Trivia: Born in India to a British railway clerk, Margaret Lockwood was educated at London's Italia Conti School. After training for an acting career at RADA (several years after her official stage debut at age 12), she made her first film in 1935, billed as Margie Day. After a series of inconsequential ingenues, Lockwood was given a role with teeth in Hitchcock's The Lady Vanishes (1938). She had a brief Hollywood career (two films' worth) in 1939, then returned to England, where throughout the 1940s she specialized in beautiful but diabolical adventuresses. She left the screen in favor of the stage in 1955, then made a long overdue return to films in The Slipper and the Rose (1976). Books on Lockwood's career include her own autobiography Lucky Star (1955) and Hilton Tims' Once a Wicked Lady (1989). Margaret Lockwood was the mother of British film actress Julia Lockwood.

Trivia: The son of British actor Roy Redgrave, Michael Redgrave attended Clifton College and Cambridge University. While teaching high school, Redgrave became involved with amateur theatricals. A professional by 1934, Redgrave made his London debut in Love's Labours Lost in 1936, and that same year appeared in his first film, Hitchcock's The Secret Agent (1936). It was thanks to his leading role in another Hitchcock effort, The Lady Vanishes (1938), that Redgrave achieved stardom. He was excellent in several starring vehicles of the 1940s, and at his very best in his 20-minute turn as a paranoid ventriloquist in Dead of Night (1946). An attempt to become a Hollywood star via Mourning Becomes Electra (1947) was scuttled due to the film's poor box office take, though Redgrave did earn an Oscar nomination for his performance. After starring in The Dam Busters, Britain's most popular 1955 movie release, Redgrave settled into film character roles, continuing all the while to headline on stage. He also wrote and directed several theatrical productions throughout his career, and was the author of four books: the instructional The Actor's Ways and Means, the novel The Mountebank's Tale, and two autobiographies. In 1959, Redgrave was knighted for his achievements in his chosen field. Long married to actress Rachel Kempson, Michael Redgrave was the father of actors Vanessa, Corin and Lynn Redgrave; and the grandfather of actresses Jemma Redgrave, Natasha and Joely Richardson.

Trivia: Lukas trained for the stage at the Hungarian Actors Academy, and in 1916 he debuted on the Budapest stage. He soon became a local matinee idol, having appeared in many plays and films. He became well-known throughout Central Europe, and Max Reinhardt had him guest-star in Berlin and Vienna productions in the '20s. In 1927 Adolph Zukor brought him to the U.S., and from 1928 he made his career playing Continental Europeans in Hollywood films. At first he portrayed smooth, suave seducers; as age caught up with him he moved into villainous roles, and often played Nazis. His greatest acting triumph, however, came in an anti-Nazi role -- one of his few sympathetic parts at the time -- in Lillian Hellman's Watch on the Rhine on Broadway (1941); he reprised the role in the play's film version (1943), for which he won the Best Actor Oscar and New York Film Critics Award. He continued appearing in occasional films throughout the rest of his life, usually playing sympathetic old men.

Trivia: The daughter of a Liverpool newspaper editor, British actress Dame May Whitty first stepped on a London stage in 1882. Shortly afterward she was engaged by the St. James Theatre, serving mostly in an understudy capacity. From there, Whitty went into a travelling stock company, finally attaining leading roles. She had been one of the leading lights of the British stage for nearly 25 years when she appeared in her first film, Enoch Arden, in 1914; caring little for the experience, she made only a smattering of silent films thereafter. In 1918, the 53-year-old May Whitty was made a Dame Commander of the British Empire in recognition of her above-and-beyond activities performing before the troops in World War I. After a string of 1930s Broadway successes, Whitty went to Hollywood for the same reasons that many of her British contemporaries had previously done so -- the work was easy and the money, fabulous. In keeping with the regality of her name, Whitty was usually cast in high-born roles, sometimes imperious, often warmhearted. In her first talking picture Night Must Fall (1937), she is the foolhardy invalid who falls for the charms of homicidal Robert Montgomery, and as consequence winds up literally losing her head. In Hitchcock's The Lady Vanishes (1938) she plays the title role, enduring a great deal of physical exertion while never losing her poise and dignity. Whitty was also capable of playing working-class types, such as the dowdy phony psychic in The Thirteenth Chair (1937). She was twice nominated for the Oscar, first for Night Must Fall in 1937, then for Mrs. Miniver in 1942. Despite her advanced age, Whitty became extremely active on the Hollywood social circuit in the 1940s--at least for the benefit of the newsreel photographers. Whitty died at the age of 82, shortly after completing her scenes for Columbia's The Sign of the Ram (1948). She was the wife of London producer Ben Webster, and the mother of actress/playwright Margaret Webster, who wrote a 1969 biography of Whitty, The Same Only Different.

