Trivia: Born in India to an Indian mother and an Indo-Irish father, Estelle Merle O'Brien Thompson spent an impoverished childhood in the subcontinent, before coming to England in 1928 to pursue an acting career. Because her bi-racial parentage would have been a subject of immense prejudice, Oberon began telling others that she was born to white parents on the Australian island of Tasmania -- a story she would keep up until almost the end of her life. It was Hungarian-born film mogul Alexander Korda who first spotted Oberon's screen potential, and began giving her parts in his pictures, building her up toward stardom with role such as Anne Boleyn in The Private Life of Henry VIII (1933). Although she was an actress of very limited range, Oberon acquitted herself well in movies such as The Scarlet Pimpernel (1934), as Sir Percy Blakeney's wife, and her exotic good looks made her extremely appealing. She was cast opposite Laurence Olivier in the 1938 comedy The Divorce of Lady X, which was shot in Technicolor and showed Oberon off to even better advantage. Seeking to build her up as an international star, Korda sold half of Oberon's contract to Samuel Goldwyn in America, who cast her as Cathy in Wuthering Heights (1939). She moved to America with the outbreak of war, and also married Korda (1939-1945), but despite some success in That Uncertain Feeling, The Lodger, and A Song to Remember, her star quickly began to fade, and the Korda vehicle Lydia (1941), a slow-moving melodrama that had her aging 50 years, didn't help her career at all. Even a good acting performance in the Hitchcock-like chiller Dark Waters (1944) failed to register with the public. Oberon re-emerged only occasionally after the early '50s, until 1973 when she starred in, produced, and co-edited Interval, a strange romantic drama that costarred her future husband Robert Wolders, that failed to find good reviews or an audience.Oberon would marry three more times, to cinematographer Lucien Ballard in the late forties, to Italian industrialist Bruno Pagliali throughout the 60's, and finally, to actor Robert Wolders from the mid 70's until her death in 1979 at the age of 68.

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: The son of a prosperous Philadelphian, Laird Cregar was educated at Winchester Academy in England, spending his summers as a page boy and bit player with the Stratford-on-Avon theatrical troupe. Upon completing his schooling, Cregar won a scholarship at California's Pasadena Playhouse, supporting himself as a nightclub bouncer when funds ran out. So broke that at times he had to sleep in his car, Cregar forced Hollywood to pay attention to him by staging his own one-man show, in which he portrayed Oscar Wilde. After a few minor film roles, the 24-year-old Cregar was signed to a 20th Century-Fox contract; among his first major roles was the middle-aged Francis Chesney in Charley's Aunt (1941), the first of several showcases for the actor's delightful comic flair. With his sinister portrayal of the psychopathic detective in I Wake Up Screaming (1941), Cregar became one of filmdom's top "heavies"--both figuratively and literally. Seldom weighing less than 300 pounds throughout his adult life, Cregar came to a tragic end because of his obsession to become a slim "beautiful man". After top-billing in The Lodger (1944), playing the reclusive British musician who may or may not be Jack the Ripper, the increasingly sensitive Cregar was growing tired of being thought of as merely a hulking villain. When assigned the role of demented pianist George Bone in Hangover Square (1945), Cregar decided to give the character a romantic veneer, and to that end lost one hundred pounds in a crash diet. The strain on his system resulted in severe abdominal problems; a few days after undergoing stomach surgery, the 28-year-old Laird Cregar died of heart attack.

