Trivia: At the peak of her career in the 1930s, Marlene Dietrich was the screen's highest-paid actress; moreover, she was also the very essence of cinematic eroticism, a beguiling creature whose almost supernatural allure established her among film's most enduring icons. While immensely sensual, Dietrich's persona was also strangely androgynous; her fondness for masculine attire -- suits, top hats, and the like -- not only spawned a fashion craze, it also created an added dimension of sexual ambiguity which served to make her even more magnetic. Born Maria Magdalena Dietrich outside of Berlin on December 27, 1901, she was the daughter of a Royal Prussian Police lieutenant. As a child, she studied the violin, and later tenured at the Deutsche Theaterschule. She made her film debut with a brief role in 1923's Der Kleine Napoleon, followed by a more substantial performance in Tragodie der Liebe; she later married the picture's casting director, Rudolf Sieber. After a series of other tiny roles, including an appearance in G.W. Pabst's 1924 effort Die Freudlose Gasse, Dietrich briefly retired; by 1926, however, she was back onscreen in Manion Lescaut, later followed by Alexander Korda's Madame Wuenscht Keine Kinder. After returning to the stage, Dietrich resumed her film career, typically cast as a coquettish socialite; still, she remained better known as a live performer, enjoying great success singing the songs of Mischa Spoliansky in a popular revue. Then, according to legend, director Josef von Sternberg claimed to have discovered her appearing in the cabaret Zwei Kravatten, and cast her in his 1930 film Der Blaue Engel; even before the picture premiered, von Sternberg offered a rough cut to his American studio Paramount, who signed her for Morocco, where she played a cabaret singer romancing both Adolph Menjou and Gary Cooper. Both films premiered in New York almost simultaneously, and overnight Dietrich was a star. Paramount signed her to a more long-term contract, at a cost of 125,000 dollars per film and with von Sternberg, who had become her lover, in the director's seat of each. The studio, in an unprecedented five-million-dollar publicity blitz, marketed her as a rival to Greta Garbo's supremacy; upon learning that Garbo was starring as Mata Hari, Paramount cast Dietrich as a spy in 1931's Dishonored in response. The follow-up, 1932's Shanghai Express, was Dietrich and von Sternberg's biggest American success. With Cary Grant, she then starred in Blonde Venus, but when the picture did not meet studio expectations, Paramount decided to separate the star from her director. Not only their working relationship was in a state of flux -- von Sternberg's wife unsuccessfully sued Dietrich (who had left her husband behind in Germany) for "alienation of affection" and libel. For Rouben Mamoulian, she starred in 1933's The Song of Songs amidst a flurry of rumors that she was on the verge of returning to Germany - no less than Adolf Hitler himself had ordered her to come back. However, Dietrich remained in the States, and her films were consequently banned in her homeland. Instead, she played Catherine the Grea in von Sternberg's 1934 epic The Scarlet Empress; it was a financial disaster, as was their follow-up, the lavish The Devil Is a Woman. In its wake, von Sternberg announced he had taken Dietrich as far as he could, and begged off of future projects. A much-relieved Paramount set about finding her projects which would be more marketable, if less opulent. The first was the 1936 romantic comedy Desire, directed by Ernst Lubitsch. It was a hit, with all indications pointing to comedy as the best direction for Dietrich's career to take. Again with Lubitsch, she began work on I Loved a Soldier, but after a few days, production was halted after she refused to continue following a number of