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: 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: Character actor James Gleason usually played tough-talking, world-weary guys with a secret heart-of-gold. He is easily recognized for his tendency to talk out of the side of his mouth. Gleason's parents were actors, and after serving in the Spanish-American War, Gleason joined their stock company in Oakland, California. His career was interrupted by service in World War I, following which he began to appear on Broadway. He debuted onscreen in 1922, but didn't begin to appear regularly in films until 1928. Meanwhile, during the '20s he also wrote a number of plays and musicals, several of which were later made into films. In the early sound era, Gleason collaborated on numerous scripts as a screenwriter or dialogue specialist; he also directed one film, Hot Tip (1935). As an actor, he appeared in character roles in over 150 films, playing a wide range of hard-boiled (and often semi-comic) urban characters, including detectives, reporters, marine sergeants, gamblers, fight managers, and heroes' pals. In a series of films in the '30s, he had a recurring lead role as slow-witted police inspector Oscar Piper. James Gleason was married to actress Lucille Webster Gleason; their son was actor Russell Gleason.

Trivia: Most often cast as a snide gentleman's gentleman or dissipated nobleman, British actor Eric Blore abandoned the business world for the theatre when he was in his mid-twenties. Established in both London and New York, Blore began adding movies to his acting achievements with 1920's A Night Out and a Day In(1920); he also appeared in the 1926 silent version of F. Scott Fitzgerald's The Great Gatsby. A scene-stealing role in RKO's Fred Astaire-Ginger Rogers musical Flying Down to Rio (1933) led to Blore's becoming a fixture in such subsequent Astaire-Rogers projects as Gay Divorcee (1934), Top Hat (1935) and Shall We Dance? (1937). The actor also became a "regular" in the unorthodox film comedies of Preston Sturges, notably The Lady Eve (1941) and Sullivan's Travels(1942). In addition, Blore found himself in support of several "star" comedians, from Laurel and Hardy to Bob Hope to The Marx Brothers. When pickings became lean for "veddy" British character actors in the mid 1950s, Blore was reduced to co-starring with the bargain-counter Bowery Boys in Bowery to Baghdad (1955); he played an inebriated genie in this, his last film. On a more artistically rewarding note, cartoon fans will recall the pixilated voice of Blore as the automobile-happy Mr. Toad in the 1949 Disney animated feature Ichabod and Mr. Toad.

Trivia: Forever remembered by film buffs as the man who brought King Kong to New York, American actor Robert Armstrong was a law student at the University of Washington in Seattle when he dropped out in favor of a vaudeville tour. Learning by doing, Armstrong worked his way up to "leading man" roles in a New York stock company run by veteran character man Jimmy Gleason. Gleason's play Iz Zat So? led to a film contract for Armstrong, whose first picture was The Main Event (1927). The actor's stage training served him well during Hollywood's switchover to sound, and he appeared with frequency in the early talkie years, at one point costarring with Broadway legend Fanny Brice in My Man (1930). An expert at playing sports and showbiz promoters, Armstrong was a natural for the role of the enthusiastic but foolhardy Carl Denham in King Kong (1933). Armstrong enjoyed some of the best dialogue of his career as he coerced erstwhile actress Fay Wray to go with him to Skull Island to seek out "money, adventure, the thrill of a lifetime", and as he egged on his crew to explore the domain of 50-foot ape Kong. And of course, Armstrong was allowed to speak the final lines of this imperishable classic: "It wasn't the planes...It was beauty killed the beast." Armstrong played Carl Denham again in a sequel, Son of Kong (1933), and later played Denham in everything but name as a shoestring theatrical promoter in Mighty Joe Young (1949), wherein he brought a nice giant gorilla into civilization. Always in demand as a character actor, Armstrong continued to make films in the 1940s; he had the rare distinction of playing an American military officer in Around the World (1943), a Nazi agent in My Favorite Spy (1942), and a Japanese general in Blood on the Sun (1945)! In the 1950s and 1960s, Armstrong was a fixture on TV cop and adventure programs. Perhaps the most characteristic moment in Armstrong's TV career was during a sketch on The Red Skelton Show, in which Red took one look at Armstrong and ad-libbed "Say, did you ever get that monkey off that building?"

