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: American actor James Dunn's early career embraced bit parts in silent pictures, vaudeville, and Broadway before he made his talking picture bow in Bad Girl (1931). For the next several years, Dunn appeared in sentimental "lovable scamp" leading roles; he also helped introduce Shirley Temple to feature films by co-starring with the diminutive dynamo in Stand Up and Cheer, Baby Take a Bow, and Bright Eyes, all released in 1934. When Fox merged with 20th Century Pictures in 1935, the type of domestic comedy-dramas and free-wheeling musicals in which Dunn specialized came to an end; by the end of the 1930s Dunn's appearance were confined to "B" pictures and poverty-row quickies. Dunn was given a comeback chance as Peggy Ann Garner's irresponsible alcoholic father in the 1945 drama A Tree Grows in Brooklyn. The actor won an Academy Award for his performance. Eight years passed before Dunn would be seen in films again, though he found occasional solace in TV work, including his tenure as the star of a 1955 sitcom, It's a Great Life. Dunn's final movie role, filmed two years before his death, was a minor part as an agent in the all-star "trash classic" The Oscar (1966).

Trivia: Stock-company actress Maria Elliot was transformed into Judith Allen when signed to a Paramount contract in 1933. Her brief Paramount stay was rather unexceptional, except for her leading-lady assignment in DeMille's This Day and Age (1933) and her gently satirical portrayal of the daughter of two-bit impresario W. C. Fields in The Old Fashioned Way (1934). Her bid for stardom forgotten by the mid-1930s, Judith nonetheless remained in films into the 1950s. Judith Allen's leading-lady duties opposite Gene Autry in such late-1930s westerns as Boots and Saddles assured her work in low-budget sagebrushers until the day she retired.

Trivia: American actress Jane Darwell was the daughter of a Missouri railroad executive. Despite her father's disapproval, she spent most of her youth acting in circuses, opera troupes and stock companies, making her film debut in 1912. Even in her early thirties, Darwell specialized in formidable "grande dame" roles, usually society matrons or strict maiden aunts. Making an easy transition to talking pictures, Darwell worked primarily in small character parts (notably as governesses and housekeepers in the films of Shirley Temple) until 1939, when her role as the James Brothers' mother in Jesse James began a new career direction--now she was most often cast as indomitable frontierswomen, unbending in the face of hardship and adversity. It was this quality that led Darwell to be cast in her favorite role as Ma Joad in The Grapes of Wrath (1940), for which she won an Oscar. Darwell continued to work until illness crept upon her in the late 1950s. Even so, Darwell managed to essay a handful of memorable parts on TV and in movies into the 1960s; her last film role was as the "Bird Woman" in Disney's Mary Poppins (1964).

Trivia: Born in Pittsburgh and raised in Alabama, actress Lois Wilson was one of four sisters, all of whom would subsequently have silent film careers--but only Lois would rise to stardom. Intending to become a schoolteacher, Wilson was lost to academia forever when she won an Alabama beauty contest sponsored by Universal Pictures. Her first film for the studio was Dumb Girl of Portici (1916), filmed in Chicago, where she showed up uncredited in several minor roles (along with another newcomer named Boris Karloff). Blessed with a serene beauty and expressive eyes, Lois had little trouble achieving leading-lady status in a group of J. Warren Kerrigan westerns. She moved to Famous Players (aka Paramount) in 1919, attaining full stardom for her subtly shaded performance as an outwardly meek but inwardly determined Scotswoman in What Every Woman Knows (1921). After being reunited with J. Warren Kerrigan in the western classic The Covered Wagon (1923), Wilson followed up this film with several other outdoor epics; it was while on location for these films that she developed her lifelong concern with fair treatment of Native Americans, contributing thousands of dollars to Indian mission schools. While filming North of 36 (1924), Wilson, an amateur photographer, filmed invaluable footage of the last major cattle drive in the US--which looks better than anything the "professionals" filmed while recording the same event. In 1926, she reached an artistic peak with her performance as Daisy Buchanan in the first version of The Great Gatsby. Throughout the silent era, she would balk whenever given a passive role that did little justice to her talents, and as a result spent nine months on suspension from Paramount in 1927, which did considerable damage to her career. This coincided with the advent of talkies; though her voice recorded beautifully, the suspension lost her too much ground for her to thrive as a star in sound pictures. Oddly, it was one of her secondary talkie roles for which Wilson is most fondly recalled today: As Shirley Temple's mother in Bright Eyes (1934), she is killed off halfway through the picture, but her sudden demise affects the outcome of the film to such an extent that one can't help remembering her. In 1937, Wilson left Hollywood for a long and fruitful stage career, returning only periodically thereafter. Her last screen appearance was as Virginia Mayo's mother in 1949's The Girl from Jones Beach, but she remained active on stage (I Never Sang for My Father, Madwoman of Chaillot) and television (The Aldrich Family, The Guiding Light) into the '70s. In 1958, Lois Wilson was made a vice president of Actors Equity, using the clout of her position on behalf of the union's Ethnic Minorities Committee.