Trivia: British actor Sir Cedric Hardwicke's physician father was resistant to his son's chosen profession; nonetheless, the elder Hardwicke paid Cedric's way through the Royal Academy of Dramatic Arts. The actor was fortunate enough to form a lasting friendship with playwright George Bernard Shaw, who felt that Hardwicke was the finest actor in the world (Shaw's other favorites were the Four Marx Brothers). Working in Shavian plays like Heartbreak House, Major Barbara and The Apple Cart throughout most of the 1920s and 1930s in England, Hardwicke proved that he was no one-writer actor with such roles as Captain Andy in the London production of the American musical Show Boat. After making his first film The Dreyfus Case in 1931, Hardwicke worked with distinction in both British and American films, though his earliest attempts at becoming a Broadway favorite were disappointments. Knighted for his acting in 1934, Hardwicke's Hollywood career ran the gamut from prestige items like Wilson (1944), in which he played Henry Cabot Lodge, to low-budget gangster epics like Baby Face Nelson (1957), where he brought a certain degree of tattered dignity to the role of a drunken gangland doctor. As proficient at directing as he was at acting, Hardwicke unfortunately was less successful as a businessman. Always a step away from his creditors, he found himself taking more and more journeyman assignments as he got older. Better things came his way with a successful run in the 1960 Broadway play A Majority of One and several tours with Charles Laughton, Agnes Moorehead and Charles Boyer in the "reader's theatre" staging of Shaw's Don Juan in Hell. A talented writer, Hardwicke wrote two autobiographies, the last of these published in 1961 as A Victorian in Orbit. It was here that he wittily but ruefully observed that "God felt sorry for actors, so he gave them a place in the sun and a swimming pool. The price they had to pay was to surrender their talent."

Trivia: Born to a middle-class Irish family and educated at the Marlborough Street Training College, 19-year-old Sara Allgood joined the Irish National Theatre Society, obtaining her first speaking role in a 1903 production of W.B. Yeats' The King's Threshold. She became a member of Dublin's Abbey Theatre in 1904; within a few years she was lauded as Ireland's foremost actress. While touring Australia in 1918, she made her film bow in Just Peggy. She didn't like the experience, and it would be eleven years before she would face the cameras again, this time in the role of Anna Ondra's mother in Blackmail (1929), Alfred Hitchcock's (and the British film industry's) first talkie. One year later, Hitchcock cast Sara in the demanding title role in the cinematic adaptation of Sean O'Casey's Juno and the Paycock, a role she had created on stage with the Abbey Players in 1924. After a decade of worthwhile stage assignments and forgettable film roles, Sara came to Hollywood in 1940, where she was cast by John Ford in a strong role in the Oscar-winning How Green Was My Valley (1941). This led to a long-term contract with 20th Century-Fox, which was financially satisfying but dramatically unrewarding; after years of incisive, commanding stage roles, Sara was compelled to play cliched Irish mothers and servants. Sara Allgood's final screen appearance was in Fox's Cheaper By the Dozen (1950), in which she received prominent billing--and approximately five lines of dialogue.

Trivia: Character actor Aubrey Mather launched his stage career in 1905, touring the British provinces until his 1909 London debut in Brewster's Millions. Ten years later, Mather made his first Broadway appearance in Luck of the Navy. In British films from 1931, he essayed such supporting roles as Corin in As You Like It. Moving to Hollywood in 1940, he worked with regularity at 20th Century-Fox, playing roles like Colonel Dent in Jane Eyre (1943), the Scotland Yard chief inspector in The Lodger (1944), and, best of all, mild-mannered Nazi spy Mr. Fortune in Careful Soft Shoulders (1942). Other assignments included Professor Peagram, one of the "seven dwarfs" in Goldwyn's Ball of Fire (1941), and James Forsyte in That Forsyte Woman (1949). Like his fellow Britons Arthur Treacher and Charles Coleman, Aubrey Mather is fondly remembered for his butler roles, notably Merriman in the British The Importance of Being Earnest (1952).

Trivia: British music-hall performer Queenie Leonard made her film bow in 1937's The Show Goes On. Possessed of a wicked wit and boundless energy, Leonard quickly became a "pet" of Hollywood's British colony when she moved to the U.S. in 1940. With the exception of The Lodger (1944), few of her film appearances captured her natural effervescence; for the most part, she was cast as humorless domestics in such films as And Then There Were None (1944) and Life with Father (1947). In the 1950s and 1960s, she provided delightful voiceovers for such Disney cartoon features as Peter Pan (1953) and 101 Dalmatians (1961). Queenie Leonard was married twice, to actor Tom Conway and to art director Lawrence Paul Williams.

