Trivia: Though his professional name was suggestive of a Latin Lover type, actor Ricardo Cortez was actually an Austrian Jew, born Jacob Krantz. He arrived in Hollywood in 1922, at a time when the Rudolph Valentino craze was at its height. Producers liked the darkly handsome Jacob Krantz but felt that neither his name nor his heritage would do for publicity purposes: thus he became Ricardo Cortez, and his birthplace shifted to Spain. Despite the fact that his roles called upon his looks more than his talent, Cortez wanted to learn to act, and to that end signed on for the 1926 film The Sorrows of Satan, directed by the legendary D. W. Griffith. But Griffith was going through a career downer, and the disappointed Cortez left the film knowing little more about acting than he had when shooting started. Nonetheless, Cortez was a popular star, so much so that he was billed above up-and-coming Greta Garbo in The Torrent, her first American picture. When sound pictures came in, Cortez' studio dragged its feet with indecision as to whether or not the actor's voice would record adequately. Cortez took matters in his own hands by starring in a cheap independent melodrama titled Phantom in the House (1929). The picture was terrible, but at least Cortez proved he could talk. On top again in the early '30s, Cortez shed his "second string Valentino" image to play wisecracking urban types, including Sam Spade in the 1931 version of The Maltese Falcon. Relegated to second leads and villains by the late '30s, Cortez decided to give directing a try, acquitting himself nicely with 1939's Heaven with a Barbed Wire Fence. Eventually Cortez lost interest in Hollywood (and vice versa), choosing instead to dabble in the stock market. Though he still took the occasional film part, by the '50s Cortez was better known for his activities as a member of one of Wall Street's top brokerage firms. Not the only showbiz professional in the Krantz family, Ricardo Cortez was the older brother of cinematographer Stanley Cortez (The Magnificent Ambersons [1942]).

Trivia: Brunette actress June Travis made her first film appearances as a Warner Bros. contractee in 1934. Alternately fiery and demure, June appeared opposite such Warners leading men as James Cagney, Pat O'Brien and Joe E. Brown; she was Brown's vis-a-vis twice, first in the 1936 Warners comedy Earthworm Tractors, then in the independently produced 1938 effort The Gladiator. She also was seen as Della Street in the 1936 "Perry Mason" programmer The Case of the Black Cat, co-starring with Ricardo Cortez as Mason. June Travis retired from films in 1939 to devote her activities to the stage; she made an isolated movie comeback as the wife of Hollywood agent Warner Anderson in 1953's The Star, which top-billed Travis's one-time Warner Bros. colleague Bette Davis.

Trivia: Born in Hollywood, actress Jane Bryan sought out work in her hometown's biggest industry the moment she was legally able to work. Signed to a Warner Bros. contract in 1937, she played a few conventional ingénue parts in films like Kid Galahad (1937), but was far more effective in roles calling for disillusionment in pathos, notably her work as Bette Davis' sister in Marked Woman (1937). Her finest screen performance was as the foredoomed mistress of unhappily married doctor Paul Muni in We Are Not Alone (1940). Jane Bryan's film career was abruptly and voluntarily terminated in 1940 when she married the president of the Rexall Drug Store chain.

Trivia: Western star "Wild Bill" Elliott was plain Gordon Elliott when he launched his stage career at the Pasadena Playhouse in 1928. Under his given name, he began appearing in dress-extra film roles around the same time. While he had learned to ride horses as a youth and had won several rodeo trophies, movie producers were more interested in utilizing Elliot's athletic skills in dancing sequences, in which the still-unbilled actor showed up in tux and tails. Beginning in 1934, Elliot's film roles increased in size; he also started getting work in westerns, albeit in secondary villain roles. In 1938, Elliot was selected to play the lead in the Columbia serial The Great Adventures of Wild Bill Hickok, in which he made so positive an impression that he would be billed as "Wild Bill" Elliott for the remainder of his cowboy career, even when his character name wasn't Bill. Elliott's western series for Columbia, which ran from 1938 through 1942, was among the studio's most profitable enterprises. Fans were primed to expect an all-out orgy of fisticuffs and gunplay whenever Elliott would face down the bad guy by muttering, "I'm a peaceable man, but..." Elliott moved to Republic in 1943, where he continued turning out first-rate westerns, including several in which he portrayed famed fictional do-gooder Red Ryder. In 1945, Elliott began producing his own films, developing a tougher, more jaded characterization than before. A longtime admirer of silent star William S. Hart, Elliott successfully emulated his idol in a string of "good badman" roles. The actor's final western series was a group of 11 above-average actioners for Monogram in the early 1950s, in which Elliott did his best to destroy the standard cowboy cliches and unrealistic Boy Scout behavior symptomatic of the Roy Rogers/Gene Autry school. During his last days at Monogram (which by the mid-1950s had metamorphosed into United Artists), Elliott appeared in modern dress, often cast as hard-bitten private eyes. In 1957, Bill Elliott retired to his huge ranch near Las Vegas, Nevada, where he spent his time collecting western souvenirs and indulging his ongoing hobby of geology.

Trivia: The son of an actress, Garry Owen first appeared on-stage with his mother in vaudeville. Owen went on to perform in such Broadway productions as Square Crooks and Miss Manhattan. In films from 1933, Owen was occasionally seen in such sizeable roles as private-eye Paul Drake in the 1936 Perry Mason movie Case of the Black Cat. For the most part, however, he played character bits, most memorably in the films of Frank Capra; in Capra's Arsenic and Old Lace (1944), for example, he plays the monumentally impatient taxi driver who closes the picture with the exclamation, "I'm not a cab driver, I'm a coffee pot!" In addition to his feature-film work, Garry Owen showed up in scores of short subjects for Hal Roach and MGM.

