Trivia: Laurence Olivier -- Sir Laurence after 1947, Lord Laurence after 1970 -- has been variously lauded as the greatest Shakespearean interpreter of the 20th century, the greatest classical actor of the era, and the greatest actor of his generation. Although his career took a rather desperate turn toward the end when he seemed willing to appear in almost anything, the bulk of Olivier's 60-year career stands as a sterling example of extraordinary craftsmanship. Olivier was the son of an Anglican minister, who, despite his well-documented severity, was an unabashed theater lover, enthusiastically encouraging young Olivier to give acting a try. The boy made his first public appearance at age nine, playing Brutus in an All Saint's production of Julius Caesar. No member of the audience was more impressed than actress Dame Sybil Thorndike, who knew then and there that Olivier had what it took. Much has been made of the fact that the 15-year-old Olivier played Katherine in a St. Edward's School production of The Taming of the Shrew; there was, however, nothing unusual at the time for males to play females in all-boy schools. (For that matter, the original Shakespeare productions in the 16th and 17th centuries were strictly stag.) Besides, Olivier was already well versed in playing female roles, having previously played Maria in Twelfth Night. Two years after The Taming of the Shrew, he enrolled at the Central School of Speech Training and Dramatic Art, where one of his instructors was Claude Rains. Olivier made his professional London debut the same year in The Suliot Officer, and joined the Birmingham Repertory in 1926; by the time Olivier was 20, he was playing leads. His subsequent West End stage triumphs included Journey's End and Private Lives. In 1929, he made his film debut in the German-produced A Temporary Widow. He married actress Jill Esmond in 1930, and moved with her to America when Private Lives opened on Broadway. Signed to a Hollywood contract by RKO in 1931, Olivier was promoted as "the new Ronald Colman," but he failed to make much of an impression onscreen. By the time Greta Garbo insisted that he be replaced by John Gilbert in her upcoming Queen Christina (1933), Olivier was disenchanted with the movies and vowed to remain on-stage. He graduated to full-fledged stardom in 1935, when he was cast as Romeo in John Gielgud's London production of Romeo and Juliet. (He also played Mercutio on the nights Gielgud assumed the leading role himself.) It was around this time that Olivier reportedly became fascinated with the works of Sigmund Freud, which led to his applying a "psychological" approach to all future stage and screen characters. Whatever the reason, Olivier's already superb performances improved dramatically, and, before long, he was being judged on his own merits by London critics, and not merely compared (often disparagingly) to Gielgud or Ralph Richardson. It was in collaboration with his friend Richardson that Olivier directed his first play in 1936, which was also the year he made his first Shakespearean film, playing Orlando in Paul Czinner's production of As You Like It. Now a popular movie leading man, Olivier starred in such pictures as Fire Over England (1937), 21 Days (1938), The Divorce of Lady X (1938), and Q Planes (1939). He returned to Hollywood in 1939 to star as Heathcliff in Samuel Goldwyn's glossy (and financially successful) production of Wuthering Heights, earning the first of 11 Oscar nominations. He followed this with leading roles in Alfred Hitchcock's Rebecca (1940),Pride and Prejudice (1940), and Alexander Korda's That Hamilton Woman (1941), co-starring in the latter with his second wife, Vivien Leigh. Returning to England during World War II, Olivier served as a parachute officer in the Royal Navy. Since he was stationed at home, so to speak, he was also able to serve as co-director (with Ralph Richardson) of the Old Vic. His most conspicuous contribution to the war effort was his joyously jingoistic film production of Henry V (1944), for which he served as producer, director, and star. Like all his future film directorial efforts, Henry V pulled off the difficult trick of retaining its theatricality without ever sacrificing its cinematic values. Henry V won Olivier an honorary Oscar, not to mention major prizes from several other corners of the world. Knighthood was bestowed upon him in 1947, and he served up another celluloid Shakespeare the same year, producing, directing and starring in Hamlet. This time he won two Oscars: one for his performance, the other for the film itself. The '50s was a transitional decade for Olivier: While he had his share of successes -- his movie singing debut in The Beggar's Opera (1953), his 1955 adaptation of Richard III -- he also suffered a great many setbacks, both personal (his disintegrating relationship with Vivien Leigh) and professional (1957's The Prince and the Showgirl, which failed despite the seemingly unbeatable combination of Olivier's directing and Marilyn Monroe's star performance). In 1956, Olivier boldly reinvented himself as the seedy, pathetically out-of-step music hall comic Archie Rice in the original stage production of John Osborne's The Entertainer. It was a resounding success, both on-stage and on film, and Olivier reprised his role in a 1960 film version directed by Tony Richardson. Thereafter, Olivier deliberately sought out such challenging, image-busting roles as the ruthless, bisexual Crassus in Spartacus (1960) and the fanatical Mahdi in Khartoum (1965). He also achieved a measure of stability in his private life in 1961 when he married actress Joan Plowright. In 1962, he was named the artistic director of Britain's National Theatre, a post he held for ten years. To periodically replenish the National's threadbare bank account, Olivier began accepting roles that were beneath him artistically, but which paid handsomely; in the early '70s, he even hawked Polaroid cameras on television. During this period, he was far more comfortable before the cameras than in the theater, suffering as he was from a mysterious bout of stage fright. He also committed two more directorial efforts to film, Othello (1965) and Dance of Death (1968), both of which were disappointingly stage-bound. In 1970, he became Lord Olivier and assumed a seat in the House of Lords the following year. Four years later, suffering from a life-threatening illness, he made his last stage appearance. From 1974 until his death in 1989, he seemingly took whatever film job was offered him, ostensibly to provide an income for his family, should the worst happen. Some colleagues, like director John Schlesinger, were disillusioned by Olivier's mercenary approach to his work. Others, like Entertainer director Tony Richardson, felt that Olivier was not really a sellout as much as he was what the French call a cabotin -- not exactly a ham: a performer, a vulgarian, someone who lives and dies for acting. Amidst such foredoomed projects as The Jazz Singer (1980) and Inchon (1981), Olivier was still capable of great things, as shown by his work in such TV productions as 1983's Mister Halpern and Mister Johnson and, in 1984, King Lear and Voyage Round My Father. In 1979, he was once more honored at Academy Awards time, receiving an honorary Oscar "for the full body of his work." His last appearance was in the 1988 film War Requiem.

