Trivia: The jury is still out as to whether or not curly haired Shirley Temple was the most talented child star in movie history; there is little doubt, however, that she was the most consistently popular. The daughter of non-professionals, she started taking singing and dancing classes at the age of three, and the following year began accompanying her mother on the movie audition circuit. Hired by the two-reel comedy firm of Educational Pictures in 1933, she starred in an imitation Our Gang series called the Baby Burlesks, performing astonishingly accurate impressions of Greta Garbo and Marlene Dietrich; she was also featured in the films of Educational's other stars, including Andy Clyde and Frank Coghlan Jr. In 1934 she was signed by Fox Pictures, a studio then teetering on the verge of bankruptcy. After a handful of minor roles she created a sensation by stopping the show with her rendition of "Baby Take a Bow" in Fox's Stand Up and Cheer. She was promptly promoted to her own starring features, literally saving Fox (and its successor 20th Century Fox) from receivership, and earned a special Oscar in 1934 "in grateful recognition to her outstanding contribution to screen entertainment." With such tailor-made vehicles as Bright Eyes (1934), Curly Top (1935), The Little Colonel (1935), Dimples (1936), and Heidi (1937), Temple was not only America's number one box-office attraction, but a merchandising cash cow, inspiring an unending cascade of Shirley Temple dolls, toys, and coloring books. She also prompted other studios to develop potential Shirley Temples of their own, such as Sybil Jason and Edith Fellows (ironically, the only juvenile actress to come close to Temple's popularity was 20th Century Fox's own Jane Withers, who got her start playing a pint-sized villain in Temples' Bright Eyes). Though the Fox publicity mill was careful to foster the myth that Temple was just a "typical" child with a "normal" life, her parents carefully screened her friends and painstakingly predetermined every move she made in public. Surprisingly, she remained an unspoiled and most cooperative coworker, though not a few veteran character actors were known to blow their stacks when little Temple, possessed of a photographic memory, corrected their line readings. By 1940, Temple had outgrown her popularity, as indicated by the failure of her last Fox releases The Blue Bird and Young People. The following year, MGM, who'd originally wanted Temple to play Dorothy in The Wizard of Oz, cast her in Kathleen, another box-office disappointment which ended her MGM association almost before it began. Under the auspices of producers Edward Small and David O. Selznick, Temple enjoyed modest success as a teenaged actress in such productions as 1942's Miss Annie Rooney (in which Dickie Moore gave her first screen kiss) and 1944's Since You Went Away. Still, the public preferred to remember the Shirley Temple that was, reacting with horror when she played sexually savvy characters in Kiss and Tell (1945) and That Hagen Girl (1947). Perhaps the best of her post-child star roles was spunky army brat Philadelphia Thursday in John Ford's Fort Apache (1947), in which she co-starred with her first husband, actor John Agar (the union broke up after four years when Agar began to resent being labeled "Mr. Shirley Temple"). She returned to 20th Century Fox for her last film, Mr. Belvedere Goes to College (1949), in which played second fiddle to star Clifton Webb. Retiring on her trust fund in 1950, she wed a second time to business executive Charles Black, a marriage that would endure for several decades and produce a number of children. In 1958 she made a comeback as host of The Shirley Temple Storybook, a well-received series of children's TV specials. Her final show business assignment was the weekly 1960 anthology The Shirley Temple Show, which though not a success enabled her to play a variety of character roles -- including a toothless old witch in an hour-long adaptation of Babes in Toyland! The staunchly Republican Temple went into an entirely different field of endeavor when she entered politics in the mid-'60s. The bitter taste of an unsuccessful congressional bid was dissipated in 1968 when she was appointed U.S. ambassador to the United Nations. She went on to serve as U.S. ambassador to Ghana (1974-1976) and Czechoslovakia (1989), and during the Ford and Carter years kept busy as the U.S. Chief of Protocol. In the 1980s, she went public with information about her mastectomy, providing hope and inspiration for other victims of breast cancer. Still one of the most beloved figures in the world, Temple seemingly went to great pains to dispel her goody two-shoes image in her candid 1988 autobiography Child Star, in which she cast a frequently jaundiced eye on her lifelong celebrity status, revealing among other things that several well-known Hollywood moguls had tried and failed to force their manhood upon her once she was of legal age (and even before!). Temple received several lifetime achievement awards towards the end of her life, including the Kennedy Center Honors in 1998 and the SAG life achievement award in 2005. She died in 2014, at the age of 85.

