Trivia: Born in South Africa, roguishly handsome leading man Louis Hayward was educated in England and the Continent. Hayward briefly managed a London nightclub before he went on stage as a protégé of playwright Noel Coward. He co-starred in the London stage productions of several Broadway plays, among them Dracula and Another Language, and in 1933 made his screen bow in the British Self Made Lady. Hayward came to Broadway in 1935 to star in Point Verlaine (1935), which won him a Hollywood contract. His first American film role of note was as the hero's father in the prologue of Warner Bros.' Anthony Adverse (1936). Hayward went on to play both heroes and heels, and sometimes a charming combination thereof. He starred as Leslie Charteris' soldier-of-fortune Simon Templar in the first and the last entries in the "Saint" "B"-picture series. He also thrived in costume swashbucklers, appearing twice as the Count of Monte Cristo and once each as D'Artagnan, Captain Blood and Dick Turpin. In 1941, he was cast in a pivotal role in Orson Welles' The Magnificent Ambersons, but his part ended up on the cutting room floor. Serving as a Marine during World War II, Hayward supervised the filming of the battle of Tarawa, winning a Bronze Star for his courage under fire. After the war, he developed one of first percentage-of-profits deals, ensuring him a steady income in perpetuity for both the theatrical and TV releases of his post-1949 films. In 1954, Hayward produced and starred in the 39-week TV series The Lone Wolf (aka Streets of Danger), after buying exclusive rights to several of Louis Joseph Vance's original "Lone Wolf" stories. His later TV projects included the British series The Pursuers (1966) and the American The Survivors (1970). The first of Louis Hayward's three wives was actress Ida Lupino; the others were Peggy Morrow and June Blanchard.

Trivia: The title of actress Joan Bennett's 1970 autobiography is The Bennett Playbill, in reference to the fact that she came from an old and well-established theatrical family: her father was stage star Richard Bennett and her sisters were screen actresses Constance and Barbara Bennett. Though she made an appearance as a child in one of her father's films, Joan Bennett did not originally intend to pursue acting as a profession. Honoring her wishes, her father bundled her off to finishing school in Versailles. Alas, her impulsive first marriage at 16 ended in divorce, leaving her a single mother in dire need of an immediate source of income. Thus it was that she became a professional actress, making her first Broadway appearance in her father's vehicle, Jarnegan (1928). In 1929, she began her film career in the low-budget effort Power, then co-starred with Ronald Colman in Bulldog Drummond. She was inexperienced and awkward and she knew it, but Bennett applied herself to her craft and improved rapidly; by the early '30s she was a busy and popular ingénue, appearing in such enjoyable programmers as Me and My Gal (1932) and important A-pictures like Little Women (1933) (as Amy). During this period she briefly married again to writer/producer Gene Markey. It was her third husband, producer Walter Wanger, who made the decision that changed the direction of her career: in Wanger's Trade Winds (1938), Bennett was obliged to dye her blonde hair black for plot purposes. Audiences approved of this change, and Bennett thrived throughout the next decade in a wide variety of "dark" roles befitting her brunette status. She was especially effective in a series of melodramas directed by Fritz Lang: Man Hunt (1941), The Woman in the Window (1944), Scarlet Street (1945), and The Secret Beyond the Door (1948). In 1950, she switched professional gears again, abandoning femme-fatale roles for the part of Spencer Tracy's ever-patient spouse in Father of the Bride (1950). Though her personal life was turbulent in the early '50s -- her husband Walter Wanger allegedly shot and wounded agent Jennings Lang, claiming that Lang was trying to steal his wife -- Bennett's professional life continued unabated on both stage and screen. Her television work included the 1959 sitcom Too Young to Go Steady and the "gothic" soap opera Dark Shadows (1965-1971). In failing health, Joan Bennett spent her last years in retirement with her fourth husband, media critic David Wilde.

