Trivia: Originally planning to become a lawyer, William Powell chose instead to pursue a career as an actor, dropping out of the University of Kansas to attend the American Academy of Dramatic Arts, where his classmates included Edward G. Robinson and Joseph Schildkraut. He made his Broadway debut in 1912, and within a few years had attained stardom in urbane, sophisticated roles. The sleek, moustachioed young actor entered films in 1922, playing the first of many villainous roles in John Barrymore's Sherlock Holmes. He finally broke out of the bad guy mode when talkies came in; his clipped, precise speech patterns and authoritative demeanor were ideally suited to such "gentleman detective" roles as Philo Vance in The Canary Murder Case, the Kennel Murder Case, and others in the Vance series. In 1933 he moved from Warner Bros. to MGM, where he co-starred with Myrna Loy in Manhattan Melodrama (1934). So well-received was the Powell-Loy screen teaming that the actors were paired together in several subsequent MGM productions, most memorably the delightful Thin Man series and the 1936 blockbuster The Great Ziegfeld, in which Powell played the title character and Loy was cast as Ziegfeld's second wife, Billie Burke. Away from the screen for nearly a year due to a serious illness, Powell returned in 1944, curtailing his film activities thereafter. As he eased into his late fifties he reinvented himself as a character actor, offering superbly etched performances as a lamebrained crooked politician in The Senator Was Indiscreet (1947) and the lovably autocratic Clarence Day Sr. in Life With Father (1947), which earned him his third Academy Award nomination (the others were for The Thin Man and My Man Godfrey). After playing Doc in the 1955 film version of Mister Roberts, he retired to his lavish, air-conditioned home in Palm Springs, insisting that he'd return to films if the right role came along but he turned down all offers. Married three times, Powell's second wife was actress Carole Lombard, with whom he remained good friends after the divorce, and co-starred with in My Man Godfrey (1936); his third marriage to MGM starlet Diana Lewis was a happy union that lasted from 1940 until Powell's death in 1984. It has been said, however, that the great love of William Powell's life was actress Jean Harlow, to whom he was engaged at the time of her premature death in 1936.

Trivia: During the late 1930s, when Clark Gable was named the King of Hollywood, Myrna Loy was elected the Queen. The legendary actress, who started her career as a dancer, moved into silent films and was typecast for a few years as exotic women. Her film titles from those early years include Arrowsmith (1931), Love Me Tonight (1932), The Mask of Fu Manchu (1932), and Manhattan Melodrama (1934), the film that gangster John Dillinger just had to see the night he was killed. Starting in 1934, with The Thin Man, opposite William Powell, she became Hollywood's ideal wife: bright, witty, humorous. She and Powell were often teamed throughout the '30s and '40s, and many of the characters she played were strong, independent, adventurous women. In addition to The Thin Man series, Loy's best appearances included The Great Ziegfeld (1936), Libeled Lady (1936), Wife vs. Secretary (1936), Test Pilot (1938), and Too Hot to Handle (1938). She took a break from filmmaking during WWII to work with the Red Cross, and in her later years she devoted as much time to politics as to acting (among her accomplishments, Loy became the first film star to work with the United Nations). She stands out in The Best Years of Our Lives (1946), Mr. Blandings Builds His Dream House (1948), Cheaper by the Dozen (1950), and its sequel Belles on Their Toes (1952). She received an honorary Oscar in 1991, two years before her death.

