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: Born in Ranelagh, Ireland, near Dublin, Maureen O'Hara was trained at the Abbey Theatre School and appeared on radio as a young girl before making her stage debut with the Abbey Players in the mid-'30s. She went to London in 1938, and made her first important screen appearance that same year in the Charles Laughton/Erich Pommer-produced drama Jamaica Inn, directed by Alfred Hitchcock. She was brought to Hollywood with Laughton's help and co-starred with him in the celebrated costume drama The Hunchback of Notre Dame, which established O'Hara as a major new leading lady. Although she appeared in dramas such as How Green Was My Valley with Walter Pidgeon, The Fallen Sparrow opposite John Garfield, and This Land Is Mine with Laughton, it was in Hollywood's swashbucklers that O'Hara became most popular and familiar. Beginning with The Black Swan opposite Tyrone Power in 1942, she always seemed to be fighting (or romancing) pirates, especially once Technicolor became standard for such films. Her red hair photographed exceptionally well, and, with her extraordinary good looks, she exuded a robust sexuality that made her one of the most popular actresses of the late '40s and early '50s.O'Hara was also a good sport, willing to play scenes that demanded a lot of her physically, which directors and producers appreciated. The Spanish Main, Sinbad the Sailor, and Against All Flags (the latter starring Errol Flynn) were among her most popular action films of the '40s. During this period, the actress also starred as young Natalie Wood's beautiful, strong-willed mother in the classic holiday fantasy Miracle on 34th Street and as John Wayne's estranged wife in the John Ford cavalry drama Rio Grande. O'Hara became Wayne's most popular leading lady, most notably in Ford's The Quiet Man, but her career was interrupted during the late '50s when she sued the scandal magazine Confidential. It picked up again in 1960, when she did one of her occasional offbeat projects, the satire Our Man in Havana, based on a Graham Greene novel and starring Alec Guinness. O'Hara moved into more distinctly maternal roles during the '60s, playing the mother of Hayley Mills in Disney's popular The Parent Trap. She also starred with Wayne in the comedy Western McLintock!, and with James Stewart in the The Rare Breed, both directed by Andrew V. McLaglen. Following her last film with Wayne, Big Jake, and a 1973 television adaptation of John Steinbeck's The Red Pony, O'Hara went into retirement, although returned to the screen in 1991 to play John Candy's overbearing mother in the comedy Only the Lonely, and later appeared in a handful of TV movies. In 2014, she received an Honorary Academy Award, despite having never been nominated for one previously. O'Hara died the following year, at age 95.

Trivia: The son of a prosperous Philadelphian, Laird Cregar was educated at Winchester Academy in England, spending his summers as a page boy and bit player with the Stratford-on-Avon theatrical troupe. Upon completing his schooling, Cregar won a scholarship at California's Pasadena Playhouse, supporting himself as a nightclub bouncer when funds ran out. So broke that at times he had to sleep in his car, Cregar forced Hollywood to pay attention to him by staging his own one-man show, in which he portrayed Oscar Wilde. After a few minor film roles, the 24-year-old Cregar was signed to a 20th Century-Fox contract; among his first major roles was the middle-aged Francis Chesney in Charley's Aunt (1941), the first of several showcases for the actor's delightful comic flair. With his sinister portrayal of the psychopathic detective in I Wake Up Screaming (1941), Cregar became one of filmdom's top "heavies"--both figuratively and literally. Seldom weighing less than 300 pounds throughout his adult life, Cregar came to a tragic end because of his obsession to become a slim "beautiful man". After top-billing in The Lodger (1944), playing the reclusive British musician who may or may not be Jack the Ripper, the increasingly sensitive Cregar was growing tired of being thought of as merely a hulking villain. When assigned the role of demented pianist George Bone in Hangover Square (1945), Cregar decided to give the character a romantic veneer, and to that end lost one hundred pounds in a crash diet. The strain on his system resulted in severe abdominal problems; a few days after undergoing stomach surgery, the 28-year-old Laird Cregar died of heart attack.