changes to the script. Instead, Dietrich next starred in the Technicolor remake of The Garden of Allah, followed by Korda's Knight Without Armour. Reuniting with Lubitsch, she headlined 1937's Angel, but again actress and director frequently feuded. Her offscreen reputation continued to worsen when it was revealed that director Mitchell Leisen had refused to work with her on French Without Tears. Combined with diminishing box-office returns, Paramount agreed to buy Dietrich out of her remaining contract. She remained a critical favorite, but audiences clearly did not like her. A number of projects were rumored to be under consideration, but she did not appear again in films for over two years. For less than 50,000 dollars, Dietrich agreed to co-star with James Stewart in the 1939 Western satire Destry Rides Again. The picture was a surprise smash, and with her career seemingly resuscitated, Universal signed her to a contract. The follow-up, 1940's Seven Sinners, was also a hit, but Rene Clair's 1941 effort The Flame of New Orleans lacked distinction. A series of disappointments -- The Lady Is Willing, The Spoilers, and Pittsburgh -- followed in 1942, with Dietrich reportedly so disheartened with her work that she considered retirement. Instead, she mounted a series of lengthy tours entertaining wartime troops before returning to films in 1944's Follow the Boys, followed by Kismet. She and Jean Gabin were next scheduled to star in Marcel Carne's Les Portes de la Nuit, but both stars balked at their roles and exited the project; the media was incensed -- at the time, Carne was the most highly respected director in French cinema -- and when Dietrich and Gabin both agreed to appear in 1946's Martin Roumagnac, reviews were unkind. She starred in Golden Earrings, followed in 1948 by Billy Wilder's A Foreign Affair. When her daughter gave birth to a child soon after, Dietrich was declared "the world's most glamorous grandmother." Although her box-office stature had long remained diminished, Dietrich was still, irrefutably, a star; for all of her notorious behavior and apparent disinterest in filmmaking, she needed Hollywood as badly as it needed her -- the studios wanted her fame, and she wanted their hefty paychecks. For Alfred Hitchcock, Dietrich starred in 1950's Stage Fright and a year later reunited with Stewart in No Highway in the Sky. Fritz Lang's Rancho Notorious followed in 1952, but it was to be Dietrich's final film for over four years. A cameo in Around the World in 80 Days announced her return to movies, with starring turns in The Monte Carlo Story and Witness for the Prosecution arriving a year later. After briefly appearing in Orson Welles' masterful Touch of Evil in 1958, Dietrich again disappeared from screens for a three-year stretch, resurfacing in 1961's Judgment at Nuremberg. The 1964 feature Paris When It Sizzles was Dietrich's final movie appearance for over a decade. Instead she toured the world, even scoring a major European hit single with "Where Have All the Flowers Gone?" As the years went on, however, a long-standing bout with drinking continued to accelerate, and she often appeared inebriated during performances; after falling off of the stage and suffering a compound fracture of the leg, she retired from the cabaret circuit, making one last film, 1978's Schoener Gigolo, Armer Gigolo. A brief return to music was announced, but outside of a few performances, Dietrich was largely inactive from the early '80s on. In 1984, she agreed to produce a documentary portrait, Marlene, and while submitting to recorded interviews, she demanded not to be photographed. In a final nod to Garbo, she spent the last decade of her life in almost total seclusion in her Paris apartment and was bed-ridden throughout the majority of her final years; Dietrich died on May 6, 1992. She was 90.

