Trivia: American actor Douglas Fairbanks Jr. was the son of film star Douglas Fairbanks Sr. Fairbanks Jr. made his acting debut in 1923's Stephen Steps Out, which was remarkable only in how quickly it went out of circulation. Young Fairbanks was more impressive as Lois Moran's fiancé in 1926's Stella Dallas, though it did give Fairbanks Sr. pause to see his teenaged son sporting a Fairbanksian mustache. Even as a youth, Fairbanks' restlessness would not be satisfied by mere film work; before he was 20 he'd written an amusing article about the Hollywood scene for Vanity Fair magazine. In 1927, Fairbanks appeared in a stage play, Young Woodley, which convinced detractors that he truly had talent and was not merely an appendage to his father's fame. When talking pictures came in, he demonstrated a well-modulated speaking voice and as a result worked steadily in the early 1930s. Married at that time to actress Joan Crawford, Fairbanks was a fixture of the Tinseltown social whirl, but he had a lot more going for him than suspected; in 1935 he offered the earliest evidence of his sharp business savvy by setting up his own production company, Criterion Films--the first of six such companies created under the Fairbanks imprimatur. Fairbanks had his best role in 1937's The Prisoner of Zenda, in which he was alternately charming and cold-blooded as the villainous Rupert of Hentzau. Upon his father's death in 1939, Fairbanks began to extend his activities into politics and service to his country. He helped to organize the Hollywood branch of the William Allen White Committee, designed to aid the allied cause in the European war. From 1939 through 1944, Fairbanks, ever an Anglophile, headed London's Douglas Voluntary Hospitals, which took special care of war refugees. Fairbanks was appointed by President Roosevelt to act as envoy for the Special Mission to South America in 1940, and one year later was commissioned as a lieutenant j.g. in the Navy. In 1942 he was chief officer of Special Operations, and in 1943 participated in the allied invasion of Sicily and Elba. Fairbanks worked his way up from Navy lieutenant to commander and finally, in 1954 to captain. After the war's end, the actor spent five years as chairman of CARE, sending food and aid to war-torn countries. How he had time to resume his acting career is anybody's guess, but Fairbanks was back before the cameras in 1947 with Sinbad the Sailor, taking up scriptwriting with 1948's The Exile; both films were swashbucklers, a genre he'd stayed away from while his father was alive (Fairbanks Sr. had invented the swashbuckler; it wouldn't have been right for his son to bank on that achievement during the elder Fairbanks' lifetime). Out of films as an actor by 1951 (except for a welcome return in 1981's Ghost Story), Fairbanks concentrated on the production end for the next decade; he also produced and starred in a high-quality TV anthology, Douglas Fairbanks Jr. Presents (1952-55), which belied its tiny budget with excellent scripts and superior actors. Evidently the only setback suffered by Fairbanks in the last forty years was his poorly received appearance as Henry Higgins in a 1968 revival of My Fair Lady; otherwise, the actor managed to retain his status as a respected and concerned citizen of the world, sitting in with the U.S. delegation at SEATO in 1971 and accruing many military and humanitarian awards. He also published two autobiographies, The Salad Days in 1988 and A Hell of a War in 1993. Fairbanks, Jr. died on May 7, 2000, of natural causes.

Trivia: The daughter of a cellist with the New York Symphony, Rose Hobart's first brush with the arts was a model for several Woodstock-based artists like George Bellows. Splitting her time with her divorced parents, Hobart was educated in boarding schools all over the country. At 15, she began her stage career as a performer in the Chautaqua tent-show circuit. During the 1920s, she appeared on stage with such notables as Eva Le Gallienne, Noel Coward and Ina Claire; in 1929, she replaced Katharine Hepburn in the first Broadway staging of Death Takes a Holiday. She came to films in 1930, once again as a replacement, this time for Janet Gaynor in Frank Borzage's production of Liliom. Many of her leading lady roles were decorative but colorless (e.g. the "good" girl in 1931's Dr. Jekyll and Mr. Hyde); she became a much more fascinating screen presence when she began portraying spiteful other women, castrating wives and subtle villainesses. After 1949's Bride of Vengeance, Rose Hobart was involuntarily retired from films, the victim of the Hollywood blacklist; she spent the rest of her professional life as an acting counselor, and in 1995 -- at the age of 88 -- published her memoirs, A Steady Digression to a Fixed Point.

Trivia: Born on New Year's Day in 1883 (some sources say 1880), British actress Mary Forbes was well into her stage career when she appeared in her first film, 1916's Ultus and the Secret of the Night. By the time she made her first Hollywood film in 1919, the thirtysomething Forbes was already matronly enough for mother and grande-dame roles. Her most prolific movie years were 1931 through 1941, during which time she appeared in two Oscar-winning films. In Cavalcade (1933), she had the small role of the Duchess of Churt, while in You Can't Take It With You (1938) she was assigned the more substantial (and funnier) part of James Stewart's society dowager mother. Mary Forbes continued in films on a sporadic basis into the '40s, making her screen farewell in another Jimmy Stewart picture, You Gotta Stay Happy (1948).

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: A society debutante turned stage ingenue, brunette Florence Britton made her screen debut as Ronald Colman's sister in The Devil to Pay (1930), a performance the New York Times found "pleasing." She was awarded a contract with United Artists but her subsequent appearances were forgettable. She left films in 1935, apparently with no regrets.

