Trivia: Born in Florida, Evelyn Brent was raised in New York by her widowed father. A teenaged model, Evelyn began appearing in films at the Popular Plays and Players studio in Fort Lee, New Jersey. After World War I, she travelled to England, where she worked in films and on stage. Back in the U.S. in 1922, Evelyn established herself in exotic, "dangerous" roles, notably in the late-silent efforts of director Josef Von Sternberg. Luckily, Evelyn's voice matched her screen image perfectly, and she had no trouble adjusting to talkies; unluckily, her earliest talkie starring efforts were box-office failures, and by the mid-1930s Evelyn was consigned to secondary roles. She took occasional sabbaticals from Hollywood to tour in vaudeville, rounding out her acting career in such Monogram cheapies as Bowery Champs (1944) and The Golden Eye (1948). Evelyn Brent worked as an actor's agent in the 1950s, then retired, periodically emerging from her Westwood Village home to appear as guest of honor at theatrical revivals of her best silent films.

Trivia: American actor Joel McCrea came from a California family with roots reaching back to the pioneer days. As a youth, McCrea satiated his fascination with movies by appearing as an extra in a serial starring Ruth Roland. By 1920, high schooler McCrea was a movie stunt double, and by the time he attended USC, he was regularly appearing at the Pasadena Playhouse. McCrea's big Hollywood break came with a part in the 1929 talkie Jazz Age; he matriculated into one of the most popular action stars of the 1930s, making lasting friendships with such luminaries as director Cecil B. DeMille and comedian Will Rogers. It was Rogers who instilled in McCrea a strong business sense, as well as a love of ranching; before the 1940s had ended, McCrea was a multi-millionaire, as much from his land holdings and ranching activities as from his film work. Concentrating almost exclusively on westerns after appearing in The Virginian (1946), McCrea became one of that genre's biggest box-office attractions. He extended his western fame to an early-1950s radio series, Tales of the Texas Rangers, and a weekly 1959 TV oater, Wichita Town, in which McCrea costarred with his son Jody. In the late 1960s, McCrea increased his wealth by selling 1200 acres of his Moorpark (California) ranch to an oil company, on the proviso that no drilling would take place within sight of the actor's home. By the time he retired in the early 1970s, McCrea could take pride in having earned an enduring reputation not only as one of Hollywood's shrewdest businessmen, but as one of the few honest-to-goodness gentlemen in the motion picture industry.

Trivia: The mashed nose, dog-ugly countenance and brutish manners of Louis Wolheim suggested that he'd spent most of his life as a prizefighter, stevedore, or mob henchman. In fact, the well-educated Wolheim spent six years as a mathematics instructor at Cornell University before ever setting foot on a stage (his broken nose was the result of a Cornell football game). Wolheim found the going rough in silent films, where his unpretty features confined him to standard -- and sometimes fleeting -- bad guy roles. He fared better on Broadway, originating the roles of Captain Flagg in What Price Glory and the title character in The Hairy Ape. When talkies arrived, Wolheim found himself much in demand for roles requiring tough talk and a golden heart; he also enjoyed an off camera reputation as one of the sweetest guys in Hollywood. His most famous film assignment was as the father figure Sergeant Katczinsky in All Quiet on the Western Front (1930). Shortly after this triumph, he functioned as both star and director of The Sin Ship (1931). Louis Wolheim died of cancer in 1931, just before he was to begin filming The Front Page (1931).

Trivia: The daughter of a commercial artist, Jean Arthur became a model early in life, then went on to work in films. Whatever self-confidence she may have built up was dashed when she was removed from the starring role of Temple of Venus (1923) after a few days of shooting. It was the first of many disappointments for the young actress, but she persevered and, by 1928, was being given co-starring roles at Paramount Pictures. Arthur's curious voice, best described as possessing a lilting crack, ensured her work in talkies, but she was seldom used to full advantage in the early '30s. Dissatisfied with the vapid ingenue, society debutante, and damsel-in-distress parts she was getting (though she was chillingly effective as a murderess in 1930's The Greene Murder Case), Arthur left films for Broadway in 1932 to appear in Foreign Affairs. In 1934, she signed with Columbia Pictures, where, at long last, her gift for combining fast-paced verbal comedy with truly moving pathos was fully utilized. She was lucky enough to work with some of the most accomplished directors in Hollywood: Frank Capra (Mr. Deeds Goes to Town [1936], You Can't Take It With You [1938], Mr. Smith Goes to Washington [1939]); John Ford (The Whole Town's Talking [1935]); and Howard Hawks (Only Angels Have Wings [1937]). Mercurial in her attitudes, terribly nervous both before and after filming a scene -- she often threw up after her scene was finished -- and so painfully shy that it was sometimes difficult for her to show up, she was equally fortunate that her co-workers were patient and understanding with her . Arthur could become hysterical when besieged by fans, and aloof and nonresponsive to reporters. In 1943, she received her only Oscar nomination for The More the Merrier (1943), the second of her two great '40s films directed by George Stevens (Talk of the Town [1942] was the first). After her contract with Columbia ended, she tried and failed to become her own producer. She signed to star in the 1946 Broadway play Born Yesterday -- only to succumb to a debilitating case of stage fright, forcing the producers to replace her at virtually the last moment with Judy Holliday. After the forgettable comedy The Impatient Years in 1944, Arthur made only two more films: Billy Wilder's A Foreign Affair (1948), and George Stevens' classic Shane (1952). She also played the lead in Leonard Bernstein's 1950 musical version of Peter Pan, which co-starred Boris Karloff as Captain Hook. In the early '60s, the extremely reclusive Arthur tentatively returned to show business with a few stage appearances and as an attorney on ill-advised 1966 TV sitcom, The Jean Arthur Show, which was mercifully canceled by mid-season. Surprisingly, the ultra-introverted Arthur later decided to tackle the extroverted profession of teaching drama, first at Vassar College and then the North Carolina School of the Arts; one of her students at North Carolina remembered Arthur as "odd" and her lectures as somewhat whimsical and rambling. Retiring for good in 1972, she retreated to her ocean home in Carmel, CA, steadfastly refusing interviews until her resistance was broken down by the author of a book on her one-time director Frank Capra. She died in 1991.

