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: Chicago-born Robert Young carried his inbred "never give up" work ethic into his training at the Pasadena Playhouse. After a few movie-extra roles, he was signed by MGM to play a bit part as Helen Hayes' son in 1931's Sin of Madelon Claudet. At the request of MGM head Irving Thalberg, Young's role was expanded during shooting, thus the young actor was launched on the road to stardom (his first-released film was the Charlie Chan epic Black Camel [1931], which he made while on loan to Fox Studios). Young appeared in as many as nine films per year in the 1930s, usually showing up in bon vivant roles. Alfred Hitchcock sensed a darker side to Young's ebullient nature, and accordingly cast the actor as a likeable American who turns out to be a cold-blooded spy in 1936's The Secret Agent. Some of Young's best film work was in the 1940s, with such roles as the facially disfigured war veteran in The Enchanted Cottage (1945) and the no-good philanderer in They Won't Believe Me (1947). In 1949, Young launched the radio sitcom Father Knows Best, starring as insurance salesman/paterfamilias Jim Anderson (it was his third weekly radio series). The series' title was originally ironic in that Anderson was perhaps one of the most stupidly stubborn of radio dads. By the time Father Knows Best became a TV series in 1954, Young had refined his Jim Anderson characterization into the soul of sagacity. Young became a millionaire thanks to his part-ownership of Father Knows Best, which, despite a shaky beginning, ran successfully until 1960 (less popular was his 1961 TV dramedy Window on Main Street, which barely lasted a full season). His second successful series was Marcus Welby, M.D. (1968-1973). Young's later TV work has included one-shot revivals of Father Knows Best and Marcus Welby, and the well-received 1986 TV-movie Mercy or Murder, in which Young essayed the role of a real-life pensioner who killed his wife rather than allow her to endure a painful, lingering illness. Young passed away from respiratory failure at his Westlake Village, CA, home at the age of 91.

Trivia: The daughter of a New York City cop, 14-year-old Alice Faye lied about her age to secure her first chorus girl job in 1929. While appearing in the 1933-1934 edition of George White's Scandals, Faye became the protégée of the show's star, Rudy Vallee, touring with Vallee's orchestra as vocalist. At Vallee's insistence, she was cast in the 1934 Fox Studios film version of George White's Scandals, elevated to the leading role when Lillian Harvey walked off the set. Despite unpleasant tabloid coverage when Vallee's wife sued her for alienation of her husband's affections, Faye was kept on by Fox, which lightened her already blonde hair and attempted to groom her as the "new Jean Harlow." After a few negligible leading roles in such Fox productions as She Learned About Sailors (1934) and 365 Nights in Hollywood (1935), she established her screen image as a tough, contralto-voiced cookie with a heart of gold, her popularity ascending with each successive film. During this period, she wed her frequent co-star Tony Martin, a union which lasted until 1940. Though a favorite with fans and coworkers alike, Faye regularly put her film career in jeopardy by clashing with 20th Century Fox head man Darryl F. Zanuck, who, realizing that he couldn't very well throw her off the payroll (not with such box-office hits as In Old Chicago and Rose of Washington Square to her credit), decided to "punish" her by hiring Betty Grable as Faye's potential successor. The press had a field day fabricating a deadly rivalry between Faye and Grable, though in fact the actresses got along reasonably well and were felicitously teamed in Tin Pan Alley (1940). Faye's feud with Zanuck came to a head in 1945 when her leading role in Fallen Angel was cut down to practically nothing. She quit movies cold, electing to devote her time to her second husband, bandleader Phil Harris, and her two daughters. Though banned from films by Zanuck, Faye flourished on radio, co-starring with Harris on a popular comedy series which ran for several successful seasons. In 1962, she returned to the screen in the ill-advised remake of State Fair, in which the 47-year-old actress played the mother of Pat Boone. She made several TV guest appearances in the 1960s and 1970s, toured the nightclub and straw hat circuit, and co-starred with John Payne in a Broadway revival of Good News. Since the death of Phil Harris in 1994, Alice Faye participated in several TV specials about Hollywood's "Golden Age," and remained in contact with her numerous, still-faithful fans until her death from cancer in early May 1998.