Trivia: The archetypal screen sourpuss (excluding Ned Sparks, that is), actor Charles A. Sellon was already typecast when he made his first film appearance in 1923. In the first few years of the talkies, Sellon tended to play nondescript character roles in such films as Bulldog Drummond (1929) and Tom Sawyer (1930). He truly came into his own with his unforgettable performance as a cantankerous blind man Mr. Muckle ("Hah! Moved that door again, eh?") in the 1934 W.C. Fields classic It's a Gift (1934). Charles A. Sellon's other memorable mid-'30s roles included the wheelchair-bound, surreptitiously softhearted Uncle Ned in Shirley Temple's Bright Eyes and dour police coroner Doremus in The Casino Murder Case (1935).

Trivia: The daughter of an aggressive (but comparatively benign) stage mother, Jane Withers was taught to sing and dance before she was three. At four, Withers was starring on her own radio program in Atlanta, doing imitations of such celebrities as Greta Garbo, ZaSu Pitts, and Maurice Chevalier. Relocating to Hollywood with her mother in 1932, Withers began her film career in bit parts, eventually winning the plum role of the obnoxious brat who bedevils sweet little Shirley Temple in Bright Eyes (1934) (throughout her career, Withers had nothing but nice things to say about Temple; for her part, Temple claimed that she was terrified of Withers, both on and off camera). This role won Withers a contract at Fox Studios (later 20th Century Fox), and for the next seven years she starred in a series of energetic, medium-budget comedies and musicals bearing such titles as Pepper (1936), The Holy Terror (1937), and Arizona Wildcat (1937). The script for her 1941 vehicle Small Town Deb was penned by Withers herself, using the nom de plume Jerrie Walters. After the end of her Fox contract in 1943, Withers attempted to establish herself as an ingenue in such films as Sam Goldwyn's The North Star, but her offbeat facial features and her inclination toward stoutness limited her choice of roles. In 1947, the newly married Withers decided to retire from films, something she was fully prepared to do thanks to her oil-rich husband and the generous trust fund set up by her parents. The collapse of her marriage and a severe attack of rheumatoid arthritis dealt potentially fatal blows to her optimistic nature, but by 1955 she was back on her feet, attending the U.S.C. film school in hopes of becoming a director. Hollywood producer/director George Stevens, a frequent U.S.C. lecturer, cast Withers in a sizeable supporting role in the 1956 epic Giant. Withers' second career as a character actress flourished into the 1970s; during this resurgence of activity she married again, only to be left a widow when her husband died in a 1968 plane crash. To TV viewers of the 1960s and 1970s, Jane Withers will be forever associated with her long-running (and extremely lucrative) stint as Josephine the Plumber in a popular series of commercials for Comet cleanser.

Trivia: The son of a Yale language professor, actor Theodore Von Eltz was all geared up for a medical career when he succumbed to the siren song of the theatre. Starting his New York stage career at age 19, Von Eltz became a popular silent film leading man in the '20s. He eased into character roles in the talkie era, and also began appearing with regularity on radio. From 1954 through 1955, Von Eltz played Father Barbour on the TV version of the long-running radio soap opera One Man's Family. One of Theodore Von Eltz' last assignments was as narrator of the 1956 documentary film, Animal World.