Trivia: The son of Irish immigrants, Thomas Mitchell came from a family of journalists and civic leaders; his nephew, James Mitchell, later became the U.S. Secretary of Labor. Following the lead of his father and brother, Mitchell became a newspaper reporter after high school, but derived more pleasure out of writing comic theatrical skits than pursuing late-breaking scoops. He became an actor in 1913, at one point touring with Charles Coburn's Shakespeare Company. Even when playing leads on Broadway in the 1920s, Mitchell never completely gave up writing; his play Little Accident, co-written with Floyd Dell, would be filmed by Hollywood three times. Entering films in 1934, Mitchell's first role of note was as the regenerate embezzler in Frank Capra's Lost Horizon (1937). Many film fans assume that Mitchell won his 1939 Best Supporting Oscar for his portrayal of Gerald O'Hara in the blockbuster Gone With the Wind; in fact, he won the prize for his performance as the drunken doctor in Stagecoach -- one of five Thomas Mitchell movie appearances in 1939 (his other films that year, classics all, were Only Angels Have Wings, Mr. Smith Goes to Washington, and The Hunchback of Notre Dame). Those who watch TV only during the Christmas season are familiar with Mitchell's portrayal of the pathetic Uncle Billy in Capra's It's a Wonderful Life (1946). In the 1950s, Mitchell won an Emmy in 1952, a Tony award (for Wonderful Town) in 1954, and starred in the TV series Mayor of the Town (1954). In 1960, Mitchell originated the role of Lieutant Columbo (later essayed by Peter Falk) in the Broadway play Prescription Murder. Thomas Mitchell died of cancer in December of 1962, just two days after the death of his Hunchback of Notre Dame co-star, Charles Laughton.

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

Trivia: Earthy and at times exuberant, Anthony Quinn was one of Hollywood's more colorful personalities. Though he played many important roles over the course of his 60-year career, Quinn's signature character was Zorba, a zesty Greek peasant who teaches a stuffy British writer to find joy in the subtle intricacies of everyday life in Zorba the Greek (1964), which Quinn also produced. The role won him an Oscar nomination and he reprised variations of Zorba in several subsequent roles. Although he made a convincing Greek, Quinn was actually of Irish-Mexican extraction. He was born Antonio Rudolfo Oaxaca Quinn in Chihuahua, Mexico, on April 21, 1915, but raised in the U.S. Before becoming an actor, Quinn had been a prizefighter and a painter. He launched his film career playing character roles in several 1936 films, including Parole (his debut) and The Milky Way, after a brief stint in the theater. In 1937, he married director Cecil B. DeMille's daughter Katherine De Mille, but this did nothing to further his career and Quinn remained relegated to playing "ethnic" villains in Paramount films through the 1940s. By 1947, he was a veteran of over 50 films and had played everything from Indians, Mafia dons, Hawaiian chiefs, Chinese guerrillas, and comical Arab sheiks, but he was still not a major star. So he returned to the theater, where for three years he found success on Broadway in such roles as Stanley Kowalski in A Streetcar Named Desire. Upon his return to the screen in the early '50s, Quinn was cast in a series of B-adventures like Mask of the Avenger (1951). He got one of his big breaks playing opposite Marlon Brando in Elia Kazan's Viva Zapata! (1952). His supporting role as Zapata's brother won Quinn his first Oscar and after that, Quinn was given larger roles in a variety of features. He went to Italy in 1953 and appeared in several films, turning in one of his best performances as a dim-witted, thuggish, and volatile strongman in Federico Fellini's La Strada (1954). Quinn won his second Best Supporting Actor Oscar portraying the painter Gaugin in Vincente Minnelli's Lust for Life (1956). The following year, he received another Oscar nomination for George Cukor's Wild Is the Wind. During the '50s, Quinn specialized in tough, macho roles, but as the decade ended, he allowed his age to show. His formerly trim physique filled out, his hair grayed, and his once smooth, swarthy face weathered into an appealing series of crags and crinkles. His careworn demeanor made him an ideal ex-boxer in Requiem for a Heavyweight and a natural for the villainous Bedouin he played in Lawrence of Arabia (both 1962). The success of Zorba the Greek in 1964 was the highwater mark of Quinn's career during the '60s -- it offered him another Oscar nomination -- and as the decade progressed, the quality of his film work noticeably diminished. The 1970s offered little change and Quinn became known as a ham, albeit a well-respected one. In 1971, he starred in the short-lived television drama Man in the City. His subsequent television appearances were sporadic, though in 1994, he became a semi-regular guest (playing Zeus) on the syndicated Hercules series. Though his film career slowed considerably during the 1990s, Quinn continued to work steadily, appearing in films as diverse as Jungle Fever (1991), Last Action Hero (1993), and A Walk in the Clouds (1995). In his personal life, Quinn proved as volatile and passionate as his screen persona. He divorced his wife Katherine, with whom he had three children, in 1956. The following year he embarked on a tempestuous 31-year marriage to costume designer Iolanda Quinn. The union crumbled in 1993 when Quinn had an affair with his secretary that resulted in a baby; the two shared a second child in 1996. In total, Quinn has fathered 13 children and has had three known mistresses. He and Iolanda engaged in a public and very bitter divorce in 1997 in which she and one of Quinn's sons, Danny Quinn, alleged that the actor had severely beaten and abused Iolanda for many years. Quinn denied the allegations, claiming that his ex-wife was lying in order to win a larger settlement and part of Quinn's priceless art collection. When not acting or engaging in well-publicized court battles, Quinn continued to paint and became a well-known artist. He also wrote and co-wrote two memoirs, The Original Sin (1972) and One Man Tango (1997). In the latter, Quinn is candid and apologetic about some of his past's darker moments. Shortly after completing his final film role in Avenging Angelo (2001), Anthony Quinn died of respiratory failure in Boston, MA. He was 86.

