Trivia: Active in amateur theatricals from age three, Briton Brian Aherne studied for his craft at the Italia Conti School, making his professional bow when he was eight. Aherne would later claim that he remained an actor into adulthood (after a tentative stab at becoming an architect) mainly because he liked to sleep until ten in the morning. Successful on stage and screen in England, Aherne came to America in 1931 to appear in the first Broadway production of The Barretts of Wimpole Street. His first Hollywood film was 1933's Song of Songs, in which he appeared with Marlene Dietrich. Free-lancing throughout the 1930s, Aherne established himself as a gentlemanly Britisher who was willing to defend his honor (or someone else's) with his fists if needs be. Many of his roles were secondary, though he played the title role in 1937's The Great Garrick and was starred in a brace of Hal Roach productions in 1938 and 1939 (the actor wasn't crazy about the improvisational attitude at Roach, but he enjoyed the roles). He was Oscar-nominated for his sensitive performance of the doomed Emperor Maximillian in Juarez (1939). In the late 1950s, he put film and TV work aside for a theatrical tour as Henry Higgins in My Fair Lady. Off-camera, Aherne was a licensed pilot and an aspiring writer: he penned a 1969 autobiography, A Proper Job, as well as a biography of his close friend George Sanders, A Dreadful Man. At one point in his life, Aherne was married to Joan Fontaine, but he knew the honeymoon was over when, out of pique, she ripped up a collection of his best reviews. Brian Aherne was the brother of Patrick Ahearne, a character player who showed up in such films as Titanic (1953), The Court Jester (1955) and Around the World in Eighty Days (1956).

Trivia: Helen Hayes, the First Lady of the American Theater, made most of her infrequent film appearances after an allergy to theater dust forced her to retire from the stage. Her stage career began when she was five; at age nine, she made her first Broadway appearance. By 1918, she was a star. When she married playwright Charles MacArthur in 1928, the couple came to Hollywood briefly, where she won her first Oscar for The Sin of Madelon Claudet (1931). Other memorable roles during that time included her role as a nurse in A Farewell to Arms (1932) with a very young Gary Cooper, and What Every Woman Knows (1934). Unhappy in Hollywood, she returned to the stage, where she reigned as one of the outstanding American stage actresses. One of her most famous roles was Queen Victoria in Victoria Regina. She won a Tony Award the first year they were presented, in 1947, for Happy Birthday, and another in 1958 for Time Remembered. Throughout the '40s, '50s, '60s and into the '70s, Hayes made numerous television appearances, winning an Emmy as Best Actress in 1952 and starring in the short-lived comic mystery series The Snoop Sisters with Mildred Natwick in 1971. She returned to films in the 1950s, making an impressive showing as the Dowager Empress in Anastasia (1956) and winning another Oscar for her role in Airport (1970). In her later years, she often played kind but mischievous old ladies. Her son is actor James MacArthur. Hayes wrote several memoirs, prompted to write originally by the death of her daughter.

Trivia: Demure American leading lady Madge Evans was a professional from childhood. As an infant, she was featured in print ads as the "Fairy Soap girl." From 1915 through 1918, she was resident child actress of the World Film Company. During the early 1920s she kept busy as a ingenue, leaving films in 1924 to devote her time to the stage. Though her "official" return to films as an adult performer was 1931, Evans had earlier appeared as a saucy teenager in a 1929 Vitaphone short starring Walter Winchell. One of the best of MGM's second-echelon stars, Evans appeared in such "A"-pictures as Dinner at Eight (1933) and David Copperfield (1935), as well as a larger number of "B"s along the lines of Death on the Diamond (1934). Retiring from films in 1938 to marry playwright Sidney Kingsley, Evans continued to appear onstage until 1943. Madge Evans made her last appearances before the cameras on television, showing up as a panelist on one of the earlier incarnations of that hardy perennial Masquerade Party.

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: Bluff, blustery Irish character actor Dudley Digges spent many of his earliest acting years at Dublin's Abbey Players. In the U.S., Digges was most closely associated with the Theatre Guild before making his cinema debut in the early talkie Condemned (1929). Permitted a wide range of characterizations on stage, Digges was usually pigeonholed in films as a pompous villain or fallen-from-grace drunkard. On two occasions, Dudley Digges essayed film roles that would later be recreated by his Theatre Guild colleague Sidney Greenstreet: The Heavenly Examiner in Outward Bound (1930), (remade as Between Two Worlds in 1944), and Kasper Gutman in The Maltese Falcon (1931 version).

