Trivia: The son and grandson of actors, Tyrone Power made his stage debut at age seven, appearing with his father in a stage production at San Gabriel Mission. After turning professional, Power supported himself between engagements working as a theater usher and other such odd jobs. Though in films as a bit actor since 1932, Power was not regarded as having star potential until appearing in Katherine Cornell's theatrical company in 1935. Signed by 20th Century Fox in 1936, Power was cast in a supporting role in the Simone Simon vehicle Girl's Dormitory; reaction from preview audiences to Fox's new contractee was so enthusiastic that Darryl F. Zanuck ordered that Power's part be expanded for the final release version. As Fox's biggest male star, Power was cast in practically every major production turned out by the studio from 1936 through 1940; though his acting skills were secondary to his drop-dead good looks, Power was a much better actor than he was given credit for at the time. He also handled his celebrity like an old pro; he was well liked by his co-stars and crew, and from all reports was an able and respected leader of men while serving as a Marine Corps officer during World War II. After the war, Power despaired at the thought of returning to pretty-boy roles, endeavoring to toughen his screen image with unsympathetic portrayals in such films as Nightmare Alley (1947) and Witness for the Prosecution. Though Power's popularity waned in the 1950s, he remained in demand for both stage and screen assignments. Like his father before him, Tyrone Power died "in harness," succumbing to a heart attack on the set of Solomon and Sheba (1958).

