Trivia: At the peak of his career in the early '30s, actor Bela Lugosi was the screen's most notorious personification of evil; the most famous and enduring Dracula, he helped usher in an era of new popularity for the horror genre, only to see his own fame quickly evaporate. Béla Ferenc Dezsõ Blaskó was born in Lugos, Hungary, on October 20, 1882. After seeing a touring repertory company as they passed through town, he became fascinated by acting, and began spending all of his time mounting his own dramatic productions with the aid of other children. Upon the death of his father in 1894, Lugosi apprenticed as a miner, later working on the railroad. His first professional theatrical job was as a chorus boy in an operetta, followed by a stint at the Budapest Academy of Theatrical Arts. By 1901, he was a leading actor with Hungary's Royal National Theatre, and around 1917 began appearing in films (sometimes under the name Arisztid Olt) beginning with A Régiséggyüjtö. Lugosi was also intensely active in politics, and he organized an actors' union following the 1918 collapse of the Hungarian monarchy; however, when the leftist forces were defeated a year later he fled to Germany, where he resumed his prolific film career with 1920's Der Wildtöter und Chingachgook. Lugosi remained in Germany through 1921, when he emigrated to the United States. He made his American film debut in 1923's The Silent Command, but struggled to find further work, cast primarily in exotic bit roles on stage and screen. His grasp of English was virtually non-existent, and he learned his lines phonetically, resulting in an accented, resonant baritone which made his readings among the most distinctive and imitated in performing history. In 1924, Lugosi signed on to direct a drama titled The Right to Dream, but unable to communicate with his cast and crew he was quickly fired; he sued the producers, but was found by the court to be unable to helm a theatrical production and was ordered to pay fines totalling close to 70 dollars. When he refused, the contents of his apartment were auctioned off to pay his court costs -- an inauspicious beginning to his life in America, indeed. Lugosi's future remained grim, but in 1927 he was miraculously cast to play the title character in the Broadway adaptation of the Bram Stoker vampire tale Dracula; reviews were poor, but the production was a hit, and he spent three years in the role. In 1929, Lugosi married a wealthy San Francisco widow named Beatrice Weeks, a union which lasted all of three days; their divorce, which named Clara Bow as the other woman, was a media sensation, and it launched him to national notoriety. After a series of subsequent films, however, Lugosi again faded from view until 1931, when he was tapped to reprise his Dracula portrayal on the big screen. He was Universal executives' last choice for the role -- they wanted Lon Chaney Sr., but he was suffering from cancer -- while director Tod Browning insisted upon casting an unknown. When no other suitable choice arose, however, only Lugosi met with mutual, if grudging, agreement. Much to the shock of all involved, Dracula was a massive hit. Despite considerable studio re-editing, it was moody and atmospheric, and remains among the most influential films in American cinema. Dracula also rocketed Lugosi to international fame, and he was immediately offered the role of the monster in James Whale's Frankenstein; he refused -- in order to attach himself to a picture titled Quasimodo -- and the part instead went to Boris Karloff. The project never went beyond the planning stages, however, and in a sense Lugosi's career never righted itself; he remained a prolific screen presence, but the enduring fame which appeared within his reach was lost forever. Moreover, he was eternally typecast: Throughout the remainder of the decade and well into the 1940s, he appeared in a prolific string of horror films, some good (1932's Island of Lost Souls and 1934's The Black Cat, the latter the first of many collaborations with Karloff), but most of them quite forgettable. Lugosi's choice of projects was indiscriminate at best, and his reputation went into rapid decline; most of his performances were variations on his Dracula role, and before long he slipped into outright parodies of the character in pictures like 1948's Abbott & Costello Meet Frankenstein, which was to be his last film for four years.As Lugosi's career withered, he became increasingly eccentric, often appearing in public clad in his Dracula costume. He was also the victim of numerous financial problems, and became addicted to drugs. In 1952, he returned from exile to star in Bela Lugosi Meets a Brooklyn Gorilla, followed later that year by the similarly low-brow My Son, the Vampire and Old Mother Riley Meets the Vampire. By 1953, Lugosi was firmly aligned with the notorious filmmaker Ed Wood, widely recognized as the worst director in movie history; together they made a pair of films -- Glen or Glenda? and Bride of the Monster -- before Lugosi committed himself in 1955 in order to overcome his drug battles. Upon his release, he and Wood began work on the infamous Plan 9 From Outer Space, but after filming only a handful of scenes, Lugosi died of a heart attack on August 15, 1956; he was buried in his Dracula cape. In the decades to come, his stature as a cult figure grew, and in 1994 the noted filmmaker Tim Burton directed the screen biography Ed Wood, casting veteran actor Martin Landau as Lugosi; Landau was brilliant in the role, and won the Oscar which Lugosi himself never came remotely close to earning -- a final irony in a career littered with bittersweet moments.