Trivia: If Donald Crisp had any peer as an actor, it was probably his fellow Scotsman Finlay Currie, who made a virtual star career (albeit mostly in England) playing the same kind of dour roles that Crisp often essayed -- but even that only overlapped with one aspect of Crisp's career. An Oscar-winning character actor whose career spanned three generations, from the 1910s to the 1960s, Crisp was also unique as a director and, before that, an assistant and colleague to such figures as D.W. Griffith -- and none of those activities even touched upon his most influential role in the movie business. Donald Crisp was born in Abberfeldy, Scotland, in 1880, and was educated at Oxford. He served as a trooper in the 10th Hussars in the Boer War, which allowed him to cross paths with a young Winston Churchill, before emigrating to the United States in 1906. While on the boat coming over, he chanced to sing in a ship's concert and impressed John C. Fisher, an opera impresario, sufficiently to offer him a job with his company as both a member of the chorus and a handyman. It was while touring with the company in the United States and Cuba that Crisp became interested in theater. By the end of the first decade of the 20th century, he was working as a stage manager for George M. Cohan, and soon after that he met D.W. Griffith, a former stage actor who had developed a yen for making movies; Crisp accompanied the legendary director to Hollywood in 1912. After serving as Griffith's assistant and watching him work, Crisp -- who portrayed General Ulysses S. Grant in The Birth of a Nation -- became a director in his own right. He later told an interviewer that he gave up directing because he wearied of being forced to do favors for studio production chiefs by employing their relatives in his films, so he returned to acting. In between working for Griffith and producers such as William H. Clune, Crisp managed to return to England to serve in army intelligence during the First World War. After returning to Hollywood, he went to work for Adolph Zukor at his Famous Players company in 1919, which was later to become Paramount Pictures; Zukor employed Crisp as an executive, charged with setting up the studio's operations in Europe. He later worked as a director for Douglas Fairbanks Sr. on such movies as Son of Zorro. Crisp's most visible role to the public during the silent era, however, may well have come right after his military service, as the brutal villain in Griffith's Broken Blossoms (1919). With the advent of sound, Crisp moved into acting entirely, and across the 1930s and '40s he essayed a wide range of roles, most memorably as the taciturn but loving father in John Ford's How Green Was My Valley (1941) (for which he won the Best Supporting Actor Academy Award), one of the put-upon crew in Frank Lloyd's Mutiny on the Bounty (1935), and Doctor Kenneth in William Wyler's Wuthering Heights (1939). Crisp was equally good in lovable or sinister roles; during the same period in which he was playing charming old codgers in National Velvet and Lassie Come Home, he was also memorable as Commander Beach, the tormented presumptive grandfather to Gail Russell's Stella Meredith in Lewis Allen's The Uninvited (1944), who dies at the hands of the vengeful spirit of his own daughter. All of this activity, which included as many as nine movies in a single year, didn't prevent Crisp from contributing to the war effort, once the Second World War came along -- by then, he held the rank of colonel in the U.S. Army reserves. What few people outside of the movie community realized during this period was that, beyond his work as an actor, Crisp was also one of the most influential people in Hollywood, wielding more power than most directors and even more than many producers (most of whom were, in the end, just hired executives). He was one of Hollywood's gatekeepers, one of the responsible adults who worked to make the business side of the industry work while stars of the era paraded their egos and vices before the cameras. Specifically, Crisp's long experience as not only an actor but also as a director and a production and studio executive made him ideal as an advisor to Bank of America -- one of the leading sources of working capital for the movie business (whose life-blood was loans) -- on which movies to make. He was on the bank's advisory board for decades, including a stint as its chairman, and had the ear of its directors, and many of the major movies financed by the bank in the 1930s and '40s got their most important approval from Crisp. He was also, not surprisingly, one of the more well-off members of the acting community, his banker's sobriety and clear-headedness allowing Crisp to make good investments, especially in real estate, across the decades that paid off well for him and his wife of 25 years, screenwriter Jane Murfin. Crisp continued acting right up through 1960 and Walt Disney's Pollyanna (he'd worked for Mary Pickford, who'd played in and produced the silent version of the same story 45 years earlier), mostly because he liked to work. Crisp passed away in 1974 at the ripe old age of 93, one of the most revered and beloved senior members of the acting community.

Trivia: Though various sources list his birth date as anywhere between 1865 and 1870, Scottish actor David Torrence was "officially" born in 1880, which would make him two years younger than his more famous brother, character star Ernest Torrence. Like his brother, David went from stage to screen in the early part of the 20th century. Unlike Ernest, David abandoned acting for the life of a Mexican rancher, but a series of reverses compelled him to return before the cameras. While Ernest specialized in villains and rogues, David conveyed a more respectable landed-gentry image, and as such was principally cast as bankers, merchants and attorneys. In his first talkie, Disraeli (1929), David played a sternfaced anti-Semitic head of the Bank of England, whose refusal to finance the Suez canal results in drastic action from Prime Minister Disraeli George Arliss. Most of David's film roles were of shorter duration, as witness his fleeting appearances in such productions as Lost Horizon (1937) and Rulers of the Sea (1939). Comedy fans are most familiar with David Torrence for his performance as Scots attorney Mr. Miggs, executor to the estate of Angus Ian MacLaurel in the 1935 Laurel and Hardy comedy Bonnie Scotland.

Trivia: Like his fellow character actors C. Aubrey Smith and Sir Guy Standing, the dignified Henry Stephenson was seemingly born with a relief map of the British Empire chiseled on his countenance. Born in the British West Indies, Stephenson was educated at England's Rugby College. He turned to acting in his twenties, touring the provinces before settling into leading roles in London and New York. Though he made a smattering of silent film appearances, Stephenson's movie career did not really begin until 1932, with his supporting appearance in The Animal Kingdom. Virtually always cast as an aristocrat or man of means, Stephenson essayed such roles as Mr. Laurence in Little Women (1933), Sir Joseph Banks in Mutiny on the Bounty (1935), the Duke of Norfolk in The Prince and the Pauper, and Count Matthieu de Lesseps in Suez (1938). Henry Stephenson acted in films until his mid-seventies; his last film assignments included the part of Mr. Brownlow in the David Lean-directed Oliver Twist (1948).

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).