1930s, he became a close friend of Orson Welles, and was one of the mainstays of the latter's Mercury Theatre Company -- and although he wasn't in the film, it was Kane who provided the name selected for the protagonist of Citizen Kane (1941).Primarily a New York-based actor, Kane didn't have much to do with movies until late in his career -- he had a co-starring role in the Robert Montgomery/Maureen O'Sullivan vehicle Hide-Out (1934), and appeared in some early, pre-World War II television broadcasts, but it wasn't until after the war that he began showing up on the big screen. These were usually in small roles in big pictures, such as Sproule, the publisher, in The Ghost and Mrs. Muir (1947). To viewers of the baby-boom generation, the older, avuncular Whitford Kane -- who somewhat resembled both Cecil Kellaway and Charles Winninger -- is probably best-remembered as Joshua Michael Tucker, the kindly blind friend of the young protagonist in the family drama My Dog Rusty (1948), which was popular in the late '40s and widely seen on television in the early '60s. He continued acting on television into his seventies, and passed away in New York City in 1956.

Trivia: American stage actress Helen Freeman made one silent film in 1915 then returned to the theater until the dawn of the talkie era. One of Freeman's earliest talking-picture roles was also one of her best: she played Nancy Hanks in the prologue of D.W. Griffith's Abraham Lincoln (1930). Thereafter, she was seen in maternal roles, both rustic and regal. In 1946, Helen Freeman was given several good scenes as Widow Bridelle in So Dark the Night and as the Queen of Spain in Bob Hope's Monsieur Beaucaire.

Trivia: Short, stout Scottish actor David Thursby came to Hollywood at the dawn of the talkie era. Thursby was indispensable to American films with British settings like Werewolf of London and Mutiny on the Bounty (both 1935). He spent much of his career at 20th Century Fox, generally in unbilled cameos. Often as not, he was cast as a London bobby (vide the 1951 Fred Astaire musical Royal Wedding, in which he was briefly permitted to sing). David Thursby remained active until the mid-60s.

Trivia: It is probably correct to assume that American actor Stuart Holmes never turned down work. In films since 1914's Life's Shop Window, Holmes showed up in roles both large and microscopic until 1962. In his early days (he entered the movie business in 1911), Holmes cut quite a villainous swath with his oily moustache and cold, baleful glare. He played Black Michael in the 1922 version of The Prisoner of Zenda and Alec D'Uberville in Tess of the D'Ubervilles (1923), and also could be seen as wicked land barons in the many westerns of the period. While firmly established in feature films, Holmes had no qualms about accepting bad-guy parts in comedy shorts, notably Stan Laurel's Should Tall Men Marry? (1926) In talkies, Holmes' non-descript voice tended to work against his demonic bearing. Had Tom Mix's My Pal the King (1932) been a silent picture, Holmes would have been ideal as one of the corrupt noblemen plotting the death of boy king Mickey Rooney; instead, Holmes was cast as Rooney's bumbling but honest chamberlain. By the mid '30s, Holmes' hair had turned white, giving him the veneer of a shopkeeper or courtroom bailiff. He signed a contract for bits and extra roles at Warner Bros, spending the next two decades popping up at odd moments in such features as Confession (1937), Each Dawn I Die (1939) and The Adventures of Mark Twain (1944), and in such short subjects as At the Stroke of Twelve (1941). Stuart Holmes remained on call at Central Casting for major films like Around the World in Eighty Days (1956) and The Man Who Shot Liberty Valance (1962) until his retirement; he died of an abdominal aortic aneurism at the age of 83.

Trivia: The father of actors Houseley Stevenson Jr. and Onslow Stevens, Houseley Stevenson Sr. was one of the founders and principal directors of the famed Pasadena Playhouse. After a four-decade-plus stage career, Stevenson came to films in 1936. At first, he played bits, but as he moved into his sixties the size of his roles increased. The hollow-cheeked, stubble-chinned actor was especially adept at playing elderly derelicts whose dialogue usually ran along the lines of "Whatsa matter, son? Hidin' from the law?" Houseley Stevenson was at his very best in two Humphrey Bogart films: In Dark Passage (1947), he played the seedy plastic surgeon Dr. Coley, while in Knock on Any Door he was seen as the philosophical rummy "Junior."

Trivia: Diminutive William Sidney Stanton enjoyed an acting career that took him from London to Los Angeles. After honing his craft in the theater, Stanton made his motion-picture debut in 1927 and continued with a busy schedule of bit parts and character roles (specializing in comic drunks) into the 1930s and early 1940s. Raoul Walsh, for one, used him in nearly identical drunk roles in two films from 1932, Me And My Gal and Sailor's Luck. Often availing himself of his Cockney accent, Stanton's range also allowed him to play parts such as menacing thugs, crowd members, valets and butlers. His last screen role was in Adam's Rib (1949), in the uncredited part of a taxi driver.