Trivia: Throughout much of his screen career, actor George Sanders was the very personification of cynicism, an elegantly dissolute figure whose distinct brand of anomie distinguished dozens of films during a career spanning nearly four decades. Born in St. Petersburg on July 3, 1906, Sanders and his family fled to the U.K. during the Revolution, and he was later educated at Brighton College. After first pursuing a career in the textile industry, Sanders briefly flirted with a South American tobacco venture; when it failed, he returned to Britain with seemingly no other options outside of a stage career. After a series of small theatrical roles, in 1934 he appeared in Noel Coward's Conversation Piece; the performance led to his film debut in 1936's Find the Lady, followed by a starring role in Strange Cargo. After a series of other undistinguished projects, Sanders appeared briefly in William Cameron Menzies' influential science fiction epic Things to Come. In 1937, he traveled to Hollywood, where a small but effective role in Lloyd's of London resulted in a long-term contract with 20th Century Fox. A number of lead roles in projects followed, including Love Is News and The Lady Escapes, before Fox and RKO cut a deal to allow him to star as the Leslie Charteris adventurer the Saint in a pair of back-to-back 1939 features, The Saint Strikes Back and The Saint in London. The series remained Sanders' primary focus for the next two years, and in total he starred in five Saint pictures, culminating in 1941's The Saint at Palm Springs. Sandwiched in between were a variety of other projects, including performances in a pair of 1940 Alfred Hitchcock thrillers, Foreign Correspondent and the Best Picture Oscar-winner Rebecca.After co-starring with Ingrid Bergman in 1941's Rage in Heaven, Sanders began work on another adventure series, playing a suave investigator dubbed the Falcon; after debuting the character in The Gay Falcon, he starred in three more entries -- A Date With the Falcon, The Falcon Takes Over, and The Falcon's Brother -- before turning over the role to his real-life brother, Tom Conway. Through his work in Julien Duvivier's Tales of Manhattan, Sanders began to earn notice as a more serious actor, and his lead performance in a 1943 adaptation of the W. Somerset Maugham novel The Moon and Sixpence established him among the Hollywood elite. He then appeared as an evil privateer in the Tyrone Power swashbuckler The Black Swan, followed by Jean Renoir's This Land Is Mine. A pair of excellent John Brahm thrillers, 1944's The Lodger and 1945's Hangover Square, helped bring Sanders' contract with Fox to its close.With his portrayal of the world-weary Lord Henry Wooten in 1945's The Portrait of Dorian Gray, Sanders essayed the first of the rakish, cynical performances which would typify the balance of his career; while occasionally playing more sympathetic roles in pictures like The Strange Affair of Uncle Harry and The Ghost and Mrs. Muir, he was primarily cast as a malcontent, winning a Best Supporting Actor Oscar for his venomous turn in 1951's All About Eve. The award brought Sanders such high-profile projects as 1951's I Can Get It for You Wholesale, 1952's Ivanhoe, and Roberto Rossellini's 1953 effort Viaggio in Italia. However, his star waned, and the musical Call Me Madam, opposite Ethel Merman, was his last major performance. A series of historical pieces followed, and late in the decade he hosted a television series, The George Sanders Mystery Theater. In 1960, he also published an autobiography, Memoirs of a Professional Cad.Sanders spent virtually all of the 1960s appearing in little-seen, low-budget foreign productions. Exceptions to the rule included the 1962 Disney adventure In Search of the Castaways, the 1964 Blake Edwards Pink Panther comedy A Shot in the Dark, and 1967's animated Disney fable The Jungle Book, in which he voiced the character of Shere Khan the Tiger. After appearing on Broadway in the title role of The Man Who Came to Dinner, Sanders appeared in John Huston's 1970 thriller The Kremlin Letter, an indication of a career upswing; however, the only offers which came his way were low-rent horror pictures like 1972's Doomwatch and 1973's Psychomania. Prior to the release of the latter, Sanders killed himself on August 25, 1972, by overdosing on sleeping pills while staying in a Costa Brava hotel; his suicide note read, "Dear World, I am leaving you because I am bored." He was 66 years old.

Trivia: American actress Florence Bates had been a moderately successful lawyer for two decades when, as a lark, she started acting at California's Pasadena Playhouse in the mid 1930s. After playing a small role in the 1937 film Man In Blue (1937), Bates was "officially" discovered by Hollywood when she was cast as vainglorious dowager Mrs. Van Hopper in Alfred Hitchcock's Oscar-winning Rebecca (1940). From that point onward, Bates became one of Hollywood's favorite "society dragons," most effectively cast in comedies like Heaven Can Wait (1943), as one of Don Ameche's hell-bound old flames, and in The Secret Life of Walter Mitty (1948), as Danny Kaye's terrifying future mother-in-law. Her most significant "straight" part was in I Remember Mama (1948), as the forbiddingly famous author Florence Dana Morehead, whom Irene Dunne, as Mama, timidly approaches on behalf of Dunne's aspiring-writer daughter. Though in fragile health, Florence Bates entered television with the same forcefulness as she'd invaded movies, providing a welcome touch of professionalism to the otherwise atrocious early 1950s situation comedy The Hank McCune Show.