Trivia: A boy soldier during the Boer War, British actor Victor McLaglen later worked as a prizefighter (once losing to Jack Johnson in six rounds) and a vaudeville and circus performer. He served in World War I as a captain with the Irish Fusiliers and as provost marshal of Baghdad. In the early '20s he broke into British films. He soon moved to Hollywood, where he got lead and supporting roles; his basic screen persona was that of a large, brutish, but soft-hearted man of action. He appeared in many John Ford films, often as a military man. McLaglen made the transition to sound successfully, and for his work in Ford's The Informer (1935), he won the Best Actor Oscar. He remained a busy screen actor until the late '50s. Five of his brothers were also film actors: Arthur, Clifford, Cyril, Kenneth, and Leopold. He was the father of director Andrew V. McLaglen.

Trivia: Onetime dancer June Lang became a blond movie starlet at Fox Studios at the age of 16. For the first two years of her career, she was billed under her given name of Vlasek; her most memorable role during that period was in the elaborate Fox fantasy Chandu the Magician (1932). After "becoming" June Lang in 1934, she appeared with Laurel and Hardy in Bonnie Scotland (1935) with Warner Baxter and Fredric March in The Road to Glory (1936), and as Shirley Temple's mother in Wee Willie Winkie (1937). She also co-starred with brunette Fox contractee Lynn Bari in Meet the Girls (1938), an abortive attempt to launch a series of "smart girl/dumb girl" comedies. After her marriage to convicted mobster John Rosselli, Lang's career spiraled downward. By 1943, she was playing unbilled bits in films like Flesh and Fantasy (1943) and Up in Arms (1944). June Lang's last film was the PRC quickie Lighthouse (1947).

Trivia: Actor C. Aubrey Smith was, so far as many American moviegoers were concerned, the very personification of the British Empire. Even so, when young English journalist Alistair Cooke first travelled to Hollywood in the early 1930s to interview Smith, it was not to discuss the actor's four decades in show business, but to wax nostalgic on his athletic career. The son of a London surgeon, Smith played soccer for the Corinthians and cricket for Cambridge. For four years, "Round the Corner Smith" (so named because of his unique playing style) was captain of the Sussex County Cricket Club, playing championship matches throughout the Empire. When time came to choose a "real" vocation, Smith dallied with the notion of following in his dad's footsteps, then worked as a teacher and stockbroker. In 1892, at the age of 29, he finally decided to become an actor (not without family disapproval!), launching his stage career with the A. B. Tappings Stock Company. He made his London debut in 1895, and the following year scored his first significant success as Black Michael in The Prisoner of Zenda; also in 1896, he married Isobel May Wood, a union that endured for over fifty years. His subsequent stage triumphs included Shaw's Pygmalion, in which he succeeded Sir Herbert Beerbohm-Tree as Professor Henry Higgins. Despite the theatrical community's disdainful attitude towards the "flickers", Smith enthusiastically launched his film career in 1914. He was one of the co-founders of the short-lived but energetic Minerva Film Company, and by 1915 had begun making movies in America. It was his 1928 stage hit Bachelor Father that led to Smith's phenomenally successful career in talking pictures. For 18 years, he was perhaps Hollywood's favorite "professional Englishmen." He was at his best in martinet military roles, most memorably in a brace of 1939 productions: The Sun Never Sets, in which he used a wall-sized map to dutifully mark off the far-flung locations where his progeny were serving the Empire, and The Four Feathers, wherein he encapsulated his generation by crustily declaring "War was war in my day, sir!" Other notable roles in the Smith canon included Jane's father in Tarzan the Ape Man (1932), a close-minded aristocrat who turns out to be an out-of-work actor in Bombshell (1933), the intensely loyal Colonel Zapt in The Prisoner of Zenda (1937) and an outraged murder-victim-to-be in Ten Little Indians (1945). Smith briefly returned to the stage in 1941, and throughout the war years could be seen in roles ranging from single-scene cameos (The Adventures of Mark Twain, Unconquered) to full leads (1945's Scotland Yard Inspector). A recipient of the Order of the British Empire in 1938, he was knighted by King George VI in 1944, largely because of the positive image of Mother England that the actor invariably projected. The undisputed leader of Tinseltown's "British Colony," Smith also organized the Hollywood Cricket Club, taking great pride in the fact that he hadn't missed a weekend match for nearly sixty years. Sir C. Aubrey Smith was still in harness when he died of pneumonia at the age of 85; his last film appearance as Mr. Lawrence in Little Women was released posthumously in 1949.