Trivia: James Stewart was the movies' quintessential Everyman, a uniquely all-American performer who parlayed his easygoing persona into one of the most successful and enduring careers in film history. On paper, he was anything but the typical Hollywood star: Gawky and tentative, with a pronounced stammer and a folksy "aw-shucks" charm, he lacked the dashing sophistication and swashbuckling heroism endemic among the other major actors of the era. Yet it's precisely the absence of affectation which made Stewart so popular; while so many other great stars seemed remote and larger than life, he never lost touch with his humanity, projecting an uncommon sense of goodness and decency which made him immensely likable and endearing to successive generations of moviegoers.Born May 20, 1908, in Indiana, PA, Stewart began performing magic as a child. While studying civil engineering at Princeton University, he befriended Joshua Logan, who then headed a summer stock company, and appeared in several of his productions. After graduation, Stewart joined Logan's University Players, a troupe whose membership also included Henry Fonda and Margaret Sullavan. He and Fonda traveled to New York City in 1932, where they began winning small roles in Broadway productions including Carrie Nation, Yellow Jack, and Page Miss Glory. On the recommendation of Hedda Hopper, MGM scheduled a screen test, and soon Stewart was signed to a long-term contract. He first appeared onscreen in a bit role in the 1935 Spencer Tracy vehicle The Murder Man, followed by another small performance the next year in Rose Marie.Stewart's first prominent role came courtesy of Sullavan, who requested he play her husband in the 1936 melodrama Next Time We Love. Speed, one of six other films he made that same year, was his first lead role. His next major performance cast him as Eleanor Powell's paramour in the musical Born to Dance, after which he accepted a supporting turn in After the Thin Man. For 1938's classic You Can't Take It With You, Stewart teamed for the first time with Frank Capra, the director who guided him during many of his most memorable performances. They reunited a year later for Mr. Smith Goes to Washington, Stewart's breakthrough picture; a hugely popular modern morality play set against the backdrop of the Washington political system, it cemented the all-American persona which made him so adored by fans, earning a New York Film Critics' Best Actor award as well as his first Oscar nomination.Stewart then embarked on a string of commercial and critical successes which elevated him to the status of superstar; the first was the idiosyncratic 1939 Western Destry Rides Again, followed by the 1940 Ernst Lubitsch romantic comedy The Shop Around the Corner. After The Mortal Storm, he starred opposite Katherine Hepburn and Cary Grant in George Cukor's sublime The Philadelphia Story, a performance which earned him the Best Actor Oscar. However, Stewart soon entered duty in World War II, serving as a bomber pilot and flying 20 missions over Germany. He was highly decorated for his courage, and did not fully retire from the service until 1968, by which time he was an Air Force Brigadier General, the highest-ranking entertainer in the U.S. military. Stewart's combat experiences left him a changed man; where during the prewar era he often played shy, tentative characters, he returned to films with a new intensity. While remaining as genial and likable as ever, he began to explore new, more complex facets of his acting abilities, accepting roles in darker and more thought-provoking films. The first was Capra's 1946 perennial It's a Wonderful Life, which cast Stewart as a suicidal banker who learns the true value of life. Through years of TV reruns, the film became a staple of Christmastime viewing, and remains arguably Stewart's best-known and most-beloved performance. However, it was not a hit upon its original theatrical release, nor was the follow-up Magic Town -- audiences clearly wanted the escapist fare of Hollywood's prewar era, not the more pensive material so many other actors and filmmakers as well as Stewart wanted to explore in the wake of battle. The 1948 thriller Call Northside 777 was a concession to audience demands, and fans responded by making the film a considerable hit. Regardless, Stewart next teamed for the first time with Alfred Hitchcock in Rope, accepting a supporting role in a tale based on the infamous Leopold and Loeb murder case. His next few pictures failed to generate much notice, but in 1950, Stewart starred in a pair of Westerns, Anthony Mann's Winchester 73 and Delmer Daves' Broken Arrow. Both were hugely successful, and after completing an Oscar-nominated turn as a drunk in the comedy Harvey and appearing in Cecil B. De Mille's Academy Award-winning The Greatest Show on Earth, he made another Western, 1952's Bend of the River, the first in a decade of many similar genre pieces.Stewart spent the 1950s primarily in the employ of Universal, cutting one of the first percentage-basis contracts in Hollywood -- a major breakthrough soon to be followed by virtually every other motion-picture star. He often worked with director Mann, who guided him to hits including The Naked Spur, Thunder Bay, The Man From Laramie, and The Far Country. For Hitchcock, Stewart starred in 1954's masterful Rear Window, appearing against type as a crippled photographer obsessively peeking in on the lives of his neighbors. More than perhaps any other director, Hitchcock challenged the very assumptions of the Stewart persona by casting him in roles which questioned his character's morality, even his sanity. They reunited twice more, in 1956's The Man Who Knew Too Much and 1958's brilliant Vertigo, and together both director and star rose to the occasion by delivering some of the best work of their respective careers. Apart from Mann and Hitchcock, Stewart also worked with the likes of Billy Wilder (1957's Charles Lindbergh biopic The Spirit of St. Louis) and Otto Preminger (1959's provocative courtroom drama Anatomy of a Murder, which earned him yet another Best Actor bid). Under John Ford, Stewart starred in 1961's Two Rode Together and the following year's excellent The Man Who Shot Liberty Valance. The 1962 comedy Mr. Hobbs Takes a Vacation was also a hit, and Stewart spent the remainder of the decade alternating between Westerns and family comedies. By the early '70s, he announced his semi-retirement from movies, but still occasionally resurfaced in pictures like the 1976 John Wayne vehicle The Shootist and 1978's The Big Sleep. By the 1980s, Stewart's acting had become even more limited, and he spent much of his final years writing poetry; he died July 2, 1997.

Trivia: The daughter of an Austrian military officer and stepdaughter of an Italian nobleman, Elissa Landi was privately educated in England and Canada. Her acting career commenced with the 1924 London stage production The Storm; two years later, she appeared in her first film. She came to Broadway to play Catherine Barclay in an unsuccessful staging of Hemingway's Farewell to Arms. Despite the failure of this production, Elissa was invited to come to Hollywood. She is best remembered for her ethereal, virtuous performance as the early-Christian heroine of DeMille's Sign of the Cross (1932), though she was even more effective as the leading lady in the historical satire The Warrior's Husband (1933). Her screen career came to an end in 1937, save for an unexpected return before the cameras in the 1943 war film Corregidor. Elissa Landi spent her last acting years on Broadway, devoting her spare time to writing poetry and novels; she died of cancer in 1948, at the age of 44.

Trivia: Maltese-born character actor Joseph Calleila first came to prominence as a concert singer in England and Europe. He made his screen bow in 1935's Public Hero Number 1, playing the first of many gangsters. Usually a villain, Calleila often leavened his screen perfidy with a subtle sense of humor, notably as the masked bandit who motivates the plot of the Mae West/W.C. Fields comedy My Little Chickadee (1940). In 1936, Calleila tried his hand at screenwriting with Robin Hood of El Dorado (1936), a fanciful western based on the criminal career of Joaquin Murietta. Joseph Calleila delivered some of his best and most varied screen performances in the last years of his film career, especially as the kindly Mexican priest in Disney's The Littlest Outlaw (1955) and the weary border-town detective in Orson Welles' Touch of Evil (1958).

