Trivia: Irish-born actress Greer Garson graduated with honors from the University of London and finished her post-grad work at the University of Grenoble in France. For many years, she worked efficiently as supervisor of an advertising firm, spending her spare time working in community theater. By age 24, Garson decided to take a risk and try a full-time acting career. She was accepted by the Birmingham Repertory, making her first stage appearance as an American Jewish tenement girl in Street Scene. Her London debut came in 1934 in The Tempest, after which she headlined several stage plays and musicals. While vacationing in London, MGM mogul Louis B. Mayer happened to see Garson in Old Music; entranced by her elegant manner and flaming red hair, Mayer signed the actress to an MGM contract, showcasing her in the Anglo-American film production Goodbye, Mr. Chips (1939).Garson became MGM's resident aristocrat, appearing most often as co-star of fellow contractee Walter Pidgeon. It was with Pidgeon that she appeared in Mrs. Miniver (1942), a profitable wartime morale-booster which won Oscars for Garson, for supporting actress Teresa Wright, and for the picture itself. Legend has it that Garson's acceptance speech at the Academy Awards ceremony rambled on for 45 minutes; in fact, it wasn't any more than five or six minutes, but the speech compelled the Academy to limit the time any actor could spend in accepting the award. Though not overly fond of being so insufferably ladylike in her films, Garson stayed at MGM until her contract expired in 1954; it was surprising but at the same time refreshing to see her let her hair down in the 1956 Western Strange Lady in Town. In 1960, Garson received her seventh Oscar nomination for her astonishingly accurate portrayal of Eleanor Roosevelt in Sunrise at Campobello. After that, Garson was given precious few opportunities to shine in films, though she was permitted to exhibit her still-vibrant singing voice in her last picture, 1967's The Happiest Millionaire. Following her marriage to Texas oil baron Colonel EE. "Buddy" Fogelson, Garson retired to a ranch in Santa Fe, NM, where she involved herself with various charities. Occasionally Garson returned to make guest appearances on television in ventures ranging from Hollywood Squares, to The Crown Matrimonial, a Hallmark Hall of Fame production. She had to give up even these performances in the early '80s due to chronic heart problems. In 1988, Garson underwent quadruple-bypass surgery. She died of heart failure in Dallas on April 6, 1996.

Trivia: MGM's resident "perfect gentleman," Canadian-born Walter Pidgeon was the son of a men's furnishing store owner. Young Walter Pidgeon planned to follow his brothers into a military career, but was invalided out of the service after a training accident. Pidgeon moved to Boston in 1919, where he worked as a banker until the death of his first wife. He gave up the world of finance to study singing at the New England Conservatory of Music, then in 1924 joined E.E. Clive's acting company. With the help of his friend Fred Astaire, Pidgeon (using the stage name Walter Verne) was hired as the touring partner of musical comedy star Elsie Janis; this led to his first Broadway appearance in Puzzles of 1925. Pidgeon was signed by film producer Joseph Schenck for a string of silent-film leading-man assignments in 1926, making his talkie debut in Universal's Melody of Love (1928). He starred or co-starred in several First National/Warner Bros. musicals of the early-talkie era, but this stage of his movie career ended when the musical craze petered out in 1931. Deciding to switch professional gears, Pidgeon returned to Broadway in order to establish himself as a dramatic actor. He returned to Hollywood in 1936, spending most of the next two decades at MGM, where he was cast opposite such stellar leading ladies as Jean Harlow, Myrna Loy, Rosalind Russell, and Hedy Lamarr. His most famous screen teammate was Greer Garson; the sophisticated twosome co-starred in seven films, including the Oscar-winning Mrs. Miniver. In the early '40s, MGM made the most of Pidgeon's popularity by loaning him out to other studios. It was on one of these loanouts to 20th Century Fox that the actor was cast in one of his favorite films, How Green Was My Valley (the 1941 Oscar winner). In 1955, the same year that he starred in the sci-fi favorite Forbidden Planet, Pidgeon hosted his home studio's TV anthology series The MGM Parade. After ending his 20-year association with MGM, Pidgeon returned to Broadway, where he starred in The Happiest Millionaire and Take Me Along. He continued accepting character assignments that intrigued him into the 1970s, notably the brief role of Florenz Ziegfeld in Funny Girl (1968). When asked if he minded that most of his screen and TV assignments were secondary ones in his last two decades, Walter Pidgeon replied that he always strove to follow the advice given to him by Lionel Barrymore: even when your character has nothing to do, do nothing magnificently.