Trivia: Blonde American actress Dorothy Christy thrived in the early 1930s as an excellent second lead and comedy foil. Christy seemed most at home in slapstick comedies: she played the older sister who must be married off to clear the way for her younger sister's happiness in Buster Keaton's Parlor, Bedroom and Bath (1931) and rifle-wielding Mrs. Betty Laurel ("I've never missed yet!") in Laurel & Hardy's Sons of the Desert (1933). She was also quite adept at conveying icy truculence, notably as the gossiping socialite in Devil and the Deep (1932) and as bratty Jane Withers' avaricious mother in the 1934 Shirley Temple musical Bright Eyes. Perhaps her most offbeat role was Queen Tika, ruler of the underground city of Murania, in the camp-classic serial Phantom Empire (1935). Throughout the 1940s, she continued playing supporting roles in the 2-reelers of such comics as Leon Errol and Edgar Kennedy, and bits in features, most often in those productions helmed by her Sons of the Desert director William A. Seiter (Little Giant, Lover Come Back etc.) At various junctures in her film career, Dorothy Christy billed herself as Dorothy Christie.

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: Actor and director George Irving gained fame on both the Broadway stage and in feature films. Before launching his professional career, Iriving graduated from New York's City College and the American Academy of Dramatic Arts. He then went on to play the leads in numerous Broadway shows before breaking into film in 1913, where he played many different character roles.

Trivia: A longtime character actor/stuntman/leading man/director, Dave O'Brien (born David Barclay) was born in Big Springs, Texas, and entered movies in the early '30s as a stuntman and occasional character actor -- he is probably best remembered by college students of the late '60s and early '70s for his portrayal of the crazed marijuana smoker in the exploitation film Reefer Madness. During the late '30s and early '40s, O'Brien also played the title role in the serial Captain Midnight, and was the responsible adult in the East Side Kids series, but it was as the lead in MGM's Pete Smith Specialty comedy shorts -- which O'Brien also directed, under his real name David Barclay -- that he was best known to '40s moviegoers. The Pete Smith shorts, which were basically comedic looks at human foibles, took full advantage of O'Brien's background in stunt work, and hold up extremely well today. O'Brien still played occasional lead roles, especially in B-pictures such as The Man Who Walks Alone (1946), an unusual comedy with serious overtones about a veteran returning home from World War II, but by the early '50s had moved into supporting parts, such as that of the stage manager in Kiss Me Kate (1953), directed by his fellow Pete Smith alumnus George Sidney. O'Brien later became a writer for Red Skelton on television.

Trivia: Stage actor Earl Foxe enjoyed a measure of success as a silent-film leading man in the WW I era. One of Foxe's most celebrated screen roles was the lead in Cecil B. DeMille's 1916 production Trail of the Lonesome Pine. He was contracted to Fox Studios in the 1920s, where he befriended up-and-coming director John Ford. For the next two decades, he showed up in leads, featured roles and bits in such Ford pictures as Hangman's House (1928), Four Sons (1928), Mary of Scotland (1936) and My Darling Clementine (1946). In the 1930s and 1940s, Earl Foxe enjoyed a second burst of fame as the owner of Black Fox Academy, a prestigious Los Angeles military school largely populated by the offspring of the motion picture community.

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: Gravel-voiced, granite-faced former heavyweight boxer Frank C. Moran made his film debut as a convict in Mae West's She Done Him Wrong (1933). Though quickly typecast as a thick-eared brute, Moran was in real life a gentle soul, fond of poetry and fine art. Perhaps it was this aspect of his personality that attracted Moran to eccentric producer/director/writer Preston Sturges, who cast the big lug in all of his productions of the 1940s. It was Moran who, as a cop in Sturges' Christmas in July (1940), halted a tirade by an argumentative Jewish storeowner by barking, "Who do ya think you are, Hitler?" And it was Moran who, as a tough truck driver in Sullivan's Travels (1942), patiently explains to his traveling companions the meaning of the word "paraphrase." On a less lofty level, Frank Moran shared the title role with George Zucco in Monogram's Return of the Ape Man (1944).