Trivia: A onetime schoolteacher, Jean Peters was brought to Hollywood in 1946 upon winning a popularity contest in her home state of Ohio. She was signed to a 20th Century Fox contract and given star billing in her first film, Captain From Castile. With rare exceptions, Peters seldom played conventional ingénues; most of her characters were peppery, combative, and doggedly independent. After 1955's A Man Called Peter, Peters completely retired from films, having recently married billionaire Howard Hughes in a secret ceremony. The union was as bizarre as anything else in Hughes' life; he and Peters lived separately and rarely saw each other, conducting most of their tête-à-tête by telephone or through intermediaries. Only when Peters divorced Hughes in 1971 did she reemerge in the public eye. Two years later, Jean Peters briefly jump-started her acting career with her performance in the PBS TV drama Winesburg, Ohio.

Trivia: Born Louis Gendre in Marseille, France in 1921, Louis Jourdan (his mother's maiden name) was Hollywood's go-to Frenchman for the majority of his career, which spanned over five decades. He trained as an actor with Rene Simon at the Ecole Dramatique and made his onscreen debut in 1939, going on to play cultivated, polished, dashing lead roles in a number of French romantic comedies and dramas. After his father was arrested by the Gestapo, Louis and his two brothers joined the French underground; his film career came to a halt when he refused to act in Nazi propaganda films. In 1948 David O. Selznick invited him to Hollywood to appear in The Paradine Case (1948); he remained in the U.S. and went on to star in a number of Hollywood films. Jourdan quickly followed The Paradine Case with Letter From an Unknown Woman, opposite Joan Fontaine and a supporting role in Madame Bovary, directed by Vincente Minnelli. He continued to work in both France and Hollywood, often playing the French playboys. In 1958, he reteamed with Minnelli to play Gaston in the musical Gigi, opposite Leslie Caron, and got to showcase his singing voice in the film.He spent a significant part of his career filming adaptations of Alexandre Dumas works. He played the title character in The Count of Monte Cristo (1961) and later played the villain, De Villefort, in a TV movie of the same story, followed by a turn as D'Artagnan in The Man in the Iron Mask (1977). In 1983, he played a Bond villain, Kamal Khan, in Octopussy. Jourdan slowed his film output by the late 1980s, and made his last film, Year of the Comet, in 1992. He died in 2015, at age 93.

Trivia: She may have hailed from Denver, but actress Debra Paget had the sensual, exotic demeanor of an Arabian Nights princess -- which indeed she played on a few occasions. Signed by 20th Century Fox in 1949, the fresh-out-of-high-school Paget made her cinematic mark in the role of James Stewart's ill-fated Native American wife in Broken Arrow (1950). Most of her subsequent roles were merely decorative, though she was a more than adequate Cosette in the 1952 version of Les Miserables. In 1959, Paget was cast in Fritz Lang's sumptuous international production Journey to the Lost City, gaining extensive publicity coverage for her blood pressure-raising belly dance. After two failed marriages, one to director Budd Boetticher (for whom she had acted in 1955's Seven Men From Now), Debra Paget wed a wealthy Chinese-American oil executive in 1964, the same year that she retired from films.

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: Awarded a scholarship to a prestigious New York drama school at 17, Thomas Gomez first stepped on the Broadway stage as a cadet in Walter Hampden's Cyrano de Bergerac. He joined Alfred Lunt's company in the 1930s, playing character parts of varying sizes. He also made a pioneering television appearance in a 1940 broadcast of a long-forgotten playlet called "A Game of Chess". After garnering good reviews for his performance in the 1942 play Flowers of Virtue, Gomez was signed to play a megalomanic Nazi spy in his first film, Sherlock Holmes and the Secret Weapon (1942). By virtue of his weight, his raspy voice and his baleful appearance, Gomez was often cast as heavies, though he evinced a preference for characters with "some rascality, warmth and dimension." Of Spanish heritage, Gomez refused to play Latin characters unless they could be presented "with sympathy, or at least with humanity." In 1947, Gomez was Oscar-nominated for just such a role in Ride the Pink Horse. Amidst his dramatic roles, Gomez proved a worthy foil to such comedians as Bob Hope and Abbott and Costello. Thomas Gomez' extensive television work included the part of a most courtly devil in the 1959 Twilight Zone episode "Escape Clause," Soviet functionary Malenkov in the like-vintage Playhouse 90 drama "The Plot to Kill Stalin," and a Minnesota Fats-type pool player in a well-circulated 1965 Mister Ed installment; he also played Pasquale in the 1953 TV revival of radio's Life With Luigi.

