Trivia: In an industry of prima donnas, actress Barbara Stanwyck was universally recognized as a consummate professional; a supremely versatile performer, her strong screen presence established her as a favorite of directors, including Cecil B. De Mille, Fritz Lang, and Frank Capra. Born Ruby Stevens July 16, 1907, in Brooklyn, NY, she was left orphaned at the age of four and raised by her showgirl sister. Upon quitting school a decade later, she began dancing in local speakeasies and at the age of 15 became a Ziegfeld chorus girl. In 1926, Stanwyck made her Broadway debut in The Noose, becoming a major stage star in her next production, Burlesque. MGM requested a screen test, but she rejected the offer. She did, however, agree to a supporting role in 1927's Broadway Nights, and after completing her stage run in 1929 appeared in the drama The Locked Door. With her husband, comedian Frank Fay, Stanwyck traveled to Hollywood. After unsuccessfully testing at Warner Bros., she appeared in Columbia's low-budget Mexicali Rose, followed in 1930 by Capra's Ladies of Leisure, the picture which shot her to stardom. A long-term Columbia contract was the result, and the studio soon loaned Stanwyck to Warners for 1931's Illicit. It was a hit, as was the follow-up Ten Cents a Dance. Reviewers were quite taken with her, and with a series of successful pictures under her belt, she sued Columbia for a bigger salary; a deal was struck to share her with Warners, and she split her time between the two studios for pictures including Miracle Woman, Night Nurse, and Forbidden, a major hit which established her among the most popular actresses in Hollywood. Over the course of films like 1932's Shopworn, Ladies They Talk About, and Baby Face, Stanwyck developed an image as a working girl, tough-minded and often amoral, rarely meeting a happy ending; melodramas including 1934's Gambling Lady and the following year's The Woman in Red further established the persona, and in Red Salute she even appeared as a student flirting with communism. Signing with RKO, Stanwyck starred as Annie Oakley; however, her contract with the studio was non-exclusive, and she also entered into a series of multi-picture deals with the likes of Fox (1936's A Message to Garcia) and MGM (His Brother's Wife, co-starring Robert Taylor, whom she later married).For 1937's Stella Dallas, Stanwyck scored the first of four Academy Award nominations. Refusing to be typecast, she then starred in a screwball comedy, Breakfast for Two, followed respectively by the downcast 1938 drama Always Goodbye and the caper comedy The Mad Miss Manton. After the 1939 De Mille Western Union Pacific, she co-starred with William Holden in Golden Boy, and with Henry Fonda she starred in Preston Sturges' outstanding The Lady Eve. For the 1941 Howard Hawks comedy Ball of Fire, Stanwyck earned her second Oscar nomination. Another superior film, Capra's Meet John Doe, completed a very successful year. Drama was the order of the day for the next few years, as she starred in pictures like The Gay Sisters and The Great Man's Lady. In 1944, she delivered perhaps her most stunning performance in Billy Wilder's classic noir Double Indemnity. Stanwyck's stunning turn as a femme fatale secured her a third Oscar bid and helped make her, according to the IRS, the highest-paid woman in America. It also won her roles in several of the decade's other great film noirs, including 1946's The Strange Love of Martha Ivers and 1949's The File on Thelma Jordon. In between, Stanwyck also starred in the 1948 thriller Sorry, Wrong Number, her final Academy Award-nominated performance. The 1950s, however, were far less kind, and strong roles came her way with increasing rarity. With Anthony Mann she made The Furies and with Lang she appeared opposite Marilyn Monroe in 1952's Clash by Night, but much of her material found her typecast -- in 1953's All I Desire, she portrayed a heartbroken mother not far removed from the far superior Stella Dallas, while in 1954's Blowing Wild she was yet another tough-as-nails, independent woman. Outside of the all-star Executive Suite, Stanwyck did not appear in another major hit; she let her hair go gray, further reducing her chances of winning plum parts, and found herself cast in a series of low-budget Westerns. Only Samuel Fuller's 1957 picture Forty Guns, a film much revered by the Cahiers du Cinema staff, was of any particular notice. It was also her last film for five years. In 1960, she turned to television to host The Barbara Stanwyck Show, winning an Emmy for her work.Stanwyck returned to cinemas in 1962, portraying a lesbian madam in the controversial Walk on the Wild Side. Two years later, she co-starred with Elvis Presley in Roustabout. That same year, she appeared in the thriller The Night Walker, and with that, her feature career was over. After rejecting a role in Hush...Hush, Sweet Charlotte, she returned to television to star in the long-running Western series The Big Valley, earning another Emmy for her performance as the matriarch of a frontier family. Upon the show's conclusion, Stanwyck made a TV movie, The House That Would Not Die. She then appeared in two more, 1971's A Taste of Evil and 1973's The Letters, before vanishing from the public eye for the remainder of the decade. In 1981, she was awarded an honorary Oscar; two years later, she was also the recipient of a Lincoln Center Life Achievement Award. Also in 1983, Stanwyck returned to television to co-star in the popular miniseries The Thorn Birds. Two years later, she headlined The Colbys, a spin-off of the hugely successful nighttime soap opera Dynasty. It was her last project before retiring. Stanwyck died January 20, 1990.