Trivia: A pretty, apple-cheeked WAMPAS Baby Star of 1922, Lila Lee had been a performer since childhood and was widely known as "Cuddles," one of the stars of Gus Edwards' kiddie troupe. She was brought to Hollywood by Paramount's Jesse Lasky and headlined in her very first film, The Cruise of the Make Believe (1918). In typical silent screen style, she played a poor girl secretly supported by a rich admirer and the New York Times thought she had a "limitless future before her."After appearing as the servant wench in Cecil B. DeMille's Male and Female (1919), Paramount began to see the newcomer as a potential successor to that popular film's star, the elegant Gloria Swanson, and embarked on a hefty publicity campaign. Lee's detractors, however, were quick to point out that her work never really lived up to the ballyhoo. "She seemed permanently neutral," as one critic pointed out. Her co-starring turn opposite Rudolph Valentino in the immensely popular bull-fight melodrama Blood and Sand (1922) was still far from persuasive but her jet-black hair, severely braided in coils over each ear, created a trend and the fan mail kept pouring in. Her tumultuous marriage to matinee-idol James Kirkwood, very much an "A Star Is Born" affair, created additional headlines that lasted until their divorce in 1931. Lila Lee's up-and-down screen career was bedeviled by severe bouts with what was euphemistically referred to as tuberculosis but whispered to be the results of acute alcoholism. As Lon Chaney's leading lady in The Unholy Three (1930) , she was positioned to become one of the new sound era's first major stars but a series of bad judgments and, again, highly publicized bouts with illness, led to supporting roles in Grade-B films. In 1936, she was a witness to the suicide of playboy Reid Russell and the resulting headlines reportedly made her camera shy. There were several aborted stage comebacks in the 1940s, a short-lived marriage or two, and appearances on early television soap operas in the 1950s. Her son with Kirkwood, James Kirkwood Jr., became a noted author and playwright but Lee did not live to see his crowning glory, the legendary Broadway musical A Chorus Line. Retiring from performing after playing country singer Margie Bowes' hayseed mother in the Florida-lensed Cottonpickin' Chickenpickers (1967), the veteran star died of a stroke at Saranac Lake, NY, in November of 1973.

Trivia: The son of a general and a graduate of Yale College and Harvard Law School, Ohioan Grant Mitchell was a lawyer (he certainly looked the part) for several years before going into acting. He made his stage bow at the age of 27, and spent the next quarter of a century as a leading player, often billed above the title of the play. Mitchell was a special favorite of showman George M. Cohan, who wrote a vehicle specifically tailored to Mitchell's talents, The Baby Cyclone, in 1927. Though he reportedly appeared in a 1923 film, Mitchell's movie career officially began in 1932, first in bits (the deathhouse priest in If I Had a Million), then in sizeable supporting roles at Warner Bros. Often cast as the father of the heroine, Mitchell socked across his standard dyspeptic-papa lines with a delivery somewhat reminiscent of James Cagney (leading one to wonder if the much-younger Cagney didn't take a few pointers from Mitchell during his own formative years). While he sparkled in a variety of secondary roles as businessmen, bank clerks and school principals, Mitchell was occasionally honored with a B-picture lead, as in 1939's Father is a Prince. With years of theatrical experience behind him, Mitchell was shown to best advantage in Warners' many adaptations of stage plays, notably A Midsummer Night's Dream (1935) and The Man Who Came to Dinner (1942). Freelancing in the mid '40s, Grant Mitchell occasionally showed up in unbilled one-scene cameos (Leave Her to Heaven [1945]) and in reprises of his small-town bigwig characterizations in such B-films as Blondie's Anniversary (1947) and Who Killed Doc Robbin? (1948).