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: Clifton Webb was the most improbable of movie stars that one could imagine -- in an era in which leading men were supposed to be virile and bold, he was prissy and, well, downright fussy. Where the actors in starring roles were supposed to lead with their fists, or at least the suggestion of potential mayhem befalling those who got in the way of their characters, Webb used a sharp tongue and a waspish manner the way John Wayne wielded a six-gun and Clark Gable a smart mouth, a cocky grin, and great physique. And where male movie stars (except in the singing cowboy movies) were supposed to maintain a screen image that had women melting in their arms if not their presence, Webb hardly ever went near women in most of his screen roles, except in a fatherly or avuncular way. Nevertheles, the public devoured it all, even politely looking past Webb's well-publicized status as a "bachelor" who lived with his mother, and in the process turned him into one of Hollywood's most popular post-World War II movie stars, with a string of successful movies rivaling those of Wayne, Gable, Humphrey Bogart, Gary Cooper, or any other leading man one cares to name. Indeed, Webb was for more than 15 years a mainstay of 20th Century Fox, his movies earning profits as reliably as the sun rising -- not bad for a man who was nearly rejected from his first film on the lot because the head of production couldn't abide his fey mannerisms. Clifton Webb was born Webb Parmalee Hollenbeck, in Indianapolis, IN, in 1891 (his date of birth was falsified during his lifetime and pushed up by several years, and some sources list the real year as 1889). His father -- about whom almost nothing is known, except that he was a businessman -- had no interest in preparing his offspring for the stage or the life of a performer, a fact that so appalled his mother (a frustrated actress) that she packed herself and the boy off to New York, and he started dancing lessons at age three. By the time he was seven years old, he was good enough to attract the attention of Malcolm Douglas, the director of the Children's Theatre, and he made his Carnegie Hall debut in 1900 (when he would have been either seven, nine, or 11), playing Cholly in The Brownies. Webb was taking lessons in all of the arts by then, and in 1911, made his operatic debut in La Bohème. It was as a dancer, though, that he first found his real fortune -- seen at a top New York nightspot, he so impressed one lady professional that she immediately proposed a partnership that resulted in an international career for Webb. Webb's acting wasn't neglected, either, and in the 1920s and '30s, he was regarded as one of the top stage talents in the country, a multiple-threat performer equally adept in musicals, comedies, or drama. Early in his career, he'd worked under a variety of names, finally transposing his first name to his last and reportedly taking the Clifton from the New Jersey town, because his mother liked the sound of it. Webb was a well-known figure on-stage, but his value as a film performer was considered marginal until he was well past 50 -- he'd done some film work during the silent era, but in the mid-'30s, he was brought out to Hollywood by MGM for a film project that ran into script problems. He spent a year out there collecting his contracted salary of 3,500 dollars a week and doing absolutely nothing, and hated every minute of it. Webb returned to New York determined never to experience such downtime again, and over the ensuing decade bounced back with hits in George S. Kaufman and Moss Hart's The Man Who Came to Dinner and Noël Coward's Blithe Spirit, doing the latter for three years. Ironically, the role of Sheridan Whiteside in The Man Who Came to Dinner was inspired by the real-life author/columnist Alexander Woollcott, who would also be the inspiration for the role that finally brought Webb to Hollywood successfully. In 1943, 20th Century Fox set out to adapt a novel by Vera Caspary entitled Laura to the screen. The book, a murder mystery set in New York, had in it a character named Waldo Lydecker, who was modeled on Alexander Woollcott; a waspish, stylish, and witty author and raconteur, Woollcott was a well-known and popular media figure, who'd even done a little acting onscreen and on-stage. When it came time to cast the role, producer Otto Preminger and director Rouben Mamoulian decided to give Webb a screen test. Preminger was totally convinced of Webb's rightness for the role, and the screen test bore him out, but studio production chief Darryl F. Zanuck couldn't abide Webb's fey, effete mannerisms and obviously gay persona, and did his best to keep him from the role. Luckily, Preminger prevailed, and Webb -- in what is usually regarded as his real film debut -- proved to be one of the most popular elements of what turned out to be a massively popular movie. It was the beginning of a very profitable two-decade relationship between the actor and the studio. Webb gave an Academy Award-caliber performance in Edmund Goulding's The Razor's Edge (1946), and in 1948 he became an out-and-out star, portraying Mr. Belvedere, the housekeeper and "nanny" hired by the harried parents (portrayed by Robert Young and Maureen O'Hara) in the hit comedy Sitting Pretty (1948). Beginning with Laura in 1944, each of the next 15 movies that Webb made was a success, and they included everything from comedies to some of the most intense film noir -- most notably The Dark Corner (1946), in which he played a murderer -- but the role of Mr. Belvedere proved to be so popular that it threatened to swallow him up. Webb flatly refused to do any sequel that did not meet with his approval, and only two ever did -- this even as he received thousands of letters from mothers seeking advice on raising their children. The great unspoken irony in all of this was that Webb was not only unmarried and childless, but was as close to being openly gay as any leading actor in Hollywood could be -- he lived with his mother, and the two attended parties together, and was on record as being a "bachelor," which was code in those days (where certain kinds of actors were concerned) for being gay. And in an era in which this wasn't acceptable as a choice or a condition, audiences didn't care -- in a testimony to the sheer power of his acting, they devoured Webb's work in whatever role he took on. He never did a Western, but he did play a father of two children who unexpectedly rises to heroism in Titanic (1953), and he played the father of 12 children in Cheaper by the Dozen (1950); as he said when asked about the propriety of a childless, unmarried man playing a father of 12, "I didn't need to be a murderer to play Waldo Lydecker -- I'm not a father, but I am an actor." Webb was always stylishly dressed in public, and owned dozens of expensive suits -- he was, in many ways, the America's first pop-culture "metrosexual," and he made it work for two decades. The death of Webb's mother in 1960, reportedly at age 90, was an event from which the actor never fully recovered. Though he did a few more screen appearances, his health was obviously in decline, and he passed away in 1966.