Trivia: The most endlessly talked-about and mythologized figure in Hollywood history, Marilyn Monroe remains the ultimate superstar, her rise and fall the stuff that both dreams and nightmares are made of. Innocent, vulnerable, and impossibly alluring, she defined the very essence of screen sexuality. Rising from pin-up girl to international superstar, she was a gifted comedienne whom the camera adored, a luminous and incomparably magnetic screen presence. In short, she had it all, yet her career and life came crashing to a tragic halt, a Cinderella story gone horribly wrong; dead before her time -- her fragile beauty trapped in amber, impervious to the ravages of age -- Monroe endures as the movies' greatest and most beloved icon, a legend eclipsing all others. Born Norma Jean Mortensen (later Baker) on June 1, 1926, in Los Angeles, she was seemingly destined for a life of tragedy: Her mother spent the majority of her life institutionalized, she was raised in an endless succession of orphanages and foster homes, and she was raped at the age of eight. By 1942, she was married to one Jim Dougherty, subsequently dropping out of school to work in an aircraft production plant; within a year she attempted suicide. When Dougherty entered the military, Baker bleached her hair and began modeling. By 1946, the year of the couple's divorce, she was accredited to a top agency, and her image regularly appeared in national publications. Her photos piqued the interest of the eccentric billionaire Howard Hughes, who scheduled her for a screen test at RKO; however, 20th Century Fox beat him to the punch, and soon she was on their payroll at 125 dollars a week.Rechristened Marilyn Monroe, she began studying at the Actors' Lab in Hollywood; however, when virtually nothing but a bit role in the juvenile delinquent picture The Dangerous Years came of her Fox contract, she signed to Columbia in 1948, where she was tutored by drama coach Natasha Lytess. There she starred in Ladies of the Chorus before they too dropped her. After briefly appearing in the 1949 Marx Brothers comedy Love Happy, she earned her first real recognition for her turn as a crooked lawyer's mistress in the 1950 John Huston thriller The Asphalt Jungle. Good notices helped Monroe win a small role in the classic All About Eve, but she otherwise continued to languish relatively unnoticed in bit parts. While she was now back in the Fox stable, studio chief Darryl F. Zanuck failed to recognize her potential, and simply mandated that she appear in any picture in need of a sexy, dumb blonde. In 1952, RKO borrowed Monroe for a lead role in the Barbara Stanwyck picture Clash by Night. The performance brought her significant exposure, which was followed by the publication of a series of nude photos she had posed for two years prior. The resulting scandal made her a celebrity, and seemingly overnight she was the talk of Hollywood. Zanuck quickly cast her as a psychotic babysitter in a quickie project titled Don't Bother to Knock, and after a series of minor roles in other similarly ill-suited vehicles, Monroe starred in 1953's Niagara, which took full advantage of her sexuality to portray her as a sultry femme fatale. However, lighter, more comedic fare was Monroe's strong suit, as evidenced by her breakout performance in the Howard Hawks musical Gentlemen Prefer Blondes. Like its follow-up How to Marry a Millionaire (just the second film shot in the new CinemaScope process), the picture was among the year's top-grossing ventures, and her newfound stardom was cemented. After starring in the 1954 Western River of No Return, Monroe continued to make headlines by marrying New York Yankees baseball great Joe DiMaggio. She also made a much-publicized appearance singing for American troops in Korea, and -- in a telling sign of things to come -- created a flap by failing to show up on the set of the movie The Girl in Pink Tights. As far back as 1952, Monroe had earned a reputation for her late on-set arrivals, but The Girl in Pink Tights was the first project she boycotted outright on the weakness of the material. The studio suspended her, and only after agreeing to instead star in the musical There's No Business Like Show Business did she return to work. After starring in the 1955 Billy Wilder comedy The Seven Year Itch, Monroe again caused a stir, this time for refusing the lead in How to Be Very, Very Popular. In response, she fled to New York to study under Lee Strasburg at the Actors' Studio in an attempt to forever rid herself of the dumb blonde stereotype. In New York, Monroe met playwright Arthur Miller, whom she wed following the disintegration of her marriage to DiMaggio. In the meantime, her relationship with Fox executives continued to sour, but after pressure from stockholders -- and in light of her own financial difficulties -- she was signed to a new, non-exclusive seven-year deal which not only bumped her salary to 100,000 dollars per film, but also allowed her approval of directors. For her first film under the new contract, Monroe delivered her most accomplished performance to date in Joshua Logan's 1956 adaptation of the William Inge Broadway hit Bus Stop. She then starred opposite Laurence Olivier in 1957's The Prince and the Showgirl. Two years later, she co-starred in Wilder's classic Some Like It Hot, her most popular film yet. However, despite her success, Monroe's life was in disarray -- her marriage to Miller was crumbling, and her long-standing reliance on alcohol and drugs continued to grow more and more serious. After starring in George Cukor's Let's Make Love with Yves Montand, Monroe began work on the Miller-penned The Misfits; the film was her final completed project, as she frequently clashed with director John Huston and co-stars Clark Gable and Montgomery Clift, often failed to appear on-set, and was hospitalized several times for depression. In light of her erratic behavior on the set of the follow-up, the ironically titled Something's Got to Give, she was fired 32 days into production and slapped with a lawsuit. Just two months later, on August 5, 1962, Monroe was dead. The official cause was an overdose of barbiturates, although the truth will likely never be revealed. Her alleged affairs with President John F. Kennedy and his brother, Robert, have been the focus of much speculation regarding the events leading to her demise, but many decades later fact and fantasy are virtually impossible to separate. In death, as in life, the legend of Marilyn Monroe continues to grow beyond all expectation.