Trivia: Sandpaper-voiced British character actor Cecil Parker was able to channel his stuffy, aristocratic demeanor into characters of both authority and menace. Kicking off his stage career after World War I, Parker made his stage bow in 1922 and his first film appearance seven years later. In his film roles, he was frequently addressed as "Colonel," "Your Majesty," or "Your Lordship," though these titles were not always an indication of his character's basic integrity. American filmgoers of the 1930s were most familiar with Parker's portrayal of the philandering, cowardly businessman in Hitchcock's The Lady Vanishes (1938). He played leads in such post-World War II films as Captain Boycott (1947), The Weaker Sex (1948), The Amazing Mr. Beecham (1949), Tony Draws a Horse (1950), and I Believe in You (1952). He also played such prominent supporting roles as Britannus in Caesar and Cleopatra (1946), the usurping king in Danny Kaye's The Court Jester (1956), Lord Loam in The Admirable Crichton (1957), and Jarvis Lorry in A Tale of Two Cities (1958). Cecil Parker's last film appearance was a comedy cameo in Oh, What a Lovely War (1969).

Trivia: A stage actress from 1931, Linden Travers launched her film career in 1935. One of Travers best roles of the 1930s was as "Mrs." Todhunter, the mistress of philandering Cecil Parker, in Hitchcock's The Lady Vanishes. Though the quality of her films would fluctuate, her high performance standards never varied. Arguably the best of her postwar films was Quartet (1948); unquestionably the worst was No Orchids for Miss Blandish (1947). Linden Travers was the sister of film favorite Bill Travers.

Trivia: A professional from age 16 onward, British actress Mary Clare seemed most at home in costume roles. She played Lady Caroline Lamb in The Life of Lord Byron (1922), Queen Eleanor in Becket (1923), Mrs. Corney in Oliver Twist (1948), Mme. Loubet in Moulin Rouge (1952) and Mrs. Peachum in The Beggar's Opera (1953). Clare's "contemporary" film assignments included the sinister baroness in Hitchcock's The Lady Vanishes (1938). In 1942, Mary Clare enjoyed a rare top-billed role in the enjoyable detective comedy-drama Mrs. Pym of Scotland Yard.

Trivia: On stage from 1920, Welsh actor Naunton Wayne made his film bow in 1931. Wayne was catapulted to worldwide fame in 1937, when he and Basil Radford were teamed as cricket-happy British tourists Charters and Caldicott (Wayne was Caldicott) in Hitchcock's The Lady Vanishes. The two actors would continue to essay these roles, or reasonable facsimiles, in such films as Night Train (1939), Crook's Tour (1941) and Dead of Night (1948). Wayne was also seen in such popular Ealing comedies as Passport to Pimlico (1949) and The Titfield Thunderbolt (1953). Still essaying light comedy role into his sixties, Naunton Wayne made his last screen appearance in 1964's Double Bunk.

Trivia: Actor Basil Radford was on the British stage from 1922 in twittish, tweedy comedy roles. His first film appearance was in 1929's Barnum Was Right. International fame came Radford's way when he and Naunton Wayne originated the roles of cricket-obsessed Charters and Caldicott in Alfred Hitchcock's The Lady Vanishes (1938). Radford and Wayne continued to play these roles (or facsimiles thereof) in such films as Night Train (1940), Crooks Tour (1941), Next of Kin (1942), Millions Like Us (1945), and Dead of Night (1945). They were supposed to revive Charters and Caldicott once more for Sir Carol Reed's The Third Man (1949), but their roles were streamlined into a solo part for Wilfred Hyde-White. The best of Radford's later roles included the blindsided British bureaucrat in Tight Little Island (1948). Basil Radford died of a heart attack at age 55, shortly after co-starring in White Corridors (1951).

Trivia: British actress Catherine Lacey was an established stage character player before she was 30. Most of her film roles found her as either a neurotic or eccentric, usually playing a spinster or reprimanding spouse. One can only suppose that Ms. Lacey was happier with roles in major films like I Know Where I'm Going (1947), The October Man (1947) and The Fighting Prince of Donegal (1966) (where she played Queen Elizabeth I) than she was in her horror stint opposite Boris Karloff in The Sorcerers (1969), in which she and Boris wound up burnt to a crisp as a result of their villainy. Catherine Lacey was at her most memorable in her first film, Hitchcock's The Lady Vanishes (1938), as the secretive nun who wears high heels.