Trivia: Actress Erin O'Brien-Moore's many Broadway credits included Makropolous Secret, Street Scene, Tortilla Flat and State of the Union. O'Brian-Moore made her first film appearance in a 1930 short subject; her feature debut came four years later. She spent several years at Warner Bros., where her most famous part was the worn-out trollop Nana in The Life of Emile Zola (1937). Her hopes for screen stardom were tragically dashed in 1939, when she was seriously burned in a restaurant fire. After extensive plastic surgery, she resumed her Broadway career as a character actress. She later appeared on TV Charlie Ruggles' wife in the 1949 comedy sitcom The Ruggles, and as Nurse Choate in the 1960s nighttime serial Peyton Place (she'd played a different character in the 1957 film version of the Grace Metalious novel). Her last movie role was an uncredited cameo as Rudy Vallee's sister in How to Succeed in Business Without Really Trying (1967). Erin O'Brien-Moore was at one time married to theatre critic Mark Barron.

Trivia: The older brother of actor Frank Morgan, Ralph Morgan graduated from Columbia University with a law degree, but chucked the stuffy world of jurisprudence for the more exciting (to him) vocation of journeyman actor. So successful was Morgan in stock and on Broadway that his kid brother, Frank, was encouraged to give the theater a try -- and as a result became even more famous than Ralph. The elder Morgan made his film bow in 1931, playing leading roles in such productions as Strange Interlude (1932) and Rasputin and the Empress (1933) before settling into secondary character parts. It was Morgan's distinction to play more "surprise" killers in more murder mysteries than virtually any other actor in Hollywood (to list the titles of these mysteries would give away the surprise -- if any). Among the actor's off-camera interests were politics and labor relations; he was one of the founders and charter members of the Screen Actors Guild. He was also the first President of the SAG. Ralph Morgan was the father of Claudia Morgan, an actress best known for her portrayal of Nora Charles on the "Thin Man" radio series.

Trivia: Missouri native Frank M. Thomas cut his professional acting teeth with the Van Dyke Stock Company in St. Louis. Thomas made his Broadway bow in 1913, appearing in at least one production per year for the next 22 years. In 1936, he entered films with an RKO Radio contract, playing an assortment of character roles ranging from trench-coated detectives to shady crooks. During the years 1938-1942, Thomas showed up in more films than any other actor. Long retired, he died in 1989 at the age of 100. Married to actress Mona Bruns, Frank M. Thomas was the father of actor/writer Frankie Thomas, of Tom Corbett, Space Cadet fame.

Trivia: Launching his theatrical career in his native Germany, actor/director Frank Reicher worked in London before coming to the US in 1899. His entree into the movies was as co-director of the 1915 production The Clue; he continued to direct in Hollywood before returning to the stage in 1921. At the dawn of the talkie era, Reicher was brought back to California to direct German-language versions of American films. For his acting bow before the microphones, Reicher was cast in the title role of Napoleon's Barber (1928) a Fox Movietone two-reeler which represented the first talkie for director John Ford. Reicher specialized at this time in humorless, wizened authority figures: college professors, doctors, scientists, cabinet ministers. In 1933 he was cast as Captain Engelhorn in the classic adventure fantasy King Kong; director Ernest Schoedsack later characterized Reicher as "the best actor we had" in a cast which included Robert Armstrong, Bruce Cabot and Fay Wray. He repeated the Engelhorn role, with a modicum of uncharacteristic humor added, in Son of Kong (1933). The remainder of Reicher's film career was devoted to brief character roles, often as murder victims. He was killed off at least twice by Boris Karloff (Invisible Ray [1936] and House of Frankenstein [1944]), and was strangled by Lon Chaney Jr. at the very beginning of The Mummy's Ghost (1944) (When Chaney inadvertently cut off his air during the feigned strangulation, Reicher subjected the star to a scorching reprimand, reducing Chaney to a quivering mass of meek apologies). During the war, Reicher's Teutonic name and bearing came in handy for the many anti-Nazi films of the era, notably To Be or Not to Be (1942) and Mission to Moscow (1944). In 1946, Reicher had one of his largest parts in years as the general factotum to hypnotist Edmund Lowe in The Strange Mr. Gregory (1946); that the part may have been written for the venerable actor is evidenced by the fact that his character name was Reicher. Frank Reicher retired in 1951; he died fourteen years later, at age 90.