Trivia: Polish-born actor Lionel Royce made his American screen bow in 1937. A Teutonic-villain assignment in 1939's Confessions of a Nazi Spy typecast Royce for the rest of his Hollywood career. Among many other assignments, the actor proved to be a memorable menace for Bob Hope in Road to Zanzibar (1941) and My Favorite Blonde (1942). Fans of Republic serials will remember Royce for his dual characterization of a kindly Sultan and the despicable Baron Von Rommer in Secret Service in Darkest Africa (1943). Lionel Royce died while on a U.S.O. tour of the Philippines in 1946.

Trivia: Burly, military-mustached British actor Montague Love may well have been the finest villain of the silent screen. Love's first important job was as a London newspaper cartoonist; assigned to cover the Boer War, Love gained popularity by virtue of his vivid battle sketches. After launching his stage career in Britain, Love came to the U.S. in a 1913 road-company production of Cyril Maude's Grumpy. His film career commenced at New Jersey's World Studios in 1915. Concentrating on villainy in the 1920s, Love menaced Valentino in Son of the Sheik (1926), John Barrymore in Don Juan (1926), and Lillian Gish in The Wind (1928). Despite the sinister nature of his roles, the offscreen Love was highly respected for his courteous nature and his courage under pressure. During the talkie era, Love's bad-guy activities diminished to the point that he was avuncular and likeable in such films as A Damsel in Distress (1937) and Gunga Din (1939). He was often called upon to portray historic leaders, notably Henry VIII in The Prince and the Pauper (1937), King Philip II in The Sea Hawk (1940), and two American presidents: Jefferson in Alexander Hamilton (1931) and Washington in The Remarkable Andrew (1942). Montague Love's final film, The Constant Nymph, was released three years after his death in 1943.

Trivia: Ian Wolfe was determined to become an actor even as a youth in his hometown of Canton, IL. His Broadway debut was in the warhorse Lionel Barrymore vehicle The Claw. While acting with Katherine Cornell in The Barretts of Wimpole Street in 1934, Wolfe was spotted by MGM producer Irving Thalberg, who brought the actor to Hollywood to re-create his Barretts role. Though not yet 40, Wolfe had the receding hairline and lined features necessary for aged character roles. By his own count, Wolfe appeared in over 200 films, often uncredited assignments in the roles of judges, attorneys, butlers, and shopkeepers. Some of his best screen moments occurred in producer Val Lewton's Bedlam (1946), wherein Wolfe played an 18th century scientist confined to a mental asylum for proposing the invention of motion pictures. Because his actual age was difficult to pinpoint, Wolfe kept working into the 1990s (and his nineties); he was a particular favorite of TV's MTM productions, appearing on such sitcoms as The Mary Tyler Moore Show, The Bob Newhart Show, and Rhoda. Co-workers during this period noted affectionately that, despite his many years as a professional, Wolfe was always seized with "stage fright" just before walking on the set. Though often cast in timid roles, Ian Wolfe was quite outspoken and fiercely defensive of his craft; when asked what he thought of certain method actors who insist upon playing extensions of "themselves," Wolfe snapped that he became an actor to pretend to be other people.

Trivia: A circus acrobat from the age of eight, Clayton Moore had performed as an aerialist with two circuses and at one World's Fair before turning 20. He became a male model in New York, then struck out for Hollywood in 1938 to seek out acting jobs. He began at the bottom rung as an extra, worked his way up to stunt man, and by 1939 was playing nondescript supporting roles. Alternating between heroes and villains in serials and B-Westerns, Moore didn't strike professional gold until 1949, when he was selected to play the "masked rider of the west" in the TV version of The Lone Ranger. He remained with the series until 1952, when he walked off the show over a salary dispute. His replacement for 26 episodes was John Hart, who had neither the bearing nor the stirring vocal timbre that had distinguished Moore's performances. Briefly returning to serials, Moore was brought back into the Lone Ranger fold in 1954 at a much higher weekly compensation. He stayed with the series until its last episode in 1956, and also starred in two Technicolor Lone Ranger theatrical features. Thereafter, Moore made a good living trading on his Lone Ranger image in TV commercials and personal appearances. In 1978, the Wrather Corporation, which owned the Lone Ranger property and was about to embark on a new feature film based on the character, served Moore with a court order barring him from appearing in public in the Ranger mask and costume. The outpouring of public support and sympathy eventually forced the Wrather people to reverse their decision, but it should be noted that they weren't quite the Scrooges depicted in the press: Throughout the 1970s, Clayton Moore made many appearances as the Lone Ranger without paying the necessary licensing fee to Wrather.