Trivia: The older brother of film actors Andy and Jean Clyde, David Clyde was an actor/director/theatre manger in his native Scotland. Clyde came to Hollywood in 1934, by which time his brother Andy was firmly established as a screen comedian. Though the older Clyde never scaled the professional heights enjoyed by Andy, he found steady work in films for nearly a decade. His more sizeable roles included T. P. Wallaby in W.C. Fields' Man on the Flying Trapeze (1935) and Canadian constable Thompson in the excellent Sherlock Holmes opus The Scarlet Claw (1944). David Clyde was the husband of actress Fay Holden, of Andy Hardy fame.

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: 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: Piping-voice, hamster-faced Scottish character actor Olaf Hytten left the British stage for films in 1921. By the time the talkie era rolled around, Hytten was firmly established in Hollywood, playing an abundance of butlers and high-society gentlemen. The actor was primarily confined to one or two-line bits in such films as Platinum Blonde (1931), The Sphinx (1933), Bonnie Scotland (1935), Beloved Rebel (1936), The Howards of Virginia (1940) and The Bride Came COD (1941). He was a semi-regular of the Universal B-unit in the '40s, appearing in substantial roles as military men and police official in the Rathbone/Bruce Sherlock Holmes series and as burgomeisters and innkeepers in the studio's many horror films (Ghost of Frankenstein, House of Frankenstein, etc.) Olaf Hytten was active until at least 1956; one of his more memorable assignments of the '50s was as the larcenous butler who participates in a scheme to drive Daily Planet editor Perry White crazy in the "Great Caesar's Ghost" episode of the TV series Adventures of Superman.

Trivia: Of the many movie-industryites bearing the name "Colin Campbell," the best known was the Scots-born silent film director listed below. Emigrating to the U.S. at the turn of the century, Campbell barnstormed as a stage actor and director before settling at the Selig studios in 1911. The best-remembered of his Selig directorial efforts was 1914's The Spoilers, a crude but ruggedly realistic Alaskan adventure film climaxed by a brutal fistfight. It was during his Selig years that Campbell helped to nurture the talents of future western star Tom Mix. Considered an "old-timer" and has-been by the early 1920s, Colin Campbell ended his career with such plodding time-fillers as Pagan Passions (1924) and The Bowery Bishop (1924).

Trivia: Effervescent little Billy Bevan commenced his stage career in his native Australia, after briefly attending the University of Sydney. A veteran of the famous Pollard Opera Company, Bevan came to the U.S. in 1917, where he found work as a supporting comic at L-KO studios. He was promoted to stardom in 1920 when he joined up with Mack Sennett's "fun factory." Adopting a bushy moustache and an air of quizzical determination, Bevan became one of Sennett's top stars, appearing opposite such stalwart laughmakers as Andy Clyde, Vernon Dent and Madelyn Hurlock in such belly-laugh bonanzas as Ice Cold Cocos (1925), Circus Today (1926) and Wandering Willies (1926). While many of Bevan's comedies are hampered by too-mechanical gags and awkward camera tricks, he was funny and endearing enough to earn laughs without the benefit of Sennett gimmickry. He was particularly effective in a series of "tired businessman" two-reelers, in which the laughs came from the situations and the characterizations rather than slapstick pure and simple. Bevan continued to work sporadically for Sennett into the talkie era, but was busier as a supporting actor in feature films like Cavalcade (1933), The Lost Patrol (1934) and Dracula's Daughter (1936). He was frequently cast in bit parts as London "bobbies," messenger boys and bartenders; one of his more rewarding talkie roles was the uncle of plumbing trainee Jennifer Jones (!) in Ernst Lubitsch's Cluny Brown (1946). Among Billy Bevan's final screen assignments was the part of Will Scarlet in 1950's Rogues of Sherwood Forest.

Trivia: A member of Ireland's famed Abbey Theatre, sharp-featured character actress Anita Bolster (sometimes billed Anita Sharp-Bolster) had enjoyed a long career on the British stage and screen before coming to America in 1938. She received rave reviews on Broadway in Lady in Waiting, with which she also toured until making her American screen debut in 1941. Bolster became one of the busiest character actresses of the 1940s, usually playing prissy spinsters, gossips, and housekeepers. In the 1950s, she twice played "second witch" in television versions of Macbeth and she finished her career playing yet another housekeeper, this time in the cult daytime soap opera Dark Shadows.