Trivia: Born in the waning months of the Civil War, Jessie Ralph made her stage debut with a Providence, RI, stock company in 1880. Her extensive Broadway experience ranged from Shakespearean classics to George M. Cohan musicals. She had appeared in films as early as 1915, but did not become a permanent Hollywood resident until 1933. For the most part, Ralph was cast as kindly grandmas, sagacious maids, and stern but loving governesses; her finest screen performances included Peggoty in 1934's David Copperfield and a benign sorceress in 1940's The Blue Bird. Her gift for exuding imperious abrasiveness was amply demonstrated in such films as After the Thin Man (1936), and W.C. Fields' The Bank Dick (1940), appearing in the latter as Fields' gorgon mother-in-law, Mrs. Hermisillio Brunch. Jessie Ralph retired in 1941 after enduring a leg amputation.

Trivia: Handsome, sophisticated, mustachioed Australian actor Alan Marshal launched his screen career in 1936, appearing in two films, The Garden of Allah and After the Thin Man. Marshal is frequently cast as witty, daring heroes. Notable film appearances include The Conquest (1937), in which he appeared opposite Greta Garbo, and The White Cliffs of Dover (1943) with Irene Dunne. Before coming to the U.S. in the mid-'30s, Marshal worked on the Australian stage. In Hollywood, he contracted with David O. Selznick and MGM, but frequently was loaned out to appear in other studios' productions. A nervous condition prevented Marshal from appearing in films throughout much of the 1940s. During that period, Marshal returned to stage work. He made his final film appearances in the late '50s. Marshal, who at one time had been compared to Ronald Colman, died on the Chicago stage while working opposite Mae West in Sextet.

Trivia: Adept at playing sardonic, side-of-the-mouth urban types, Sam Levene appeared in several top Broadway productions of the early 1930s. At 29 (though looking far older and worldlier), Levene was brought to Hollywood to re-create his stage role as a superstitious gambler in Three Men on a Horse (1936). Not long afterward, he made the first of two appearances as New York police lieutenant Abrams in MGM's Thin Man series. Since Levene always seemed to have just stepped out of a Damon Runyon story, it was only natural that he create the part of crapshooter deluxe Nathan Detroit in the 1950 Broadway production Guys and Dolls; his endearingly offkey renditions of the Frank Loesser tunes "Oldest Established" and "Sue Me" can still be heard on the original cast album. When he wasn't essaying dese-dem-and-dose roles, Levene was frequently cast as a soft-spoken, philosophical Jew in such films as Action in the North Atlantic (1943) and Crossfire (1947). Though he made 36 films in his 33-year Hollywood career, Sam Levene was always happiest in front of a live audience: one of his last Broadway appearances was in the original production of Neil Simon's The Sunshine Boys.

Trivia: The younger brother of Broadway lyricist Lorenz Hart (1895-1943), diminutive comedian Teddy Hart made at least one memorable, if minor, mark on film history: Hart became the third actor to portray the stoic Indian Crowbar in the Universal's popular Ma and Pa Kettle series, replacing Victor Potel -- who created the character in The Egg and I (1947) -- and Chief Yowlachie. Hart performed the role in four films, more than any other actor. On screen from 1932, the pudgy comic earned his first notices playing the secretary of war in the anarchic farce Million Dollar Legs (1932) and was then Puppenpuppen, one of the three diabolical munitions manufacturers in the Wheeler and Woolsey comedy Diplomaniacs (1933). There were several other colorful roles to come, but it is probably as Crowbar that Hart will be remembered.

Trivia: The daughter of a journalist and the niece of former U.S. Postmaster General James Farley, Penny Singleton spent a good portion of her childhood singing "illustrated" songs at Philadelphia movie theaters. After briefly attending Columbia University, Singleton -- billed under her given name, Dorothy McNulty -- made her Broadway debut as the energy-charged soubrette in the popular 1927 musical Good News. She repeated this vivacious performance in the 1930 film version, then settled into "other woman" and gold digger parts, the best of which was in 1936's After the Thin Man. Upon her marriage to dentist Lawrence Singleton, Singleton changed her professional name. When Shirley Deane was unable to play the title role in Columbia's 1938 filmization of Chic Young's comic strip Blondie, Singleton dyed her hair blonde to qualify for the part. She ended up starring in 28 Blondie B-pictures between 1928 and 1950, with Arthur Lake co-starring as hubby Dagwood Bumstead. During this period, she married for the second time to Blondie producer Robert Sparks. When Blondie folded, Singleton returned to the nightclub singing and dancing work that she'd been doing in the mid-'30s. As an officer in the American Guild of Variety Artists (AGVA), Singleton lobbied for better and more equitable treatment of professional chorus dancers, a stance that earned her several powerful enemies in management (and the Mob). Inactive as a performer for several years, Singleton returned to acting in the early '60s, playing a supporting part in The Best Man (1964) and providing the voice of Jane Jetson on the prime-time animated TV series The Jetsons. Penny Singleton later revived her Jane Jetson characterization for several theatrical and made-for-TV animated features, and also appeared in a cameo role on the weekly Angela Lansbury series Murder She Wrote.