Trivia: A former manager for Woolworths, Michael Whalen performed as a radio and vaudeville singer before entering films in 1935. For many years, Whalen was an all-purpose leading man at 20th Century Fox; perhaps his best assignment during this period was Coppy, the nominal romantic lead in John Ford's Wee Willie Winkie (1937). By the 1940s, Whalen had settled into character parts, mostly at Columbia. He was last seen onscreen in an uncredited role as a minister in Elmer Gantry (1960). Michael Whalen was the brother of New York's official "greeter" Grover Whalen.

Trivia: Born in New York City to parents of Cuban extraction, American actor Cesar Romero studied for his craft at Collegiate and Riverdale Country schools. After a brief career as a ballroom dancer, the tall, sleekly handsome Romero made his Broadway debut in the 1927 production Lady Do. He received several Hollywood offers after his appearance in the Preston Sturges play Strictly Dishonorable, but didn't step before the cameras until 1933 for his first film The Shadow Laughs (later biographies would claim that Romero's movie bow was in The Thin Man [1934], in which he was typecast as a callow gigolo). Long associated with 20th Century-Fox, Romero occasionally cashed in on his heritage to play Latin Lover types, but was more at home with characters of indeterminate nationalities, usually playing breezily comic second leads (whenever Romero received third billing, chances were he wasn't going to get the girl). Cheerfully plunging into the Hollywood social scene, Romero became one of the community's most eligible bachelors; while linked romantically with many top female stars, he chose never to marry, insisting to his dying day that he had no regrets over his confirmed bachelorhood. While he played a variety of film roles, Romero is best remembered as "The Cisco Kid" in a brief series of Fox programmers filmed between 1939 and 1940, though in truth his was a surprisingly humorless, sullen Cisco, with little of the rogueish charm that Duncan Renaldo brought to the role on television. The actor's favorite movie role, and indeed one of his best performances, was as Cortez in the 1947 20th Century-Fox spectacular The Captain From Castile. When his Fox contract ended in 1950, Romero was wealthy enough to retire, but the acting bug had never left his system; he continued to star throughout the 1950s in cheap B pictures, always giving his best no matter how seedy his surroundings. In 1953 Romero starred in a 39-week TV espionage series "Passport to Danger," which he cheerfully admitted to taking on because of a fat profits-percentage deal. TV fans of the 1960s most closely associate Romero with the role of the white-faced "Joker" on the "Batman" series. While Romero was willing to shed his inhibitions in this villainous characterization, he refused to shave his trademark moustache, compelling the makeup folks to slap the clown white over the 'stache as well (you can still see the outline in the closeups). As elegant and affluent-looking as ever, Romero signed on for the recurring role of Peter Stavros in the late-1980s nighttime soap opera "Falcon Crest." In the early 1990s, he showed up as host of a series of classic 1940s romantic films on cable's American Movie Classics. Romero died of a blood clot on New Year's Day, 1994, at the age of 86.