Trivia: A graduate of the American Academy of Dramatic Arts, Helen Westley was a stage star before the turn of the century. In the teen years, she co-founded both the Greenwich Square Players and the Theatre Guild. She began her film career in 1934, spending the next eight years playing the grandest of grande dames. Westley was seen as the indomitable Granny Mingott in the 1934 version of The Age of Innocence, the couturier title character in Roberta (1935), and the shrill, shrewish Parthy Hawkes in Show Boat (1936). She was also effective as a stern authority figure opposite such sunny-dispositioned juveniles as Anne Shirley (Anne of Green Gables) and Shirley Temple (Heidi, Rebecca of Sunnybrook Farm). Helen Westley remained active right up to her death at age 67.

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: Of the many candidates for the throne of "Hollywood's favorite butler," Brighton-born Arthur Treacher was the undisputed victor. The son of a British lawyer, the tall, hook-nosed Treacher did not settle upon an acting career until he was 25, after serving in WWI. Starting out as a chorus "boy," Treacher rose to popularity as a musical comedy performer. He came to America in 1928 while he was appearing in a revue titled Great Temptations. Entering films in 1933, Treacher quickly established himself in butler or servant roles, notably in several Shirley Temple films. He was awarded top-billing in Thank You, Jeeves (1936) and Step Lively, Jeeves (1937), both based on the gentleman's-gentleman character created by P.G. Wodehouse. Remaining active on Broadway, Treacher was prominently billed in such stage productions as Cole Porter's Panama Hattie and the 1944 revival of The Ziegfeld Follies. After several years away from Hollywood, Treacher returned in 1964 to portray a constable in Disney's Mary Poppins, which turned out to be his final film. Arthur Treacher enjoyed a latter-day popularity in the 1960s as the acerbic sidekick of TV talk show host Merv Griffin, and through the franchising of his name and image for such business concerns as Arthur Treacher's Fish and Chips and the Call Arthur Treacher Service System (a household help agency).

Trivia: Born in Hungary, actor J. Edward Bromberg moved with his family to the US while still an infant. Bromberg was certain from an early age that he would pursue an acting career, taking several odd jobs (silk salesman, candy maker, laundry worker) to finance his training. He studied with the Moscow Art Theatre, then made his American stage bow at age 23 at the Greenwich Village Playhouse. The corpulent Bromberg conveyed a perpetual air of ulcerated, middle-aged tension, allowing him to play characters much older than himself. He worked extensively with the Theatre Guild, coming to Hollywood's attention for his work in the 1934 Pulitzer Prize winning play Men in White. With 1936's Under Two Flags, Bromberg began his long association with 20th Century-Fox, playing a vast array of foreign villains, blustering buffoons and the occasional gentle philosopher. He made a triumphant return to Broadway in 1948 as a Louis Mayer-like movie mogul in Clifford Odets' The Big Knife, but the euphoria would not last. Accused of being a Communist sympathizer, Bromberg was blacklisted from Hollywood and forced to seek work in England. Though only 47 when he fled the country, Bromberg looked twenty years older due to the strain of withstanding the accusations of the witchhunters. J. Edward Bromberg died in London in 1951, at age 48; the reason given was "natural causes," since a broken heart is not officially regarded as a fatal condition.

Trivia: There was always something calculating about Astrid Allwyn. "Scratch a chilly 'other woman' and if she were not Helen Vinson, she usually turned out to be Astrid Allwyn," as one commentator put it. Allwyn was certainly "chilly" toward little defenseless Shirley Temple when their paths crossed in both Dimples (1936) and Stowaway (1936) and you could hardly blame freshman senator James Stewart for running the other way when he encountered a slightly predatory Astrid in Mr. Smith Goes to Washington (1939). Allwyn had made her stage bow in Elmer Rice's Street Scene back in 1929 and her screen debut three years later. She was busiest in the 1930s and retired in 1944 to raise her family with second husband Charles O. Fee, a brood that included future actresses Melinda O. Fee and Vicki Fee Steele. An earlier marriage, to screen actor Robert Kent, had ended in divorce in 1941.