Trivia: This handsome, mustachioed leading man of the 1910s was, of course, not the young actor of the same name who married Jennifer Jones. The earlier Walker began his screen career with pioneering film companies such as Kalem and Thanhouser and reached stardom as Viola Dana's leading man in Blue Jeans (1917), a charming bit of Americana directed by the much-neglected John D. Collins. In the 1920s, having added a dashing mustache and an air of haughty menace, Walker became one of the best "boss villains" in westerns, handsome enough to be a serious rival to the hero -- at least in the first couple of reels. To the everlasting chagrin of film researchers, the two Robert Walkers careers overlap for four years (1935-1939).

Trivia: Thanks to the strenous efforts of her mother, a former dancer, American child actress Margaret O'Brien won her first film role at age four in the Mickey Rooney-Judy Garland musical Babes on Broadway (1941). MGM was so impressed by the child's expressiveness and emotional range that she was given the title role in the wartime morale-booster Journey For Margaret (1942). She was so camera-savvy by the time she appeared in Dr. Gillespie's Criminal Case (1943) that the film's star Lionel Barrymore declared that had this been the Middle Ages, O'Brien would have been burned at the stake! Some of her coworkers may secretly have wished that fate on O'Brien, since she reportedly flaunted her celebrity on the set, ostensibly at the encouragement of her parents. Famed for her crying scenes, O'Brien really let the faucets flow in her best film, Meet Me in St. Louis (1944), in which her character also predated Wednesday Addams by two decades with a marked fascination for death and funerals. In 1944, O'Brien was given a special Academy Award, principally for work in Meet Me In St. Louis. As she grew, her charm faded; by 1951's Her First Romance, she was just one of a multitude of Hollywood teen ingenues. A comeback attempt in the 1956 film Glory was servicable, but the film was badly handled by its distributor RKO Radio and failed to re-establish the actress. A more fruitful role awaited her in a 1958 TV musical version of Little Women, in which O'Brien played Beth, the same role she'd essayed in the 1949 film version. In 1960, O'Brien had a strong supporting part in the period picture Heller in Pink Tights (1960), ironically playing a onetime child actress whose stage mother is trying to keep her in "kid" roles. In between summer theatre productions, O'Brien would resurface every so often in another TV show, reviewers would welcome her back, and then she'd be forgotten until the next part. The actress gained a great deal of weight in the late 1960s, turning this debility into an asset when she appeared in a "Marcus Welby MD" TV episode (starring her Journey for Margaret costar Robert Young) in which she played a woman susceptible to quack diet doctors. A bit thinner, and with eyes as wide and expressive as ever, O'Brien has recently appeared in a handful of episodes of "Murder She Wrote," that evergreen refuge for MGM luminaries of the past.

Trivia: The quintessential blue-eyed, blonde-haired, freckle-faced Boy Next Door, Van Johnson was the son of a Rhode Island plumbing contractor. Making his Broadway bow in The New Faces of 1936, Johnson spent several busy years as a musical-comedy chorus boy. After understudying Gene Kelly in Pal Joey, he came to Hollywood to recreate his minor role in the film version of the Broadway musical hit Too Many Girls. Proving himself an able actor in the Warner Bros. "B" picture Murder in the Big House (1942), Johnson was signed by MGM, where he was given the traditional big buildup. He served his MGM apprenticeship as Lew Ayres' replacement in the "Dr. Kildare" series, latterly known as the "Dr. Gillespie" series, in deference to top-billed Lionel Barrymore. While en route to a preview showing of an MGM film, Johnson was seriously injured in an auto accident. This proved to be a blessing in disguise to his career: the accident prevented his being drafted into the army, thus he had the young leading-man field virtually to himself at MGM during the war years. Delivering solid dramatic performances in such major productions as The Human Comedy (1943) A Guy Named Joe (1943) and Thirty Seconds Over Tokyo (1944), Johnson rapidly became a favorite with the public--particularly the teenaged female public. He remained a favorite into the 1950s, alternating serious characterizations with lightweight romantic fare. One of his best roles was Lt. Maryk in The Caine Mutiny (1954), for which he was loaned to Columbia. When his MGM contract came to an end, Johnson free-lanced both in Hollywood and abroad. He also made his London stage debut as Harold Hill in The Music Man, a role he'd continue to play on the summer-theater circuit well into the 1970s. His TV work included the lead in the elaborate 1957 musical version of The Pied Piper of Hamelin (released theatrically in 1961) and his "special guest villain" turn as The Minstrel on Batman (1967). He staged a film comeback as a character actor in the late 1960s, earning excellent reviews for his work in Divorce American Style (1967). And in the mid-1980s, Van Johnson again proved that he still had the old star quality, first as one of the leads in the short-lived TVer Glitter, then in a gently self-mocking role in Woody Allen's The Purple Rose of Cairo (1985), and finally as Gene Barry's replacement in the hit Broadway musical La Cage Aux Folles (1985).

