Trivia: The daughter of a Massachusetts lawyer, American actress Bette Davis matured with a desire to become an actress upon her graduation from Cushing Academy, but was turned away from Eva LeGallienne's Manhattan Civic Repertory in New York. Undaunted, Davis enrolled in John Murray Anderson's Dramatic School, where everyone (including classmate Lucille Ball) regarded her as the star pupil. After a 1928 summer season with director George Cukor's stock company in Rochester, NY (where she worked with future co-star -- and rival -- Miriam Hopkins), Davis went on to Broadway, starring in Broken Dishes and Solid South before Hollywood called. Dazzling on-stage, Davis was signed to a contract by Universal in 1930. After an unimpressive debut in Bad Sister in 1931, however, Davis was out of work, but picked up by Warner Bros. soon thereafter. Davis applied herself with white-hot intensity to becoming a star with that company, and after a major role in the 1932 George Arliss vehicle The Man Who Played God, a star she became. Still, the films at Warner Bros. were uneven, and it wasn't until the studio loaned out Davis to play the bravura role of Mildred in RKO's Of Human Bondage (1934) that the critics began to take notice. An Oscar nomination seemed inevitable for her performance in Bondage, but Davis was let down by Warner Bros., which didn't like the fact that her best appearance had been in a rival's movie, and it failed to get behind her Oscar campaign (although there was a significant write-in vote for the actress). But, in 1935, Davis excelled as a self-destructive actress in the otherwise turgid film Dangerous, and an Oscar was finally hers. And when Warner Bros. subsequently failed to give Davis the top roles she felt she then merited, the actress went on strike and headed for England. She lost a legal battle with the studio and came back, but it acknowledged her grit and talent by increasing her salary and giving her much better roles. In 1939 alone, Davis starred in Dark Victory, Juarez, The Private Lives of Elizabeth and Essex, and The Old Maid. But she didn't get the plum role of the season -- Scarlet O'Hara in Gone With the Wind -- because Warner Bros. wouldn't loan her to David O. Selznick unless Errol Flynn was chosen to play Rhett Butler (a piece of casting both Selznick and Davis violently opposed). But Davis had already had her turn at playing a Southern belle in Jezebel (1938), which won her second a Oscar. As her star status increased in the 1940s, Davis found that it would have to be at the expense of her private life -- she would be married and divorced four times, admitting toward the end of her life that her career came first, last, and always. A fling at being her own producer in 1946 was disappointing, and her contract with Warner Bros. petered out in 1949 with a string of unsuccessful films. Davis made a spectacular comeback in 1950 when she replaced an ailing Claudette Colbert in the role of Margot Channing in the Oscar-winning All About Eve. Though suffering from a bone disease that required part of her jaw to be removed, Davis continued to work in films throughout the '50s; but, in 1961, things came to a standstill, forcing the actress to take out a famous job-wanted ad in the trade papers. In 1962, Davis began the next phase of her career when she accepted the role of a whacked-out former child star in What Ever Happened to Baby Jane? This led to a string of gothic horror films that did little to advance Davis' reputation, but kept her in the public eye. It was also in 1962 that Davis penned her thoughtful and honest autobiography The Lonely Life. Working in movies, TV, on-stage and on one-woman lecture tours into the '70s, Davis may have been older but no less feisty and combative; her outspokenness may have unnerved some of her co-stars, but made her an ideal interview subject for young film historians and fans. In 1977, Davis received a Lifetime Achievement Award from the American Film Institute, an honor usually bestowed upon performers who were retired or inactive. Not Davis. She kept at her craft into the '80s, even after a stroke imposed serious limitations on her speech and movement. Amidst many TV movies and talk-show appearances, Davis gave one last memorable film appearance in The Whales of August (1987), in which she worked with another venerable screen legend, Lillian Gish. Though plagued with illness, Davis was formidable to the end -- so much so that when she died in France at the age of 82, a lot of her fans refused to believe it.

Trivia: A rugged, craggy-faced, bushy-browed lead actor and character player, he began his stage career in 1937, which was interrupted by service in World War Two. He debuted onscreen in Winged Victory (1944), but did not begin regularly appearing in films until 1949; he was usually cast as grim, determined, humorless men in action features. From 1950-60 he was married to actress Bette Davis, with whom he appeared in three films. His many TV credits include a role in the series Young Dr. Kildare. He was politically active in liberal causes, and played a part in rejuvenating Maine's Democratic party; he also helped elect Edmund Muskie to governor of that state in 1953. In 1965 he took part in the Selma-Montgomery civil rights march. At odds with President Johnson's Vietnam policy, he switched parties and in 1968 tried unsuccessfully to win a Republican nomination to the Maine legislature as an anti-war, pro-environmentalist primary candidate. He authored an autobiography, Bette, Rita and the Rest of My Life (1989); "Rita" refers to actress Rita Hayworth, with whom he'd had a romantic affair.

Trivia: He escaped working in the impoverished mining town of his youth when he won scholarships to a Swiss school and Oxford. In 1927 he debuted onstage in both London and New York, and by the early '30s he was among the most well-respected leading men of his day; meanwhile he branched out into playwrighting and direcing. The best known of his plays is The Corn is Green (1938), which won the New York Drama Critics Award as best foreign play in 1941. He authored the autobiographies George (1961) and Emlyn (1973). He debuted onscreen in 1932 and for a decade he was very busy in films; after 1942 his film work was sporadic.

Trivia: Cambridge-educated leading man Anthony Steel had several seasons of theatrical work behind him when he first stepped before the movie cameras in 1948. His heyday was in the 1950s, a fact that can be attributed as much to his well-publicized marriage to actress Anita Ekberg as to such starring vehicles as Storm Over the Nile (the 1954 remake of The Four Feathers) and The Black Tent (1955). In the 1960s, he was often as not seen in Italian costume pictures and actioners. Anthony Steel rather surprisingly re-emerged in the 1970s as a featured player in such soft-core erotica as The Story of O, then played character parts in films like The Mirror Crack'd until his retirement in the early '80s.

Trivia: A London stage veteran at 19, British actress Barbara Murray launched her film career with 1948's Anna Karenina. Murray flourished in movies for nearly three decades, starring or costarring in such productions as Passport to Pimlico (1948), Another Man's Poison (1951) (which top-billed Bette Davis and Gary Merrill), Meet Mr. Lucifer (1954) and Tales from the Crypt (1972). On television, Ms. Murray was a regular on the British series Power Game, which ran from 1966 to 1968. American audiences saw Barbara Murray as star of The Bretts, an eight-part saga of the London theatre world of the '20s which ran as the first offering of Masterpiece Theatre's 1987-88 season.

Trivia: British actor/writer Reginald Beckwith was a playwright and film critic in the years before the war. From 1941 through 1945, Beckwith was a BBC war correspondent; coincidentally, his first film as an actor was the 1940 flag-waver Freedom Radio. His best known play was the serio-comedy Boys in Brown, concerning a British borstal (boys' reformatory) and its kindhearted headmaster; apparently Beckwith had written the latter role with himself in mind, though it would be played by Jack Warner in the film version. From the late 1940s onward, Reginald Beckwith was a full-time character actor, playing variations on the fussy, nervous upper-class and executive types so popular in British films of the period.