Trivia: Distinguished British actress Constance Collier began her career as a chorus dancer at the turn of the century. She established herself not only as a leading actress, but as a playwright, producer, director and acting coach. Her film career began with D.W. Griffith's Intolerance (1916); for the next four decades, she would occasionally visit Hollywood's shooting stages, though the theater remained her first choice. Of her talkie appearances, Ms. Collier is perhaps best remembered as the "den mother" of the all-female theatrical boarding house in 1937's Stage Door. All told, Constance Collier devoted over sixty years of her life to the theater and film arts.

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: Chinese character actor Willie Fung spent his entire Hollywood career imprisoned by the Hollywood Stereotype Syndrome. During the silent era, Fung was the personification of the "Yellow Peril," never more fearsome than when he was threatening Dolores Costello's virtue in Old San Francisco (1927). In talkies, Fung was a buck-toothed, pigtailed, pidgin-English-spouting comedy relief, usually cast as a cook or laundryman.

Trivia: Satanic-featured British actor Brandon Hurst was once singled out by a prominent film historian as one of the five finest villains of the silent screen. He started out as a Philology student, gravitating to the stage in the 1880s. He was 50 years old at the time of his first film appearance in Via Wireless (1916), and 54 when he portrayed the first in his gallery of memorable screen heavies, Sir George Carewe in the 1920 Barrymore version of Dr. Jekyll and Mr. Hyde. Other reprobates in Hurst's cinematic repertoire included the sadistic Jehan in The Hunchback of Notre Dame (1923), the wicked Caliph in The Thief of Baghdad (1924), the diabolical court jester in The Man Who Laughs (1928) and the insidious Merlin in A Connecticut Yankee (1931). Most of his talkie appearances were in such minor roles as condescending butlers and grouchy coroners. Brandon Hurst continued to pop up briefly in films like The Princess and the Pirate (1944) and House of Frankenstein (1945) until his death at the age of 80.

Trivia: The very picture of an English gentleman officer, monocle and all, Lionel Pape came to Hollywood in 1935 after a distinguished career on stage and screen in his home country. Usually seen as a member of the horsy set, Pape played Major Allardyce in Shirley Temple's Wee Willie Winkie (1937), Lord Harry Droopy in The Big Broadcast of 1938, Lord Melrose in Raffles (1940), and Babberly in Charlie's Aunt (1941). Pape died at the then newly founded Motion Picture Country House and Hospital.

Trivia: A performer from age 12, Australian comedian/acrobat Clyde Cook rose to theatrical fame as "The Kangaroo Boy." Arriving in the U.S. after World War I, he worked briefly for Mack Sennett, then switched to the Sunshine Comedy unit at Fox. A tiny man with a huge paintbrush moustache, Cook was an amusing screen presence, but his lack of a well-defined character kept him from becoming a major star. He played supporting roles in such features as He Who Gets Slapped (1924) before trying his luck again as a two-reel star at Hal Roach Studios. The comedian's fortunes improved when he signed on at Warner Bros. as comedy relief in a number of silent features, in which he was frequently teamed with William Demarest or Louise Fazenda. With the coming of sound, Cook's Australian accent enabled him to secure good supporting roles in such British-based films as Dawn Patrol (1930) and Oliver Twist (1935); he also returned to Roach for a brief series of knockabout comedies titled The Taxi Boys. His roles dwindled to bits by the late '30s, but Cook never wanted for work. He was still at it in the 1950s, showing up in movies (Abbott and Costello Meet Dr. Jekyll and Mr. Hyde [1951]) and on television (The Adventures of Superman). Clyde Cook retired after completing his one-day assignment on John Ford's Donovan's Reef (1963).

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: WWI-veteran Jack Pennick was working as a horse wrangler when, in 1926, he was hired as a technical advisor for the big-budget war drama What Price Glory? Turning to acting in 1927, Pennick made his screen bow in Bronco Twister. His hulking frame, craggy face, and snaggle-toothed bridgework made him instantly recognizable to film buffs for the next 35 years. Beginning with 1928's Four Sons and ending with 1962's How the West Was Won, Pennick was prominently featured in nearly three dozen John Ford films. He also served as Ford's assistant director on How Green Was My Valley (1941) and Fort Apache (1947), and as technical advisor on The Alamo (1960), directed by another longtime professional associate and boon companion, John Wayne. Though pushing 50, Jack Pennick interrupted his film career to serve in WWII, earning a Silver Star after being wounded in combat.