Trivia: Raised in Bronxville, N.Y., the granddaughter of renowned architect Frank Lloyd Wright, Anne Baxter took up acting at the age of 11 with Maria Ouspenskaya, debuting on Broadway two years later (in Seen but Not Heard); she continued working on Broadway until her screen debut at age 17 in Twenty-Mule Team (1940), a minor Western featuring Wallace Beery and Marjorie Rambeau. Charming if not beautiful, she tended to play shy and innocent types and gave a few outstanding performances, such as that with Bette Davis in All About Eve (1950); she and Davis were both nominated for the Best Actress Oscar, but it went to Judy Holliday. Her "breakthrough" film was Orson Welles's The Magnificent Ambersons (1942), leading to many more roles in the next few years. At home in a variety of parts, she won the Best Supporting Actress Oscar in 1946 for her work in The Razor's Edge. Although she has worked with many of Hollywood's most celebrated and accomplished directors (Welles, Hitchcock, Lang, Mankiewicz, Wilder Wellman), after the mid-'50s she tended to get poor roles in mediocre movies. Baxter left Hollywood in 1961 for an isolated cattle station in Australia, an experience she described in her critically-acclaimed book Intermission: A True Story. She made a few more films, but her major work was as Lauren Bacall's replacement as Margo Channing in Applause, the musical version of All About Eve; having played Eve in the film, she now assumed the role earlier held by Davis. Baxter also did some TV work, including a part in the early '80s series Hotel. She was married from 1946-53 to actor John Hodiak, whom she met while filming Sunday Dinner for a Soldier (1944).

Trivia: The son of an opera soprana, he studied drama at Columbia and voice at Juilliard. He began his career as a singer, then did some acting in stock. He moved to Hollywood in 1935, playing leads in a number of Fox musicals by the '40s, often opposite Alice Faye or Betty Grable. Frequently appearing bare-chested, he was very popular with female fans, and for a time he was the top male pin-up. In the '50s, still muscular but no longer boyish, he switched to medium-budget Westerns and action movies. In 1957 he retired from the screen to star in the TV series The Restless Gun and appeared in only two more films. He directed one of his last films, They Ran for Their Lives (1968). He finished his career in a 1973 Broadway revival of the musical Good News, appearing opposite Alice Faye. He became wealthy with shrewd real estate investments in southern California. From 1937-43 he was married to actress Anne Shirley; their daughter is actress Julie Payne. From 1944-50 he was married to actress Gloria DeHaven.

Trivia: British actor Herbert Marshall was born to a theatrical family, but initially had no intentions of a stage career himself. After graduating from St. Mary's College in Harrow, Marshall became an accounting clerk, turning to acting only when his job failed to interest him. With an equal lack of enthusiasm, Marshall joined a stock company in Brighton, making his stage debut in 1911; he ascended to stardom two years later in the evergreen stage farce, Brewster's Millions. Enlisting in the British Expeditionary Forces during World War I, Marshall was severely wounded and his leg was amputated. While this might normally have signalled the end of a theatrical career, Marshall was outfitted with a prosthesis and determined to make something of himself as an actor; he played a vast array of roles, his physical handicap slowing him down not one iota. In tandem with his first wife, actress Edna Best, Marshall worked on stage in a series of domestic comedies and dramas, then entered motion pictures with Mumsie (1927). His first talking film was the 1929 version of Somerset Maugham's The Letter, which he would eventually film twice, the first time in the role of the heroine's illicit lover, the second time (in 1940) as the cuckolded husband. With Ernst Lubitsch's frothy film Trouble in Paradise (1932), Marshall became a popular romantic lead. Easing gracefully into character parts, the actor continued working into the 1960s; he is probably best remembered for his portrayal of author Somerset Maugham in two separate films based on Maugham's works, The Moon and Sixpence (1942) and The Razor's Edge (1946). Alfred Hitchcock, who'd directed Marshall twice in films, showed the actor to good advantage on the Hitchcock TV series of the 1950s, casting Marshall in one episode as a washed-up matinee idol who wins a stage role on the basis of a totally fabricated life story. Marshall hardly needed to embroider on his real story of his life: he was married five times, and despite his gentlemanly demeanor managed to make occasional headlines thanks to his rambunctious social activities.