Trivia: A stage actor in the British Isles from 1894, Henry Travers settled permanently in America in 1901. Even as a comparative youngster, the pudding-faced, wispy-voiced Travers specialized in portraying befuddled old men. He was brought to Hollywood in 1933 to recreate his stage role as Father Krug in Robert E. Sherwood's Reunion in Vienna. Though often cast in amiable, self-effacing roles, Travers was perfectly capable of meatier stuff: as a downtrodden Chinese farmer in Dragon Seed (1944), he delivers a terse monologue describing how he has regained his self respect by beating his shrewish wife! Travers' best-remembered movie assignments included his Oscar-nominated portrayal of British postman Mr. Ballard in Mrs. Miniver (1942); his amusing turn as bank clerk and mystery-magazine fanatic Joseph Newton in Hitchcock's Shadow of a Doubt (1943); and, of course, his matchless performance as wingless guardian angel Clarence Oddbody in the Yuletide perennial It's a Wonderful Life (1946). After several years in retirement, Henry Travers died of arteriosclerosis at the age of 91.

Trivia: In Knute Rockne, All American, chemistry professor Albert Basserman was the all-wise mentor and severest critic of teacher-cum-coach Rockne (Pat O'Brien). In real life, Basserman had himself studied chemistry, but abandoned that science early on to work with Vienesse stage impresario Max Reinhardt. A prominent and popular stage and film actor in his native Germany, Basserman emigrated to Switzerland in 1933 rather than endure the incoming Hitler regime. He worked briefly in the French film industry before coming to America in 1939. Basserman spent the next eight years portraying sagacious elderly Europeans, usually scientists and music teachers. He was nominated for an Academy Award for his dual role in Foreign Correspondent (1940). Basserman's heartfelt, well-defined screen characterizations are all the more impressive when one realizes that he could not speak English, and had to learn his lines phonetically. Albert Basserman journeyed to England in 1948 for his final film assignment, The Red Shoes.

Trivia: Actor C. Aubrey Smith was, so far as many American moviegoers were concerned, the very personification of the British Empire. Even so, when young English journalist Alistair Cooke first travelled to Hollywood in the early 1930s to interview Smith, it was not to discuss the actor's four decades in show business, but to wax nostalgic on his athletic career. The son of a London surgeon, Smith played soccer for the Corinthians and cricket for Cambridge. For four years, "Round the Corner Smith" (so named because of his unique playing style) was captain of the Sussex County Cricket Club, playing championship matches throughout the Empire. When time came to choose a "real" vocation, Smith dallied with the notion of following in his dad's footsteps, then worked as a teacher and stockbroker. In 1892, at the age of 29, he finally decided to become an actor (not without family disapproval!), launching his stage career with the A. B. Tappings Stock Company. He made his London debut in 1895, and the following year scored his first significant success as Black Michael in The Prisoner of Zenda; also in 1896, he married Isobel May Wood, a union that endured for over fifty years. His subsequent stage triumphs included Shaw's Pygmalion, in which he succeeded Sir Herbert Beerbohm-Tree as Professor Henry Higgins. Despite the theatrical community's disdainful attitude towards the "flickers", Smith enthusiastically launched his film career in 1914. He was one of the co-founders of the short-lived but energetic Minerva Film Company, and by 1915 had begun making movies in America. It was his 1928 stage hit Bachelor Father that led to Smith's phenomenally successful career in talking pictures. For 18 years, he was perhaps Hollywood's favorite "professional Englishmen." He was at his best in martinet military roles, most memorably in a brace of 1939 productions: The Sun Never Sets, in which he used a wall-sized map to dutifully mark off the far-flung locations where his progeny were serving the Empire, and The Four Feathers, wherein he encapsulated his generation by crustily declaring "War was war in my day, sir!" Other notable roles in the Smith canon included Jane's father in Tarzan the Ape Man (1932), a close-minded aristocrat who turns out to be an out-of-work actor in Bombshell (1933), the intensely loyal Colonel Zapt in The Prisoner of Zenda (1937) and an outraged murder-victim-to-be in Ten Little Indians (1945). Smith briefly returned to the stage in 1941, and throughout the war years could be seen in roles ranging from single-scene cameos (The Adventures of Mark Twain, Unconquered) to full leads (1945's Scotland Yard Inspector). A recipient of the Order of the British Empire in 1938, he was knighted by King George VI in 1944, largely because of the positive image of Mother England that the actor invariably projected. The undisputed leader of Tinseltown's "British Colony," Smith also organized the Hollywood Cricket Club, taking great pride in the fact that he hadn't missed a weekend match for nearly sixty years. Sir C. Aubrey Smith was still in harness when he died of pneumonia at the age of 85; his last film appearance as Mr. Lawrence in Little Women was released posthumously in 1949.