Trivia: In films from 1936, Dorothy Vaughan spent the next 14 years playing scores of bits and featured roles. Vaughan was at one time or another practically everyone's "mom" or "grandma," devoting the rest of the time to playing nurses, maids, governesses, and charwomen. In Westerns, she could be seen playing such no-nonsense matriarchs as the Commodore in Trail to San Antone (1947). From 1939 to 1942, Dorothy Vaughan was a regular in The Glove Slingers, a two-reel comedy series produced at Columbia.

Trivia: Born in England, George Zucco launched his theatrical career in Canada in 1908. During his first decade as a performer, Zucco toured in American vaudeville with his wife, Frances, in a sketch entitled "The Suffragette." He established himself as a leading actor in England in the 1920s, entering films with 1931's The Dreyfus Case. Zucco returned to the U.S. in 1935 to play Disraeli opposite Helen Hayes in Victoria Regina. He came to Hollywood to re-create his stage role in the film version of Autumn Crocus (1937), remaining to play mostly minor roles for the next two years. He finally found his villainous niche in the role of the erudite but deadly Professor Moriarity in 1939's The Adventures of Sherlock Holmes. Throughout the 1940s, Zucco apparently took every role that was offered him, playing mad scientists, master criminals, and occasional red herrings in films ranging from Universal's The Mad Ghoul (1943) to PRC's Fog Island (1945). He played the fanatical Egyptian priest Anhodeb in 1940's The Mummy's Hand, and, though supposedly killed in that film, showed up none the worse for wear in the 1942 sequel The Mummy's Tomb. His quirkiest horror role was as a gas station attendant who doubled as a kidnapper and voodoo drum-thumper in Monogram's incredible Voodoo Man (1944). When not scaring the daylights out of his audience, Zucco could be found playing roles requiring quiet whimsy, notably the detective in Lured (1947) and the judge in Let's Dance (1950). After completing his final, unbilled film assignment in David and Bathsheba (1951), George Zucco completely disappeared from view; seriously ill for many years, he died in a Hollywood sanitarium at the age of 74.

Trivia: The son of a brewery owner, steely-eyed American character actor Paul Fix went the vaudeville and stock-company route before settling in Hollywood in 1926. During the 1930s and 1940s he appeared prolifically in varied fleeting roles: a transvestite jewel thief in the Our Gang two-reeler Free Eats (1932), a lascivious zookeeper (appropriately named Heinie) in Zoo in Budapest (1933), a humorless gangster who puts Bob Hope "on the spot" in The Ghost Breakers (1940), and a bespectacled ex-convict who muscles his way into Berlin in Hitler: Dead or Alive (1943), among others. During this period, Fix was most closely associated with westerns, essaying many a villainous (or at least untrustworthy) role at various "B"-picture mills. In the mid-1930s, Fix befriended young John Wayne and helped coach the star-to-be in the whys and wherefores of effective screen acting. Fix ended up appearing in 27 films with "The Duke," among them Pittsburgh (1942), The Fighting Seabees (1943), Tall in the Saddle (1944), Back to Bataan (1945), Red River (1948) and The High and the Mighty (1954). Busy in TV during the 1950s, Fix often found himself softening his bad-guy image to portray crusty old gents with golden hearts-- characters not far removed from the real Fix, who by all reports was a 100% nice guy. His most familiar role was as the honest but often ineffectual sheriff Micah Torrance on the TV series The Rifleman. In the 1960s, Fix was frequently cast as sagacious backwoods judges and attorneys, as in To Kill a Mockingbird (1962).

Trivia: Of many "John Kellys" in films, this John Kelly was the most prolific. Actor John Kelly was usually cast as boxers, cabbies, sailors and street cops. He made his first film in 1927, and his last in 1946. John Kelly's parts ranged from microscopic--he has one line as Captain Sidney Toler's first mate in Our Relations (1936)--to meaty; many will no doubt remember him best as dim-witted deputy sheriff Elmer in Howard Hawks' Bringing Up Baby (1938).

Trivia: A long-nosed character comedian from Australia, in Hollywood from around 1924, John T. Murray was the husband of buxom comedian Vivian Oakland, with whom he appeared in scores of two-reel comedies, including Andy Clyde's Mr. Clyde Goes to Broadway (1940). Earlier, Murray had played the notorious Jack the Kisser, to whom poor Andy was handcuffed in Caught in the Act (1936), and fans of the Three Stooges may remember him as the professor in Violent Is the Word for Curly (1938). Equally busy in feature films, Murray played Talleyrand in Alexander Hamilton (1931), Pilate's servant in The Last Days of Pompeii (1935), the city editor in The Golden Arrow (1936), and various bit parts in MGM's venerable Andy Hardy series. Retired since the early '40s, Murray died at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: Born Elizabeth Edith Enke, on April 16, 1927, in Kingston, PA, Edie Adams was a graduate of both the Juilliard School of Music and the Columbia School of Drama. She began her career in television, utilizing her singing and comedic talent as a regular on the popular Ernie Kovacs Show in the early '50s. Adams and Kovacs were married in 1955 and remained together until his death in 1962. Before appearing in films, she starred on Broadway in Wonderful Town (1953) and Li'l Abner (1956). Her first major film role was playing Miss Olsen in Billy Wilder's 1960 comedy The Apartment. The film work that followed cast Adams in mostly secondary roles that highlighted her talent for comedy and displayed her spirited presence. Other films include: Lover Come Back (1961), Call Me Bwana (1963), It's a Mad, Mad, Mad, Mad World (1963), Under the Yum Yum Tree (1963), Love With the Proper Stranger (1963), The Best Man (1964), Made in Paris, The Oscar (1966), The Honey Pot (1967), Up in Smoke (1978), and Raquet (1979). Adams also appeared in the documentary Kovacs in 1971. She spent her last few decades making periodic guest appearances on such television programs as Designing Women, Fantasy Island and The Love Boat, and died of pneumonia and cancer in 2008.