Trivia: Canadian-born, convent-educated Lucille Watson studied acting in the waning years of the 19th century at the American Academy of Dramatic Arts. On the Broadway stage from 1900, Watson scored her first big hit in the 1902 production The Girl with Green Eyes. She made her first film in 1916, but for the most part avoided Hollywood until after the death of her husband, playwright Louis Shipman, in 1934. Frequently cast as the mother, grandmother or maiden aunt of the hero/heroine, the formidable Ms. Watson was seen in such roles as Louisa Bradley in The Razor's Edge (1946) and Aunt March in the 1949 version of Little Women. In 1943, Lucille Watson earned an Oscar nomination for her portrayal of blinkered Washington D.C. matriarch Fanny Fannelly in Watch on the Rhine.

Trivia: Along with such interchangeable actors as Bob Bailey and William Eythe, Frank Latimore was one of the 1940s stable of light leading men at 20th Century-Fox. Signed to a Fox contract while still in his teens, Latimore could be seen in such major releases as In the Meantime Darling (1944) The Dolly Sisters (1946) and Razor's Edge (1946). He played what amounted to a starring role in the 1945 thriller 13 Rue Madeline--until he was casually killed off by villain Richard Conte halfway into the picture. Latimore relocated to Rome in 1949, where he starred in actioners and swashbucklers; one of the last of these was 1962's Vengeance of Zorro. Frank Latimore returned to American films in the 1970s, playing such character parts as Lt. Colonel Henry Davenport in Patton (1970) and the Watergate-burglary judge in All the President's Men (1976).

Trivia: Eccentric, high-voiced British comedienne/actress Elsa Lanchester started her career as a modern dancer, appearing with Isadora Duncan. Lanchester can be seen bringing unique and usually humorous interpretations to roles in The Private Life of Henry VIII (1933), opposite husband Charles Laughton; The Bride of Frankenstein (1934), where she appears both as a subdued Mary Shelley and a hissing bride; David Copperfield and Naughty Marietta (both 1935); Tales of Manhattan (1942) and Forever and a Day (1943), both with Laughton; Lassie Come Home (1943), in which she is unusually subdued as the mother; The Bishop's Wife (1947); The Inspector General and The Secret Garden (1949); and Come to the Stable (1949), for which she was nominated for an Oscar. She and Laughton are riotous together in Witness for the Prosecution (1957), for which she was also Oscar-nominated, and she also appeared in Bell, Book and Candle (1958) and the Disney films Mary Poppins (1964), as the departing nanny Katie Nanna, and in That Darn Cat (1965). One of her best late performances was in Murder by Death (1976). Lanchester was also an actress at London's Old Vic, an outlandish singer, and a nightclub performer; she co-starred on The John Forsythe Show (1965-66), and was a regular on Nanny and the Professor in 1971.

Trivia: Fritz Nathan Kohn was an actor in German theater and films by the mid teens, and he directed himself in Gregor Marold and Else Von Erlenhof after World War One. He stuck to acting in the '20s, appearing in such notable films as Robert Wiene's Orlacs Hande (aka The Hands of Orlac) and G.W. Pabst's Die Buchse Der Pandora (aka Pandora's Box). In the early '30s he directed and co-scripted Der Brave Sunder (aka The Upright Sinner) and So Ein Mudel Vergisst Man Nicht but then had to flee the Nazis. Kortner came to the States in 1938, and after writing and directing on Broadway, became an actor and writer in Hollywood, most notably with The Strange Death of Adolf Hitler. Returning to Germany after the war, he resumed acting and directing in theater and films, helming Die Stadt Ist Voller Geheimnisse and Sarajevo, as well as the television film Die Sendung Der Lysistrata.