Trivia: The daughter of an actress and a prominent New York lawyer, June Collyer made her first film appearance as "herself," appearing with several other debuting debutantes in 1927's Broadway Nights. Collyer's sophistication served her well in such early-talkie roles as Amy Spettigue in Charley's Aunt (1930) and Mrs. Reynolds in Alexander Hamilton (1931). By the mid-1930s, she was limited to grade-"B" fare along the lines of One Frightened Night and Murder by Television. It hardly mattered, however, since she was more devoted to her off-screen "role" as the wife of actor Stuart Erwin than her screen career. After fifteen years' retirement, Collyer re-emerged in 1950 to play "Mrs. Erwin" on the long-running TV sitcom The Stu Erwin Show (aka Trouble With Father). June Collyer was the sister of TV game show host Bud Collyer and film editor Richard Heermance; her niece was Wisconsin TV and radio personality Cynthia Collyer.

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: Veteran stage actor Charles Hill Mailes joined filmmaker D.W. Griffith's Biograph stock company in 1909. For the next four years, Mailes played everything from downtrodden grandfather to cold-hearted corporate villains. His post-Griffith assignments included such roles as Lord Mount Severn in the 1915 version of East Lynne and Dr. Livesey in the 1920 adaptation of Treasure Island. Virtually retired when talkies came in, Charles Hill Mailes made one final screen appearance in the 1935 cheapie Murder by Television, co-starring with his wife, actress Claire McDowell.

Trivia: An imposing stage actor from Ohio and a true screen pioneer, Charles K. French (born Strauss) appeared with the famed Biograph stock company before organizing his own production entity, The Navajo Film Co. That venture lasted only a year, 1914-1915, and French returned to the ranks of actors for hire. Sporting a formidable beard, French was often cast in historical settings, notably Thomas Ince's Civilization (1916) as the prime minister, D. W. Griffith's Abraham Lincoln (1924) as Enlow, and Raymond Griffith's Hands-Up (1926) as Brigham Young. In between, he played countless fathers, military officers, and the like, often opposite such stars as Tom Mix and Hoot Gibson, and continued in films until his retirement in 1944. French was the father of B-Western regular Ted French (1899-1978) and grandfather of Little House on the Prairie star Victor French (1934-1989).

Trivia: Descended from an old, well-established performing family, American actress Claire McDowell was one of those weathered character players who seemed to have been born at the age of 50. Only 32 years old when she first stepped before Billy Bitzer's camera at Biograph studios in 1910, Ms. McDowell almost immediately found herself playing everyone's mother. She spent the next four years working for D.W. Griffith before retiring to raise a family; her husband was fellow Griffith player Charles Hill Mailes. Back in films in 1917, McDowell continued her celluloid maternal career. Perhaps her most celebrated matriarchal role was as John Gilbert's mother in The Big Parade (1924), in which she has an unbearably poignant scene as she embraces her amputee son, recalling in flashback when her infant boy took his first steps. Ms. McDowell also has some potent sequences as Ramon Novarro's mother in Ben-Hur; stricken with leprosy, she dares not embrace her sleeping son, but instead kisses the stones upon which he lies. Semi-retired when talkies came in, Claire McDowell occasionally emerged to play bits, often in the company of her husband (as in Murder By Television [1935]). One of her last last notable roles, albeit unbilled, was as the ailing mother (again!) who faints on the bus in It Happened One Night (1934).

Trivia: Although her movie career consisted almost entirely of playing stereotypic maids and other servants, Hattie McDaniel was in fact the first black woman to sing on the radio and the first black performer to win an Academy Award, for her portrayal of Mammy in Gone with the Wind (1939). Before coming to Hollywood, she had been a blues singer and had toured as Queenie in Show Boat, later playing the same role in the 1936 Irene Dunne version of the film. Her considerable film credits include Blonde Venus (1932) with Marlene Dietrich, I'm No Angel (1933) with Mae West, Nothing Sacred (1937) with Carole Lombard and Fredric March, The Shopworn Angel (1938) with Margaret Sullavan, They Died with Their Boots On (1941), James Thurber's story The Male Animal (1942), Thank Your Lucky Stars (1943), Since You Went Away (1944), and Mr. Blandings Builds His Dream House (1948). She starred in the Beulah series on radio and was scheduled to take over the role from Ethel Waters for the television series, which would have reunited her with Gone with the Wind co-star Butterfly McQueen, when she became ill and was replaced by Louise Beavers.

Trivia: In films since the earliest days of sound, distinguished-looking Henry Hall specialized in playing small-town doctors, lawyers, benign businessmen, or the heroine's father, often in low-budget Westerns and frequently unbilled. On Broadway in the first decade of the 20th century, Hall spent his final years as a resident at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: Not to be confused with director Richard Rush, portly, raspy-voiced American character actor Dick Rush was in films from 1920 until the early '40s. Rush was generally a comedy foil, most memorably for Harold Lloyd. Little Rascals devotees will remember Rush as the side-show impresario in Arbor Day (1936), who shows up at the end of the picture to whisk midget George and Olive Brasno away from their forced participation in a grade-school assembly show. Otherwise, he played a variety of cops, guards, mob leaders, and train conductors. Dick Rush spent his last active years as a featured player at RKO Radio.

Trivia: Canadian actor Huntley Gordon began his film career in 1918, then spent the next two decades alternating between American and British productions. Gordon's Hollywood assignments include the role of jazz-baby Joan Crawford's father in Our Dancing Daughters (1928). His talkie credits include 1935's Daniel Boone, in which he was cast as Sir John Randolph, and 1937's Stage Door, in which he and several other distinguished character actors were seen in the play-within-a-play. Huntley Gordon was also busy in the world of network radio during the 1940s.