Trivia: Born in England, George Zucco launched his theatrical career in Canada in 1908. During his first decade as a performer, Zucco toured in American vaudeville with his wife, Frances, in a sketch entitled "The Suffragette." He established himself as a leading actor in England in the 1920s, entering films with 1931's The Dreyfus Case. Zucco returned to the U.S. in 1935 to play Disraeli opposite Helen Hayes in Victoria Regina. He came to Hollywood to re-create his stage role in the film version of Autumn Crocus (1937), remaining to play mostly minor roles for the next two years. He finally found his villainous niche in the role of the erudite but deadly Professor Moriarity in 1939's The Adventures of Sherlock Holmes. Throughout the 1940s, Zucco apparently took every role that was offered him, playing mad scientists, master criminals, and occasional red herrings in films ranging from Universal's The Mad Ghoul (1943) to PRC's Fog Island (1945). He played the fanatical Egyptian priest Anhodeb in 1940's The Mummy's Hand, and, though supposedly killed in that film, showed up none the worse for wear in the 1942 sequel The Mummy's Tomb. His quirkiest horror role was as a gas station attendant who doubled as a kidnapper and voodoo drum-thumper in Monogram's incredible Voodoo Man (1944). When not scaring the daylights out of his audience, Zucco could be found playing roles requiring quiet whimsy, notably the detective in Lured (1947) and the judge in Let's Dance (1950). After completing his final, unbilled film assignment in David and Bathsheba (1951), George Zucco completely disappeared from view; seriously ill for many years, he died in a Hollywood sanitarium at the age of 74.

Trivia: Dropping the "Cooper" in his name to avoid confusion with bit player Edward Cooper, British actor Edward Ashley was a seven-year film veteran when he came to America in 1940. His first Hollywood picture, and for many years his best, was MGM's Pride and Prejudice (1940). Ashley was but one of many handsome Englishmen wandering around the MGM lot, so the studio used him in anything that came along. He was afforded a rare star-billing credit in the "Passing Parade" short subject Strange Testament (1941), in which he played a New Orleans millionaire who left a monetary legacy to all Louisiana newlyweds as compensation for betraying his own true love. Freelancing by the late 1940s, Ashley appeared in several second leads and character parts such as the Commissioner in the Mexican-filmed Tarzan and the Mermaids (1948). Banking on his resemblance to Errol Flynn, Ashley played the Fox, a Robin Hood type, in The Court Jester (1956), but most of the derring-do went to the film's true star, Danny Kaye (who impersonated the Fox). Edward Ashley remained a journeyman actor into the 1970s, appearing with dignity if not distinction in such films as Herbie Rides Again (1973) and Won Ton Ton, The Dog Who Saved Hollywood (1976).