Trivia: The son of a Viennese drama critic, John Wengraf enjoyed an extensive -- and expensive -- theatrical training. Wengraf made his stage debut in repertory in 1920, then graduated to the Vienna Volkstheater. He flourished as an actor and director in Berlin until the Nazis came to power in 1933. Moving to England, he appeared in a few films there, and also participated in some of the first BBC live-television presentations. In 1941, he made his Broadway bow, and in 1942 launched his Hollywood career. An imposing-looking fellow who somewhat resembled British actor Leo G. Carroll, Wengraf was frequently cast as erudite Nazi officials; after the war, he specialized in portraying mittel-European doctors and psychiatrists. From the 1950s until his retirement in 1963, John Wengraf made several TV appearances, including two guest-star gigs on The Untouchables.

Trivia: French character actor Jean Del Val was a regular in American films from at least 1927. In the early days of the talkies, he offered his services as translator and vocal coach for the French-language versions of American films. Many of his later roles were fleeting but memorable: he's the French aviator in Block-Heads (1938) who rescues over-aged doughboy Stan Laurel from the trenches ("Why, you blockhead. Ze war's been over for twenty years!") and the French radio announcer who opens Casablanca (1942) by spreading the news of the murder of two German couriers carrying letters of transit. He enjoyed a larger role in Columbia's So Dark the Night (1946), a film seemingly conceived as a showcase for the best of Hollywood's foreign-accented bit players. Active in films until the 1960s, Jean del Val played a crucial non-speaking role in Fantastic Voyage (1966): he's the comatose scientist whose arterial system and brain are explored by the miniaturized heroes.

Trivia: On Broadway in 1932 in the short-running We Are No Longer Children and other plays, tall, solid-looking German actor Walter Bonn became extremely busy in Hollywood films of the 1940s, almost always playing Nazis. Among his countless bit parts, Bonn is affectionately remembered by serial fans as Tala Birell's assistant in Universal's Jungle Queen (1945).

Trivia: American actress Frances Morris was seen in small utility roles from 1934 to 1961. At first, Morris was cast as gun molls, stewardesses, secretaries, receptionists, and maids. She was exceptionally busy in the 1940s, essaying a variety of WAVES and WACs. The following decade, she was seen in maternal roles (some of them actually given character names) in both films and TV. One of Frances Morris' better assignments was the sympathetic prison warden in the 1952 Loretta Young starrer Because of You.

Trivia: The faces of most movie extras are unmemorable blurs in the public's memory. Not so the elegant, statuesque Bess Flowers, who was crowned by appreciative film buffs as "Queen of the Hollywood Dress Extras." After studying drama (against her father's wishes) at the Carnegie Inst of Technology, Flowers intended to head to New York, but at the last moment opted for Hollywood. She made her first film in 1922, subsequently appearing prominently in such productions as Hollywood (1922) and Chaplin's Woman of Paris (1923). Too tall for most leading men, Flowers found her true niche as a supporting actress. By the time talkies came around, Flowers was mostly playing bits in features, though her roles were more sizeable in two-reel comedies; she was a special favorite of popular short-subject star Charley Chase. Major directors like Frank Lloyd always found work for Flowers because of her elegant bearing and her luminescent gift for making the people around her look good. While generally an extra, Flowers enjoyed substantial roles in such films as Frank Capra's It Happened One Night (1934), Gregory La Cava's Private Worlds and Leo McCarey's The Awful Truth (1937). In 1947's Song of the Thin Man, the usually unheralded Flowers was afforded screen billing. Her fans particularly cherish Flowers' bit as a well-wisher in All About Eve (1950), in which she breaks her customary screen silence to utter "I'm so happy for you, Eve." Flowers was married twice, first to Cecil B. DeMille's legendary "right hand man" Cullen Tate, then to Columbia studio manager William S. Holman. After her retirement, Bess Flowers made one last on-camera appearance in 1974 when she was interviewed by NBC's Tom Snyder.