Trivia: Harry Davenport was descended from a long and illustrious line of stage actors who could trace their heritage to famed 18th-century Irish thespian Jack Johnson. Davenport made his own stage bow at the age of five, racking up a list of theatrical credits that eventually would fill two pages of Equity magazine. He started his film career at the age of 48, co-starring with Rose Tapley as "Mr. and Mrs. Jarr" in a series of silent comedy shorts. He also directed several silent features in the pre-World War I era. Most of his film activity was in the sound era, with such rich characterizations as Dr. Mead in Gone With the Wind (1939) and Louis XI in The Hunchback of Notre Dame (1939) to his credit. He also essayed a few leading film roles, notably as a lovable hermit in the 1946 PRC programmer The Enchanted Forest. At the time of his final screen performance in Frank Capra's Riding High (1950), much was made in the press of the fact that this film represented Davenport's seventy-eighth year in show business. Married twice, Harry Davenport was the father of actors Arthur Rankin and Dorothy Davenport.

Trivia: A veteran of tent and medicine shows, vaudeville, and stock companies, Brooklyn-born George Rosener claimed to have appeared in and/or directed more than 200 plays. He left show business to become a staff writer with the New York World in the early 1910s but was soon back on the boards, appearing in or co-writing such plays as the original Artists and Models and, with star Dorothy Donnelly, My Maryland. His later Broadway success Speakeasy became an early talkie for Fox and Rosener began his association with motion pictures writing and directing dialogue scenes, notably for the 1932 Warner Bros. Technicolor hit Doctor X, in which he also played the butler, Otto. He went on to appear in countless small supporting roles, often playing stern officials, but would occasionally accept a writing assignment, including the 1937 Columbia serial Jungle Menace.

Trivia: Evidently weaned on a diet of pickles and vinegar, wizened screen sourpuss Clarence H. Wilson grimaced and glowered his way through over 100 films from 1920 until his death in 1941. Clarence Hummel Wilson was born in Cincinnati, OH. He began his 46-year acting career in Philadelphia in 1895, in a stock company, and spent years touring the United States and Canada in various road shows. On stage in New York, he later played supporting roles to such stars as James K. Hackett, Virginia Harned, Marguerite Clark, Amelia Bingham, Charles Cherry, and Wilton Lackaye. He entered motion pictures in 1920 and ultimately moved to Hollywood. With the coming of sound, his bald, mustachioed, stoop-shouldered persona, topped by a distinctive and annoying high, whining voice, and coupled with his broad approach to acting, made him an ideal villain. Wilson, whose slightly squinty yet hovering gaze seemed to invoke bad fortune upon whomever it landed, played dozens of irascible judges, taciturn coroners, impatient landlords, flat-footed process servers, angry school superintendents, miserly businessmen, and cold-hearted orphanage officials. Whenever he smiled, which wasn't often, one could almost hear the creak of underused facial muscles. Though he generally played bits, he was occasionally afforded such larger roles as the drunken sideshow-impresario father of heroine Helen Mack in Son of Kong (1933), with his pathetic trained animal act. He was the perfect over-the-top villain, a nastier male equivalent to Margaret Hamilton, and indispensable to comedy films, in which he served brilliantly as the humorless foil of such funmakers as W.C. Fields, Wheeler & Woolsey, Charley Chase, and especially the Our Gang kids. Although he appeared in such major films as the 1931 version of The Front Page (playing the corrupt sheriff) and the aforementioned Son of Kong, Wilson's most prominent screen roles for modern audiences were in a pair of short subjects in the Our Gang series of films: first as Mr. Crutch, the greedy orphanage manager who is undone when a pair of adults get transformed into children by a magical lamp in Shrimps for a Day (1934); and, at the other end of the series' history, as nasty schoolboard chairman Alonzo K. Pratt in Come Back, Miss Pipps (1941), his penultimate film release.

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: Slight, grey-templed, bespectacled actor Harry Hayden was cast to best advantage as small-town store proprietors, city attorneys and minor bureaucrats. Dividing his time between stage and screen work from 1936, Hayden became one of the busiest members of Central Casting, appearing in everything from A-pictures like Mr. Smith Goes to Washington (1939) to the RKO 2-reelers of Leon Errol and Edgar Kennedy. Among his better-known unbilled assignments are horn factory owner Mr. Sharp (his partner is Mr. Pierce) in Laurel and Hardy's Saps at Sea (1940) and Farley Granger's harrumphing boss who announces brusquely that there'll be no Christmas bonus in O. Henry's Full House (1951). Hayden's final flurry of activity was in the role of next-door-neighbor Harry on the 1954-55 season of TV's The Stu Erwin Show (aka The Trouble with Father), in which he was afforded the most screen time he'd had in years -- though he remains uncredited in the syndicated prints of this popular series. From the mid '30s until his death in 1955, Harry Hayden and his actress wife Lela Bliss ran Beverly Hills' Bliss-Hayden Miniature Theatre, where several Hollywood aspirants were given an opportunity to learn their craft before live audiences; among the alumni of the Bliss-Hayden were Jon Hall, Veronica Lake, Doris Day, Craig Stevens, Debbie Reynolds, and Marilyn Monroe.

Trivia: Milton Kibbee was the younger brother of prominent stage and screen character actor Guy Kibbee. Looking like a smaller, skinnier edition of his brother, Milton followed Guy's lead and opted for a show business career. The younger Kibbee never reached the professional heights enjoyed by Guy in the '30s and '40s, but he was steadily employed in bit parts and supporting roles throughout the same period. Often cast as desk clerks, doctors and park-bench habitues, Milton Kibbee was most frequently seen as a pencil-wielding reporter, notably (and very briefly) in 1941's Citizen Kane.

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.