Trivia: After many, many years on-stage, American actress Zeffie Tilbury made her film bow in 1919. Almost from the beginning of her movie career, Tilbury was typecast as grandmotherly types, be they lovable, spiteful, or diabolical. At her peak in the 1930s and early '40s, she was seen as the Gypsy Queen in Laurel and Hardy's Bohemian Girl (1936); the elegant, larcenous Aunt Olga in the Lubitsch-produced Desire (1936); Gramma Joad in John Ford's Grapes of Wrath (1940); and Ma Lester in another Ford production, Tobacco Road (1941). Fans of the Little Rascals will remember Tilbury as the snappish hypochondriac who is regenerated by the presence of Spanky, Alfalfa, and the rest in the 1936 two-reeler Second Childhood. During her 1930s heyday, Zeffie Tilbury was almost totally blind, a fact she successfully kept secret from the public so as not to generate curiosity or pity.

Trivia: American actor Clarence Kolb came to prominence in the very early 1900s, as one half of the stage comedy team of Kolb and Dill. Kolb and his partner Max Dill were Dutch-dialect comics, their act patterned after the more famous Weber and Fields. The team supplemented their stage appearances with a brief series of short film comedies, released between 1916 and 1917. It wasn't until Kolb struck out on his own that he developed his familiar screen persona of the bullying, excitable business tycoon with the requisite heart of gold. Playing virtually the same part in virtually the same clothes in film after film, Kolb continued his patented characterization in the role of Mr. Honeywell on the popular '50s TV sitcom My Little Margie. Clarence Kolb's final screen appearance was in Man of 1000 Faces (1957), the screen biography of Lon Chaney Sr. For this guest appearance, Kolb decked himself out in his old Dutch vaudeville costume and false beard and played "himself," while character actor Danny Beck portrayed Kolb's stage cohort Max Dill(who'd died in 1949).

Trivia: A confirmed teetotaller, mustachioed American actor Jack Norton nonetheless earned cinematic immortality for his innumerable film appearances as a comic drunk. A veteran vaudevillian - he appeared in a comedy act with his wife Lillian - and stage performer, Norton entered films in 1934, often playing stone-cold sober characters; in one Leon Errol two-reeler, One Too Many, he was a stern nightcourt judge sentencing Errol on a charge of public inebriation! From Cockeyed Cavaliers (1934) onward, however, the Jack Norton that audiences loved began staggering his way from one film to another; it seemed for a while that no film could have a scene in a nightclub or salloon without Norton, three sheets to the wind and in top hat and tails, leaning precariously against the bar. To perfect his act, Norton would follow genuine drunks for several city blocks, memorizing each nuance of movement; to avoid becoming too involved in his roles, the actor drank only ginger ale and bicarbonate of soda. Though his appearances as a drunk could fill a book in themselves, Norton could occasionally be seen sober, notably in You Belong to Me (1940), The Fleet's In (1941) and Harold Lloyd's Sin of Harold Diddlebock (1946); he also "took the pledge" in such short comedies as Our Gang's The Awful Tooth (1938), Andy Clyde's Heather and Yon (1944) and the Three Stooges' Rhythm and Weep (1946). One of Norton's oddest roles was as a detective in the Charlie Chan thriller Shadows over Chinatown (1947), in which he went undercover by pretending to be a souse. Retiring from films in 1948 due to illness, Norton occasionally appeared on live TV in the early '50s. Jack Norton's final appearance would have been in a 1955 episode of Jackie Gleason's The Honeymooners, but age and infirmity had so overwhelmed him that he was literally written out of the show as it was being filmed - though Jackie Gleason saw to it that Norton was paid fully for the performance he was ready, willing, but unable to give.

Trivia: Edgar Dearing was a full-time Los Angeles motorcycle cop in the '20s when he began accepting small roles in the 2-reel comedies of Hal Roach. These roles hardly constituted a stretch, since he was often cast as a motorcycle cop, principally because he supplied his own uniform and cycle; the best-remembered of these "performances" was in Laurel and Hardy's Two Tars (1928). Hal Roach cameraman George Stevens liked Dearing's work, and saw to it that the policeman-cum-actor was prominently featured in Stevens' RKO Wheeler & Woolsey features Kentucky Kernels (1934) and The Nitwits (1935). When he moved into acting full-time in the '30s, Dearing was still primarily confined to law-enforcement bit roles, though he achieved fourth billing as a tough drill sergeant in the Spencer Tracy/Franchot Tone feature They Gave Him a Gun (1937). Dearing's performing weight was most effectively felt in the Abbott and Costello features of the '40s, where he provided a formidable authority-figure foe for the simpering antics of Lou Costello (notably in the "Go Ahead and Sing" routine in 1944's In Society). Dearing also showed up in a number of '40s 2-reelers; he was particularly amusing as strong man Hercules Jones (a "Charles Atlas" takeoff) in the 1948 Sterling Holloway short Man or Mouse? Edgar Dearing's last screen assignment was a prominent role as townsman Mr. Gorman in Walt Disney's Pollyanna (1960).