Trivia: The scion of a wealthy Argentine family, boyishly handsome Barry Norton came to Hollywood in 1926, where he was promptly signed to a Fox Studios contract. Stardom came fairly rapidly for Norton with his poignant performance as "mama's boy" Private Lewisohn in the 1927 WWI drama What Price Glory? He followed this triumph with excellent performances in such films as Legion of the Condemned and Four Devils (1928). He had difficulty weathering the change to talking pictures, not because his voice was inadequate, but because he'd never truly mastered the English language. In the early talkie era, Norton starred in Spanish-language versions of Hollywood films (he played the David Manners part in the Spanish Dracula), occasionally doubling as director. His last important screen role was the South American fiancé of ingénue Jean Parker in Frank Capra's Lady for a Night (1933). In 1935, he was given a comeback opportunity as the romantic lead in Laurel and Hardy's Bonnie Scotland (1935), but he was replaced during rehearsals, reportedly because he couldn't keep apace of Stan and Ollie's improvisations. Norton spent the remainder of his Hollywood career as a bit player and extra, taking whatever job came his way without complaint or regret. An excellent dancer, he frequently showed up in nightclub and ballroom scenes, occasionally giving between-takes dance lessons to such male stars as Humphrey Bogart. One of Barry Norton's last screen appearances was as a priest in the 1952 remake of What Price Glory?

Trivia: A scion of the famous California railroad and land development dynasty, Mayo Newhall (born William Mayo Newhall) turned up in several MGM productions in the 1940s, most notably as Mr. Braukoff in Meet Me in St. Louis (1944), the fearsome neighbor "killed" by little Tootie's water-fortified flour. Newhall died in 1958.

Trivia: Versatile British character actor Richard Shaw specialized in playing Americans on-stage. He also staffed many crime programmers. In addition, Shaw performed in cabarets and played drums in jazz ensembles.

Trivia: Born Irene Granstedt, this Swedish starlet changed her first name for obvious reasons when entering films in 1928. No one, however, mistook Granstedt for Garbo and she went on to play a series of hardboiled roles seemingly deemed too small for the likes of Veda Ann Borg. Growing up in Mountain View, CA, Granstedt first made headlines when at 14 she shot and critically wounded a boyfriend who had committed the sin of accompanying another girl to a church social. According to newspaper reports, Greta Granstedt was sentenced "to leave Mountain View and never return." By the mid-'20s, she had recovered enough from the ordeal to appear opposite Joseph Schildkraut in a Los Angeles production of From Hell Came a Lady and had taken the second of her seven husbands. She made her screen debut in a small role in Buck Privates (1928), with European idol Lya de Putti, and her talkie debut in The Last Performance (1929). Again the role was miniscule and Granstedt would make her biggest impact in low-budget action films, including two serials. Her unfortunate past was dredged up again when she married musician Ramon Ramos but her reputation as the "Tragedy Girl" failed to open any new doors in Hollywood and she continued to play mainly bit parts. Some of these, however, were quite good and she is memorable as Beulah Bondi's daughter in the crime drama Street Scene (1931) and as Margo's hardboiled friend in the New York-lensed Crime Without Passion (1934). While in New York, Granstedt appeared in a couple of Broadway plays before returning to Hollywood for perhaps her best remembered role, that of Anna, one of the resistance workers in Beasts of Berlin (1939), the exploitation drama that put ramshackle PRC on the map. Her other 1940s roles were minor and she had to wait until 1958 and The Return of Dracula to make any kind of impact. In this not-as-bad-as-it-sounds horror pastiche she played a stout California housewife welcoming Francis Lederer's count to her suburban home -- with the expected results. Retiring permanently from the screen in 1970, Granstedt relocated to Canada and raised Appaloosa horses.