Trivia: A veteran stage actor from England, George Hassell was usually cast as pompous characters. Rarely onscreen in the silent era (Old Dutch in 1915 and Lillian Gish's La Boheme in 1925), Haskell was fairly busy in the last couple of years of his life, playing among others: Sir Pitt Crawley, Becky's wealthy father-in-law in Becky Sharp (1935); Governor Steed in Captain Blood (1935); Dr. Wildfinger, one of the professors at the Montreaux School for Girls in Girls' Dormitory (1936); and shipping magnate Robert Hitchings Sr. in Think Fast, Mr. Moto (1937). Hassell's third film under a new, exclusive contract with 20th CenturyFox was released posthumously.

Trivia: Not to be confused with the present-day film editor of the same name, British actor Pat Somerset had been in the military before making his film bow in the Eve two-reel comedy series of 1918. With his performance in 1928's Hangman's House, Somerset became a "regular" in the non-Western films of director John Ford. His army experience served him well when he was called upon to play British-India officers in such films as Bonnie Scotland (1935) and Wee Willie Winkie (1937). Active in films until 1937, Pat Somerset was one of the charter members (and charter officers) of the Screen Actors Guild.

Trivia: Born in Missouri, Noble Johnson was raised in Colorado Springs, Colorado where he was a classmate of future film-star Lon Chaney Sr., who became one of his closest friends. At 15, Johnson dropped out of school to help his horse-trainer father. The 6'2", 225-pound teenager had little trouble finding "man-sized" employment, and at various junctures he worked as a miner and a rancher. In 1909, he made his motion picture debut, playing an American Indian (the first of many). Seven years later, Johnson and his brother George formed the Lincoln Motion Picture Company, the first American film studio exclusively devoted to the production of all-black feature films. Business was poor, however; by 1918, the studio had failed, and Johnson returned to acting in other's films. During the silent era, he essayed such roles as Friday in Robinson Crusoe (1922) and Uncle Tom in Topsy and Eva (1927), and also began a longtime professional relationship with producer/director Cecil B. DeMille. His talkie roles included Queequeg in Moby Dick (1930) and the Native Chieftan in King Kong (1933); he also played important parts in Murders in the Rue Morgue (1932), Mystery Ranch (1932) and The Mummy (1932). Launching the 1940's with a vivid portrayal of a zombie in Bob Hope's The Ghost Breakers (1940), Johnson spent the rest of the decade playing Africans, Indians, Mexicans, Arabs and South Sea Islanders, one of the few black performers in Hollywood to be permitted any sort of versatility. Noble Johnson retired in 1950.

Trivia: The stepdaughter of a minister, Lynn Bari entered films as an anonymous dancer in MGM's 1933 superproduction Dancing Lady. Later that same year, she signed a contract with Fox studios, inaugurating a decade-long association with that studio. Though she yearned for parts of substance, the brunette actress was generally limited to "B" pictures and pin-up poses. In the studio's more expensive efforts, Lynn was usually cast as truculent "other women" and villainesses; one of her rare leading roles in an "A" picture was as Henry Fonda's likable vis-a-vis in The Magnificent Dope (1942). Lynn's excellent top-billed performance in the independently produced The Bridge of San Luis Rey (1944) should have made her a star, but the film unfortunately tanked at the box office. Only a few of her later roles made full use of Lynn's talents; the best of her screen appearances in the 1950s was as Piper Laurie's social-climbing mother in Has Anybody Seen My Gal? (1952). On TV, Ms. Bari starred in the early series Boss Lady and The Detective's Wife. Lynn Bari's last film appearance (before devoting the remainder of her career to theatrical productions) was as the mother of rebellious teenager Patty McCormick in The Young Runaways (1968); Lynn's horrified reaction to the word "sex" in this film should amuse anyone who remembered the actress' sultry, man-killing performances in her Fox days.