Trivia: British actress Googie Withers, born Georgette Withers, professionally adopted her nickname "Googie" only when she embarked upon her career. The daughter of a British military officer stationed in what is now West Pakistan, the convent-educated Withers prepared for a life on-stage by studying at the Italia Conti, the Helena Lehminski Academy, and the Buddy Bradley School of Dancing. Her first professional engagement, at age 12, was as a chorus singer. In films from 1934, Withers hit her peak popularity in the 1940s with such efforts as On Approval (1944), Pink String and Sealing Wax (1946), and It Always Rains on Sunday (1948). Her onscreen forte was elegant shrewery, often of a homicidal or self-destructive nature. After her mid-'50s marriage to actor John McCallum, Withers relocated to Australia, toting up impressive stage credits "down under." She resumed her film and TV career in character roles in the mid-'80s. Googie Withers was the subject of her husband's 1979 biographical volume Life with Googie.

Trivia: Alfred Hitchcock was the most well-known director to the general public, by virtue of both his many thrillers and his appearances on television in his own series from the mid-'50s through the early '60s. Probably more than any other filmmaker, his name evokes instant expectations on the part of audiences: at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in every one of the director's movies.Originally trained at a technical school, Hitchcock gravitated to movies through art courses and advertising, and by the mid-'20s he was making his first films. He had his first major success in 1926 with The Lodger, a thriller loosely based on Jack the Ripper. While he worked in a multitude of genres over the next six years, he found his greatest acceptance working with thrillers. His early work with these, including Blackmail (1929) and Murder (1930), seem primitive by modern standards, but have many of the essential elements of Hitchcock's subsequent successes, even if they are presented in technically rudimentary terms. Hitchcock came to international attention in the mid- to late '30s with The Man Who Knew Too Much (1934), The 39 Steps (1935), and, most notably, The Lady Vanishes (1938). By the end of the 1930s, having gone as far as the British film industry could take him, he signed a contract with David O. Selznick and came to America.From the outset, with the multi-Oscar-winning psychological thriller Rebecca (1940) and the topical anti-Nazi thrillers Foreign Correspondent (1940) and Saboteur (1942), Hitchcock was one of Hollywood's "money" directors whose mere presence on a marquee attracted audiences. Although his relationship with Selznick was stormy, he created several fine and notable features while working for the producer, either directly for Selznick or on loan to RKO and Universal, including Spellbound (1945), probably the most romantic of Hitchcock's movies; Notorious (1946); and Shadow of a Doubt (1943), considered by many to be his most unsettling film.In 1948, after leaving Selznick, Hitchcock went through a fallow period, in which he experimented with new techniques and made his first independent production, Rope; but he found little success. In the early and mid-'50s, he returned to form with the thrillers Strangers on a Train (1951), which was remade in 1987 by Danny DeVito as Throw Momma From the Train; Dial M for Murder (1954), which was among the few successful 3-D movies; and Rear Window (1954). By the mid-'50s, Hitchcock's persona became the basis for the television anthology series Alfred Hitchcock Presents, which ran for eight seasons (although he only directed, or even participated as producer, in a mere handful of the shows). His films of the late '50s became more personal and daring, particularly The Trouble With Harry (1955) and Vertigo (1958), in which the dark side of romantic obsession was explored in startling detail. Psycho (1960) was Hitchcock's great shock masterpiece, mostly for its haunting performances by Janet Leigh and Anthony Perkins and its shower scene, and The Birds (1963) became the unintended forerunner to an onslaught of films about nature-gone-mad, and all were phenomenally popular -- The Birds, in particular, managed to set a new record for its first network television showing in the mid-'60s.By then, however, Hitchcock's films had slipped seriously at the box office. Both Marnie (1964) and Torn Curtain (1966) suffered from major casting problems, and the script of Torn Curtain was terribly unfocused. The director was also hurt by the sudden departure of composer Bernard Herrmann (who had scored every Hitchcock's movie since 1957) during the making of Torn Curtain, as Herrmann's music had become a key element of the success of Hitchcock's films. Of his final three movies, only Frenzy (1972), which marked his return to British thrillers after 30 years, was successful, although his last film, Family Plot (1976), has achieved some respect from cult audiences. In the early '80s, several years after his death in 1980, Hitchcock's box-office appeal was once again displayed with the re-release of Rope, The Trouble With Harry, his 1956 remake of The Man Who Knew Too Much, and Vertigo, all of which had been withheld from distribution for several years, but which earned millions of dollars in new theatrical revenues.