Trivia: British actor Reginald Owen was a graduate of Sir Herbert Beerbohm Tree's Academy of Dramatic Arts. He made his stage bow in 1905, remaining a highly-regarded leading man in London for nearly two decades before traversing the Atlantic to make his Broadway premiere in The Swan. His film career commenced with The Letter (1929), and for the next forty years Owen was one of Hollywood's favorite Englishmen, playing everything from elegant aristocrats to seedy villains. Modern viewers are treated to Owen at his hammy best each Christmas when local TV stations run MGM's 1938 version of The Christmas Carol. As Ebeneezer Scrooge, Owen was a last-minute replacement for an ailing Lionel Barrymore, but no one in the audience felt the loss as they watched Owen go through his lovably cantankerous paces. Reginald Owen's film career flourished into the 1960s and 1970s. He was particularly amusing and appropriately bombastic as Admiral Boom, the cannon-happy eccentric neighbor in Disney's Mary Poppins (1964).

Trivia: The daughter of a Liverpool newspaper editor, British actress Dame May Whitty first stepped on a London stage in 1882. Shortly afterward she was engaged by the St. James Theatre, serving mostly in an understudy capacity. From there, Whitty went into a travelling stock company, finally attaining leading roles. She had been one of the leading lights of the British stage for nearly 25 years when she appeared in her first film, Enoch Arden, in 1914; caring little for the experience, she made only a smattering of silent films thereafter. In 1918, the 53-year-old May Whitty was made a Dame Commander of the British Empire in recognition of her above-and-beyond activities performing before the troops in World War I. After a string of 1930s Broadway successes, Whitty went to Hollywood for the same reasons that many of her British contemporaries had previously done so -- the work was easy and the money, fabulous. In keeping with the regality of her name, Whitty was usually cast in high-born roles, sometimes imperious, often warmhearted. In her first talking picture Night Must Fall (1937), she is the foolhardy invalid who falls for the charms of homicidal Robert Montgomery, and as consequence winds up literally losing her head. In Hitchcock's The Lady Vanishes (1938) she plays the title role, enduring a great deal of physical exertion while never losing her poise and dignity. Whitty was also capable of playing working-class types, such as the dowdy phony psychic in The Thirteenth Chair (1937). She was twice nominated for the Oscar, first for Night Must Fall in 1937, then for Mrs. Miniver in 1942. Despite her advanced age, Whitty became extremely active on the Hollywood social circuit in the 1940s--at least for the benefit of the newsreel photographers. Whitty died at the age of 82, shortly after completing her scenes for Columbia's The Sign of the Ram (1948). She was the wife of London producer Ben Webster, and the mother of actress/playwright Margaret Webster, who wrote a 1969 biography of Whitty, The Same Only Different.

Trivia: Silver-haired Belgian leading man Victor Francen was the son of a police commissioner. Upon embarking on an acting career, Francen toured the provinces of Europe, Russia, Canada and South America before joining the Comedie Francaise. After a stop-and-go silent film career, in 1931, Francen established himself as a leading man of French films. Some of his best work was under the direction of innovative filmmaker Abel Gance, who inspired Francen to expand his emotional range to the breaking point in such films as The End of the World (1931) and J'Accuse (1937). When the Nazis marched into Paris in 1940, Francen moved to the United States. He found himself much in demand as a worldly continental type in Hollywood, often as a villain, spy or schemer; in keeping with the tenor of his roles, Francen's acting style became heavier (as did the actor himself). Victor Francen closed off the Hollywood phase of his career with 1961's Fanny, making one final film appearance in the French La Grande Frousse before retiring in 1964.

Trivia: Despite his Irish background, no one could play the typical British gentleman, or gentleman's gentleman, better than Lumsden Hare. There was definitely something aristocratic about the erect, dignified 6'1" Hare, who played the Prince Regent in The House of Rothschild (1934) and the King of Sweden in Cardinal Richelieu (1935), not to mention countless military officers, doctors, and lawyers. A leading man in his younger days to Ethel Barrymore, Maude Adams, Nance O'Neil, and Maxine Elliott, Hare made his screen debut, as F. Lumsden Hare, in 1916 and continued to mix film with Broadway appearances through the 1920s. Relocating to Hollywood after the changeover to sound, Hare became one of the era's busiest, and finest, character actors, appearing in hundreds of film and television roles until his retirement in 1960.