Trivia: A law student at the University of Madrid, Fortunio Bonanova switched his major to music at Madrid's Real Conservatory and the Paris Conservatory. Bonanova inaugurated his operatic career as a baritone at the age of 17. By age 21 he was in films, producing, directing and starring in a silent production of Don Juan (1921). He spent most of the 1920s singing at the Paris opera and writing books, plays and short stories; he arrived in America in 1930 to co-star with Katherine Cornell on Broadway. At the invitation of his friend Orson Welles, Bononova portrayed the feverish singing teacher Signor Matisti in Welles' Citizen Kane (1941). Fortunio Bonanova remained gainfully employed in Hollywood as a character actor into the early 1960s.

Trivia: A handsome British actor/singer, Stuart Robertson was the brother of one of British cinema's great divas, Anna Neagle. In Hollywood from 1940, Robertson was Freddie the bandleader in Neagle's Irene and played both Stillwater pere et fils in No, No Nanette (1940), again opposite his famous sister. After playing the typical British soldier in such films as River's End (1940), Confirm and Deny (1941), and the nearly all-British Forever and a Day (1943), Robertson served in the Canadian navy before returning to England after V-E Day to become a producer/director with Imperadio Pictures.

Trivia: Bespectacled, dignified British stage actor Frederick Worlock came to Hollywood in 1938. During the war years, Worlock played many professorial roles, some benign, some villainous. A semi-regular in Universal's Sherlock Holmes series, he essayed such parts as Geoffrey Musgrave in Sherlock Holmes Faces Death (1943). Active until 1966, Frederick Worlock's final assignments included a voice-over in the Disney cartoon feature 101 Dalmations (1961).

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: The younger brother of Irish actor Barry Fitzgerald, Arthur Shields joined Fitzgerald at Dublin's famed Abbey as a Player in 1914, where he directed as well as acted. Though in films fitfully since 1910, Shield's formal movie career didn't begin until he joined several other Abbey veterans in the cast of John Ford's Plough and the Stars (1936). He went on to appear in several other Ford films, generally cast in more introverted roles than those offered his brother. Unlike his sibling, Shields was not confined to Irish parts; he often as not played Americans, and in 1943's Dr. Renault's Secret, he was seen as a French police inspector. Never as prominent a film personality as his brother, Arthur Shields nonetheless remained a dependable second-echelon character player into the 1960s.

Trivia: A debonair British-born supporting player in Hollywood films from 1936, John Burton usually played men of wealth and prestige, such as Lord Nelson in Lloyds of London, Lafayette in Marie Antoinette (1938), and a Scotland Yard inspector in Phantom Raiders (1940), the latter an entry in MGM's brief "Nick Carter" series. During World War II, he was often cast as RAF officers and also did quite a bit of narration work for wartime short subjects. Burton's final film seems to have been Attack of the Mayan Mummy (1963), a Jerry Warren atrocity filmed in Mexico.

Trivia: Black actor of Hollywood films, onscreen from 1929. He graduated from law school, but in his early '30s he abandoned law to work as an actor in New York with the Lincoln Players; he co-founded his next acting company, the Lafayette Players. He was offered a role in the all-black film musical Hearts in Dixie (1929), and accepted after the studio signed him for $1250 a week. He made films for almost five decades, and much of the time he was busy almost constantly; he often played Uncle Tom types, but also gave many performances that were invested with considerable dignity and intelligence. In 1973 he was inducted in the Black Filmmakers Hall of Fame.

Trivia: Piping-voice, hamster-faced Scottish character actor Olaf Hytten left the British stage for films in 1921. By the time the talkie era rolled around, Hytten was firmly established in Hollywood, playing an abundance of butlers and high-society gentlemen. The actor was primarily confined to one or two-line bits in such films as Platinum Blonde (1931), The Sphinx (1933), Bonnie Scotland (1935), Beloved Rebel (1936), The Howards of Virginia (1940) and The Bride Came COD (1941). He was a semi-regular of the Universal B-unit in the '40s, appearing in substantial roles as military men and police official in the Rathbone/Bruce Sherlock Holmes series and as burgomeisters and innkeepers in the studio's many horror films (Ghost of Frankenstein, House of Frankenstein, etc.) Olaf Hytten was active until at least 1956; one of his more memorable assignments of the '50s was as the larcenous butler who participates in a scheme to drive Daily Planet editor Perry White crazy in the "Great Caesar's Ghost" episode of the TV series Adventures of Superman.

