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

Trivia: Born Gretchen Young, her family moved to Hollywood and she began appearing (at age four) as a child extra in movies, as did her sisters (one of whom later became known as actress Sally Blane). At 14, she got a small supporting role in Naughty but Nice (1927), which led to a screen contract. She moved quickly from teenager to ingénue to leading lady roles, appearing in many films and successfully making the transition to the sound era. By the mid-'30s, she was an established star, usually cast in decorative roles in routine programmers. For her work in The Farmer's Daughter (1947) she won the Best Actress Oscar, and was nominated again for Come to the Stable (1949). After a consistently busy screen career of 25 years, she retired from films in 1953 to host the TV series The Loretta Young Show, a weekly half-hour teleplay; she appeared in about half of the show's episodes, winning three Emmy Awards. Since the early '60s, she has devoted most of her energies to Catholic charities. She has been married twice. In 1930, she made headlines when, at age 17, she eloped with actor Grant Withers. However, the marriage was annulled after a year. She later married producer and writer Thomas Lewis, from whom she eventually separated. She authored the memoir The Things I Had to Learn (1961). After NBC unlawfully broadcast her TV shows abroad, she sued the network in 1972 and won 600,000 dollars.

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

Trivia: Heavy-set, heavy-eyebrowed, heavily-mustached and icily forbidding, actor Henry Kolker was a reliable screen menace for over 30 years. After nearly a quarter century on stage, Kolker made his first film, The Bigger Man, in 1915. He harrumphed and glowered his way through dozens of talkies, most often as unpleasant corporate types; sometimes, as in his portrayal of Friar Laurence in MGM's Romeo and Juliet, he could rechannel his negative authoritativeness into a more positive vein. One of Henry Kolker's largest and most representative roles was Edward Seton, the "old money" father of Katharine Hepburn, in Holiday (1938).

Trivia: Stereotyped early on as a "silly ass" Englishman, Claud Allister perpetuated that stereotype in countless British and American films from 1929 through 1953. Allister made his Hollywood debut as Algy in 1929's Bulldog Drummond, then headed back to England to play peripheral roles in such Alexander Korda productions as The Private Life of Henry VIII (1933) and The Private Life of Don Juan (1934). Back in America in 1936, Allister settled into a string of brief, frequently uncredited roles, nearly always as a supercilious high-society twit. The fruity vocal tones of Claud Allister were ideally suited to the title character in the 1941 Disney animated feature The Reluctant Dragon.

Trivia: Scottish stage actor Ivan Simpson made the first of his many film appearances in 1915. A favorite of theatrical luminary George Arliss, Simpson appeared in nine of Arliss' Hollywood vehicles, beginning with 1922's The Man Who Played God. His most memorable roles during this period included the Jewish business adviser to Prime Minister Benjamin Disraeli in 1929's Disraeli, and the smarmy cockney general factotum to the Rajah of Rukh in 1930's The Green Goddess. Outside of his association with Arliss, Simpson's other noteworthy roles included Lord Faulkner in the 1932 Clive Brook version of Sherlock Holmes. Ivan Simpson remained active until 1948, playing scores of minor parts as magistrates, pubkeepers, clerks, butlers, and professors.

Trivia: A former opera singer in his native Sicily, bull-necked, waxed-moustached character actor Paul Porcasi made his screen bow in 1917's Fall of the Romanoffs. Porcasi flourished in the talkie era, playing innumerable speakeasy owners, impresarios, chefs, and restaurateurs. The nationalities of his screen characters ranged from Italian to French to Greek to Spanish; most often, however, he played Greeks with such onomatopoeic monikers as Papapopolous. Porcasi's best-remembered film roles include Nick the Greek in Broadway (1929), the obsequious garment merchant in Devil in the Deep (1932), dour border guard Gonzalez in Eddie Cantor's The Kid From Spain (1932), and the apoplectic apple vendor ("Hey! You steal-a!") in King Kong (1933). Paul Porcasi was also starred in the first three-strip Technicolor short subject, La Cucaracha (1934), wherein his face turned a deep crimson after he ingested one too many hot chili peppers.