Trivia: Diminuitive Irish actor Forrester Harvey was most often cast as cockney tradesmen, family gardeners and pub hangers-on. He entered films in 1922, but only with the advent of talking pictures were his talents exploited to full advantage. Part subservient, part pugnacious, Harvey became a fixture of Hollywood films set in England, Ireland or Scotland. His better-known film stints included Beamish in Tarzan, the Ape Man (1932) and Meredith the valet in Laurel and Hardy's A Chump at Oxford (1940). So ubiquitous was Forrester Harvey that he managed to appear in a film five years after his death! That film was Frank Capra's Riding High (1950), a remake of Broadway Bill (1934) which utilized extensive footage from the earlier film -- including virtually all of Harvey's scenes as a horse trainer.

Trivia: Once seen in close-up (or even in a medium shot), Skelton Knaggs, with his outsized head, large eyes, and prominent ears, is seldom forgotten by filmgoers; for two decades, from the mid-'30s until his death in 1955, directors loved to use Skelton Knaggs to dress a horror set or establish a menacing mood in a thriller with his mere presence in a shot. A character actor with a unique name and specialty, British-born Skelton Knaggs was an expert in half-wit roles, but that was only a small part of his range onscreen. With his small stature and oversized head and features, he could look demented or just plain sinister. A graduate of the Royal Academy of Dramatic Art, Knaggs established himself in London on stage in William Shakespeare's Cymbeline and made appearances in various British films of the 1930s, including roles in Victor Saville's South Riding and Michael Powell's The Spy in Black. He made his first appearance in an American film in Victor Halperin's grisly thriller Torture Ship, playing one of the criminals on whom well-intentioned (but quite mad) scientist Irving Pichel plans to perform glandular experiments, but he soon moved up to higher budgeted films from the major studios, although still almost inevitably in sinister roles. Knaggs' career reached a peak in the mid-'40s, when he worked in supporting roles in ambitious major studio films such as None but the Lonely Heart (a fascinating but failed attempt at a serious drama by Cary Grant) and unusual independently made features like Douglas Sirk's early Hollywood effort Thieves' Holiday, while also making the rounds of such popular medium-budget Universal Pictures productions as House of Dracula, The Invisible Man's Revenge, and Terror By Night. The latter, the penultimate entry in the Basil Rathbone/Nigel Bruce Sherlock Holmes series at Universal, gave him a notably prominent role as the diminutive train-bound assassin, stealthily murdering his victims and disappearing from sight. He also worked at 20th Century Fox in such high profile movies as The Lodger and Forever Amber, but it was in small- and medium-scale films that Knaggs usually stood out. In all, his work was confined to an unsual body of movies right to the year of his death, in which he appeared in Fritz Lang's widescreen swashbuckler Moonfleet (which was almost more a period thriller than a costume adventure story), at MGM. Knaggs was typed in malevolent supporting parts from the outset of his Hollywood career, and the nearest that he ever got to a starring role came about when one producer -- Val Lewton -- decided to play off that image in the 1943 psychological chiller The Ghost Ship. Knaggs' character, a mute seaman, narrates the film's key sections with an internal voice-over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs' seaman ultimately rescues the hero from near-certain death. Even this was an offbeat lead role and unfortunately, as a result of a lawsuit, The Ghost Ship (and with it Knaggs' most interesting and fully realized screen performance) was withdrawn from distribution soon after release in 1944 and suppressed for 50 years, until the mid-'90s.

Trivia: Reversing the usual procedure, Scottish actor Edmund Breon began his film career in Hollywood in 1928, then returned to the British Isles in 1932. Breon was most often seen in self-effacing roles, usually military in nature. He was cast as Lt. Bathurst in The Dawn Patrol (1930), Colonel Morgan in Goodbye, Mr. Chips (1939), and General Huddleston in Gaslight (1944). Among Edmund Breon's late-'40s assignments was the role of Julian Emery in the Sherlock Holmes opus Dressed to Kill (1946), an indication perhaps that the part had been slated for the real Gilbert Emery, a British actor who, like Breon, specialized in humble, passive characterizations.