Trivia: Born Dawn Paris, this daughter of an ambitious stage mother was 14 months old when she made her first stage appearance; after some work as a child model, she was taken to Hollywood in the early '20s and began appearing onscreen in child roles (billed variously as Dawn O'Day, Lenn Fondre, and Lindley Dawn) in 1922. She appeared in many films, including early talkies, through her adolescence. Her career shifted gears in 1933; aged 15, she was given the lead role in Anne of Green Gables, and then assumed the character's name (Anne Shirley) as her screen-name. She played top roles in 37 more films through 1944, when she retired from acting. For her work in Stella Dallas (1937) she received a Best Actress Oscar nomination. From 1937-42 she was married to actor John Payne; from 1945-48 she was married to producer Adrian Scott, one of the "Hollywood Ten" who were blacklisted for supposed Communist connections; and from 1949 until his death in 1976 she was married to screenwriter Charles Lederer.

Trivia: If the stories about his activities as an Allied spy in Europe and Turkey during World War I can be believed, American actor John Boles had a far more exciting real life than he'd ever have in "reel" life. Whatever the case, the Texas-born Boles abandoned espionage for a stage career as a singer and actor. His screen bow was in the silent film So This is Marriage (1925), but he was shown to better advantage in talking pictures, beginning with his costarring role opposite Bebe Daniels in the 1929 musical blockbuster Rio Rita. A little more appealing and a lot more animated than most movie baritones, Boles was much in demand in the early 1930s, usually in parts originally intended for his Fox Studios coworker (and near-lookalike) Warner Baxter. Freelancing after his Fox contract ended in 1936, Boles experienced a dip in popularity, redeemed somewhat with a strong part as poverty-stricken Barbara Stanwyck's society husband in Stella Dallas (1937). When John Boles' film career wound down in 1943, he went back to the stage, making a somewhat melancholy return to Hollywood in the execrable low-budget farce Babes in Baghdad (1952), wherein he was trapped with fellow faded luminaries Paulette Goddard and Gypsy Rose Lee.

Trivia: Descended from a well-established New England family, St. Louis-born Barbara O'Neil was educated at Sarah Lawrence College and launched her acting career with the Cape Cod-based University Players. The co-founder of this prestigious group was Joshua Logan, who became O'Neil's husband (they were later divorced). She made her Broadway debut in 1930's Saint's Parade and came to Hollywood in 1937 to appear in Samuel Goldwyn's Stella Dallas. Signed to a Universal contract, O'Neil was rather wasted in antiseptic roles in Tower of London (1939) and The Sun Never Sets (1939), although she was given ample opportunity to shine as Charles Boyer's self-destructive wife in When Tomorrow Comes (1939). Her best 1939 assignment, however, was while on loan-out to David O. Selznick. The 29-year-old O'Neil played Eileen O'Hara, the strong-willed mother of Scarlett O'Hara, in Gone With the Wind. The following year, she was re-teamed with Charles Boyer as the maniacally possessive Duchess de Praslin in All This and Heaven Too, a performance that earned her an Oscar nomination. While she continued making films until 1959, the actress seemed happiest and most fulfilled as a Broadway actress. She retired in 1960 after appearing in the original New York production of Little Moon of Alban. O'Neil died in 1980.

Trivia: Scratchy-voiced American character actress who appeared in dozens of Hollywood vehicles following years on the Chautauqua and Orpheum circuits, Marjorie Main eventually worked with W.C. Fields on Broadway, where she appeared in several productions. Widowed in 1934, she entered films in 1937, repeating her Broadway stage role as the gangster's mother in Dead End (1937). Personally eccentric, Main had an almost pathological fear of germs. Best known among her close to 100 film appearances, most for MGM, are Stella Dallas (1937), Test Pilot (1938), Too Hot to Handle (1938), The Women (1939), Another Thin Man (1939), I Take This Woman (1940), Susan and God (1940), Honky Tonk (1941), Heaven Can Wait (1943), Meet Me in St. Louis (1944), Murder, He Says (1945), The Harvey Girls (1946), Summer Stock (1950), The Long, Long Trailer (1954), Rose Marie (1954), and Friendly Persuasion (1956). Starting with their appearances in The Egg and I (1947), which starred Fred MacMurray and Claudette Colbert, Main and Percy Kilbride became starring performers as Ma and Pa Kettle in a series of rural comedies.