Trivia: Born Harold Albershart, he played football and modeled before working as a stage actor in the late '20s. He debuted onscreen in Not Quite Decent (1929), playing the romantic lead; he had similar roles in 25 films made during the '30s at various studios. He began starring in serials in 1940. In 1944 he made his first starring Western, and for almost a decade he was a Western star, twice appearing (1951 and 1953) on the Top Ten Western Money-makers list and appearing in over 100 features and serials, often with his "wonder" horse Blackjack; he portrayed Red Ryder in eight films, then adopted the name "Rocky" Lane in 1947. After B-movie Westerns fizzled out in 1953 his career came to a virtual halt, and he had supporting roles in just three more films. In the '60s he was the dubbed voice of the talking horse on the TV sitcom Mr. Ed.

Trivia: Endowed with a voice like a bellows and a face like a bullfrog, Australian actor Robert Greig specialized in pompous-servant roles. In Greig's first talking picture, the Marx Brothers' vehicle Animal Crackers (1930), he portrays Hives, Margaret Dumont's imperious butler; Hives dominates the film's opening scene by singing his instructions to the rest of the staff, and later participates in Groucho Marx' signature tune "Hooray for Captain Spaulding". Evidently the Marx Brothers liked his work, for in 1932 Greig was cast as an unflappable chemistry professor in Horse Feathers (1932). In most of his films, Greig played variations of Hives, notably in the wacked-out 1932 comedy short Jitters the Butler, in which he willingly offers his ample derriere to be kicked at the slightest provocation. In 1940, Greig became a member of the informal stock company of writer/producer Preston Sturges. Sturges brought out untapped comic possibilities in all of his favorite character actors; accordingly, Greig's performances in The Lady Eve (1941), Sullivan's Travels (1942) and The Palm Beach Story (1942) are among his best. Fans of Robert Greig's work with Sturges and the Marx Brothers are advised to catch his non-butler roles as the Duke of Weskit in Wheeler and Woolseys Cockeyed Cavaliers (1934) and as the wealthy, gross "protector" of Hedy Lamarr in Algiers (1938).