Trivia: Looking for all the world like a beardless Rumpelstiltskin, actor Raymond Hatton utilized his offbeat facial features and gift for mimicry in vaudeville, where he appeared from the age of 12 onward. In films from 1914, Hatton was starred or co-starred in several of the early Cecil B. DeMille productions, notably The Whispering Chorus (1917), in which the actor delivered a bravura performance as a man arrested for murdering himself. Though he played a vast array of characters in the late teens and early 1920s, by 1926 Hatton had settled into rubeish character roles. He was teamed with Wallace Beery in several popular Paramount comedies of the late silent era, notably Behind the Front (1926) and Now We're in the Air (1927). Curiously, while Beery's career skyrocketed in the 1930s, Hatton's stardom diminished, though he was every bit as talented as his former partner. In the 1930s and 1940s, Hatton showed up as comic sidekick to such western stars as Johnny Mack Brown and Bob Livingston. He was usually cast as a grizzled old desert rat, even when (as in the case of the "Rough Riders" series with Buck Jones and Tim McCoy) he happened to be younger than the nominal leading man. Raymond Hatton continued to act into the 1960s, showing up on such TV series as The Abbott and Costello Show and Superman and in several American-International quickies. Raymond Hatton's last screen appearance was as the old man collecting bottles along the highway in Richard Brooks' In Cold Blood (1967).

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: Actress Blanche Sweet was typically cast as the strong-willed heroine in silent films. She was a favorite of D.W. Griffith. Born in Chicago into a family of show people, she began her professional career as a dancer at age 4. A decade later, in 1909, Sweet, now a 14-year old stage veteran, debuted in films working for Biograph. Unlike other heroines of her time such as Lillian Gish and May Marsh, Sweet did not play fragile shrinking violets in constant need of salvation; instead she played confident and resourceful women who attempted to save themselves. Her most famous films, both directed by Griffith were The Lonedale Operator and Judith of Bethulia. She later went on to Lasky studios where she began working with Cecil B. DeMille and others, one of whom was Marshall Neilan. She married him in 1922, but, by 1929, they had divorced. She continued to be successful until the early thirties when she appeared in three talkies, and then retired to the stage. She married her stage costar Raymond Hackett in 1936. After he died in 1958, she returned to the screen one last time to play a bit part in the Danny Kaye movie The Five Pennies.

Trivia: Stocky, pinch-faced actor Purnell B. Pratt made his first film appearance in 1914, and his last in 1941, the year of his death. Pratt appeared as publisher John Bland in the very first version of George M. Cohan and Earl Derr Biggers' Seven Keys to Baldpate (1917), co-starring with Cohan himself. He made a smooth transition to talkies with such 1929 efforts as Alibi and Thru Different Eyes. Many of his more famous roles, notably the stern policeman father of criminal-in-the-making Tom Powers in Public Enemy (1931), and the New York mayor in the Marx Brothers' Night at the Opera (1935), were uncredited. In 1935, Purnell B. Pratt became the latest in a long line of actors to play district attorney Francis X. Markham in the Philo Vance mystery The Casino Murder Case (1935).

Trivia: Blunt, burly American actor William B. Davidson was equally at home playing gangster bosses, business executives, butlers and military officials. In films since 1914, Davidson seemed to be in every other Warner Bros. picture made between 1930 and 1935, often as a Goliath authority figure against such pint-sized Davids as James Cagney and Edward G. Robinson. In the early '40s, Davidson was a fixture of Universal's Abbott and Costello comedies, appearing in In the Navy (1941), Keep 'Em Flying (1941) and In Society (1944). In Abbott & Costello's Hold That Ghost (1941), Davidson shows up as Moose Matson, the dying gangster who sets the whole plot in motion. An avid golfer, William B. Davidson frequently appeared in the all-star instructional shorts of the '30s starring legendary golf pro Bobby Jones.

Trivia: A sort of silent era Tor Johnson, hulking (reportedly 6'4"), Latvian-born Ivan Linow parlayed his experiences as a champion wrestler into a lucrative screen career, providing menace -- or in some cases, Scandinavian comedy bits -- to a host of action-melodramas between 1921 and 1935. Among Linow's more memorable assignments were the Russian immigrant in In Old Arizona (1929) and the Bolshevik Sanovich in The Cock-Eyed World (1929). He died of a heart attack in London in 1940.