Trivia: Born in Bethune, France, Simone Simon grew up in Marseille and went to Paris in 1930. She worked for a time as a designer and model before making her screen debut in 1931 in a comedy by Marc Allegret, who made his own debut as a feature filmmaker that same year. Simon displayed an innocent, girl/woman sensuality that anticipated Brigitte Bardot (ironically, also a discovery of Allegret) by several decades, and it wasn't long before she was discovered by the American movie industry. In 1935 she was signed by Fox studios in Hollywood. However, soon after arriving things began to go wrong for her with an abortive attempt to cast her in Message To Garcia with Wallace Beery, during the filming of which she was hospitalized. Girls' Dormitory (1936) became her first American film, but despite the fact that she enjoyed working on it, she didn't get along with her director. After making a handful of subsequent movies, she returned to France in 1938 -- but not before she found herself caught in a minor scandal involving her friend, the late composer George Gershwin. It was Jean Renoir who rescued Simon's career, casting her as the beautiful but predatory female lead in La Bete humaine (1938). That film brought her an invitation from director/producer William Dieterle for the role of Belle in The Devil and Daniel Webster. That movie brought her to the attention of producer Val Lewton, who offered her the leading role in the horror B-movie Cat People (1942). The role of the tormented Irena in Cat People proved to be the high point of Simon's film career, embedding her in the memory of millions of viewers, and she briefly reprised the role in Curse of the Cat People. However, none of her other Hollywood roles took, and she soon found herself confined to B-movies. She returned to Europe after World War II and continued making movies, of which the most notable was Max Ophuls' La Ronde (1952). During her second stint in the United States, which lasted from 1941 thru 1945, it was later revealed that Simon carried on an affair with Dusko Popov, the Yugoslav-born double-agent whose lifestyle and romantic exploits are now believed to have been a key part of the inspiration for future author Ian Fleming's James Bond character.

Trivia: Born in St. Petersburg, Russia, Tom Conway was the son of a British rope manufacturer. After the Bolshevik revolution, Conway's family returned to England, where he attended a succession of boarding schools before graduating from Brighton college. Aimlessly wandering from job to job, Conway was working as a rancher when his older brother, George Sanders, achieved success as a film actor. Deciding this might be suitable work for himself, Conway gleaned some stage experience in a Manchester repertory company. Upon arriving in Hollywood in 1940, Conway was taken under the wing of brother George, who helped him find film work. When George quit the Falcon "B"-picture series at RKO in 1941, he recommended Tom as his replacement; the transition was cleverly handled in The Falcon's Brother (1942), with Tom taking over after George had been "killed." Achieving popularity as the Falcon, Conway continued in private-detective roles, playing Sherlock Holmes on radio and Mark Sabre on television. Though he reportedly amassed a fortune in excess of one million dollars during his Hollywood years, personal problems sent Conway into a downward spiral. Tom Conway died in 1967 at the age of 63; his brother George Sanders committed suicide five years later.

Trivia: A former model, brunette leading lady Jane Randolph made her first film appearance in Warner Bros.' Manpower (1941) playing a bit as a hat check girl. Randolph was immediately signed to a contract by RKO Radio Pictures, where she spent the next few years in the studio's "B"-picture mill. Her best role under the RKO banner was Alice Moore, the young lady terrorized during a nocturnal swim by the malevolent Simone Simon in Val Lewton's Cat People (1942) She reprised this role in the 1944 follow-up Curse of the Cat People, expertly handling the film's complex, literate dialogue sequences. Jane Randolph retired from films after playing blonde insurance investigator Joan Raymond in Abbott and Costello Meet Frankenstein (1948).

Trivia: When comic-strip artist Chester Gould created his famed detective Dick Tracy in 1931, he deliberately patterned Tracy's jut-jawed countenance and stoic demeanor after that of his favorite film star, Jack Holt. Dropping out of Virginia Military Institute as a teenager, Holt held down a variety of tough, he-man jobs before settling into film acting in 1913. He flourished in the 1920s as a virile action hero, especially in the late-silent Columbia productions of up-and-coming director Frank Capra. Holt was one of Columbia's most valuable commodities in the early talkie era, but his popularity waned as the quality of his films plummeted. After serving as a major in World War II, Holt returned to films as a supporting actor, often (as in the 1950 Roy Rogers vehicle Trail of Robin Hood) playing thinly disguised variations on his own off-screen persona. Jack Holt was the father of three film performers: western star Tim Holt, leading lady Jennifer Holt, and character actor David Holt.