Trivia: Like the stalwart medieval castles that still dominate the hillsides of his childhood home in southwestern Scotland, James Robertson-Justice was imposing. His cavernous chest, his resonant voice, his full beard, and his stately bearing all suggested the regality of a mighty king. In fact, in the Sword and the Rose in 1953, Robertson-Justice portrayed the most lordly of British kings, Henry VIII, winning critical acclaim. Physically, he was the near mirror image of Henry as depicted in the 1538 portrait by Hans Holbein the Younger. More important, though, Robertson-Justice wore the mantle of Henry's personality, mimicking the king's authoritarian demeanor and legendary appetite for all things worldly. That he was at home in the role of Henry VIII was not surprising. Like the Tudor king,Robertson-Justice loved athletics, dancing, politics, and learning (he held two doctor's degrees: a Ph.D. and a doctorate in law). Moreover, he had mastered the royal sport of falconry, and even taught young Prince Charles the finer points of the ancient pastime. Official biographies say Robertson-Justice was born in the maritime community of Wigtown in the southernmost shire in Scotland. However, the town of Langholm, also in southern Scotland, proudly proclaims that he was actually born there in the Crown Hotel during an emergency stop when his mother was traveling. There is no argument, though, about when he was born: June 15, 1905. His education at Marborough College in England and Bonn University in Germany equipped him with the skills necessary to succeed in a variety of pursuits. Heeding one of Plato's ancient admonitions, he balanced mental activity with physical activity, becoming a netminder for the London Lions in the British Ice Hockey Association. After a skiing injury waylaid him, he refereed matches. Though he had the desire and talent to become an actor, he first pursued a career in Canada as a journalist, then fought in the Spanish Civil War and WWII. In 1944, he made his first film, Fiddlers Three, a fanciful comedy about time travelers in ancient Rome, where Robertson-Justice was a centurion. That stint was the first of many roles in films set in the distant past, including The Black Rose (1950), David and Bathsheba (1951), Captain Horatio Hornblower (1951), Les Misérables (1952), The Story of Robin Hood (1952), Rob Roy (1953), The Sword and the Rose (1953), Land of the Pharaohs (1955), and Moby Dick (1956). However, in spite of his ability to wield swords, wear crowns, and dodge cannonballs, his signature role -- the one that earned him a warm niche in the hearts of Britons everywhere -- was that of Sir Lancelot Spratt, a chief surgeon in the celebrated series of zany Doctor films. The first in the series, Doctor in the House, was Britain's biggest moneymaker in 1954. It was Spratt's job to rule unruly medical students with an appetite for women, money, and fast cars. Remarkably, while making five more Doctor films over the next 16 years, Robertson-Justice had the time and energy to serve as rector of the University of Edinburgh. He died in 1975 at King's Somborne, England.

Trivia: Slight, owlish American actor Francis Pierlot made his film debut in 1914, but it wasn't until 1931 that he abandoned the stage to settle permanently in Hollywood. Pierlot generally essayed minor roles, showing up briefly but memorably as scores of judges, professors, priests, and orchestra leaders. Film buffs have a special place in their hearts for the actor's sly portrayal of lovable pyromaniac Nero Smith in 1942's Henry Aldrich, Editor. Francis Pierlot made his final screen appearance in a surprisingly sizeable role as Jean Simmons' manservant in the 1953 biblical epic The Robe.

Trivia: A veteran of Dublin's Abbey Theatre, Irish leading man Sean T. McClory resettled in America in 1949. McClory was signed by 20th Century-Fox, where he spent a couple of years in unstressed featured roles. He has been seen in several films directed by fellow Irishman John Ford, including The Quiet Man (1952), The Long Gray Line (1955) and Cheyenne Autumn (1964). McClory's talents have been displayed to best advantage on TV, where he usually projects a robust, roistering Behanesque image. In addition to his many TV guest spots, Sean McClory has played the regular roles of vigilante Jack McGivern on The Californians (1957-58), private investigator Pat McShane in Kate McShane (1975), and hotelier Miles Delaney in Bring 'Em Back Alive (1982).