Trivia: Actor Charles Trowbridge was born in Mexico to American parents. An architect for the first decade of his adult life, Trowbridge turned to stage acting in the early teens, making his film bow in 1918's Thais. Silver-haired even as a young man, Trowbridge was generally cast in kindly but authoritative roles, usually as doctors, lawyers and military officers. He also had a bad habit of being killed off before the film was half over; in 1940, Trowbridge had the distinction of being murdered (by Lionel Atwill and George Zucco respectively) in two separate Universal horror films, Man Made Monster and The Mummy's Hand. While he was active until 1957, Charles Trowbridge was best known to millions of wartime servicemen as the cautionary military doctor in John Ford's venereal disease prevention film Sex Hygiene (1941).

Trivia: A distinguished actor who had made his stage debut in London, tall, dignified Edward Fielding was especially known for his roles in the works of Norwegian playwright Henrik Ibsen. Although he appeared in the occasional silent film, including as Watson opposite William Gillette's Sherlock Holmes (1916), Fielding did not turn to the screen full-time until the late '30s, when he became a special favorite of British director Alfred Hitchcock, who cast him as the butler Frith in Rebecca (1940), the antique store owner in Suspicion (1941), the doctor on the train in Shadow of a Doubt (1943), and Dr. Edwardes in Spellbound (1945).

Trivia: Durable American actor James Kirkwood opened up his film career at the Biograph studios in 1909 and closed it out with 1962's The Ugly American. The curly-haired, dependable-looking Kirkwood (described in an early Photoplay article as "one of those regular film 'troupers' who never fall down") occasionally interrupted his acting career for a spot of directing; in 1912 alone, he wielded the megaphone for nine pictures featuring Mary Pickford. Lacking the drive and organizational skills to excel as a director, Kirkwood willingly switched back to acting full-time by 1918. His silent film acting credits include D.W. Griffith's Home, Sweet Home (1914) and That Royale Girl (1926), costarring with W.C. Fields in the latter picture. Among Kirkwood's talking films were Over the Hill (1931), Charlie Chan's Chance (1933) and Joan of Arc (1949). His talkie roles frequently found Kirkwood on the wrong side of the law, as in the Tom Mix western My Pal the King (1932), wherein Kirkwood trapped boy-king Mickey Rooney in a rapidly flooding cellar. James Kirkwood's third wife was actress Lila Lee; their son was James Kirkwood Jr., co-author of the Broadway long-runner A Chorus Line.

Trivia: Born and educated in Utah, tall, piercing-eyed actor Moroni Olsen learned how to entertain an audience as a Chautaqua tent-show performer. In the 1920s, he organized the Moroni Olsen Players, one of the most prestigious touring stock companies in the business. After several successful seasons on Broadway, Olsen came to films in the role of Porthos in the 1935 version of The Three Musketeers. Though many of his subsequent roles were not on this plateau, Olsen nearly always transcended his material: In the otherwise middling Wheeler and Woolsey comedy Mummy's Boys (1936), for example, Olsen all but ignites the screen with his terrifying portrayal of a lunatic. Thanks to his aristocratic bearing and classically trained voice, Olsen was often called upon to play famous historical personages: he was Buffalo Bill in Annie Oakley (1935), Robert E. Lee in Santa Fe Trail (1940), and Sam Houston in Lone Star (1952). Throughout his Hollywood career, Moroni Olsen was active as a director and performer with the Pasadena Playhouse, and was the guiding creative force behind Hollywood's annual Pilgrimage Play.

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: With her scrawny body and puckered-persimmon face, Almira Sessions successfully pursued a six-decade acting career. Born into a socially prominent Washington family, Sessions almost immediately followed her "coming out" as a debutante with her first stage appearance, playing a sultan's wizened, ugly wife in The Sultan of Sulu. She briefly sang comic songs in cabarets before pursuing a New York stage career. In 1940, she traveled to Hollywood to play Cobina of Brenda and Cobina, an uproariously if cruelly caricatured brace of man-hungry spinsters who appeared regularly on Bob Hope's radio show (Elvia Allman was Brenda). Sessions' first film was the 1940 Judy Garland vehicle Little Nellie Kelly. Until her retirement in 1971, she played dozens of housekeepers, gossips, landladies, schoolmarms, maiden aunts, and retirement-home residents. Usually appearing in bits and minor roles, Almira Sessions was always given a few moments to shine onscreen, notably as an outraged in-law in Chaplin's Monsieur Verdoux (1947), the flustered high school teacher in the observatory scene in Rebel Without a Cause (1955), and the hero's inquisitive neighbor in Willard (1971).