Trivia: Elegant British leading man Crauford Kent launched his American film career in 1915. Kent's more notable movie roles included Lolius in Mary Garden's 1917 filmization of Faust, and plot-motivating producer Hal Bentley in both the 1925 and 1929 screen versions of the George M. Cohan/Earl Derr Biggers stage hit Seven Keys to Baldpate. As the district attorney in the all-talking version of The Unholy Three (1930), it was Kent who exposed the true gender of "sweet little old lady" Lon Chaney Sr. Thereafter, Kent played featured roles as doctor, military officers, "other men" and the like in both features and 2-reel comedies. Busy right up to his death at the age of 72, Crauford Kent continued to essay such supporting parts as the Astrologer in Cecil B. DeMille's Samson and Delilah (1949).

Trivia: It is probably correct to assume that American actor Stuart Holmes never turned down work. In films since 1914's Life's Shop Window, Holmes showed up in roles both large and microscopic until 1962. In his early days (he entered the movie business in 1911), Holmes cut quite a villainous swath with his oily moustache and cold, baleful glare. He played Black Michael in the 1922 version of The Prisoner of Zenda and Alec D'Uberville in Tess of the D'Ubervilles (1923), and also could be seen as wicked land barons in the many westerns of the period. While firmly established in feature films, Holmes had no qualms about accepting bad-guy parts in comedy shorts, notably Stan Laurel's Should Tall Men Marry? (1926) In talkies, Holmes' non-descript voice tended to work against his demonic bearing. Had Tom Mix's My Pal the King (1932) been a silent picture, Holmes would have been ideal as one of the corrupt noblemen plotting the death of boy king Mickey Rooney; instead, Holmes was cast as Rooney's bumbling but honest chamberlain. By the mid '30s, Holmes' hair had turned white, giving him the veneer of a shopkeeper or courtroom bailiff. He signed a contract for bits and extra roles at Warner Bros, spending the next two decades popping up at odd moments in such features as Confession (1937), Each Dawn I Die (1939) and The Adventures of Mark Twain (1944), and in such short subjects as At the Stroke of Twelve (1941). Stuart Holmes remained on call at Central Casting for major films like Around the World in Eighty Days (1956) and The Man Who Shot Liberty Valance (1962) until his retirement; he died of an abdominal aortic aneurism at the age of 83.

Trivia: Looking far younger than he really was, American supporting actor Walter Tetley (born Walter Tetzlaff) gained early fame on the NBC radio broadcast The Great Gildersleeve before making his screen debut as one of Freddie Bartholomew's co-conspirators in MGM's Lord Jeff (1938). Memorable as the boy with the candy cane in W.C. Fields' You Can't Cheat an Honest Man (1939), the diminutive Tetley was also in Boy Slaves (1939) and played scores of messengers, elevator operators, and newsboys in films ranging from Horror Island (1941) to Casanova Brown (1944). Tetley later emerged as a popular voiceover artist, most famously supplying the voice of Sherman on television's Bullwinkle Show (1961-1973).

Trivia: According to his official studio bio, Boyd Irwin appeared for 17 years on stages in both his native England and Australia. He embarked on a screen career in the latter country in 1915, as a leading man with J.C. Williamson Prod., Southern Cross Feature Film Co., and Haymarket Pictures Corp. In America from 1919, Irwin was relegated to character roles, often villainous in nature, and can be seen as Rochefort in Douglas Fairbanks' The Three Musketeers (1921). He also played the Duc de Guise in Norma Talmadge's Ashes of Vengeance (1923) and Levasseur in Vitagraph's Captain Blood (1924) before returning to Australia. Irwin was back in Hollywood after the changeover to sound, however, lending his ramrod-straight presence to playing scores of military officers, noblemen, and even hotel clerks in films ranging from Madam Satan (1930) to Forever Amber (1947).