Trivia: Dignified British-born stage actor Edmund Elton appeared in the original Broadway production of Rex Beach's The Spoilers back in 1908. Moonlighting in movies between stage work, Elton also played Capulet in the Metro version of Romeo and Juliet (1916), but his main screen career came in the 1930s and '40s when he turned up in such diverse fare as Stella Dallas (1937), Abe Lincoln in Illinois (1940, as Rutledge), and even Gene Autry's Back in the Saddle (1941). Elton's final Broadway appearance came in 1931, when he supported Helen MacKellar in the short-lived Bloody Laughter. He retired in 1941 and passed away a decade later.

Trivia: Pint-sized, squeaky-voiced actress Gertrude Short was a performer from childhood, touring in vaudeville and stock with her family. Short entered films as a juvenile in 1913, often playing boy's roles. From 1924 to 1925, she starred in a series of Telephone Girl comedies, many of these directed by her husband, Percy Pembroke. She continued in this vein well into the talkie era, generally cast as nosy or intrusive telephone operators. Gertrude Short made her last appearance before a switchboard in Weekend at the Waldorf (1945).

Trivia: The son of actor Jack Holt and brother of actors David and Jennifer Holt, Tim Holt, born Charles John Holt III, debuted onscreen at age ten (playing his father's character as a child) in The Vanishing Pioneer (1928). He went on to play earnest teenagers in the mid-to-late '30s, moving into roles as boyish Western heroes in many B-movies; from 1941-43 and 1948-52 he was a top ten box office star, and at one point was very popular among teenage girls. He occasionally got higher quality roles, and will probably be best remembered as the arrogant aristocrat George Amberson in Orson Welles' The Magnificent Ambersons (1942) and as Curtin, Humphrey Bogart's conscientious partner, in John Huston's The Treasure of the Sierra Madre (1948). During World War II, he was an oft-decorated B-29 bomber in the Pacific arena. He was rarely onscreen after 1952, and he retired from acting in the mid-50s to go into business; later he did occasional radio and TV work. He died of cancer in 1973.

Trivia: Silver-haired, aristocratic American actress Nella Walker was a salesgirl in her native Chicago before touring in vaudeville with her husband, entertainer Wilbur Mack. After her talking-picture debut in Vagabond Lover (1929), Ms. Walker joined the ranks of the "lorgnette and old lace" character actresses. Nearly always a society matron in her film appearances, Nella was virtually unsurpassed in her ability to summon up disdain for all those born "beneath" her, and to haughtily enunciate such lines as "The very idea!" and "My dear, it just isn't being done." By providing so easily deflatable a target, Ms. Walker was an ideal foil for such low comedians as Laurel and Hardy (Air Raid Wardens [1943]) and Abbott and Costello (In Society [1944]). Nella Walker remained a member in good standing of moviedom's "upper crust" until her final appearance in Billy Wilder's Sabrina (1954), in which she played the mother of both Humphrey Bogart and William Holden.

Trivia: A serious-looking teenage actor of the 1930s, dark-haired Jimmy Butler earned good roles in such seminal dramas as Only Yesterday (1933), Manhattan Melodrama (1934), and Stella Dallas ([1938] as the grownup Con Morrison). Military Academy (1940) foreshadowed his eventual tour of duty in World War II. Sadly, he became one of a handful of Hollywood actors killed in action.

Trivia: American actress Ann Shoemaker was 19 years old when she made her Broadway bow in Nobody's Widow. Shoemaker's subsequent stage credits ranged from the Eugene O'Neill efforts The Great God Brown and Ah, Wilderness! to the mid-'60s musical comedy Half a Sixpence. In films from 1931, she was ideally cast in dowager roles, notably Sara Roosevelt, FDR's mother, in Sunrise at Campobello (1960). She made her last appearance as a cynical nun in Billy Wilder's The Fortune Cookie (1966). Ann Shoemaker was the widow of British actor Henry Stephenson.