Trivia: The long-reigning king of Hollywood horror, Boris Karloff was born William Henry Pratt on November 23, 1887, in South London. The youngest of nine children, he was educated at London University in preparation for a career as a diplomat. However, in 1909, he emigrated to Canada to accept a job on a farm, and while living in Ontario he began pursuing acting, joining a touring company and adopting the stage name Boris Karloff. His first role was as an elderly man in a production of Molnar's The Devil, and for the next decade Karloff toiled in obscurity, traveling across North America in a variety of theatrical troupes. By 1919, he was living in Los Angeles, unemployed and considering a move into vaudeville, when instead he found regular work as an extra at Universal Studios. Karloff's first role of note was in 1919's His Majesty the American, and his first sizable part came in The Deadlier Sex a year later. Still, while he worked prolifically, his tenure in the silents was undistinguished, although it allowed him to hone his skills as a consummate screen villain.Karloff's first sound-era role was in the 1929 melodrama The Unholy Night, but he continued to languish without any kind of notice, remaining so anonymous even within the film industry itself that Picturegoer magazine credited 1931's The Criminal Code as his first film performance. The picture, a Columbia production, became his first significant hit, and soon Karloff was an in-demand character actor in projects ranging from the Wheeler and Woolsey comedy Cracked Nuts to the Edward G. Robinson vehicle Five Star Final to the serial adventure King of the Wild. Meanwhile, at Universal Studios, plans were underway to adapt the Mary Shelley classic Frankenstein in the wake of the studio's massive Bela Lugosi hit Dracula. Lugosi, however, rejected the role of the monster, opting instead to attach his name to a project titled Quasimodo which ultimately went unproduced. Karloff, on the Universal lot shooting 1931's Graft, was soon tapped by director James Whale to replace Lugosi as Dr. Frankenstein's monstrous creation, and with the aid of the studio's makeup and effects unit, he entered into his definitive role, becoming an overnight superstar. Touted as the natural successor to Lon Chaney, Karloff was signed by Universal to a seven-year contract, but first he needed to fulfill his prior commitments and exited to appear in films including the Howard Hawks classic Scarface and Business or Pleasure. Upon returning to the Universal stable, he portrayed himself in 1932's The Cohens and Kellys in Hollywood before starring as a nightclub owner in Night World. However, Karloff soon reverted to type, starring in the title role in 1932's The Mummy, followed by a turn as a deaf-mute killer in Whale's superb The Old Dark House. On loan to MGM, he essayed the titular evildoer in The Mask of Fu Manchu, but on his return to Universal he demanded a bigger salary, at which point the studio dropped him. Karloff then journeyed back to Britain, where he starred in 1933's The Ghoul, before coming back to Hollywood to appear in John Ford's 1934 effort The Lost Patrol. After making amends with Universal, he co-starred with Lugosi in The Black Cat, the first of several pairings for the two actors, and in 1936 he starred in the stellar sequel The Bride of Frankenstein. Karloff spent the remainder of the 1930s continuing to work at an incredible pace, but the quality of his films, the vast majority of them B-list productions, began to taper off dramatically. Finally, in 1941, he began a three-year theatrical run in Arsenic and Old Lace before returning to Hollywood to star in the A-list production The Climax. Again, however, Karloff soon found himself consigned to Poverty Row efforts, such as 1945's The House of Frankenstein. He also found himself at RKO under Val Lewton's legendary horror unit. A few of his films were more distinguished -- he appeared in The Secret Life of Walter Mitty, Unconquered, and even Abbott and Costello Meet the Killer -- and in 1948 starred on Broadway in J.B. Priestley's The Linden Tree, but by and large Karloff delivered strong performances in weak projects. By the mid-'50s, he was a familiar presence on television, and from 1956 to 1958, hosted his own series. By the following decade, he was a fixture at Roger Corman's American International Pictures. In 1969, Karloff appeared in Peter Bogdanovich's Targets, a smart, sensitive tale in which he portrayed an aging horror film star; the role proved a perfect epitaph -- he died on February 2, 1969.

Trivia: Spanish-born character actor Luis Alberni spent most of his Hollywood career playing excitable Italians: waiters, janitors, stagehands, and shop proprietors. A short, elfish man usually decked out in a string tie and frock coat, Alberni worked on stage in Europe before heading for Broadway (and the movies) in 1921. He was busiest in the early-talkie era, appearing twice in large, juicy supporting roles opposite John Barrymore. In Svengali, Alberni is Barrymore's long-suffering assistant, while in Mad Genius, he's a dope-addicted stage manager who murders Barrymore in a baroque climax. During World War II, Alberni kept busy playing Italian mayors and peasants, both fascist and partisan. Luis Alberni's final film appearance was as the great-uncle of a "compromised" French peasant girl in John Ford's remake of What Price Glory? (1952)