Trivia: "I would rather have been a pianist than anything," admitted Sybil Thorndyke to one of her chroniclers. Even so, from her first concert at age 11 onward, Ms. Thorndyke never quite overcame her nervousness. She would later insist that it was nerves as much as anything else that caused her to suffer the wrist injury that ended her musical career. Seeking another creative outlet, she joined the rest of her family in their favorite pastime of amateur theatricals (her father was a minister, inclined toward ripe oratory; her brother Russell later became a prominent actor/playwright; his best known work was the moody melodrama (Dr. Syn). Sent to America to study at the Ben Greet, Sybil made her first stage appearance in Greet's 1904 production of Merry Wives of Windsor. She went to tour the U.S. in Shakespearean repertory for three years, playing some 112 roles. Once again, her nervousness got the better of her, causing her to develop acute laryngitis; fortunately, her voice came back stronger and more forceful than ever, enhancing her effectiveness in such classic stage roles as Medea and Lady MacBeth. In 1909, Sybil wed Welsh-born actor/director Lewis Casson; the marriage, which lasted until Casson's death in 1969, produced five children, all of whom successfully pursued acting careers. From 1920 through 1922, Sybil and her husband starred in a British version of France's Grand Guignol; during this same period, she made her film debut in Moth and Rust (1921). In 1924, Sybil created the title role in Shaw's St. Joan, a part which she would reprise with great success well into her sixties. While is said that Shaw wrote the play with Sybil specifically in mind, the actress insisted that Shaw himself interpreted the part far more persuasively than anyone during the first read-through. A veteran of twenty-seven years by 1931, Sybil was that year made a Dame Commander of the Order of the British Empire. During the 1940s, Dame Sybil and her husband toured Welsh mining villages in Shakespearean productions on behalf of the Council For the Encouragement of the Arts. Though her screen appearances remained infrequent, they were always welcome, always unforgettable. Among Dame Sybil's film roles were Nurse Edith Cavell in Dawn (1928), General Baines in Major Barbara (1941), Mrs. Squeers in Nicholas Nickleby (1948) and Queen Victoria in Melba (1952). She made her last film in 1963, and her final stage appearance in 1969. Books about Dame Sybil's life and career include her brother Russell's 1950 biography Sybil Thorndyke, and her son John Casson's 1962 volume Lewis and Sybil. Though Dame Sybil Thorndyke never wrote an autobiography, she was the author of the 1927 book Religion on the Stage.