Trivia: Diminutive British knockabout comedian Jimmy Aubrey got his start with the legendary Fred Karno troupe, working alongside such budding stars as Charlie Chaplin and Stan Laurel. Like Charley and Stan, Aubrey flourished as a silent screen comic. He headlined a series of Vitagraph two-reelers in 1919 and 1920, with a young Oliver Hardy lending support. In the mid-1920s, he starred in another comedy series for producer Joe Rock. By 1927, Aubrey's stardom was a thing of the past, and he found himself virtually unemployable. His old colleagues Laurel and Hardy cast Aubrey in supporting roles in three of their starring vehicles, most memorably as the flirtatious drunk in the 1929 2-reeler That's My Wife. Jimmy Aubrey continued taking movie jobs until his retirement in 1952, playing bits and featured roles as drunken sailors, hoboes, store clerks and cowboy sidekicks.

Trivia: Diminutive William Sidney Stanton enjoyed an acting career that took him from London to Los Angeles. After honing his craft in the theater, Stanton made his motion-picture debut in 1927 and continued with a busy schedule of bit parts and character roles (specializing in comic drunks) into the 1930s and early 1940s. Raoul Walsh, for one, used him in nearly identical drunk roles in two films from 1932, Me And My Gal and Sailor's Luck. Often availing himself of his Cockney accent, Stanton's range also allowed him to play parts such as menacing thugs, crowd members, valets and butlers. His last screen role was in Adam's Rib (1949), in the uncredited part of a taxi driver.

Trivia: Welsh-born actor Gerald Hamer was one of a legion of British actors working in Hollywood in the 1930s and 1940s. A character player who could melt into any part he portrayed, he might be totally forgotten today except that he has the distinction of playing one of the most sinister roles in any of the Basil Rathbone/Nigel Bruce Sherlock Holmes movies, the part of Potts/Tanner/Ramsden in The Scarlet Claw. A true psychopath, with none of the suave villainy of, say, George Zucco or Henry Daniell in their portrayals of Holmes' antagonists, Potts is memorably crafty and savage in a series that usually prided itself on glib-tongued villainy. It's also a tribute to Hamer's skills as an actor that the producers saw no reason not to use him in roles in four other films in the series, as John Grayson/Alfred Pettibone in Sherlock Holmes in Washington, Kingston in Pursuit to Algiers, Major Langford in Sherlock Holmes Faces Death, and Mr. Shallcross in Terror By Night, the latter two after The Scarlet Claw. A British stage veteran from 1916, whose theatrical credits included King Henry VIII, The Taming of the Shrew, and The Admirable Chrichton, Hamer worked in Hollywood from the mid-'30s until 1951, his other thrillers include Bulldog Drummond's Bride and The Lodger, but he also slipped into more benign settings, such as the cast-of-hundreds war relief effort Forever and a Day and George Stevens' Swing Time, equally well.

Trivia: Hailing from Australia despite his distinctive, clipped British accent, C. Montagu Shaw (the initial stood for "Charles") appeared in countless Hollywood pictures from 1926-1953, almost always cast as distinguished types. In his later years, Shaw made serials his specialty, appearing as the Clay King in Flash Gordon's Trip to Mars (1938), Dr. Malcolm in Daredevils of the Red Circle (1939), Professor Scott, the heroine's father, in The Mysterious Doctor Satan (1940), Dr. Huer in Buck Rogers (1940), and Dr. Nicholson in G-Men vs. the Black Dragon (1943). Shaw's most notable contribution to the genre, however, came in Zorro's Fighting Legion (1939) as Pablo, the dignified council member who turns out to be the nefarious Don del Oro, a megalomaniac hiding behind a hideous mask. Shaw retired in the early 1950s and died at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: A debonair stage actor from South Africa who often sported an impressively florid mustache, Kenneth Hunter played the "other man" in several melodramas of the early 1910s, including The Ransom (1916) opposite Broadway star Julia Dean and Daredevil Kate (1916) opposite femme fatale Virginia Pearson (both produced in New York City). After more than a decade of stage work, Hunter returned to the screen in the late '30s, mainly playing ramrod-straight military officers: the commandant in Lancer Spy (1937), a general in The Little Princess (1939), and a brigadier general in The Red Danube (1949). He was also Sir Mortimer in The Adventures of Robin Hood (1938), Lord Tyrmanell in The Earl of Chicago (1940), and a mounted police inspector in The Lodger (1944).