Trivia: A former circus and minstrel-show performer, British actor Holmes Herbert toured on the provincial-theatre circuit as a juvenile in the early 1900s. Born Edward Sanger, Herbert adopted his professional first name out of admiration for Sherlock Holmes -- a role which, worse luck, he never got to play. Herbert never appeared in films in his native country; he arrived in Hollywood in 1918, appeared in a film version of Ibsen's A Doll's House (1918), and never looked homeward. Talking pictures enabled Holmes Herbert to join such countrymen as Reginald Denny and Roland Young in portraying "typical" British gentlemen. The stately, dynamic-featured Herbert nearly always appeared in a dinner jacket, selflessly comforting the heroine as she pined for the man she really loved. He received some of his best roles in the early-talkie era; he appeared as a soft-spoken police inspector in The Thirteenth Chair (1929), then recreated the role for the 1937 remake. Herbert also appeared as Dr. Lanyon, Henry Jekyll's closest friend and confidante in the Fredric March version of Dr. Jekyll and Mr. Hyde (1931). By the '40s, many of Herbert's roles were uncredited, but he was still able to make a maximum impression with a minimum of lines in such roles as the village council head in Ghost of Frankenstein (1942). Herbert's second wife was another supporting-cast stalwart of the '30s, Beryl Mercer (best remembered as James Cagney's mother in Public Enemy [1931]). Holmes Herbert remained in films until 1952's The Brigand; reportedly, he also appeared in a few early west-coast television productions.

Trivia: There was always something slightly sinister about American actor Carleton G. Young that prevented him from traditional leading man roles. Young always seemed to be hiding something, to be looking over his shoulder, or to be poised to head for the border; as such, he was perfectly cast in such roles as the youthful dope peddler in the 1936 camp classic Reefer Madness. Even when playing a relatively sympathetic role, Young appeared capable of going off the deep end at any minute, vide his performance in the 1937 serial Dick Tracy as Tracy's brainwashed younger brother. During the 1940s and 1950s, Young was quite active in radio, where he was allowed to play such heroic leading roles as Ellery Queen and the Count of Monte Cristo without his furtive facial expressions working against him. As he matured into a greying character actor, Young became a special favorite of director John Ford, appearing in several of Ford's films of the 1950s and 1960s. In 1962's The Man Who Shot Liberty Valance, it is Young, in the small role of a reporter, who utters the unforgettable valediction "This is the west, sir. When the legend becomes fact...print the legend." Carleton G. Young was the father of actor Tony Young, who starred in the short-lived 1961 TV Western Gunslinger.

Trivia: Moderately successful as a leading man in British films from 1931 through 1934, Lester Matthews moved to the U.S. in the company of his then-wife, actress Anne Grey. Though Grey faded from view after a handful of Hollywood pictures (Break of Hearts [35] and Bonnie Scotland [35] among them), Matthews remained in Tinseltown until his retirement in 1968. At first, his roles were substantial, notably his romantic-lead stints in the Karloff/Lugosi nightmare-inducer The Raven (35) and the thoughtful sci-fier Werewolf of London (35), which starred Henry Hull in the title role. Thereafter, Matthews was consigned to supporting roles, often as British travel agents, bankers, solicitors, company clerks and military officers. Active in films, radio and television throughout the 1940s and 1950s, Lester Matthews was last seen in the Julie Andrews musical Star (1968).

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: In recalling his courtroom scene in To Kill a Mockingbird, Gregory Peck recalled the vital contribution of African American actor Bill Walker, who was cast as the Reverend Sikes. "All the black people in the balcony stood," Peck noted. "My two kids didn't. When Bill said to them 'Stand up, children, your father is passing,' he wrapped up the Academy Award for me." The son of a freed slave, Walker began his stage career at a time when black actors were largely confined to shuffling, eye-rolling "Yowzah boss" bit parts. While the harsh economic realities of show business dictated that Walker would occasionally have to take less than prestigious roles as butlers, cooks, valets, and African tribal chieftains, he lobbied long and hard to assure that other actors of his race would be permitted to portray characters with more than a modicum of dignity. He also was a tireless worker in the field of Civil Rights, frequently laying both his career and his life on the line. Walker's Broadway credits included Harlem, The Solid South and Golden Dawn; his film credits were legion. Bill Walker was married to actress Peggy Cartwright, who as a child was one of the stars of the Our Gang silent comedies.

Trivia: Not to be confused with the later 20th Century-Fox contract player of the same name, silent screen actor Harry Carter had appeared in repertory with Mrs. Fiske and directed The Red Mill for Broadway impresario Charles Frohman prior to entering films with Universal in 1914. Often cast as a smooth villain, the dark-haired Carter made serials something of a specialty, menacing future director Robert Z. Leonard in The Master Key (1914); playing the title menace in The Gray Ghost (1917); and acting supercilious towards Big Top performers Eddie Polo and Eileen Sedgwick in Lure of the Circus (1918). In addition to his serial work, Carter played General Von Kluck in the infamous propaganda piece The Kaiser, the Beast of Berlin (1918). It was back to chapterplays in the 1920s, where he menaced Claire Anderson and Grace Darmond in two very low-budget examples of the genre: The Fatal Sign (1920) and The Hope Diamond Mystery (1921).