Trivia: The daughter of French refugees, Gigi Perreau was born within a stone's throw of Hollywood. Registered with Central Casting as an infant, 18-month-old Gigi played Eve Curie as a baby in 1942's Madame Curie, and at two played young Fanny (who grew up to be Bette Davis) in Mrs. Skeffington. As soon as she was able to talk, Gigi was being groomed by her managers as a potential Margaret O'Brien replacement. A little less mannered and more versatile than O'Brien, Gigi was at her best in such roles as Ann Blyth's irksome kid sister in My Foolish Heart (1950) an emotionally disturbed murder witness in Shadow on the Wall (1950), and a yet-to-be-born child shopping around for suitable parents in the 1950 comedy/fantasy For Heaven's Sake (1950). As her film career faded, Perreau flourished briefly as a TV leading lady, with supporting roles on the 1959 sitcom The Betty Hutton Show and the 1961 adventure weekly Follow the Sun. Adult stardom eluded her however, and by 1967 she was retired. Gigi Perreau was the sister of two other juvenile performers, Janine Perreau and Richard Miles; in the early 1960s, Perreau and brother Richard managed a popular Los Angeles art gallery.

Trivia: In films from 1915 to 1948, British stage veteran Wyndham Standing's heyday was in the silent era. During this time, Standing appeared in stiff-collar, stuffed-shirt roles in films like The Dark Angel and The Unchastened Woman (both 1925). His early-talkie credits include the squadron leader in Hell's Angels (1931) and Captain Pyke in A Study in Scarlet (1933). Thereafter, Standing showed up in such one-scene bits as King Oscar in Madame Curie (1943); he was also one of several silent-screen veterans appearing as U.S. senators in Capra's Mr. Smith Goes to Washington (1939). Wyndham Standing was the brother of actors Sir Guy Standing and Herbert Standing.

Trivia: Distinguished-looking, gray-haired supporting actor Guy D'Ennery appeared only sporadically in films prior to the changeover to sound. Busy thereafter, D'Ennery usually played dignified characters -- his character in a 1937 Paramount B-film was simply given as "Dignified Man" -- but could also play villains, such as the henchman Mordaunt in Universal's Meet the Wildcat (1940). Of his scores of mostly minor roles, D'Ennery is best remembered for two wildly diverging versions of the "Zorro" legend: the 12-chapter serial Zorro's Fighting Legion, in which he was the governor of the beleaguered San Mendolito, dispatched in the opening chapter; and the high-budget 20th Century Fox spectacular The Mark of Zorro (1940), as one of the California nobles, of which he was one in real life as well. D'Ennery continued playing bit roles on screen until at least 1943.

Trivia: In films from 1919, Dutch vaudeville comic George Davis played one of the featured clowns in Lon Chaney's He Who Gets Slapped (1924) and was also in Buster Keaton's Sherlock, Jr. that same year. In the sound era, Davis specialized in playing waiters but would also turn up as bus drivers, counter men, and circus performers, often assuming a French accent. When told that Davis' business as a hotel porter included carrying Greta Garbo's bags, the soviet envoy opined: "That's no business. That's social injustice." "Depends on the tip," replied Davis. He continued to play often humorous bits well into the '50s, appearing in such television shows as Cisco Kid and Perry Mason. The veteran performer died of cancer at the Motion Picture Country House and Hospital.

Trivia: A slight man with an air of perpetual anxiety, character actor William Edmunds was most often cast in stereotypical Spanish and Italian roles. Edmunds' first film, the Bob Hope 2-reeler Going Spanish (1934), was lensed in New York; he didn't settle down in Hollywood until 1938. He played bits in films like Idiot's Delight (1939) and Casablanca (1942), and larger roles in such fare as House of Frankenstein (1944, as gypsy leader Fejos), Bob Hope's Where There's Life (1947, as King Hubertus II) and Double Dynamite (1951, as waiter Groucho Marx's long-suffering boss). His many short subject appearances include a few stints as Robert "Mickey" Blake's father in the Our Gang series. William Edmunds was afforded top billing in the 1951 TV situation comedy Actors' Hotel.