Trivia: Though no one in his family had ever pursued a theatrical career (one of his more illustrious relatives was British Prime Minister Neville Chamberlain), Alan Napier was stagestruck from childhood. After graduating from Clifton College, the tall, booming-voiced Napier studied at the Royal Academy of Dramatic Art, then was engaged by the Oxford Players, where he worked with such raw young talent as John Gielgud and Robert Morley. He continued working with the cream of Britain's acting crop during his ten years (1929-1939) on the West End stages. Napier came to New York in 1940 to co-star with Gladys George in Lady in Waiting. Though his film career had begun in England in the 1930s, Napier had very little success before the cameras until he arrived in Hollywood in 1941. He essayed dignified, sometimes waspish roles of all sizes in such films as Cat People (1942), The Uninvited (1943), and House of Horror (1946); among his off-the-beaten-track assignments were the bizarre High Priest in Orson Welles' Macbeth (1948) and a most elegant Captain Kidd in the 1950 Donald O'Connor vehicle Double Crossbones. In 1966, Alan Napier was cast as Bruce Wayne's faithful butler, Alfred, on the smash-hit TV series Batman, a role he played until the series' cancellation in 1968. Alan Napier's career extended into the 1980s, with TV roles in such miniseries as QB VII and such weeklies as The Paper Chase.

Trivia: In films from 1941, the hauntingly beautiful American actress Elizabeth Russell seemed predestined for psychological horror films. After an unforgettable one-scene appearance as one of the title characters in producer Val Lewton's Cat People, Russell became a fixture of the Lewton unit at RKO until 1946. Her best performance during this period was as the spiteful daughter of genially crazy old recluse Julia Dean in Curse of the Cat People (1944). Outside of her work for Lewton, Elizabeth Russell was seen as Bela Lugosi's wife in The Corpse Vanishes (1942) who, despite being dead for 25 years, gives Lugosi quite a tongue-lashing whenever she sees him and is the model for the portrait of the ghostly Mary Meredith in the Paramount chiller The Uninvited (1944).

Trivia: In films from 1935, Scottish character actor Alec Craig perpetuated the stereotype of the penny-pinching Highlander for nearly 15 years. Craig's wizened countenance and bald head popped up in quite a few mysteries and melodramas, beginning with his appearance as the inept defense attorney in the embryonic "film noir" Stranger on the Third Floor. He essayed small but memorable roles in a handful of Val Lewton productions, notably the zookeeper in Cat People (1942). Later, he was a general hanger-on in Universal's horror films and Sherlock Holmes entries. Craig's showiest assignment was his dual role in RKO's A Date with the Falcon. The legions of fans of Lubitsch's To Be or Not to Be know Alec Craig best as the Scottish farmer who, upon being confronted by Hitler look-alike Tom Dugan, mutters to his fellow farmer James Finlayson "First it was Hess...now it's him."

Trivia: Actress/playwright Dot Farley launched her film career in 1912 as one of the earliest members of Mack Sennett's Keystone comedy troupe. Though she would leave Keystone after a few years, Farley occasionally returned to the Sennett fold in such roles as Ben Turpin's cross-eyed mother in A Small Town Idol (1921). A "regular" in 2-reel comedies, she could also be found in such elaborate features as DeMille's King of Kings (1927). In the talkie era, Farley was busiest in the short-subject field, usually playing domineering wives and mothers-in-law. From 1931 to 1948, she played Florence Lake's busybody mama in Edgar Kennedy's "Mr. Average Man" 2-reel series at RKO. Dot Farley's feature-film work during this period was usually limited to brief bits in films ranging from Val Lewton's Cat People (1942) to Preston Sturges' Hail the Conquering Hero (1944).