Trivia: Though he only vaguely resembled Chester Gould's jut-jawed comic strip detective Dick Tracy, Ralph Byrd played the character with such assurance and authority that it is well-nigh impossible to envision anyone else in the role. In films from 1936 after several years on stage, Byrd first appeared as Tracy in the 1937 Republic serial Dick Tracy, then reprised the role in the follow-up serials Dick Tracy Returns (1938) and Dick Tracy's G-Men (1939). When the film rights to the character shifted from Republic to RKO Radio in 1945, RKO attempted to create its own Tracy in the person of Morgan Conway. Fans protested, and Byrd was back in Tracy's fedora and trenchcoat in Dick Tracy's Dilemma (1947) and Dick Tracy Meets Gruesome (1947). Ralph Byrd died suddenly and unexpectedly at the age of 43, shortly after filming 39 episodes of the Dick Tracy TV series.

Trivia: French stage actor Georges Renavent made his first American film appearance in 1915's Seven Sisters. Fourteen years later, Renavent made an impressive talking-picture bow as the villainous Kinkajou in RKO's musical spectacular Rio Rita. He spent the rest of his Hollywood career playing roles of varying sizes, usually foreign ambassadors and international gigolos. An apparent favorite of producer Hal Roach, Renavent enjoyed a lengthy role in Roach's Turnabout (1940) as Mr. Ram, the ancient Indian god who performs a gender-switch on stars John Hubbard and Carole Landis. Sporadically during the 1930s and 1940s, Renavent managed his own touring Grand Guignol theatrical troupe. Georges Renavent was married to actress Selena Royle.

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: Gangly L.A.-born Rand Brooks made his first film appearance in 1938. The following year, he gained a small niche in film history with his performance as Charles Hamilton, ill-fated first husband of Scarlett O'Hara (Vivien Leigh), in Gone With the Wind (1939). He spent the next several years in Westerns, most frequently appearing as Lucky Jenkins in the Hopalong Cassidy series. On television, Brooks was seen as Corporal Boone on The Adventures of Rin Tin Tin (1956-1958). Rand Brooks was at one time married to comedian Stan Laurel's daughter Lois, with whom he operated a successful emergency ambulance service. As the 1970s wound to a close, Brooks disappeared entirely from the screen.On September 1, 2003, the man who gave legendary bombshell Marilyn Monroe her first screen kiss died of cancer at his Santa Ynez, CA home. He was 84.

Trivia: The son of a Yale language professor, actor Theodore Von Eltz was all geared up for a medical career when he succumbed to the siren song of the theatre. Starting his New York stage career at age 19, Von Eltz became a popular silent film leading man in the '20s. He eased into character roles in the talkie era, and also began appearing with regularity on radio. From 1954 through 1955, Von Eltz played Father Barbour on the TV version of the long-running radio soap opera One Man's Family. One of Theodore Von Eltz' last assignments was as narrator of the 1956 documentary film, Animal World.

Trivia: James Seay was groomed for romantic leads by Paramount Pictures beginning in 1940. After several nondescript minor roles, Seay finally earned a major part--not as a hero, but as a villainous gang boss in the Columbia "B" The Face Behind the Mask (1941). Never quite reaching the top ranks, Seay nonetheless remained on the film scene as a dependable general purpose actor, appearing in such small but attention-getting roles as Dr. Pierce, the retirement-home physician who explains the eccentricities of "Kris Kringle" (Edmund Gwenn) in Miracle on 34th Street (1947). In the 1950s, James Seay joined the ranks of horror and sci-fi movie "regulars;" he could be seen in films like The Day the Earth Stood Still (1951), Killers from Space (1954), The Beginning of the End (1957), and--as the luckless military officer who is skewered by a gigantic hypodermic needle--The Amazing Colossal Man (1957).