Trivia: Indiana native Charles Arnt attended Princeton University, where he was president of the Triangle Club and where he earned a geological engineering degree. Short, balding and with an air of perpetual suspicion concerning his fellow man, Arnt seemed far older than his 30 years when he was featured in the original Broadway production of Knickerbocker Holiday. In the movies, Arnt was often cast as snoopy clerks, inquisitive next-door neighbors or curious bystanders. Charles Arnt was seen in such films as The Falcon's Brother (1942), The Great Gildersleeve (1943) and That Wonderful Urge (1948); he also played one top-billed lead, as an obsessive art dealer in PRC's Dangerous Intruder (1946).

Trivia: Diminutive Scottish stage and screen actress Mary Gordon was seemingly placed on this earth to play care-worn mothers, charwomen and housekeepers. In films from the silent area (watch for her towards the end of the 1928 Joan Crawford feature Our Dancing Daughters), Gordon played roles ranging from silent one-scene bits to full-featured support. She frequently acted with Laurel and Hardy, most prominently as the stern Scots innkeeper Mrs. Bickerdyke in 1935's Bonnie Scotland. Gordon was also a favorite of director John Ford, portraying Irish, Scottish, Welsh and Englishwomen with equal aplomb (and sometimes with the same accent). She was the screen mother of actors as diverse as Jimmy Cagney, Leo Gorcey and Lou Costello; she parodied this grey-haired matriarch image in Olsen and Johnson's See My Lawyer (1945), wherein her tearful court testimony on behalf of her son (Ed Brophy) is accompanied by a live violinist. Mary Gordon is most fondly remembered by film buffs for her recurring role as housekeeper Mrs. Hudson in the Sherlock Holmes films of 1939-46 starring Basil Rathbone and Nigel Bruce, a role she carried over to the Holmes radio series of the '40s.

Trivia: American actor Donald Briggs began his career on the radio in Chicago. He received national attention when he played the radio hero "Frank Merriwell" in California. During the mid-1930s he began appearing in films.

Trivia: Though no relation to comedian Chester Conklin, Charles "Heinie" Conklin spent his early film years at Chester's alma mater, Mack Sennett's Keystone studios; in later years, Heinie claimed to be one of the original Keystone Kops. Heinie's silent-screen makeup consisted of heavy eyebrow lining and a thinnish, upside-down, painted-on variation of Kaiser Wilhelm's moustache. In areas where anti-German sentiments still ran high during the post-World War 1 era, Conklin was billed on screen as Charlie Lynn. One of Conklin's first talkie appearances was as the addled military hospital patient in All Quiet on the Western Front (1930). He spent most of his sound career in microscopic bit roles, often appearing at Columbia studios in support of such 2-reeler stars as The Three Stooges, Andy Clyde, Hugh Herbert and Harry Langdon. Significantly, Heinie Conklin's last billed performance was in 1955's Abbott and Costello Meet the Keystone Kops.

Trivia: American actor Ben Hall trafficked in adolescent and juvenile roles from his 1928 film debut in Harold Teen onward. Frequently cast in bucolic roles, Hall was seen as Goofy in Fritz Lang's Fury (1935) and as heroine Anne Shirley's dim-witted brother in John Ford's Steamboat Round the Bend (1935). Even when playing a Gallic character in Algiers (1938), Hall was still essentially the country bumpkin. One of Ben Hall's last film credits was Ford's My Darling Clementine (1946), in which he was briefly seen as a tremulous barber.

Trivia: Prior to entering the theatrical profession, American supporting actor William Burress was, according to his official bio, an operator for the Pennsylvania Railroad. A leading actor for Klaw and Erlanger and Charles Frohman in the late 1890s, Burress made his Broadway debut in a 1900 musical extravaganza entitled Little Red Riding Hood and later appeared in such shows as The Girl From Rectors (1909) and Miss Millions (1919). He moonlighted in films from 1913 onwards, portraying Father Le Jeune opposite William Farnum's Le Clerq in The End of the Trail (1916) and Chauvelin to Dustin Farnum's The Red Pimpernel (1917). Reduced to mostly unbilled bits in talkies, Burress turned up as a judge in Scarface (1932), a minister in Jane Eyre (1934), the toymaker in Babes in Toyland (1934), and a justice of the peace in Shall We Dance? (1937).

Trivia: Vince Barnett was the son of Luke Barnett, a well-known comedian who specialized in insulting and pulling practical jokes on his audiences (Luke's professional nickname was "Old Man Ribber"). Vince remained in the family business by hiring himself out to Hollywood parties, where he would insult the guests in a thick German accent, spill the soup and drop the trays--all to the great delight of hosts who enjoyed watching their friends squirm and mutter "Who hired that jerk?" The diminutive, chrome-domed Barnett also appeared in the 1926 edition of Earl Carroll's Vanities. He began appearing in films in 1930, playing hundreds of comedy bits and supporting parts until retiring in 1975. Among Vince Barnett's more sizeable screen roles was the moronic, illiterate gangster "secretary" in Scarface (1931).