Trivia: Born Herbert Alonzo McCallister Jr., he studied acting, dancing, and singing from childhood. At age 13 he began appearing onscreen in extra and bit roles. It was more than five years before he began landing speaking parts. After his portrayal of a shy GI in Stage Door Canteen (1943) he became mildly popular, and he went on to play juvenile leads in a number of films; he usually played gentle, boyish young men from the country. He found it difficult to land adult leads, partly due to the fact that he was only 5'6". In 1953 he retired from the screen. He attempted to continue acting onstage but was unsuccessful. He became an extremely successful real estate agent.

Trivia: American actress Laraine Day, born Laraine Johnson, a descendant of a prominent Mormon pioneer leader, moved with her family from Utah to California, where she began her acting career with the Long Beach Players. In 1937 she debuted onscreen in a bit part in Stella Dallas; shortly afterwards she won lead roles in several George O'Brien westerns at RKO, in which she was billed as "Laraine Hays" and then "Laraine Johnson." In 1939 she signed with MGM, going on to become popular and well-known (billed as "Laraine Day") as Nurse Mary Lamont, the title character's fiancee in a string of seven "Dr. Kildare" movies beginning with Calling Dr. Kildare (1939); Lew Ayres played Dr. Kildare. During the '40s and '50s she played a variety of leads in medium-budget films made by several studios. She rarely appeared in films after 1960, but later occasionally appeared on TV, portraying matronly types. She was married to famous baseball player Leo Durocher from 1947-60, when she was sometimes referred to as "the first lady of baseball." Her first husband was singer Ray Hendricks, and her third, TV producer Michael Grilkhas. She is the author of a book of memoirs, Day With Giants (1952), and an inspirational book, The America We Love; in the '70s she was the official spokeswoman for the Make America Better program of the National Association of Real Estate Boards, traveling across the country speaking on environmental issues. Day died at age 87 in November 2007.

Trivia: German-born vaudeville entertainer Al Shean entered show business folklore as one-half of the comedy team of Gallagher and Shean. Few people can remember the team's jokes or routines, but many can recite from memory the duo's signature song, "Absolutely, Mr. Gallagher? Postively, Mr. Shean." Of more significance to the film world, Shean was the younger brother of Minnie Marx, who in turn was the mother of the Marx Brothers. When the merry Marxes were struggling in vaudeville in the World War I years, it was Uncle Al Shean who wrote several of the team's best and most popular sketches; he also decided that Harpo Marx would be a more effective comedian if he didn't try to speak on stage. The Marx Brothers returned the favor by seeing to it that the aging, impecunious Al Shean was cast in substantial character roles in such MGM films as San Francisco (1936), The Great Waltz (1938), and Ziegfeld Girl (1941).

Trivia: Actress Etta McDaniel made her stage debut along with her seven siblings as a member of H. M. Johnson's Mighty Modern Minstrels, a Denver-based musical troupe. In the late 1920s, McDaniel and her older brother Sam headed to Hollywood, where both found steady work in bit parts. In keeping with Hollywood's racial attitudes of the 1930s and 1940s, she was confined to the stereotypical roles usually assigned black actresses of the era: housekeepers, maids, mammies and African natives. Unlike her younger sister Hattie McDaniel, who eventually attained co-star billing and an Academy Award (for Gone with the Wind), Etta McDaniel spent her entire Hollywood career in minor roles.

Trivia: Tall, handsome, wavy-haired character actor George Meeker was never in the upper echelons of Hollywood stardom; off-camera, however, he was highly regarded and much sought after -- as an expert polo player. Meeker switched from stage to screen in the silent era, playing leading roles in such important features as Four Sons (1928). In talkies, Meeker seemingly took every part that was tossed his way, from full secondary leads to one-line bits. In his larger roles, Meeker was frequently cast as a caddish "other man," a spineless wastrel who might be (but seldom was) the mystery killer, or the respectable businessman who's actually a conniving crook. He showed up frequently in the films of Humphrey Bogart, most memorably as the white-suited gent in Casablanca (1942) who turns to Bogart after the arrest of Peter Lorre and sneers "When they come to get me, Rick, I hope you'll be more of a help." Other significant George Meeker credits include the role of Robespierre in Marie Antoinette (1938) (cut down to a sniff and a single line -- "Guilty!" -- in the final release print), the supercilious dude who wins Mary Beth Hughes away from Henry Fonda in The Ox-Bow Incident (1943), and the smarmy would-be bridegroom of heiress Dorothy Lamour in The Road to Rio (1947).