Trivia: For almost 40 years, from the end of the 1930s to the mid-'70s, Richard Wattis enjoyed a reputation as one of England's more reliable character actors, and -- in British films, at least -- developed something akin to star power in non-starring roles. Born in 1912, as a young man he managed to avoid potential futures in both electric contracting and chartered accountancy, instead becoming an acting student in his twenties. His stage career began in the second half of the 1930s, and in between acting and sometimes producing in repertory companies, Wattis became part of that rarified group of British actors who appeared on the BBC's pre-World War II television broadcasts. He made his big-screen debut with a role in the 1939 feature A Yank at Oxford, but spent the most of the six years that followed serving in uniform. It was after World War II that Wattis came to the attention of critics, directors, and producers for his comic timing and projection, and began getting cast in the kinds of screen and stage roles for which he would ultimately become famous, as pompous, dry, deadpan authority figures, snooping civil servants, and other comical pests. Beginning with Frank Launder and Sidney Gilliat's The Happiest Days of Your Life (1950), his roles and billing got bigger, and he was cast to perfection as Manton Bassett in the "St. Trinian's" films of Launder and Gilliat. Wattis became so well liked by audiences in those kinds of parts -- as annoying government officials, in particular -- that producers would see to it, if his part was big enough, that he was mentioned on posters and lobby cards. He remained very busy in films right up until the time of his death in the mid-'70s.

Trivia: British lead actor, former juvenile, onscreen from age 11 in Anna Karenina (1948).

Trivia: Active the London theatrical circles from 1925, British actor Esmond Knight first set foot on a movie sound stage with 1931's The Ringer. His career momentum was almost permanently interrupted in 1941, when, while serving with the Royal Navy, he was temporarily blinded in battle. He regained enough of his sight to resume his filmmaking activities in 1943, appearing in such productions as Powell and Pressburger's A Canterbury Tale (1944), Black Narcissus (1946) and The Red Shoes (1947), Olivier's Henry V (1945) and Richard III (1955), and Jean Renoir's The River (1951). In 1960, Knight co-starred in Sink the Bismarck (1960), a reenactment of the naval battle in which he'd been blinded 19 years earlier. Long married to actress Nora Swinburne, Esmond Knight died in Egypt while filming The Balkan Trilogy.

Trivia: British actress Maxine Audley was better known for her stage work than her screen appearances. Nonetheless, she showed up in choice supporting roles in several films, starting with 1954's The Sleeping Tiger. Many of these parts were played in English-based films produced with American funding. Notable films in this vein include The Barretts of Wimpole Street (1957), The Vikings (1958) (seventh-billed, as Enid), and Our Man in Havana (1960). The one film featuring Maxine Audley that seems to be getting the most play on TV in recent years is a grim, low-budget British crime melodrama, Hell Is A City (1960).

Trivia: A performer from age 11, Jean Kent was billed as Jean Carr when she danced in the chorus of London's Windmill Theater, a popular quasi-burlesque establishment. Kent made her first film appearance in 1935, hitting her stride in the mid-1940s. She joyously harked back to her music hall roots in the leading role of the 1945 movie musical Trottie True. A busy television performer, Jean Kent has been a regular on such British series as Sir Francis Drake (1962, as Queen Elizabeth), Tycoon (1978), Crossroads (1981), Lovejoy (1990) and Shrinks (1991). Kent died in 2013 at age 92 after falling at her home.

Trivia: British actress Daphne Anderson, born Daphne Scrutton, began her career at age 15 in the theatres of London. She went on to have a long stage career. Though she only occasionally appeared in feature films, those appearances were generally notable.

Trivia: Well-padded British actor/playwright David Horne entered films in 1935, making his mark in pompous, self-satisfied characterizations. Seldom seen in large roles, he was indispensable in such utility parts as desk clerks, newspaper editors, police officials, lawyers, and doctors. Lutheran filmgoers will recall Horne as Duke Frederick in the church basement perennial Martin Luther (1953). David Horne remained active until 1968.

Trivia: Greek-born actor Andreas Malandrinos appeared in British films from 1930 until his death 40 years later. Malandrinos utilized his fluency in six languages to flourish as a dialect comedian in British music halls. Many of his film appearances were so fleeting that his characters often had no names, only descriptions, e.g. "valet with violin" in The Prince and the Showgirl (1957) and "woodcutter" in The Fearless Vampire Killers (1967). During his stage career, Andreas Malandrinos billed himself simply as Malandrinos; conversely, his movie billing was often simply "Andreas."

Trivia: Rubber-faced British character actor Harold Goodwin first appeared onscreen in 1950.