Trivia: Burly Russian actor Michael Visaroff launched his film career in 1925. Like many of his fellow Russian expatriates, Visaroff claimed to be of noble lineage, which enabled him to land such roles as Count Bosrinov in Disraeli (1929). From the early '30s until his death, he was usually cast as innkeepers, most memorably in Universal's first two Dracula films and in Laurel and Hardy's The Flying Deuces (1939). Michael Visaroff's funniest film appearance was as the homicidal maniac ("She's the first wife I ever killed!") who shares a jail cell with W.C. Fields in Man on the Flying Trapeze (1935).

Trivia: Possessor of one of the meanest faces in the movies, American actor Ray Teal spent much of his film career heading lynch mobs, recruiting for hate organizations and decimating Indians. Naturally, anyone this nasty in films would have to conversely be a pleasant, affable fellow in real life, and so it was with Teal. Working his way through college as a saxophone player, Teal became a bandleader upon graduation, remaining in the musical world until 1936. In 1938, Teal was hired to act in the low-budget Western Jamboree, and though he played a variety of bit parts as cops, taxi drivers and mashers, he seemed more at home in Westerns. Teal found it hard to shake his bigoted badman image even in A-pictures; as one of the American jurists in Judgment at Nuremberg (1961), he is the only member of Spencer Tracy's staff that feels that sympathy should be afforded Nazi war criminals -- and the only one on the staff who openly dislikes American liberals. A more benign role came Teal's way on the '60s TV series Bonanza, where he played the sometimes ineffectual but basically decent Sheriff Coffee. Ray Teal retired from films shortly after going through his standard redneck paces in The Liberation of LB Jones (1970).

Trivia: Child actor Teddy Infuhr made his first screen appearance as one of Charles Laughton's kids in 1942's The Tuttles of Tahiti. Long associated with Universal Pictures, Infuhr garnered a great deal of critical attention for his brief appearance as a mute, semi-autistic pygmy in Sherlock Holmes and the Spider Woman (1944). Later on, he showed up as one of the anonymous children of Ma and Pa Kettle (Marjorie Main and Percy Kilbride) in Universal's The Egg and I; when the Kettles were spun off into their own long-running movie series, Infuhr remained with the backwoods brood, usually cast as either George or Benjamin Kettle. One of his many free-lance assignments was Hitchcock's Spellbound (1945), in which the poor boy suffered one of the most horrible deaths ever inflicted upon a movie juvenile. Teddy Infuhr's film career came to a quiet close in the early 1950s. He died in June 2007 at age 70.

Trivia: A dapper-looking character actor from Russia, Leo Mostovoy played Fydor, one of "the usual suspects" in Casablanca (1942), perhaps an early highlight in a screen career that was spent mainly playing excitable chefs, headwaiters, pawnbrokers, and the like. Mostovoy, who also appeared frequently on early television, played a chef once again in his last credited film, Serenade (1956).

Trivia: Slight, owlish American actor Francis Pierlot made his film debut in 1914, but it wasn't until 1931 that he abandoned the stage to settle permanently in Hollywood. Pierlot generally essayed minor roles, showing up briefly but memorably as scores of judges, professors, priests, and orchestra leaders. Film buffs have a special place in their hearts for the actor's sly portrayal of lovable pyromaniac Nero Smith in 1942's Henry Aldrich, Editor. Francis Pierlot made his final screen appearance in a surprisingly sizeable role as Jean Simmons' manservant in the 1953 biblical epic The Robe.

Trivia: A former operatic tenor, diminutive (about five feet tall) Polish-born character comedian Marek Windheim usually portrayed excitable characters, such as headwaiters and hotel clerks, often sporting a fake French accent. Making his Hollywood debut as the ballet master in Shall We Dance? (1937), Windheim popped up in countless, usually unbilled bit parts until at least 1946.

