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: Though born in Southport, Dora Bryan convincingly portrayed many a Cockney and Northerner in her long British film career. In films from 1947, Bryan was more often than not cast as good-natured tarts and garrulous neighbors, her nasal line delivery adding credibility to her characterizations. Many feel that she delivered her best performance in the 1962 slice-of-life drama A Taste of Honey. Her prolific TV work has included the popular 1994 situation comedy Mother's Ruin. In 1987, Dora Bryan came out with her autobiography, According to Dora.

Trivia: For almost 40 years, from the end of the 1930s to the mid-'70s, Richard Wattis enjoyed a reputation as one of England's more reliable character actors, and -- in British films, at least -- developed something akin to star power in non-starring roles. Born in 1912, as a young man he managed to avoid potential futures in both electric contracting and chartered accountancy, instead becoming an acting student in his twenties. His stage career began in the second half of the 1930s, and in between acting and sometimes producing in repertory companies, Wattis became part of that rarified group of British actors who appeared on the BBC's pre-World War II television broadcasts. He made his big-screen debut with a role in the 1939 feature A Yank at Oxford, but spent the most of the six years that followed serving in uniform. It was after World War II that Wattis came to the attention of critics, directors, and producers for his comic timing and projection, and began getting cast in the kinds of screen and stage roles for which he would ultimately become famous, as pompous, dry, deadpan authority figures, snooping civil servants, and other comical pests. Beginning with Frank Launder and Sidney Gilliat's The Happiest Days of Your Life (1950), his roles and billing got bigger, and he was cast to perfection as Manton Bassett in the "St. Trinian's" films of Launder and Gilliat. Wattis became so well liked by audiences in those kinds of parts -- as annoying government officials, in particular -- that producers would see to it, if his part was big enough, that he was mentioned on posters and lobby cards. He remained very busy in films right up until the time of his death in the mid-'70s.

Trivia: Prior to 1924, British actress Judith Furse worked on stage not only performing but also producing and directing. She went on to play character roles in numerous films, particularly in the '30s and '40s. She was typically cast as a dour, overbearing woman.

Trivia: A character comedienne even in her very early twenties, diminutive British actress Hattie Jacques started out in 1944, appearing in stage revues and pantomimes. Long associated with the Players' Theatre, Jacques extended her activities to radio, starring in the popular comedy weeklies ITMA (1948-49) and Educating Archie (1950-54). In films from 1946, she was ideal for eccentric Dickensian roles in films like Nicholas Nickeby (1947), Oliver Twist (1948), A Christmas Carol (1951, as Mrs. Fezziwig) and The Pickwick Papers (1954). Her fans most fondly recall Jacques' sparkling contributions to the ribald "Carry On" film series, and her co-starring stints with such TV favorites as Tony Hancock and Eric Sykes. From 1949 to 1965, Hattie Jacques was married to actor John Le Messurier.

Trivia: A short, doughfaced British actress, Dandy Nichols spent virtually a lifetime playing middle-class housewives (complete with hairnet), scrubwomen and domestics. Typical of her film roles was her one-line bit in the Beatles' Help! as the villain's mother ("Oh, he's a good boy!"). At first playing docile characters, Nichols' screen personality became more belligerent as the Women's Rights movement took hold. Dandy Nichols' most lasting media contribution was as the feckless Else Garnett on the British TV sitcom Til Death Do Us Part -- a character later Americanized as Edith Bunker (Jean Stapleton) on All in the Family.

Trivia: British actor Ian Wilson started in films in 1922, but didn't thrive until the talkie era. With wire-rim spectacles, pursed lips and a brusque manner, Wilson was perfectly cast as clerks, minor officials and snoopy bystanders. His busiest years were the '50s in such movies as Seven Days to Noon (1950), The Magic Box (1951), Tonight at 8:30 (1952), Crest of the Wave (1954) and The Good Companions (1958); he also showed up in that melancholy milestone Bela Lugosi's fading career, Old Mother Riley Meets the Vampire (1952). According to historian David Quinlan, Ian Wilson was something of a "good luck charm" to the Boulting Brothers production firm, in that the actor appeared in some capacity in just about every Boulting film.

Trivia: The son of British stage actor Willard Shine, Bill Shine first trod the boards at age six, playing the Stork in the pantomime Princess Posey. At fifteen, Shine made his first London stage appearance, and at eighteen was seen in the first of many films, Under the Greenwood Tree. Most often cast as an upper-class twit, Shine has also shown up in many a one-scene movie assignment as various reporters, commissioners, ticket sellers and executives. While seldom rising above the featured cast in films, Bill Shine achieved star status in the role of Conn in the 1950 production The Shaugran.

Trivia: Ubiquitous British actor John LeMesurier wasn't in every English comedy made between 1946 and 1979, though it sure seemed so. Nearly always appearing in one-scene cameos, LeMesurier's stock in trade was confusion mixed with foreboding; as such, he was perfect for such roles as worried businessmen, neurotic military officers and flummoxed fathers. From 1966 through 1977, LeMesurier starred in the internationally popular British sitcom, Dad's Army, which spawned a theatrical-feature version in 1971. An incorrigible prankster, John LeMesurier couldn't remain serious even when dealing with his own death; on that grim occasion, his self-written obituary appeared in the Times, noting that Mr. LeMesurier had "conked out."