Trivia: Louise Dresser ran away from her Indiana home at age 16 to join a travelling stock company. Graduating from stock to vaudeville and from vaudeville to Broadway, the stately, matronly Louise gained her widest audience in motion pictures. Her finest silent-film characterizations include the title character in The Goose Woman (1925) (a character based on the "Pig Woman" who testified at the Hall-Mills murder trial) and Catherine the Great--military uniform and all--in Rudolph Valentino's The Eagle (1925). Her favorite co-star was Will Rogers, with whom she appeared in State Fair (1933), Doctor Bull (1933), David Harum (1934) and The County Chairman (1935). The winner of a citation of merit at the first Academy Awards ceremony, Louise retired from films in 1937, thereafter devoting herself to raising money for the establishment of the Motion Picture Country Home and Hospital in Woodland Hills, California. One of Louise Dresser's two husbands was composer Jack Norworth, of "Shine on Harvest Moon" fame.

Trivia: Nature obviously intended for Sam Jaffe to spend much of his screen career playing eccentric scientists and peppery little old men. As a child, Jaffe appeared in Yiddish stage productions with his mother, a prominent actress. He gave up the theater to study engineering at Columbia University, then served for several years as a mathematics teacher in the Bronx. He returned to acting in 1915 and never left, despite efforts by the more rabid communist-hunters of the 1950s to prevent the gently liberal-minded Jaffe from earning a living. Jaffe's now-familiar shock of wild, white hair was first put on view before the cameras in 1934's The Scarlet Empress, in which he played the insane Grand Duke Peter (several critics compared Jaffe's erratic behavior and bizarre appearance to Harpo Marx). Still only in his mid-40s, Jaffe went on to play the centuries-old High Lama in Capra's Lost Horizon (1937). In 1939, he essayed the title character in Gunga Din, though Hollywood protocol dictated that top billing go to Cary Grant, Victor McLaglen and Douglas Fairbanks Jr. Jaffe was Oscar-nominated for his performance as Doc, the "brains" in the 1950 crime film The Asphalt Jungle. His resemblance to Albert Einstein (minus the bushy moustache, of course) led to Jaffe being cast in Einsteinlike roles in Gentleman's Agreement (1947) and The Day the Earth Stood Still (1951). Jaffe was the lifelong best friend of Edward G. Robinson, with whom he appeared in the made-for-TV film The Old Man Who Cried Wolf (1971). TV viewers with long memories will recall Sam Jaffe as snowy-haired father-figure Dr. Zorba on the 1960s TV series Ben Casey, in which Jaffe was co-starred with his second wife, Bettye Ackerman.

Trivia: Actor C. Aubrey Smith was, so far as many American moviegoers were concerned, the very personification of the British Empire. Even so, when young English journalist Alistair Cooke first travelled to Hollywood in the early 1930s to interview Smith, it was not to discuss the actor's four decades in show business, but to wax nostalgic on his athletic career. The son of a London surgeon, Smith played soccer for the Corinthians and cricket for Cambridge. For four years, "Round the Corner Smith" (so named because of his unique playing style) was captain of the Sussex County Cricket Club, playing championship matches throughout the Empire. When time came to choose a "real" vocation, Smith dallied with the notion of following in his dad's footsteps, then worked as a teacher and stockbroker. In 1892, at the age of 29, he finally decided to become an actor (not without family disapproval!), launching his stage career with the A. B. Tappings Stock Company. He made his London debut in 1895, and the following year scored his first significant success as Black Michael in The Prisoner of Zenda; also in 1896, he married Isobel May Wood, a union that endured for over fifty years. His subsequent stage triumphs included Shaw's Pygmalion, in which he succeeded Sir Herbert Beerbohm-Tree as Professor Henry Higgins. Despite the theatrical community's disdainful attitude towards the "flickers", Smith enthusiastically launched his film career in 1914. He was one of the co-founders of the short-lived but energetic Minerva Film Company, and by 1915 had begun making movies in America. It was his 1928 stage hit Bachelor Father that led to Smith's phenomenally successful career in talking pictures. For 18 years, he was perhaps Hollywood's favorite "professional Englishmen." He was at his best in martinet military roles, most memorably in a brace of 1939 productions: The Sun Never Sets, in which he used a wall-sized map to dutifully mark off the far-flung locations where his progeny were serving the Empire, and The Four Feathers, wherein he encapsulated his generation by crustily declaring "War was war in my day, sir!" Other notable roles in the Smith canon included Jane's father in Tarzan the Ape Man (1932), a close-minded aristocrat who turns out to be an out-of-work actor in Bombshell (1933), the intensely loyal Colonel Zapt in The Prisoner of Zenda (1937) and an outraged murder-victim-to-be in Ten Little Indians (1945). Smith briefly returned to the stage in 1941, and throughout the war years could be seen in roles ranging from single-scene cameos (The Adventures of Mark Twain, Unconquered) to full leads (1945's Scotland Yard Inspector). A recipient of the Order of the British Empire in 1938, he was knighted by King George VI in 1944, largely because of the positive image of Mother England that the actor invariably projected. The undisputed leader of Tinseltown's "British Colony," Smith also organized the Hollywood Cricket Club, taking great pride in the fact that he hadn't missed a weekend match for nearly sixty years. Sir C. Aubrey Smith was still in harness when he died of pneumonia at the age of 85; his last film appearance as Mr. Lawrence in Little Women was released posthumously in 1949.