Trivia: Stage and vaudeville alumnus John Sheehan joined the American Film Company in 1914. After a handful of starring roles, Sheehan went back to the stage, returning to films in 1930. For the next 20 years, he played scores of minor roles, usually as raffish tuxedoed types in speakeasy and gambling-parlor scenes. As a loyal member of the Masquers' Club, a theatrical fraternity, John Sheehan starred in the Masquers' two-reel comedy Stout Hearts and Willing Hands (1931), then went on to appear in support of such short-subject stars as Charley Chase and Clark McCullough.

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: Burly, puffy-cheeked American actor Spencer Charters entered films in 1923, after decades of stage experience. In his first talkie appearances (Whoopee [1930], The Bat Whispers [1931], etc.), Charters was often seen as an ill-tempered authority figure. Traces of this characterization continued into such mid-'30s efforts as Wheeler and Woolsey's Hips Hips Hooray, but before the decade was over Charters was firmly locked into playing such benign types as rustic sheriffs, bucolic hotel clerks and half-asleep justices of the peace. Advancing age and the attendant infirmities made it difficult for Charters to play anything other than one-scene bits by the early '40s. At the age of 68, he ended his life by downing an overdose of sleeping pills and then inhaling the exhaust fumes of his car.

Trivia: A beauty-contest winner at age 13, Dorothy Granger went on to perform in vaudeville with her large and talented family. Granger made her film bow in 1929's Words and Music, and the following year landed a contract with comedy producer Hal Roach. Working with such masters as Harry Langdon, Laurel & Hardy and Charley Chase, she sharpened her own comic skills to perfection, enabling her to assume the unofficial title of "Queen of the Short Subjects." During her long association with two-reelers, she appeared with the likes of W.C. Fields (The Dentist), the Three Stooges (Punch Drunks), Walter Catlett, Edgar Kennedy, Hugh Herbert and a host of others. She also appeared sporadically in features, playing everything from full leads to one-line bits. A favorite of director Mitchell Leisen, Granger essayed amusing cameos in such Leisen productions as Take a Letter, Darling (1942) and Lady in the Dark (1944). George Cukor wanted to cast Granger in the important role of Belle Watling in Gone with the Wind (1939), but producer David O. Selznick decided to go with Ona Munson, who had more "name" value. Granger is most fondly remembered for her appearances in RKO's long-running (1935-51) Leon Errol short-subject series, in which she was usually cast as Leon's highly suspicious spouse. She retired from films in 1963, keeping busy by helping her husband manage a successful Los Angeles upholstery store. Dorothy Granger made her last public appearance in 1993 at the Screen Actors Guild's 50th anniversary celebration.

Trivia: Wisconsonite actor Stanley Blystone was the brother of director John G. Blystone and assistant director Jasper Blystone. Entering films in 1915, the burly, muscular, mustachioed Blystone excelled in gruff, villainous roles; he was particularly menacing as a crooked ringmaster in Tom Mix's The Circus Ace (1927). In the talkie era, Blystone was busiest at the 2-reel comedy mills of RKO, Columbia and Hal Roach, often cast as brutish authority figures at odds with the comedy leads. In the Three Stooges' Half Shot Shooters (1936), he plays the sadistic Sgt. McGillicuddy, who reacts to the Stooges' ineptness by taking aim with a long-range cannon and blowing the three comedians right out of their boots! Blystone was much in demand as both "action" and "brains" heavies in Columbia's westerns and serials of the 1940s. Extending his activities to television in the 1950s, the 71-year-old Stanley Blystone was en route to Desilu Studios to play a small role on the TV series Wyatt Earp when he collapsed on the sidewalk and died of heart failure.

Trivia: Scrawny supporting actor Syd Saylor managed to parlay a single comic shtick -- bobbing his adam's apple -- into a four-decade career. He starred in several silent two-reel comedies from 1926 through 1927, then settled into character parts. During the late '30s and early '40s, Saylor frequently found himself in B-Westerns as the comical sidekick for many a six-gun hero, though he seldom lasted very long in any one series. Syd Saylor was still plugging away into the 1950s, playing "old-timer" bits in such films as Cheaper by the Dozen (1950) and Jackpot (1950), and such TV series as Burns and Allen and Alfred Hitchcock Presents.