Trivia: Before turning to films, Irish-born Charles Irwin enjoyed a long career as a music hall and vaudeville monologist. Irwin's talking-picture debut was the appropriately titled 1928 short subject The Debonair Humorist. Two years later, he proved a dapper and agreeable master of ceremonies for Universal's big-budget Technicolor musical The King of Jazz (1930). As the 1930s wore on, his roles diminished into bits and walk-ons; he fleetingly showed up as a green-tinted "Ozite" in The Wizard of Oz (1939) and appeared as the British racetrack announcer describing the progress of "Little Johnny Jones" in Yankee Doodle Dandy (1942). Before his retirement in 1959, Charles Irwin essayed such one-scene assignments as territorial representative Andy Barnes in the first few Bomba the Jungle Boy pictures and Captain Orton in The King and I (1956).

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

Trivia: A top supporting actor in the silent era, handsome, mustachioed Frank Leigh usually played slightly decadent aristocrats: Lord Douglas in Mary Miles Minter's Nurse Marjorie (1920), evil plotter Count Marlaux in John Gilbert's Truxton King (1923), and the blackmailing Count Verensky in George Walsh's American Pluck. He also played the commandant in Mary Pickford's Rosita, one of the phony clairvoyants in Matt Moore's His Majesty, Bunker Bean (1925), and the evil Emir in Tom Mix's King Cowboy (1927). Leigh's roles got increasingly smaller in the sound era, when he was reduced to playing butlers and headwaiters.

Trivia: The daughter of early movie matinee idol Maurice Costello and the younger sister of silent star Dolores Costello, Helene Costello made her first movie appearances as a child in her father's films. Helene's adult career followed many of the same paths previously trodden by her sister Dolores: modelling work in New York, dancing in George White's Scandals, and leading-lady assignments in several popular films of the 1920s. Helene co-starred in the first all-talking feature film, Lights of New York (1928); ironically, she proved to be an inadequate talkie actress, and her star quickly waned. For a brief period in the early 1930s, Helene was the wife of actor/director Lowell Sherman, and the sister-in-law of John Barrymore. Twenty-two years after appearing in her last film, Helene Costello died at age 53, suffering from the combined effects of pneumonia and tuberculosis.

Trivia: A slight man with an air of perpetual anxiety, character actor William Edmunds was most often cast in stereotypical Spanish and Italian roles. Edmunds' first film, the Bob Hope 2-reeler Going Spanish (1934), was lensed in New York; he didn't settle down in Hollywood until 1938. He played bits in films like Idiot's Delight (1939) and Casablanca (1942), and larger roles in such fare as House of Frankenstein (1944, as gypsy leader Fejos), Bob Hope's Where There's Life (1947, as King Hubertus II) and Double Dynamite (1951, as waiter Groucho Marx's long-suffering boss). His many short subject appearances include a few stints as Robert "Mickey" Blake's father in the Our Gang series. William Edmunds was afforded top billing in the 1951 TV situation comedy Actors' Hotel.

Trivia: According to his official studio bio, Boyd Irwin appeared for 17 years on stages in both his native England and Australia. He embarked on a screen career in the latter country in 1915, as a leading man with J.C. Williamson Prod., Southern Cross Feature Film Co., and Haymarket Pictures Corp. In America from 1919, Irwin was relegated to character roles, often villainous in nature, and can be seen as Rochefort in Douglas Fairbanks' The Three Musketeers (1921). He also played the Duc de Guise in Norma Talmadge's Ashes of Vengeance (1923) and Levasseur in Vitagraph's Captain Blood (1924) before returning to Australia. Irwin was back in Hollywood after the changeover to sound, however, lending his ramrod-straight presence to playing scores of military officers, noblemen, and even hotel clerks in films ranging from Madam Satan (1930) to Forever Amber (1947).