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: At age seven she moved to the U.S.; in high school she began to act in school plays. In 1924 she debuted on Broadway in a Theater Guild production, and over the next several years established herself as a prominent leading lady onstage. She debuted onscreen in D.W. Griffith's last film, The Struggle (1931); between then and 1934 she starred in several other films, then her lack of good screen roles prompted her to quit Hollywood for a return to Broadway. In 1989 she appeared as a librarian in the film Raiders of the Living Dead. She married and divorced producer-actor John Houseman.

Trivia: A descendant of William the Conqueror (or so his studio publicity claimed), Canadian actor David Manners was brought to films by director James Whale, who cast the personable, aristocratic-looking young man in the 1930 filmization of Journey's End. It was Manners' thankless task to be the handsome but ineffectual hero of many a horror film: he was forever being knocked out, locked out, or otherwise detained from promptly rescuing the heroine in such films as Dracula (1931), The Mummy (1932) and The Black Cat (1934). He was better served as one of the Hemingwayesque heroes in The Last Flight (1931) and the unfortunate title character in The Mystery of Edwin Drood (1935). Manners quit film acting in 1936 to pursue a satisfying career as stage performer and novelist. Living in wealthy retirement in his 80s, David Manners was frequently an interview subject for books about his famous Hollywood associates (John Barrymore, Tod Browning, Boris Karloff et. al.); his recollections were always crystal clear, always amusing, and always unadorned (to Mr. Manners, Dracula star Bela Lugosi was nothing more or less than "a pain in the ass").

Trivia: His Teutonic cadence has led many to assume that Edward Van Sloan was German-born, but in fact he hailed from San Francisco. After a lengthy career as a commercial artist, Van Sloan turned to the stage in the World War I years. He came to Hollywood in 1930 to repeat his stage role as dour vampire hunter Professor Van Helsing in Dracula (1930), a role he'd reprised in 1936's Dracula's Daughter. Surprisingly, this most famous of Van Sloan's screen characterizations was his least favorite: he considered himself hopelessly hammy as Van Helsing (even though he seems a model of restraint opposite the florid Bela Lugosi). Van Sloan went on to essay Van Helsing-type characters in Frankenstein (1931), The Mummy (1932), and Before I Hang (1940). He also was given a few opportunities to play the evil side of the fence as the "surprise killer" in such quickies as Behind the Mask (1932) and Death Kiss (1933). For the most part, Van Sloan's film career was limited to bit roles; he was especially busy during World War II, playing everything from resistance leaders to Nazi diplomats. Edward Van Sloan retired in 1947, emerging publicly only to grant an interview or two during his remaining 15 years on earth.

Trivia: After a brief stint as an insurance clerk, British actor Bramwell Fletcher took to the stage, making his theatrical debut with the Shakespeare Memorial Company in 1927. After making his first London-produced film in 1928, Fletcher appeared on Broadway in 1929, and like many actors who could "talk British" he was spirited away to Hollywood during the earliest days of the sound-film boom. Fletcher went from actor to "type" in Hollywood, portraying slightly callow Englishmen in such pictures as Will Rogers' So This is London (1930) and the Ronald Colman version of Raffles (1930). Acting in the company of Katharine Hepburn and John Barrymore in A Bill of Divorcement (1932), poor Fletcher all but vanished from view, so it's little wonder that he sought the more fulfilling environs of the theatre. With his first wife Helen Chandler, Fletcher toured in several plays, notably Noel Coward's Tonight at 8:30, and after leaving movies for good and all in 1943, he worked uninterruptedly in both theatre and television. In 1965, the actor scored a critical success in Broadway's The Bernard Shaw Story, which he also wrote. Despite his thespic accomplishments, Fletcher earned his niche in Hollywood history for two things, one private, one public. The "private" thing was his second marriage to the tragic Diana Barrymore, a union later dramatized in the 1958 movie Too Much Too Soon, wherein Fletcher's name was changed to "Vincent Bryant" and he was played by the most un-Fletcherlike Efrem Zimbalist Jr. The public thing was Bramwell Fletcher's brief but unforgettable appearance in The Mummy (1932), in which, after being driven mad by the sight of a 3000-year-old mummy coming to life, Fletcher insanely giggles "It...it went for a little walk!"

Trivia: Born in Missouri, Noble Johnson was raised in Colorado Springs, Colorado where he was a classmate of future film-star Lon Chaney Sr., who became one of his closest friends. At 15, Johnson dropped out of school to help his horse-trainer father. The 6'2", 225-pound teenager had little trouble finding "man-sized" employment, and at various junctures he worked as a miner and a rancher. In 1909, he made his motion picture debut, playing an American Indian (the first of many). Seven years later, Johnson and his brother George formed the Lincoln Motion Picture Company, the first American film studio exclusively devoted to the production of all-black feature films. Business was poor, however; by 1918, the studio had failed, and Johnson returned to acting in other's films. During the silent era, he essayed such roles as Friday in Robinson Crusoe (1922) and Uncle Tom in Topsy and Eva (1927), and also began a longtime professional relationship with producer/director Cecil B. DeMille. His talkie roles included Queequeg in Moby Dick (1930) and the Native Chieftan in King Kong (1933); he also played important parts in Murders in the Rue Morgue (1932), Mystery Ranch (1932) and The Mummy (1932). Launching the 1940's with a vivid portrayal of a zombie in Bob Hope's The Ghost Breakers (1940), Johnson spent the rest of the decade playing Africans, Indians, Mexicans, Arabs and South Sea Islanders, one of the few black performers in Hollywood to be permitted any sort of versatility. Noble Johnson retired in 1950.