Trivia: Enjoying one of the longest screen careers on record, Irish-born, English-reared Al Ferguson became one of the silent era's busiest Western villains, his wolf-like features instantly recognizable to action fans everywhere. According to the actor himself, Ferguson had entered films with the American company as early as 1910, and by 1912, he was appearing in Selig Westerns under the name of "Smoke" Ferguson, often opposite action heroine Myrtle Steadman. In 1920, Ferguson played Hector Dion's henchman in the partially extant The Lost City, the first of more than 40 serials, silent and sound, in which he would appear. Still reasonably good-looking by the early '20s, Ferguson even attempted to become an action star in his own right, producing, directing, and starring in a handful of low-budget Westerns filmed in Oregon and released to the States' Rights market by Poverty Row mogul J. Charles Davis. None of these potboilers, which included The Fighting Romeo (1925), with Ferguson as a ranch foreman rescuing his employer's kidnapped daughter, made him a star, however, and he returned to ply his nefarious trade in low-budget oaters featuring the likes of Bob Steele and Tom Tyler. Today, Ferguson is perhaps best remembered as the main heavy in two Tarzan serials, Tarzan the Mighty (1928) and Tarzan the Tiger (1929), both starring Frank Merrill. The later survives intact and Ferguson emerges as a melodramatic screen villain at the top of his game.Like most of his contemporaries, including Bud Osborne and the silent era James Mason, Al Ferguson saw his roles decrease in stature after the advent of sound. Not because of his Irish accent, which had become all but undetectable, but mainly due to changing acting styles. Ferguson, however, hung in there and appeared in scores of sound Westerns and serials, not exclusively portraying villains but also playing lawmen, peaceful ranchers, townsmen, and even a Native American or two. By the 1950s, he had included television shows such as Sky King to his long resumé, but B-Westerns and serials remained Ferguson's bread and butter, the now veteran actor appearing in the cast of both Perils of the Wilderness (1956) and Blazing the Overland Trail (1956), the final chapter plays to be released in America.

Trivia: Bespectacled, dignified British stage actor Frederick Worlock came to Hollywood in 1938. During the war years, Worlock played many professorial roles, some benign, some villainous. A semi-regular in Universal's Sherlock Holmes series, he essayed such parts as Geoffrey Musgrave in Sherlock Holmes Faces Death (1943). Active until 1966, Frederick Worlock's final assignments included a voice-over in the Disney cartoon feature 101 Dalmations (1961).

Trivia: Canadian-born Gene Lockhart made his first stage appearance at age 6; as a teenager, he appeared in comedy sketches with another fledgling performer, Beatrice Lillie. Lockhart's first Broadway production was 1916's Riviera. His later credits on the Great White Way included Eugene O'Neill's Ah, Wilderness and Arthur Miller's Death of a Salesmen, in which Lockhart replaced Lee J. Cobb in the role of Willy Loman. In between acting assignments, Lockhart taught stage technique at the Juilliard School of Music. A prolific writer, Lockhart turned out a number of magazine articles and song lyrics, and contributed several routines to the Broadway revue Bunk of 1926, in which he also starred. After a false start in 1922, Lockhart launched his film career in 1934. His most familiar screen characterization was that of the cowardly criminal who cringed and snivelled upon being caught; he also showed up in several historical films as small-town stuffed shirts and bigoted disbelievers in scientific progress. When not trafficking in petty villainy, Lockhart was quite adept at roles calling for whimsy and confusion, notably Bob Cratchit in the 1938 version of A Christmas Carol and the beleaguered judge in A Miracle on 34th Street (1947). Extending his activities to television, Lockhart starred in the 1955 "dramedy" series His Honor, Homer Bell. Gene Lockhart was the husband of character actress Kathleen Lockhart, the father of leading lady June Lockhart, and the grandfather of 1980s ingenue Anne Lockhart.

Trivia: The son of an English manufacturer, Miles Mander had dabbled in several careers before making his screen bow as an extra in 1918. He'd been a farmer, a novelist, a playwright, a stage director and a cinema exhibitor -- and, if all the stories can be believed, a fight promoter, horse and auto racer, and aviator. He was billed as Luther Miles in his earliest film appearances, reserving his real name for his screenwriting credits. In Hollywood from 1935 on, the weedy, mustachioed Mander made a specialty of portraying old-school-tie Britishers who, for various reasons, had fallen into disgrace. He was never more unsavory than when he portrayed master criminal Giles Conover in the 1945 "Sherlock Holmes" entry The Pearl of Death. Mander also showed up in two separate versions of The Three Musketeers, playing Louis XIII in the 1935 version and Richelieu in the 1939 edition (he also played Aramis in the Musketeers sequel The Man in the Iron Mask [1939]). Shortly after wrapping up his scenes in Imperfect Lady (1947), 57-year-old Miles Mander died of a sudden heart attack.

Trivia: The younger brother of Irish actor Barry Fitzgerald, Arthur Shields joined Fitzgerald at Dublin's famed Abbey as a Player in 1914, where he directed as well as acted. Though in films fitfully since 1910, Shield's formal movie career didn't begin until he joined several other Abbey veterans in the cast of John Ford's Plough and the Stars (1936). He went on to appear in several other Ford films, generally cast in more introverted roles than those offered his brother. Unlike his sibling, Shields was not confined to Irish parts; he often as not played Americans, and in 1943's Dr. Renault's Secret, he was seen as a French police inspector. Never as prominent a film personality as his brother, Arthur Shields nonetheless remained a dependable second-echelon character player into the 1960s.