Trivia: A Graduate of New York's Sargent School of Acting, brunette Olive Tell appeared in stock in such plays as The Intruder and Under Pressure prior to making her screen bow with the Mutual company in 1917. She became a star later that year in The Unforseen, a hoary old melodrama in which she eloped with a bounder who later commits suicide. Stardom proved fleeting, however, and by 1920 she was playing the "Other Woman." A busy bit player in the sound era as well, Tell is probably best remembered for playing Princess Johanna, Marlene Dietrich's mother in Joseph Von Sternberg's The Scarlet Empress (1934). Her younger sister, Alma, was also in films.

Trivia: Tall, hawk-nosed leading man Gavin Gordon was one of many stage actors drafted for the movies in the first years of sound. Stardom seemed within his grasp when he was cast opposite Greta Garbo in her second talkie, Romance (1930). Unfortunately, though his voice was clear and resonant, Gordon came off as stiff and soulless as a romantic lead. He would fare better in such secondary parts as the sanctimonious missionary fiancé of Barbara Stanwyck in The Bitter Tea of General Yen (1933), and the imperious Lord Byron in Bride of Frankenstein (1935). During the 1950s, Gavin Gordon was most active at Paramount Pictures, playing small character roles in such films as White Christmas (1954), Knock on Wood (1954) and The Ten Commandments (1955).

Trivia: A London stage actor from the early 1900s, Jameson Thomas made his film debut in 1923's Chu Chin Chow. With such exceptions as Hitchcock's The Farmer's Wife (1928), Thomas was dissatisfied with the British phase of his film career, though he remained philosophical, observing, "If one wants to live by playing in British films, it is better to be miscast than never to be cast at all." Moving to Hollywood in the early talkie era, he was largely confined to minor roles until his death in 1939. His larger assignments included the role of Claudette Colbert's fortune-hunting husband King Westley in It Happened One Night (1934) and Charles Craig in the 1934 version of Jane Eyre. Jameson Thomas was married to actress Dorothy Dix.

Trivia: From 1931's Vice Squad onward, American character actor Davison Clark could be seen onscreen as scores of lawyers, doctors and big-city officials. One of Clark's meatier assignments (albeit still a minor one) was as Horace Greeley in The Mighty Barnum. As an member of Cecil B. DeMille's unofficial stock company, Clark essayed bits in DeMille's The Plainsman (1936), The Buccaneer (1938), Union Pacific (1939), The Story of Dr. Wassell (1947), Unconquered (1948) and Samson and Delilah (1949). Davison Clark made his last film appearance in the 1951serial Zombies of the Stratosphere.

Trivia: In films from 1921 through 1952, white-maned American character actor Erville Alderson was most closely associated with D.W. Griffith in his early movie years. Alderson played major roles in Griffith's The White Rose (1932), America (1924) and Isn't Life Wonderful (1924). In D.W.'s Sally of the Sawdust (1926), Alderson performed double duty, playing the merciless Judge Foster in front of the cameras and serving as assistant director behind the scenes. During the talkie era, the actor showed up in "old codger" roles as sheriffs, court clerks and newspaper editors. You might remember Erville Alderson as the crooked handwriting expert (he was crooked, not the handwriting) in Frank Capra's Mr. Smith Goes to Washington (1939) and as Jefferson Davis in the Errol Flynn starrer Santa Fe Trail (1940).

Trivia: American actress Jane Darwell was the daughter of a Missouri railroad executive. Despite her father's disapproval, she spent most of her youth acting in circuses, opera troupes and stock companies, making her film debut in 1912. Even in her early thirties, Darwell specialized in formidable "grande dame" roles, usually society matrons or strict maiden aunts. Making an easy transition to talking pictures, Darwell worked primarily in small character parts (notably as governesses and housekeepers in the films of Shirley Temple) until 1939, when her role as the James Brothers' mother in Jesse James began a new career direction--now she was most often cast as indomitable frontierswomen, unbending in the face of hardship and adversity. It was this quality that led Darwell to be cast in her favorite role as Ma Joad in The Grapes of Wrath (1940), for which she won an Oscar. Darwell continued to work until illness crept upon her in the late 1950s. Even so, Darwell managed to essay a handful of memorable parts on TV and in movies into the 1960s; her last film role was as the "Bird Woman" in Disney's Mary Poppins (1964).