Trivia: When he died in early 1965, Julius Tannen rated an obituary in Variety covering the better part of a page. That may surprise anyone who is wondering "Who was Julius Tannen?" -- viewers who have seen Stanley Donen's Singin' in the Rain, or the sophisticated comedies of Preston Sturges, however, have likely delighted in Tannen's work, even if they didn't know who he was. Born in Chicago and raised in a Jewish orphanage in Rochester, NY, Julius Tannen became one of the most celebrated and successful theatrical performers of his day, in a career that took him from the vaudeville stage into some of the most important movies ever made, and on to television before a return to the stage in his twilight years. Tannen didn't intend to become a performer -- he was making a living as a salesman, and his pitch to customers proved so engaging and funny, that he received offers to entertain at parties. He made his professional debut on the vaudeville stage in 1901, at age 21, and developed a particular comedic specialty as what was then called a "monologist" -- he would stand there and talk (today, it's called standup comedy). Among many techniques that he devised, one of his most popular was that of presenting a comic story and ending it before the payoff, leaving the audience to fill in the blank space. Tannen was the first successful modern practitioner of what is now known as the comedy monolog. He was also responsible for creating the exit phrase, "My father thanks you, my mother thanks you, my sister thanks you, and I thank you" -- certainly ironic in view of his background as an orphan, this phrase, heard by a young George M. Cohan (who was then performing with the Four Cohans), was adopted by him as his bow-off signature for the rest of his career, and immortalized in the movie Yankee Doodle Dandy. Tannen played the Palace Theater in New York more often than almost any other performer, and he subsequently made the jump to legitimate theater during the 1920s, performing in Earl Carroll's Vanities and the George White Scandals. He'd already been performing professionally for three decades when the advent of talking pictures created a need for actors who could handle spoken dialogue. His first film was Lady By Choice, starring Carole Lombard, in which he played a small role. Over the next 15 years, Tannen portrayed dozens of lawyers, clerks, journalists, and police detectives, usually (but not always) unnamed in the credits. He started getting bigger roles in the late '30s, in everything from light comedies to serious dramas such as Frank Borzage's The Mortal Storm (1940). He joined the stock company of director/writer Preston Sturges with the latter's second movie, Christmas in July, and was aboard for The Lady Eve, Sullivan's Travels, and The Palm Beach Story, and he enjoyed still larger roles in the director's final Paramount films. He continued working with Sturges right up through Unfaithfully Yours. It was with director Stanley Donen, however, that Tannen scored what may have been his most prominent screen appearance, in the movie Singin' in the Rain. Tannen appears in the opening section of the movie, as the man in the short film shown at the Hollywood party, introducing sound movies ("This is a talking picture...") -- to anyone knowing the man and the history, the in joke was priceless, the world's best stage monologist debuting talking pictures. Tannen subsequently worked in the Elvis Presley film Loving You (1957) and was apparently a favorite of director John Sturges, who used him in The People Against O'Hara (1952) and The Last Train From Gun Hill (1959). Tannen retained his comic edge and melodious voice into his seventies -- on December 2, 1954, he appeared on The George Gobel Show (in a program available on video) in a sketch where he ran circles around the star, and he earned a special curtain call from Gobel. He continued performing until 1964 when he suffered a stroke at the age of 84; he died the following year. His son, Charles Tannen (1915-1980), who looked like an identical but younger version of Julius Tannen, was a very busy character actor in his own right, with film credits dating from the mid-'30s to the early '60s, before he joined CBS as an executive.

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: Though often cast as a Japanese or Chinese character, LA-born actor Philip Ahn was of Korean extraction. In films from 1936, Ahn spent the war years portraying dozens of heartless Japanese spies and military officers; ironically, the actor's father was a Korean diplomat who died in a Japanese concentration camp. After the war, Ahn was occasionally permitted to play a sympathetic role, minus stereotypical accent and mannerisms; cast as a lab technician in 1950's The Big Hangover, he has almost as much screen time as nominal star Van Johnson. One of his most substantial roles was as Chinese businessman Po Chang, foster father of young Caucasian tycoon Frank Garlund (Charles Quinlivan) on the brief 1960 TV weekly The Garlund Touch. At the time of his death from lung cancer at age 66, Philip Ahn was best known to American TV addicts as Master Kan on the TV series Kung Fu.

Trivia: American character actor Paul McVey was a Fox contract player from 1934 to 1939. McVey had a substantial role in the 1934 Will Rogers vehicle Judge Priest, then settled into bit parts as detectives, stage manager and express agents. One of his meatier roles of the 1940s was "The Excellency Zanoff" in the 1941 Republic serial King of the Royal Mounted (1941). Before his retirement in 1953, Paul McVey appeared in a supporting part in the first-ever 3-D feature film, Bwana Devil (1952).

Trivia: Born in New York and raised in California, Helen Jerome Eddy went into films while a student at Berkeley. Her patrician demeanor enabled Helen to play young women of untold wealth throughout the silent era, first at Vitagraph and later at virtually every other major studio. A character actress in the talkie era, Eddy essayed such roles as the beneficent society matron in Our Gang's first talking short Small Talk (1929) and the kindly, terminally ill missionary whom Mae West impersonates in Klondike Annie (1936). Helen Jerome Eddy retired in 1940, ever afterward remaining available for interviews concerning Hollywood's "Golden" era.

Trivia: British stage actor William Stack made his first film appearance in 1918's The Girl From Downing Street. Stack then went back to the stage, steering clear of films until 1930. For the next 11 years, he popped up in minor roles as judges, doctors, generals, and priests. One of William Stack's more prestigious assignments during this period was Ruthven in John Ford's Mary of Scotland (1936).