Trivia: Stocky, officious American actor Guy Usher made a spectacular film debut in The Penguin Pool Murder (1932), playing the drowned victim of the titular crime. Many of Usher's subsequent roles required a great deal of fluster and bluster: As land-developer Harry Payne Bosterly in It's a Gift (1934), he dismissed W.C. Fields by bellowing, "You're drunk!," whereupon Fields put him in his place by responding, "And you're crazy. But tomorrow I'll be sober, and you'll always be crazy." Usher also appeared as D.A. Hamilton Burger in the 1934 Perry Mason adaptation The Case of the Black Cat. In the late '30s-early '40s, Guy Usher was a mainstay at Monogram Pictures, again specializing in murder victims.

Trivia: Over his 60-year career, American stunt man Harvey Parry appeared in close to 600 films. He got his start playing a Keystone Kop for Mack Sennett and over the years played stunt doubles for some of Hollywood's brightest stars including James Cagney, for whom he doubled most often, Bogart, Peter Lorre, and once, Shirley Temple. Though not generally known until long after famed silent comedian Harold Lloyd's death, Parry also doubled for Lloyd in the action sequences of Feet First (1930) on the long shots. During the '70s through the early '80s, Parry did stunt and character work (specializing as a stumbling drunk) on several television series including The Fall Guy.

Trivia: Though he was the personification of the cruel, calculating Japanese military officer in many a wartime propaganda film, Richard Loo was actually born in Hawaii of Chinese parents. The holder of a Business Studies degree from the University of California, Loo ran a successful importing firm until his assets were wiped out in the 1929 stock market crash. He launched his acting career in 1931, first in California-based stock companies, then in films, beginning with Frank Capra's Dirigible (1931). His movie career picked up momentum after the attack on Pearl Harbor, with villainous roles in such films as Wake Island (1942) and The Purple Heart (1944). In all, Richard Loo toted up some 200 film appearances in his five-decade career.

Trivia: Supporting actor Murray Alper's earliest screen credit was 1930's The Royal Family of Broadway. For the next 35 years, Alper was an inescapable movie presence, playing dozens of cab drivers, bookies, cops and GIs. One of his few credited appearances in an "A" picture was in The Maltese Falcon; he plays the friendly cabbie who drives Sam Spade (Humphrey Bogart) on a mid-film wild goose chase. Frequently seen in comedies, Alper showed up in eight Bowery Boys farces of the 1940s and 1950s, and was prominently featured in the Three Stooges' Trick Dicks (1953) and The Outlaws is Coming (1965, as Chief Crazy Horse!). One of Murray Alper's least characteristic roles was the judo instructor in Jerry Lewis' The Nutty Professor (1963).

Trivia: Oklahoma-born William Benedict is fondly remembered by fans for his shock of unkempt blond hair; ironically, he lost his first job at a bank because he refused to use a comb. Stagestruck at an early age, the skinny, ever-boyish Benedict took dancing lessons while in high school and appeared in amateur theatricals. After phoning a 20th Century-Fox talent scout, the 17-year-old Benedict hitchhiked to Hollywood and won a film contract (if for no other reason than nerve and persistence). He appeared in the first of his many office-boy roles in his debut film, $10 Raise (1935), and spent the next four decades popping up in bits as bellboys, caddies, hillbillies, delivery men and Western Union messengers. He portrayed so many of the latter, in fact, that Western Union paid tribute to Benedict by giving him his own official uniform -- an honor bestowed on only one other actor, Benedict's lifelong friend Frank Coghlan Jr. (the two actors costarred in the 1941 serial The Adventures of Captain Marvel). In 1939, Benedict played a bicycle messenger in the Little Tough Guys film Call a Messenger; four years later he appeared with another branch of the Little Tough Guys clan, the East Side Kids, in Ghosts on the Loose. He remained with the Kids as "Skinny," then stayed on when the East Siders transformed into the Bowery Boys in 1946. As "Whitey," Benedict was the oldest member of the team, a fact occasionally alluded to in the dialogue -- though Leo Gorcey, two months younger than Benedict, was firmly in charge of the bunch. Benedict left the Bowery Boys in 1951, gradually easing out of acting; for several years, he worked as an assistant designer of miniature sets for movie special-effects sequences. He returned to performing in the 1960s, still playing the newsboy and delivery man roles he'd done as a youth. Film and TV fans of the 1970s might recall Billy Benedict as a world-weary croupier in the early scenes of The Sting (1973), and in the regular role of Toby the Informant on the 1975 TV series The Blue Knight.

Trivia: A master of the delayed, dull-witted double take, American actor George Guhl spent several decades in vaudeville as a member of the Guhl Brothers and Guhl and Adams comedy teams. He entered films in 1935, remaining active until his death eight years later. Fans of Hal Roach's "Our Gang" comedies will remember Guhl as gimlet-eyed truant officer Smithers in Arbor Day (1936). George Guhl's best feature-film assignment was the recurring role of dim-bulbed desk sergeant Graves in Warner Bros.' "Torchy Blane" series.