Trivia: An effort by a Films in Review writer of the '60s to catalogue the film appearances of American actor Harry Woods came a-cropper when the writer gave up after 400 films. Woods himself claimed to have appeared in 500 pictures, further insisting that he was violently killed off in 433 of them. After a lengthy and successful career as a millinery salesman, Woods decided to give Hollywood a try when he was in his early thirties. Burly, hatchet-faced, and steely eyed, Woods carved an immediate niche as a reliable villain. So distinctive were his mannerisms and his razor-edged voice that another memorable movie heavy, Roy Barcroft, admitted to deliberately patterning his performances after Woods'. While he went the usual route of large roles in B-pictures and serials and featured parts and bits in A-films, Harry Woods occasionally enjoyed a large role in an top-of-the-bill picture. In Cecil B. De Mille's Union Pacific (1939), for example, Woods plays indiscriminate Indian killer Al Brett, who "gets his" at the hands of Joel McCrea; and in Tall in the Saddle (1944), Woods is beaten to a pulp by the equally muscular John Wayne. Comedy fans will remember Harry Woods as the humorless gangster Alky Briggs in the Marx Brothers' Monkey Business (1931) and as the bullying neighbor whose bratty kid (Tommy Bond) hits Oliver Hardy in the face with a football in Block-Heads (1938).

Trivia: His Teutonic cadence has led many to assume that Edward Van Sloan was German-born, but in fact he hailed from San Francisco. After a lengthy career as a commercial artist, Van Sloan turned to the stage in the World War I years. He came to Hollywood in 1930 to repeat his stage role as dour vampire hunter Professor Van Helsing in Dracula (1930), a role he'd reprised in 1936's Dracula's Daughter. Surprisingly, this most famous of Van Sloan's screen characterizations was his least favorite: he considered himself hopelessly hammy as Van Helsing (even though he seems a model of restraint opposite the florid Bela Lugosi). Van Sloan went on to essay Van Helsing-type characters in Frankenstein (1931), The Mummy (1932), and Before I Hang (1940). He also was given a few opportunities to play the evil side of the fence as the "surprise killer" in such quickies as Behind the Mask (1932) and Death Kiss (1933). For the most part, Van Sloan's film career was limited to bit roles; he was especially busy during World War II, playing everything from resistance leaders to Nazi diplomats. Edward Van Sloan retired in 1947, emerging publicly only to grant an interview or two during his remaining 15 years on earth.

Trivia: Character actor John Davidson entered films in 1914. Though a native New Yorker, Davidson seemed most at home playing sinister Middle Easterners or Europeans; he was, for example, cast as the sheik in Priscilla Dean's 1922 version of Under Two Flags and as Cardinal Richelieu in the 1924 Rudolph Valentino vehicle Monsieur Beaucaire. In talkies, he was seen in roles ranging from bit-part concierges to criminal masterminds. Busiest in serials, Davidson menaced his way through such chapter plays as The Perils of Pauline (1934), Dick Tracy vs. Crime Inc. (1941), The Adventures of Captain Marvel (1941), Secret Service in Darkest Africa (1942), The Perils of Nyoka (1942), and The Purple Monster Strikes (1945). Even in his fleeting A-picture appearances, he remained an unsavory presence (e.g., Benedict Arnold in Where Do We Go From Here?). Once in a while, he'd spoof his established screen image, notably as the capricious sidewalk hypnotist in the 1939 Our Gang one-reeler Duel Personalities. He retired from films sometime in the early '50s. John Davidson is no relation to the singer of the same name.

Trivia: American actor James Burke not only had the Irish face and brogueish voice of a New York detective, but even his name conjured up images of a big-city flatfoot. In Columbia's Ellery Queen series of the late 1930s and early 1940s, Burke was cast exquisitely to type as the thick-eared Sergeant Velie, who referred to the erudite Queen as "Maestro." Burke also showed up as a rural law enforcement officer in such films as Nightmare Alley (1947), in which he has a fine scene as a flint-hearted sheriff moved to tears by the persuasive patter of carnival barker Tyrone Power. One of the best of James Burke's non-cop performances was as westerner Charlie Ruggles' rambunctious, handlebar-mustached "pardner" in Ruggles of Red Gap (135), wherein Burke and Ruggles engage in an impromptu game of piggyback on the streets of Paris.