Trivia: A would-be B-Western star who never made the grade, Eddie Dew had been in musical comedy prior to drifting into films in 1937. After appearing in countless bit parts at (mostly) Republic Pictures, Dew was awarded a one-year contract in 1943 and a promotion to stardom with a proposed John Paul Revere series of Westerns that also featured the popular Smiley Burnette as the comedic sidekick, a job the tubby Burnette had done so admirably in the Gene Autry music Westerns. Alas, in spite of Burnette's popularity, the series in general and Dew in particular fell far short of expectations and after only two films had been produced, Republic bought back his contract for a reported 1,000 dollars. The studio tried to salvage the series by re-hiring Robert Livingston, formerly of The Three Mesqueteers, but there were few takers and the project was shelved after only two additional Westerns. Dew meanwhile, landed a berth at Universal as a second banana to Rod Cameron and even took over the lead in Trail to Gunfight (1944) when Cameron was upgraded to Grade A projects. In the end, however, singer Kirby Grant was brought in to take over the spot vacated by Cameron and Dew, who sidelined once again, went into television instead, appearing on the Annie Oakley and Buffalo Bill programs and directing episodes of Sergeant Preston of the Yukon. He would later add such low-budget feature films as Naked Gun (1956) and the Canada-lensed Wings of Chance (1961) to his directorial credits.

Trivia: American actress Theresa Harris made her screen debut as one of the sullen "camp followers" in Josef von Sternberg's Morocco. Like most black performers working in Hollywood during the 1930s and 1940s, Harris was generally limited to servant roles. One of the more artistically rewarding of these was Josephine, the object of Eddie "Rochester" Anderson's affections in the Jack Benny vehicle Buck Benny Rides Again (1940). Harries and Anderson worked so well together that they were reteamed in the same roles in another Benny comedy, Love Thy Neighbor (1940). Evidently a favorite of RKO producer Val Lewton, Harris was prominently cast in several of Lewton's productions of the 1940s, most entertainingly as the cheerfully sarcastic waitress in Cat People (1943). Theresa Harris remained in films until 1958, her characters slowly moving up the social ladder to include nurses and governesses.

Trivia: Character actor Donald Kerr showed up whenever a gumchewing Runyonesque type (often a reporter or process server) was called for. A bit actor even in two-reelers and "B" pictures, Kerr was one of those vaguely familiar faces whom audiences would immediately recognize, ask each other "Who is that?", then return to the film, by which time Kerr had scooted the scene. The actor's first recorded film appearance was in 1933's Carnival Lady. Twenty-two years later, Donald Kerr concluded his career in the same anonymity with which he began it in 1956's Yaqui Drums.

Trivia: A handsome and dignified stage actor, Murdock MacQuarrie began his long screen career in early versions of The Scarlet Letter (1913), The Count of Monte Cristo (1913), and Richelieu ([1914], in the title role) before becoming a director at Universal. Increasingly gaunt and cadaverous, MacQuarrie returned to acting exclusively in the early '20s, playing hundreds of bit parts until the year of his death. Two brothers, Albert MacQuarrie (1882-1950) and Frank MacQuarrie (1875-1950), also appeared in films.

Trivia: A tough-talking character actress from Missouri, Betty Roadman usually played prison matrons (Trade Winds, 1938 and Passport to Destiny, 1944) but was also effective in Westerns, i.e. as "Buckskin" Liz, the owner of a beleaguered stagecoach in Return of the Durango Kid (1944). Roadman became a special favorite of producer Val Lewton, who cast her as Jane Randolph's cleaning woman in Cat People (1942), Margo's mother in The Leopard Man (1943), and other colorful bit roles. Roadman ended her screen career in 1947.

Trivia: In films from 1935, American character actor Bud Geary showed up in fleeting roles as chauffeurs, sailors and cops at a variety of studios. Geary was signed to a 20th Century-Fox contract in 1942, but nothing really came of it. He finally blossomed as an actor when he hitched up with Republic in the mid-1940s. One of the best "action" heavies in the business, Geary convincingly menaced everyone in sight in such Republic serials as Haunted Harbor (1944), The Purple Monster Strikes (1945) and King of the Texas Rangers (1946). Bud Geary was on the verge of bigger things when he was killed in a car accident at the age of 47.

Trivia: In Hollywood from 1931 to 1950, American actor Charles Jordan kept busy in a vast array of minor roles and walk-ons. Jordan's characters were frequently named "Shorty;" they ranged from gangsters to reporters to bartenders to jury foremen. In producer Val Lewton's Cat People (1942), Jordan plays the bus driver who figures into one of the film's most memorable "sudden shock" vignettes. Charles Jordan spent most of the 1940s at Warner Bros., Columbia, and Monogram, appearing in substantial roles in two of Monogram's "Charlie Chan" entries.