Trivia: American actor Douglas Fairbanks Sr., instilled with a love of dramatics by his Shakespearean-scholar father, was never fully satisfied with theatrical work. A born athlete and extrovert, Fairbanks felt the borders of the stage were much too confining, even when his theatrical work allowed him to tour the world. The wide-open spaces of the motion picture industry were more his style, and in 1915 Fairbanks jumped at the chance to act in the film version of the old stage perennial The Lamb. Fairbanks became the top moneymaker for the Triangle Film Company, starring in an average of 10 pictures a year for a weekly salary of $2000. He specialized in comedies--not the slapstick variety, but free-wheeling farces in which he usually played a wealthy young man thirsting for adventure. Fairbanks was a savvy businessman, and in 1919 he reasoned that he could have more control--and a larger slice of the profits -- if he produced as well as starred in his pictures. Working in concert with his actress-wife Mary Pickford (a star in her own right, billed as "America's Sweetheart"), his best friend Charlie Chaplin, and pioneer director D. W. Griffith, Fairbanks formed a new film company, United Artists. The notion of actors making their own movies led one film executive to wail, "The lunatics have taken over the asylum!", but Fairbanks' studio was a sound investment, and soon other actors were dabbling in the production end of the business. Still most successful in contemporary comedies in 1920, Fairbanks decided to try a momentary change of pace, starring in the swashbuckling The Mark of Zorro (1920). The public was enthralled, and for the balance of his silent career Fairbanks specialized in lavish costume epics with plenty of fast-moving stunt work and derring-do. While several of these films still hold their fascination today, notably The Thief of Baghdad (1924) and The Black Pirate (1926), some historians argue that Fairbanks' formerly breezy approach to moviemaking became ponderous, weighed down in too much spectacle for the Fairbanks personality to fully shine. When talkies came, Fairbanks wasn't intimidated, since he was stage-trained and had a robust speaking voice; unfortunately, his first talking picture, 1929's Taming of the Shrew (in which he co-starred with Mary Pickford), was an expensive failure. Fairbanks' talking pictures failed to click at the box office; even the best of them, such as Mr. Robinson Crusoe (1932), seemed outdated rehashes of his earlier silent successes. Fairbanks' last film, the British-made Private Life of Don Juan (1934), unflatteringly revealed his advanced years and his flagging energy. Marital difficulties, unwise investments and health problems curtailed his previously flamboyant lifestyle considerably, though he managed to stave off several takeover bids for United Artists and retained the respect of his contemporaries. Fairbanks died in his sleep, not long after he'd announced plans to come out of retirement. He was survived by his actor son Douglas Fairbanks Jr., who'd inherited much of his dad's professional panache and who after his father's death began a successful career in film swashbucklers on his own.

Trivia: A graduate of Oxford, British actor Anthony Bushell came to Broadway in 1927 to appear opposite the legendary Jeanne Eagels in Her Cardbord Lover. In 1929, Bushell was hired as the secondary romantic lead in the award-winning talking picture Disraeli, at the insistence of the film's star George Arliss. Though his performance in Disraeli was stiff and unconvincing, he was much better in James Whale's WWI drama Journey's End (1930). Gradually, Bushell gravitated to the production end of the film business, serving as associate producer for Laurence Olivier's Shakespearean productions Hamlet (1948) and Richard III (1955). He served as director for a trio of profitable if undistinguished films: The Long Dark Hall (1951), Angel With a Trumpet (1951), and Terror of the Tongs (1961). In the 1960s, he worked extensively in television, notably as one of the producer/directors of the anthology series Winston Churchill: The Valiant Years (1960). Anthony Bushell was married to American actress Zelma O'Neal.

Trivia: Not to be confused with the film editor of the same name, British character actor William Austin made his Hollywood debut in Edward Everett Horton's 1923 film version of Ruggles of Red Gap. Together with Claud Allister, Austin became one of Hollywood's favorite "silly ass" Englishmen in the talkie period, usually armed with monocle and high-pitched laugh. He worked at every studio, in any kind of film, playing roles ranging from the epicene hospital patient who is "all aflutter" in the Laurel and Hardy two-reeler County Hospital (1932) to the humorless husband of divorce-bound Ginger Rogers in The Gay Divorcee (1934). He also made occasional return trips to England to appear in such films as The Private Life of Henry VIII (1933) (as the Duke of Cleves). One of William Austin's last film assignments before his retirement in the mid-1940s was as Alfred the Butler in the 1942 Columbia serial Batman.

Trivia: Reversing the usual procedure, Scottish actor Edmund Breon began his film career in Hollywood in 1928, then returned to the British Isles in 1932. Breon was most often seen in self-effacing roles, usually military in nature. He was cast as Lt. Bathurst in The Dawn Patrol (1930), Colonel Morgan in Goodbye, Mr. Chips (1939), and General Huddleston in Gaslight (1944). Among Edmund Breon's late-'40s assignments was the role of Julian Emery in the Sherlock Holmes opus Dressed to Kill (1946), an indication perhaps that the part had been slated for the real Gilbert Emery, a British actor who, like Breon, specialized in humble, passive characterizations.