Trivia: Irish actor Colin Kenny was in films from 1917. Kenny was seen as Cecil Greystoke, Tarzan's romantic rival, in Tarzan of the Apes (1918) and its sequel The Romance of Tarzan (1918). In talkies, Kenny was consigned to such single-scene roles as the Talking Clock in Alice in Wonderland (1933) and Sir Baldwin in The Adventures of Robin Hood (1938); he also showed up as British-India military officers and Scotland Yard operatives. Colin Kenny kept working until 1964, when he and dozens of his fellow British expatriates appeared in My Fair Lady (1964).

Trivia: British character actor in Hollywood films, onscreen from the late '20s.

Trivia: British stage actor and producer Wilson Benge inaugurated his Hollywood career in 1922. From 1925's Lady Windemere's Fan onward, the slight, balding Benge was typecast in butler and valet roles. He played Ronald Colman's faithful retainer Denny in 1929's Bulldog Drummond, performed virtually the same function for Colman as Barraclough the valet in Raffles (1930), and portrayed Brassett in the 1931 version of Charley's Aunt, among many others. His "domestic" career extended to such two-reelers as Laurel and Hardy's Scram (1932). One of Benge's few non-servant roles was supposed murder victim Guy Davies in the 1945 Sherlock Holmes entry The House of Fear. He remained active in films until 1951, essaying still another manservant role in Royal Wedding (1951). Wilson Benge was married to actress Sarah L. Benge, who preceded him in death by one year.

Trivia: A handsome, mustachioed bit player from England, long in Hollywood, Clive Morgan played Tarzan's evil cousin in the 1929 Universal serial Tarzan the Tiger (1929). Roles thereafter were miniscule, often military officers, doormen, sales clerks, and others. Morgan's screen career lasted well into the 1960s.

Trivia: Short, stout Scottish actor David Thursby came to Hollywood at the dawn of the talkie era. Thursby was indispensable to American films with British settings like Werewolf of London and Mutiny on the Bounty (both 1935). He spent much of his career at 20th Century Fox, generally in unbilled cameos. Often as not, he was cast as a London bobby (vide the 1951 Fred Astaire musical Royal Wedding, in which he was briefly permitted to sing). David Thursby remained active until the mid-60s.

Trivia: In American films from 1917, British actor Herbert Evans played countless butlers, bobbies, store clerks, porters and pursers. Evans usually differentiated between his high-born and "common" characters through the simple expedient of sporting a monocle. Only a handful of his characters actually had names; among the few that did were Count von Stainz in MGM's Reunion in Vienna (1933) and Seneschal in Warners' The Adventures of Robin Hood (1938). Towards the end of his career, Herbert Evans exhibited a heretofore untapped skill for farce comedy in a brace of Three Stooges shorts, Who Done It? (1949) and Vagabond Loafers (1949).

Trivia: Dublin-born Douglas Gerrard began working in the American film industry in 1913. From 1916 to 1920, Gerrard directed films bearing titles like Polly Put the Kettle On, Empty Cab and $5000 Reward. As an actor, he appeared in such films as Merchant of Venice (1914, as Bassanio), The Dumb Girl of Portici (1916) and Omar the Tentmaker (1922). Talkies reduced him to minor roles in films like One Way Passage (1932) and Under Two Flags (1936). It is one of the vagaries of fame that Douglas Gerrard is best known to contemporary audiences as the monocled "Lord Stoke Pogis" in the Three Stooges 2-reeler Ants in the Pantry (1936).