Trivia: Born Henry Kleinbach, the name under which he appeared until 1936, Brandon was a tall man with black curly hair; he occasionally played the handsome lead but was more often typecast to play villains. As the latter, he appeared as white, Indian, German, and Asian men. Brandon's film career began with Babes in Toyland (1934) and went on to span fifty years. He played villains whom the audiences loved to hate in serials in the '30s and '40s, such as the Cobra in Jungle Jim, the mastermind criminal Blackstone in Secret Agent X-9, Captain Lasca in Buck Rogers Conquers the Universe (1939), and a sinister Oriental in Drums of Fu Manchu. Brandon played Indian chiefs no fewer than 26 times, notably in two John Ford westerns. He had occasional leading roles on New York stage, such as in a 1949 revival of Medea in which he played a virile Jason opposite Judith Anderson.

Trivia: Born John Mulhall, he sang with a traveling show as a boy and later toured in stock and vaudeville. He moved to New York to study art, and while there appeared in several silent films. In 1914 he moved to Los Angeles and soon became a leading man in films, starring in numerous productions opposite major actresses; for a time he earned $3000 a week, but lost his considerable fortune in the first year of the Great Depression. In the early sound era he continued to play leads for a time, mostly in routine films and serials; in the mid '30s he moved into supporting roles, and continued a fairly steady screen career through the mid '40s, after which he appeared in only a few more films.

Trivia: American actor Edward Keane was eminently suitable for roles requiring tuxedos and military uniforms. From his first screen appearance in 1921 to his last in 1952, Keane exuded the dignity and assurance of a self-made man of wealth or a briskly authoritative Armed Services officer. Fortunately his acting fee was modest, enabling Keane to add class to even the cheapest of poverty-row "B"s. Generations of Marx Bros. fans will remember Edward Keane as the ship's captain (he's the one who heaps praise upon the three bearded Russian aviators) in A Night at the Opera (1935).

Trivia: Actor Stanley Andrews moved from the stage to the movies in the mid 1930s, where at first he was typed in steadfast, authoritative roles. The tall, mustachioed Adrews became familiar to regular moviegoers in a string of performances as ship's captains, doctors, executives, military officials and construction supervisors. By the early 1950s, Andrews had broadened his range to include grizzled old western prospectors and ageing sheriffs. This led to his most lasting contribution to the entertainment world: the role of the Old Ranger on the long-running syndicated TV series Death Valley Days. Beginning in 1952, Andrews introduced each DVD episode, doing double duty as commercial pitchman for 20 Mule Team Borax; he also became a goodwill ambassador for the program and its sponsor, showing up at county fairs, supermarket openings and charity telethons. Stanley Andrews continued to portray the Old Ranger until 1963, when the US Borax company decided to alter its corporate image with a younger spokesperson -- a 51-year-old "sprout" named Ronald Reagan.

Trivia: Veteran British stage actor Lawrence Grant entered films in 1918, when his marked resemblance to Germany's Kaiser Wilhelm made him a "natural" for such epics as To Hell with the Kaiser. An acknowledged expert in American Indian lore, Grant also took time in 1918 to produce an experimental color film about Native Americans. Sound proved no obstacle to Grant's film career, as he proved in his first talkie role, the scurrilous Dr. Lakington in Bulldog Drummond (1929). He later appeared with his Drummond co-star Ronald Colman in such films as The Unholy Garden (1931) and Lost Horizon (1937). Usually a villain, Grant enjoyed a sizeable sympathetic role as Sir Lionel Barton, the luckless aristocrat tortured to death by the insidious Boris Karloff, in The Mask of Fu Manchu (1932). Active until 1945, Lawrence Grant could be seen in minor roles (often unbilled) in such horror efforts as Ghost of Frankenstein (1942) and The Living Ghost (1944).

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: British actor Leyland Hodgson launched his theatrical career at the advanced age of six. From 1915 to 1919, Hodgson toured the British provinces of the Orient with the Bandmann Opera Company, then retraced most of this tour as head of his own stock company. A star of the Australian stage from 1920 to 1929, Hodgson moved to Hollywood, where he made his film bow in RKO's The Case of Sergeant Grischa (1930). Largely confined to minor roles in films, Hodgson enjoyed some prominence as a regular of Universal's Sherlock Holmes films of the 1940s. Otherwise, he contented himself with bits as butlers, military officers, hotel clerks, reporters and chauffeurs until his retirement in 1948. Either by accident or design, Leyland Hodgson was frequently teamed on screen with another busy British utilitarian player, Charles Irvin.