Trivia: Gaunt, rich-voiced British actor Leonard Mudie made his stage bow in 1908 with the Gaiety Theater in Manchester. Mudie first appeared on the New York stage in 1914, then spent the next two decades touring in various British repertory companies. In 1932, he settled in Hollywood, where he remained until his death 33 years later. His larger screen roles included Dr. Pearson in The Mummy (1932), Porthinos in Cleopatra (1934), Maitland in Mary of Scotland (1936), and De Bourenne in Anthony Adverse (1936). He also essayed dozen of unbilled bits, usually cast as a bewigged, gimlet-eyed British judge. One of his more amusing uncredited roles was as "old school" actor Horace Carlos in the 1945 Charlie Chan entry The Scarlet Clue, wherein he explained his entree into the new medium of television with a weary, "Well, it's a living!" Active well into the TV era, Leonard Mudie showed up memorably in a handful of Superman video episodes and was a semi-regular as Cmdr. Barnes in the Bomba B-picture series.

Trivia: Tall, distinguished-looking Eddie Kane was never remotely a star in movies or television, but he played just about every kind of important supporting and bit role that there was to portray in a Hollywood career that stretched over a quarter century. Born in 1889, Kane entered show business by way of vaudeville and rose to the top of that field as a member of the team of Kane & Herman. Hollywood beckoned with the coming of sound and his first role was typical of the kind of work that he would do for the next 25 years. In MGM's The Broadway Melody, although uncredited, Kane played the important supporting role of Francis Zanfield (a thin burlesque of Ziegfeld), the theatrical producer whose interest in one of the two sisters, played by Anita Page and Bessie Love, gets the backstage plot rolling. In later films, the actor's parts varied from anonymous head waiters and hotel managers to essential supporting roles, small but telling in the plot. He was apparently at least a nodding acquaintance of James Cagney, playing important bit parts in two of Cagney's movies: in Something To Sing About, Kane portrayed the San Francisco theater manager who shelters Cagney from the crowds swarming around him on his return from an ocean voyage; in Yankee Doodle Dandy he played the actor in Little Johnny Jones who tells Cagney's George M. Cohan, in the title role of Jones, of the plan to fire a rocket from the ship when the evidence clearing him has been found. Kane's range of roles ran from business executives and impressarios to maitre d's and as he grew older and more distinguished-looking, his delivery grew even sharper onscreen. Kane is probably best known to audiences from the 1950s and beyond for his portrayal (uncredited, as usual) of Mr. Monahan, Ralph Kramden's boss at the Gotham Bus Company, in The Honeymooners' episode in which Kramden impersonates a bus company executive to impress an old rival. Kane retired from movies and television after the 1950s and died in 1969 of a heart attack at his home.

Trivia: Sometimes billed Arnold Gregg, Ohio-born Arnold Gray (born Samberg) began his screen career in Universal two-reel action melodramas. Gray later starred opposite Seena Owen in Flame of the Yukon (1925) but spent the remainder of his screen career in supporting roles and as Joel McCrea's stand-in.

Trivia: A swarthy-looking stage actor (The Price, Under Orders) and the husband of stage star Alice Brady (1919-1922), James Crane moonlighted in movies in the late 1910s, appearing in three films with his wife and three opposite another Broadway star, Billie Burke. Spending most of the 1920s on the Broadway stage, Crane returned to films as a character actor after the advent of sound and is probably best remembered for playing the Pharaoh in The Mummy (1932).

Trivia: Born in England but raised in Germany, Henry Victor began his film career in 1916. During the silent era, the tall, muscular Victor played leads in such literary adaptations as Portrait of Dorian Gray (1917) and She (1925). When talkies came in, Victor's thick Teutonic accent precluded future leading roles, though he enjoyed a substantial career as a character actor, specializing in brutish Nazis during WWII. Henry Victor's best-known talkie roles include the sadistic strong-man Hercules in 1932's Freaks and the beleaguered Nazi adjutant Schultz in the Ernst Lubitsch classic To Be or Not to Be (1942).

Trivia: Veteran Broadway actor Arthur Byron came to Hollywood at the dawn of the talkie era, when his clear, precise vocal intonations proved to be a sound recordist's dream. Generally cast as high-ranking politicos and business executives, Byron's best screen assignments included the reform-minded warden in 20,000 Years in Sing Sing (1932) and the title character in The President Vanishes (1934). He could also use his veneer of respectability for dishonest purposes, as witness his Depression-era profiteer in Stand Up and Cheer (1934). Already well-on in years when he entered films, Arthur Byron retired after playing Mr. Erickson in John Ford's Prisoner of Shark Island (1936).

Trivia: British actress Kathleen Byron made her first film Young Mr. Pitt in 1941, shortly after completing her training at the Old Vic. At first a standard-issue ingenue, Byron displayed a dominant willfulness that resulted in roles as schemers and prevaricators. After big-budget films like A Matter of Life and Death (1946) and Black Narcissus (1948) - giving a rivetting performance in the latter as an insane nun - Ms. Byron was consigned to budget-feature films like The Gambler and the Lady (1952) and Profile (1954). She made several pilgrimages to Hollywood in the 1940s and 1950s, but her only American film was MGM's Young Bess (1953), set in England. Kathleen Byron remained in films until the 1980s, though she appeared less frequently and the roles diminished in significance.