Trivia: Veteran American silent-screen actress Ruth Clifford began her career at the tender age of 16, starring for various Universal companies. Britisher Monroe Salisbury, the teenage Clifford's leading man in melodramas such as The Savage (1917), Hungry Eyes (1918), and The Millionaire Pirate (1919), was a paunchy gent no longer in the bloom of youth and sporting an ill-fitting hairpiece. According to the actress, although ever the gentleman, Mr. Salisbury's appearance made love scenes somewhat uneasy. Clifford played Ann Rutledge in Abraham Lincoln (1924), but overall her career was on the wane when she struck up a lifelong friendship with director John Ford in the late 1920s. Along with another early silent-screen actress, Mae Marsh, Clifford would turn up in about every other Ford film, usually playing pioneer women. In more glamorous surroundings, Clifford and Marsh stole the limelight for a brief moment as aging saloon belles in Three Godfathers (1948) and, away from Ford, Clifford was the studio head's secretary in Wilder's Sunset Boulevard (1950). Her last recorded appearance was in Ford's Two Rode Together in 1961; she was billed merely as "Woman." Although not known for enjoying interviews, Clifford was keenly interested in film history and made appearances in two documentaries on the subject: the 1984 Ulster Television program A Seat in the Stars: The Cinema and Ireland and historian Anthony Slide's ground-breaking The Silent Feminists: America's First Women Directors. In the latter, she discussed the work of Elsie Jane Wilson, Clifford's director on both The Lure of Luxury (1918) and The Game's Up (1919). As old as the century, Ruth Clifford was one of the last remaining leading ladies of the early, silent era when she died at the Motion Picture Country Hospital in Woodland Hills on December 1, 1998.

Trivia: Formidable stage leading lady Doris Lloyd transferred her activities from British repertory to Hollywood in 1925. She was prominently cast as an alluring spy in George Arliss' first talkie Disraeli (1929); one year later, at the tender age of 30, she was seen as the matronly Donna Lucia D'Alvadorez in Charley's Aunt. Swinging back to younger roles in 1933, Lloyd was cast as the tragic Nancy Sykes in the Dickie Moore version of Oliver Twist. By the late 1930s, Lloyd had settled into middle-aged character roles, most often as a domestic or dowager. Doris Lloyd remained active until 1967, with substantial roles in such films as The Time Machine (1960) and The Sound of Music (1965).

Trivia: American cinematographer Lucien Ballard led a hectic existence in his early years; he briefly attended the University of Oklahoma and the University of Pennsylvania, then headed to China in search of newer adventures. Back in the States, Ballard went to work in the lumber business, sawing trees and surveying land. In 1928 he headed to Hollywood to visit a girl friend, who happened to be a script clerk at Paramount. He secured work as an assistant cameraman, then graduated to the exotic, high-priced films of director Josef von Sternberg, who promoted Ballard to camera operator. After a falling out with von Sternberg, Ballard worked steadily at Columbia Pictures, where he toiled as director of photography on the studio's B pictures and two-reel comedies. Ballard's assignments improved at 20th Century-Fox in the 1940s, where he photographed such quality productions as The Lodger and Bomber's Moon; during this period, he also handled second-unit photography on Howard Hughes' notorious The Outlaw.A master of stylized studio photography, Ballard expanded his range with his evocative semi-documentary footage in RKO's Berlin Express. During the 1950s, Ballard came to specialize in Technicolor westerns and outdoor adventure, though occasionally he'd return to his black-and-white roots with such films as Kubrick's The Killing (1955). In Rise and Fall of Legs Diamond (1960), Ballard deliberately attempted to shoot the film in a grainy, old-fashioned style, to fully convey the gritty feel of the Prohibition Era. Ballard became a favorite of cultists for his brilliant work on Sam Peckinpah's The Wild Bunch (1969) and The Getaway (1972) -- work which astonishingly failed to win Ballard the Academy Award that had eluded him all of his professional life. Like many cinematographers before him, Ballard ended up marrying one of the actresses he'd photographed: from 1944 through 1949, he was the husband of Merle Oberon. At age 80, Lucien Ballard was killed in an auto accident near his home in Rancho Mirage, California.