Trivia: Bald, threatening-looking Eurasian supporting actor Louis Vincenot played the nefarious Rhama in Limehouse Blues (1934) and also appeared in Werewolf of London (1935), just two of literally hundreds of tiny bit parts between 1933-1944. When not performing in front of the camera, Vincenot was hired by Warner Bros. as a technical advisor on all things Asian, working on such films as The Letter (1940) and Singapore Woman (1941). Vincenot's final credited role was the sub commander in the Universal serial Adventures of Smilin' Jack (1943).

Trivia: One of the most successful and respected movie moguls of Hollywood's Golden Age, Darryl F. Zanuck was also one of the few major players of his age who was not born in Europe. Hailing from Wahoo, NE, Zanuck first entered the movie business as a child extra in 1908. After service in World War I (he lied about his age to join the Nebraska National Guard) and a period spent as a bantamweight boxer, he turned to writing, while scratching out a living as a store clerk and waterfront laborer. With some modest success in magazines, he began sending stories into the movie studios. Zanuck joined Warner Bros. as a staff writer in 1923 and distinguished himself with his unusual plots. By 1928, he had been elevated to studio manager and became chief of production the following year, and was largely responsible for the shape of the studio's output during the late '20s and early '30s, including such notable scripts as The Public Enemy (1931) and I Am a Fugitive From a Chain Gang (1932), as well as the celebrated transitional talkie Noah's Ark (1929), which Zanuck produced personally. He left Warner Bros. in 1933 to form a new studio, 20th Century Pictures, with Joseph Schenck, which began an ambitious production schedule. Fate took a hand the following year when 20th Century -- which was profitable, but had no studio facilities of its own -- merged with William Fox's near-bankrupt Fox Studios to form 20th Century Fox, with Zanuck as chief of production. He immediately set the newly expanded company on an ambitious production schedule, which included not only the exploitation of existing stars such as Shirley Temple, but the establishment of new leading men such as Tyrone Power in big-budget films. In the process, he also brought over many of his most trusted hands from Warner Bros., including publicist (and later producer) Milton Sperling, who was Jack Warner's son-in-law. Zanuck had a special knack for understanding the public taste, and visualizing the right actor in the right role, such as casting Basil Rathbone -- previously known for his villain parts -- as Sherlock Holmes (although he stopped making the Holmes films after two films, thus giving Universal Pictures an opening to produce another dozen Holmes films with Rathbone and his co-star, Nigel Bruce). He also had blindspots where certain performers and film properties were concerned. Following an argument with Zanuck, actor/director Otto Preminger was barred from work on the Fox lot until Zanuck went off to military service. Preminger then returned, first as an actor and then as director of the movie version of his own Broadway hit, Margin for Error. Preminger later produced and directed Laura, despite Zanuck's misgivings about the project and his dislike of the fey Clifton Webb in the key role of Waldo Lydecker. One of the few production chiefs who actually had experience making movies, Zanuck was overall a highly respected figure, who took an active and productive role in the making of many of Fox's biggest films. In the early '50s, with the arrival of television as competition, he moved Fox to adapt CinemaScope, the first of the widescreen formats, to keep movies competitive -- although it didn't fit every production (Daddy Long Legs and The Man in the Grey Flannel Suit were especially awkward). Also, the decision to shoot its films in widescreen caused Fox to lose such productions as On the Waterfront. The company's films remained competitive, and the presence of stars such as Marilyn Monroe kept Fox among the top Hollywood studios until the end of the 1950s. Zanuck left Fox at the end of the 1950s to embark on a career as an independent producer, and made his most celebrated film, The Longest Day (1962), a sprawling all-star dramatization of the Normandy landings on D-Day. He returned to Fox soon after, amid the crisis caused by the enormous cost overruns surrounding Cleopatra, and saw several more years of success at the head of the company (with his own son, Richard, as chief of production) until the dawn of the 1970s, when business reverses resulted in his being forced out of power. Richard Zanuck has since emerged as a major independent producer.