Trivia: Actor Charles Trowbridge was born in Mexico to American parents. An architect for the first decade of his adult life, Trowbridge turned to stage acting in the early teens, making his film bow in 1918's Thais. Silver-haired even as a young man, Trowbridge was generally cast in kindly but authoritative roles, usually as doctors, lawyers and military officers. He also had a bad habit of being killed off before the film was half over; in 1940, Trowbridge had the distinction of being murdered (by Lionel Atwill and George Zucco respectively) in two separate Universal horror films, Man Made Monster and The Mummy's Hand. While he was active until 1957, Charles Trowbridge was best known to millions of wartime servicemen as the cautionary military doctor in John Ford's venereal disease prevention film Sex Hygiene (1941).

Trivia: American actor Sherry Hall popped up in innumerable bit roles between 1932 and 1951. Hall was typically cast as reporters, bartenders, court clerks, and occasional pianists. He was particularly busy at 20th Century-Fox in the 1940s, nearly always in microscopic parts. Sherry Hall's larger screen assignments included the "TV Scientist" in Dick Tracy Returns (1938), Robert Buelle in The Shadow Returns (1946), John Gilvray in The Prowler (1951), and Mr. Manners in The Well, a 1951 film populated almost exclusively by small-part players.

Trivia: Not to be confused with lachrymose child actor Bobs Watson (1931-1999), Robert "Bobby" Watson was a musical comedy actor who came to films in 1925. At the advent of talkies, the short, ebullient Watson played a few leads in such musicals as Syncopation (1929), then spent the 1930s essaying bit roles as glib reporters and fey "pansy" types. For a while, he emulated Broadway star Bobby Clark, adopting horn-rimmed glasses, a wide-brimmed hat, and a perpetual air of bug-eyed lechery. Watson found his true niche in the 1940s, when his startling resemblance to Adolf Hitler assured him plenty of screen work. He alternately portrayed Der Führer as a raving madman in such serious films as The Hitler Gang (1942) and as a slapsticky buffoon in such comedies as The Devil With Hitler (1942) and That Nazty Nuisance (1943). Legend has it that he faced so much hostility on the set while made up as Hitler that he had to remain locked in his dressing room between takes. After the war, Watson fell from prominence, playing a few sizeable character roles in films like The Paleface (1948) and Red, Hot and Blue (1949) before settling into such uncredited minor parts as the voice coach ("Moses supposes his toeses are roses") in Singin' in the Rain (1952). Until the end of his life, Bobby Watson remained "on call" for one-scene appearances as Hitler in films ranging from The Story of Mankind (1957) to Danny Kaye's On the Double (1961).

Trivia: American actor Harry Tyler wasn't really as old as the hills when he started his film career in 1929; in fact, he was barely 40. Still, Tyler's wizened, gimlet-eyed face was his fortune, and he spent most of his movie years playing variations of the Spry Old Timer. Tyler began his stage career as a boy soprano in 1901, under the aegis of producer Flo Ziegfeld and Ziegfeld's wife Anna Held. He married Gladys Crolius in 1910, and for the next twelve years they toured vaudeville in a precursor to Burns and Allen's smart guy/dumb dora act. Returning to the legitimate stage in 1925, Tyler journeyed to Hollywood when talking pictures took hold four years later. His inaugural screen appearance was a recreation of his stage role in The Shannons on Broadway. Harry Tyler played bits and featured roles as janitors, sign painters, philandering businessmen, frontier farmers and accident victims from 1929 until his farewell appearance in John Ford's The Last Hurrah (1958).

Trivia: The son of slaves, actor George H. Reed was nearing the age of 50 when he made his first screen appearance in 1914. If it is true that Reed was cast in D.W. Griffith's Birth of a Nation, he would have been one of the few genuine black performers in this controversial film, which relied almost exclusively upon white actors in blackface. In contrast to the rampant racism in Birth, Reed's next confirmed appearance was in Realization of a Negro's Ambition (1916), which was relatively sympathetic to the African-American viewpoint. He went on to play escaped slave Jim in the 1920 version of Huckleberry Finn, then was consigned to stereotypical minor roles, bearing such character names as Rastus, Uncle Remus, and the like. During the talkie era, the stately, dignified Reed was often cast as a minister, most memorably as Reverend Deshee in The Green Pastures (1936). From 1939 to 1947, George H. Reed was a regular in MGM's Dr. Kildare series as elderly hospital orderly Conover, whose principal job it was to pilot the wheelchair bearing the curmudgeonly Dr. Gillespie (Lionel Barrymore).

Trivia: Not to be confused with director Richard Rush, portly, raspy-voiced American character actor Dick Rush was in films from 1920 until the early '40s. Rush was generally a comedy foil, most memorably for Harold Lloyd. Little Rascals devotees will remember Rush as the side-show impresario in Arbor Day (1936), who shows up at the end of the picture to whisk midget George and Olive Brasno away from their forced participation in a grade-school assembly show. Otherwise, he played a variety of cops, guards, mob leaders, and train conductors. Dick Rush spent his last active years as a featured player at RKO Radio.

Trivia: Actor Eric Wilton made his first screen appearance in Samuel Goldwyn's Arrowsmith (1931) and his last in Paramount's The Joker Is Wild (1957). Usually uncredited, Wilton played such utility roles as ministers, doormen, and concierges. Most often, however, he was cast as butlers. Of his eight film appearances in 1936, for example, Eric Wilton played butlers in five of them.