Trivia: Not to be confused with the current British actor/director of (almost) the same name, James A. Marcus was a late-19th century stage actor who transferred his larger-than-life theatrical persona to films in 1915. Marcus spent the next two decades playing bombastic authority characters. His silent-screen roles ranged from Mr. Bumble in the 1922 version of Oliver Twist to the appropriately named Colonel Blood in Laurel & Hardy's 1927 two-reeler Duck Soup. At the time of his death at the age of 69, James A. Marcus was most frequently seen as sheriffs, mayors, land barons and "father to the heroine" in "B"-westerns.

Trivia: Though he started in films around 1924, beefy American character actor Richard Alexander was regarded in studio press releases as a comparative newcomer when he was cast in the 1930 antiwar classic All Quiet on the Western Front. Alexander played Westhus, who early in the film orders novice soldier Lew Ayres to get out of his bunk. After this promising assignment, Alexander was soon consigned to bit parts, usually in roles calling for dumb brute strength; for example, Alexander is the bouncer at the violent Geneva "peace conference" in Wheeler and Woolsey's Diplomaniacs (33). Though familiar for his dozens of villainous roles in westerns, Alexander is best-known for his kindly interpretation of the noble Prince Barin in the Flash Gordon serials of the 1930s. Towards the end of his career, Richard Alexander became active with the executive board of the Screen Actors Guild, representing Hollywood extras.

Trivia: In films from 1919, Dutch vaudeville comic George Davis played one of the featured clowns in Lon Chaney's He Who Gets Slapped (1924) and was also in Buster Keaton's Sherlock, Jr. that same year. In the sound era, Davis specialized in playing waiters but would also turn up as bus drivers, counter men, and circus performers, often assuming a French accent. When told that Davis' business as a hotel porter included carrying Greta Garbo's bags, the soviet envoy opined: "That's no business. That's social injustice." "Depends on the tip," replied Davis. He continued to play often humorous bits well into the '50s, appearing in such television shows as Cisco Kid and Perry Mason. The veteran performer died of cancer at the Motion Picture Country House and Hospital.

Trivia: When the fair Eleanor Fair was elected a WAMPAS Baby Star in 1924, she had already been in films since 1919 and in vaudeville before that. A highly variable actress, she was capable of great things when provided with the proper direction. She did some of her best work under contract to Cecil B. DeMille, appearing in such DeMille-produced fare as Yankee Clipper (1927) and Let 'Er Go Gallagher (1927). From 1926 to 1929, she was the wife of another DeMille contractee, William "Hopalong Cassidy" Boyd. Reduced to minor roles in the talkie era, Elinor Fair left the screen in 1934, spending the rest of her life in virtual anonymity.

Trivia: In films from the age of 18, former dancer Julanne Johnston hit her stride as a leading lady in the 1920s. Her most famous screen role was as the ravishingly beautiful princess in Douglas Fairbanks' spectacular The Thief of Baghdad (1924). Thereafter, her career declined, and by the time the talkie era rolled around she was appearing in bits and extra roles. Retiring at the age of 35, Julanne Johnston lived to be 89.

Trivia: Gaunt, pockmarked Philip Sleeman gained a reputation as one of the better character villains menacing poor Dorothy Davenport Reid in the anti-drug "epic" Human Wreckage (1923). Onscreen in America from the early 1920s, Sleeman appeared in every genre, including Westerns, and was downright frightening as the killer "Palo, the Scorpion" in Bob Custer's The Border Whirlwind. In the sound era, Sleeman's British accent disqualified him for Westerns and he instead appeared as decadent European aristocrats, such as Count Lestoq in The Scarlet Empress (1934). Had he been given the chance (which he never was), Sleeman could have offered more famous screen bogeymen like Boris Karloff, C. Henry Gordon, or Lionel Atwill a run for their money.