Trivia: A sadly neglected supporting actress, Ann Doran played everything from Charley Chase's foil in Columbia two-reelers of the late '30s to James Dean's mother in Rebel Without a Cause (1955) and also guest starred in such television shows as Superman, Petticoat Junction, Bewitched, and The A Team. A former child model and the daughter of silent screen actress Rose Allen (1885-1977), Doran made her screen bow in Douglas Fairbanks' Robin Hood (1922) but then spent the next 12 years or so getting herself an education. She returned to films in 1934 and joined the Columbia short subject department two years later. While with Columbia, Doran worked on all of Frank Capra's films save Lost Horizon (1937) and she later toiled for both Paramount and Warner Bros., often receiving fine reviews but always missing out on the one role that may have made her a star. Appearing in more than 500 films and television shows (her own count), Doran worked well into the 1980s, often unbilled but always a noticeable presence.

Trivia: In films from 1936, Dorothy Vaughan spent the next 14 years playing scores of bits and featured roles. Vaughan was at one time or another practically everyone's "mom" or "grandma," devoting the rest of the time to playing nurses, maids, governesses, and charwomen. In Westerns, she could be seen playing such no-nonsense matriarchs as the Commodore in Trail to San Antone (1947). From 1939 to 1942, Dorothy Vaughan was a regular in The Glove Slingers, a two-reel comedy series produced at Columbia.

Trivia: A kind-looking character actress from the Broadway stage (Salt Water [1929], After Tomorrow [1931], and many others), Edythe Elliott entered films in 1935 and played scores of housekeepers, nurses, housewives, and mothers. Very busy at RKO Radio in the 1940s, Elliott later turned up in a host of television guest spots in the 1950s.

Trivia: Conservatively attired in a three-piece suit and Hoover collar, with a pince-nez firmly perched on his upper nose, American actor Paul Stanton was the very model of a small-town rotarian, banker, or school principal. After a brief fling at films in 1915, Stanton began his movie career proper in 1934, remaining before the cameras until 1949. He spent most of the '30s at 20th Century Fox, with such occasional side trips as Columbia's The Awful Truth (1937), in which he played the nonplused judge presiding over Irene Dunne and Cary Grant's divorce. At MGM in the 1940s, he served as an excellent foil for the undignified antics of the Marx Brothers (The Big Store, 1941) and Laurel and Hardy (Air Raid Wardens, 1943). Usually a pillar of respectability, Paul Stanton turned in a surprising characterization in the Universal comedy-mystery She Gets Her Man (1945), playing a genial general practitioner whose hobby is homicide.

Trivia: Born in Ireland, actor Vesey O'Davoren started out with Dublin's Abbey Theatre. During WWI, he was caught in a mustard gas attack and lost his voice. To help himself heal, he moved to Hollywood and began appearing in silent films. By the time talkies were invented, he had recovered his voice and O'Davoren appeared in over two dozen films before retiring in the late '50s.

Trivia: Diminutive American character actor Harlan Briggs was a vaudeville and stage performer since the turn of the century. After spending three years on Broadway appearing with Walter Huston in the stage adaptation of Sinclair Lewis' Dodsworth, Briggs was brought to Hollywood in 1935 to re-create his role. Because of post-production delays, movie audiences first saw Briggs not in Dodsworth but in Selznick's The Garden of Allah (1936). In films until 1952's Carrie, Harlan Briggs most often portrayed small-town big-wigs, usually with an oversized pipe clamped between his teeth; his most memorable role was as the eminently bribeable Doctor Stall in W.C. Fields' The Bank Dick (1940).

Trivia: The son of a patent medicine manufacturer, American actor Alan Hale chose a theatrical career at a time when, according to his son Alan Hale Jr., boarding houses would post signs reading "No Dogs or Actors Allowed." Undaunted, Hale spent several years on stage after graduating from Philadelphia University, entering films as a slapstick comedian for Philly's Lubin Co. in 1911. Bolstering his acting income with odd jobs as a newspaperman and itinerant inventor (at one point he considered becoming an osteopath!), Hale finally enjoyed a measure of security as a much-in-demand character actor in the 1920s, usually as hard-hearted villains. One of his more benign roles was as Little John in Douglas Fairbanks' Robin Hood (1922), a role he would repeat opposite Errol Flynn in 1938 and John Derek in 1950. Talkies made Hale more popular than ever, especially in his many roles as Irishmen, blusterers and "best pals" for Warner Bros. Throughout his career, Hale never lost his love for inventing things, and reportedly patented or financed items as commonplace as auto brakes and as esoteric as greaseless potato chips. Alan Hale contracted pneumonia and died while working on the Warner Bros. western Montana (1950), which starred Hale's perennial screen cohort Errol Flynn.