Trivia: Stage actor Edward McWade entered films as a screenwriter in 1913. From 1920 until his death, the wizened, wispy-haired McWade showed up in dozens of utility roles, playing professors, doctors, justices of the peace and ministers. In 1936, he essayed the title role in the Perry Mason mystery The Case of the Stuttering Bishop. His last screen assignment was Mr. Gibbs, one of the few "lonely old gentlemen" who isn't slipped a poisoned glass of elderberry wine in Arsenic and Old Lace (1944). Edward McWade was married to actress Margaret McWade, famed as one of the "pixillated" sisters in Mr. Deeds Goes to Town (1936).

Trivia: With his silvery hair and dignified bearing, American actor John Dilson was a natural for "executive" roles. In films from 1935, Dilson was usually seen playing doctors, lawyers and newspaper editors. Occasionally, however, he played against type as sarcastic working stiffs, as witness his bit as an unemployment-office clerk in The Monster and the Girl (1941). John Dilson's larger screen roles can be found in Republic serials like Robinson Crusoe on Clipper Island (1936), and Dick Tracy (1937) and in such two-reel efforts as MGM's "Crime Does Not Pay" series.

Trivia: The son of circus performers, the diminutive Frankie Darro began appearing in films as a juvenile player in 1924; he co-starred with western star Tom Tyler in several silent oaters at FBO in the mid-1920s, and was cast in leading roles in Little Mickey Grogan (1927) and The Circus Kid (1928). During the 1930s, Darro showed up in innumerable bit and supporting roles, often playing juvenile delinquents; he carried over this particular characterization into his voiceover stint as Lampwick in the 1940 animated Disney feature Pinocchio. He was given star billing at such minor-league studios as Ambassador and Monogram, co-starring with black comedian Mantan Moreland at the latter studio in an enjoyable series of action programmers, often cast as a jockey because of his stature. In the late 1940s, Darro was a frequent stunt double for such pint-sized actors as Leo Gorcey. Frankie Darro was compelled to accept bit roles into the 1960s; he was also featured in several Red Skelton Shows of the period, often dressed as an old woman for a peculiar comic effect.

Trivia: It is quite probable that, in real life, Jack Rice was an all-around good friend and stout fellow. In films, however, the shifty-eyed, weak-chinned Rice was forever typecast as malingerers, wastrels, back-stabbers, and modern-day Uriah Heeps. He was particularly well cast as Edgar Kennedy's shiftless brother-in-law in a series of RKO two-reel comedies produced between 1934 and 1948. Rice also appeared as the snivelly Ollie in 11 entries of Columbia's Blondie series. Jack Rice remained active until 1963, five years before his death.

Trivia: Prissy, trimly mustached comic actor Johnny Arthur was a veteran of 25 years on stage before he entered films in 1923 as a utility player. His screen personality was nebulous enough to allow him to play the romantic lead in the 1925 Lon Chaney vehicle The Monster. At the Al Christie studio, Arthur established himself as a star comedian in a series of slapstick two-reelers. With the coming of talkies, Arthur began specializing in comic "nance" types -- limp-wristed, whiny-voiced homosexual stereotypes. His largest role along these stereotypical lines was as reporter Benny Kidd in the first movie-version of The Desert Song (1929). Once the Production Code was established in 1933, the "pansy" characters played by Arthur were banned from the screen. He spent the rest of the 1930s playing fussy, long-suffering wimps, albeit certifiably "masculine"; he is best-remembered for his appearances as Darla Hood's mealy-mouthed father in Hal Roach's Our Gang series. Most of Arthur's later roles were unbilled bits, with the notable exception of the 1942 Republic serial The Masked Marvel, in which he hissed and slithered his way through the role of Japanese villain Sakima. Unable to find film work in the last years of his life, Johnny Arthur died at the age of 68 at the Motion Picture Country Home.

Trivia: Character actress Lucille Gleason (born Lu Webster) first appeared onscreen in the '30s, often playing gruff characters. She was married to actor James Gleason, with whom she appeared in several films; their son was actor Russell Gleason.