Trivia: European character actor George Sorel made his first American film appearance in 1936. Usually showing up unbilled as gendarmes and maître d's, Sorel was afforded rare screen billing for his one scene and one line as Walter Woolf King's valet in Laurel and Hardy's Swiss Miss (1938). He flourished during WWII thanks to his rather shifty, sinister features, which permitted him to play many a Nazi or collaborator. One of George Sorel's most extensive assignments was in the 1946 Universal serial Lost City of the Jungle; when the serial's principal heavy, Lionel Atwill, died during production, Sorel was called in to double for Atwill in several transitional scenes.

Trivia: Also billed as Saul Gorse and Sol Gorss, this busy character actor/stunt man entered films in 1933. Gorss spent the better part of his career at Warner Bros., playing muscular utility roles and doubling for the studio's male stars. He forsook Hollywood for war service in 1943, then returned to films, once more cast in minor roles in westerns and crime pictures. One of Saul Gorss' most distinguished credits of the 1950s was The Thing, in which he was one of the stunt performers and coordinators.

Trivia: A former operatic tenor, diminutive (about five feet tall) Polish-born character comedian Marek Windheim usually portrayed excitable characters, such as headwaiters and hotel clerks, often sporting a fake French accent. Making his Hollywood debut as the ballet master in Shall We Dance? (1937), Windheim popped up in countless, usually unbilled bit parts until at least 1946.

Trivia: In films from 1937, silver-haired American actor Forbes Murray could be described as a less-costly Claude Rains. Murray lent his middle-aged dignity to such serials as The Spider's Web (1938), Mandrake the Magician (1940), Lone Ranger (1938), Perils of Nyoka (1942), Manhunt of Mystery Island (1945), and Radar Patrol vs. Spy King (1950). He also showed up in quite a few comedies, notably as the bank president who finances the college education of Laurel and Hardy ("Diamonds in the rough," as he describes them) in A Chump at Oxford (1940). Forbes Murray was active at least until 1955.

Trivia: A debonair, mustachioed supporting actor from France, Jean De Briac played prominent roles in the silent era -- Fred Thomson's fisherman brother in Mary Pickford's The Love Light (1921), the notorious "The Knifer" in Clara Bow's Parisian Love (1925), the stage director in Greta Garbo's The Divine Woman (1928) -- but mainly bit parts thereafter. De Briac, whose career continued well into the '50s, even turned up in a 1949 episode of television's The Lone Ranger.

Trivia: Many research sources arbitrarily begin the list of French actor Eugene Borden's films in 1936. In fact, Borden first showed up on screen as early as 1917. Seldom afforded billing, the actor was nonetheless instantly recognizable in his many appearances as headwaiters, porters, pursers and coachmen. Along with several other stalwart European character actors, Borden was cast in a sizeable role in the above-average Columbia "B" So Dark the Night (1946). Musical buffs will recall Eugene Borden as Gene Kelly and Oscar Levant's landlord in An American in Paris (1951).

Trivia: In films from 1919, Dutch vaudeville comic George Davis played one of the featured clowns in Lon Chaney's He Who Gets Slapped (1924) and was also in Buster Keaton's Sherlock, Jr. that same year. In the sound era, Davis specialized in playing waiters but would also turn up as bus drivers, counter men, and circus performers, often assuming a French accent. When told that Davis' business as a hotel porter included carrying Greta Garbo's bags, the soviet envoy opined: "That's no business. That's social injustice." "Depends on the tip," replied Davis. He continued to play often humorous bits well into the '50s, appearing in such television shows as Cisco Kid and Perry Mason. The veteran performer died of cancer at the Motion Picture Country House and Hospital.

Trivia: French character actor Louis Mercier was in American films from 1929's Tiger Rose until well into the 1970s. Mercier was particularly busy at 20th Century-Fox's "B"-picture unit in the 1930s and 1940s, usually cast as detectives and magistrates. He can be seen fleetingly in Casablanca (1942) as a smuggler in the first "Rick's Café Americain" sequence. Louis Mercier's later credits include An Affair to Remember (1957, in which he was given a character name--a rarity for him), The Devil at 4 O'Clock (1961) and Darling Lili (1970).