Trivia: With his shock of snow-white hair and his inevitable pince-nez, Lithuanian-born character actor Maurice Cass was destined to play stage managers, theatrical impresarios, school principals and absent-minded professors. Cass's theatrical voice provided an amusing contrast to his tiny, birdlike frame. Cass's film characters were always well along in years, at least seventy or thereabouts; thus, he was able to keep working until he was really approaching seventy (an age which, alas, he missed by some four months). In his last year on earth, Maurice Cass could be seen on a weekly basis as Professor Newton on the TV serial Rocky Jones, Space Ranger.

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: Stout, bushy-eyebrowed British actor Lionel Belmore capped a lengthy theatrical career with his entry into Hollywood films at the dawn of the talkie era. He was most often cast as innkeepers and burgomeisters, generally appearing in films set in England and Europe. Belmore was an off-and-on regular in Universal's Frankenstein films, appearing as the huffy-puffy mayor in the original Frankenstein (1931) and later showing up on the village council in Son of Frankenstein (1939) and Ghost of Frankenstein (1942). (He was killed off in Son, but reappeared in the same role in Ghost as though nothing had happened). The actor also came in handy in Warner Bros.' Errol Flynn swashbucklers, notably Prince and the Pauper (1936) and The Adventures of Robin Hood (1938). Belmore's oddest part was also one of his shortest. Though given good billing in Laurel and Hardy's Bonnie Scotland (1935) -- and made the subject of several lengthy write-ups in the film's promotional material -- Lionel Belmore's role as a blacksmith was cut down to a single gag, wherein he taps out the Laurel and Hardy theme song on his anvil!

Trivia: Russian-born Michael Mark spent his first two decades in America as a vaudeville and legit-theatre director/producer. In films from 1924, Mark played featured roles until his retirement 25 years later. A fixture of Universal's horror-film output, he is best remembered as the father of the little drowned girl in the original Frankenstein (1931). During the late 1940s, Michael Mark was a semi-regular in Monogram's "Joe Palooka" series, playing the title character's father.

Trivia: Born in Kansas and raised in Colorado, Dwight Frye studied for a career in music, and by his mid-teens was a talented concert pianist. He switched to acting when he joined the O.D. Woodward stock company in 1918. During his years on Broadway, Frye specialized in comedy parts. When Hollywood called, however, the actor found himself typed as a neurotic villain. The role that both made and broke him was the bug-eating lunatic Renfield in 1931's Dracula. Though he begged producers to allow him to play comic or "straight" parts, he was hopelessly typed as Renfield, and spent the bulk of his career portraying murderers, grave robbers, crazed hunchbacks and mad scientists. When the first "horror" cycle subsided, Frye found himself accepting nondescript bit roles in films like The People vs. Dr. Kildare (1939). During the 1940s, Frye bounced from one "B" factory to another, doing his usual in such cheap thrillers as Dead Men Walk (1942). In between acting jobs, he supported himself and his family as a designer in an aircraft factory. Dwight Frye was about to undertake the stereotype-breaking role of Secretary of War Newton D. Baker in the lavish 20th Century-Fox biopic Wilson when he died of a sudden heart attack at the age of 44.

Trivia: Scratch a sniveling prison "stoolie" or cowardly henchman and if he were not Paul Guilfoyle or George Chandler, he would be the diminutive Ernie S. Adams, a ubiquitous presence in scores of Hollywood films of the 1930s and '40s. Surprisingly, the weasel-looking Adams had begun his professional career in musical comedy -- appearing on Broadway in such shows as Jerome Kern's Toot Toot (1918) -- prior to entering films around 1919. A list of typical Adams characters basically tells the story: "The Rat" (Jewels of Desire, 1927), "Johnny Behind the 8-Ball" (The Storm, 1930), "Lefty" (Trail's End, 1935), "Jimmy the Weasel" (Stars Over Arizona, 1937), "Snicker Joe" (West of Carson City, 1940), "Willie the Weasel" (Return of the Ape Man, 1944) and, of course "Fink" (San Quentin, 1937). The result, needless to say, is that you didn't quite trust him even when playing a decent guy, as in the 1943 Columbia serial The Phantom. One of the busiest players in the '40s, the sad-faced, little actor worked right up until his death in 1947. His final four films were released posthumously.