Trivia: Debonair and distinguished British star of stage and screen for more than 50 years, Sir Rex Harrison is best remembered for playing charming, slyly mischievous characters. Born Reginald Carey in 1908, he made his theatrical debut at age 16 with the Liverpool Repertory Theater, remaining with that group for three years. Making his British stage and film debut in 1930, Harrison made the first of many appearances on Broadway in Sweet Aloes in 1936. He became a bona fide British star that same year when he appeared in the theatrical production French Without Tears, in which he showed himself to be very skilled in black-tie comedy. He served as a flight lieutenant in the RAF during World War II, although this interruption in his career was quickly followed by several British films. Harrison moved to Hollywood in 1945, where his career continued to prosper. Among his many roles was that of the king in the 1946 production of Anna and the King of Siam. Harrison was perhaps best known for his performance as Professor Henry Higgins in the musical My Fair Lady, a character he played on Broadway from 1956-1958 (winning a Tony award in 1957) and again in its 1981 revival, as well as for a year in London in the late '50s; in 1964, he won an Oscar for his onscreen version of the role. He had previously received a Best Actor Oscar nomination for his portrayal of Julius Caesar in Cleopatra (1963). Harrison continued to act on both the stage and screen in the 1970s and into the '80s. He published his autobiography, Rex, in 1975, and, four years later, edited and published an anthology of poetry If Love Be Love. Knighted in 1989, he was starring in the Broadway revival of Somerset Maugham's The Circle (with Stewart Granger and Glynis Johns) until one month before he died of pancreatic cancer in 1990. Three of Harrison's six marriages were to actressesLilli Palmer, Kay Kendall, and Rachel Roberts.

Trivia: Daughter of a Texas postal clerk, actress Linda Darnell trained to be a dancer, and came to Hollywood's attention as a photographer's model. Though only 15, Darnell looked quite mature and seductive in her first motion picture, Hotel For Women (1937), and before she was twenty she found herself the leading lady of such 20th Century-Fox male heartthrobs as Tyrone Power and Henry Fonda. Weary of thankless good-girl roles, Darnell scored a personal triumph when loaned out to United Artists for September Storm (1944), in which she played a "Scarlett O'Hara" type Russian vixen. Thereafter, 20th Century-Fox assigned the actress meatier, more substantial parts, culminating in the much-sought-after leading role in 1947's Forever Amber. Director Joseph L. Mankiewicz followed up this triumph by giving Darnell two of her best parts--Paul Douglas' "wrong side of the tracks" wife in A Letter to Three Wives (1949) and Richard Widmark's racist girlfriend in No Way Out (1950) (though befitting her star status, Darnell "reformed" at the end of both films). When her Fox contract ended in 1952, Darnell found herself cast adrift in Hollywood, the good roles fewer and farther between; by the mid-1960s, she was appearing as a nightclub singer, touring in summer theatre, and accepting supporting roles on television. Tragically, Darnell died in 1965 of severe burns suffered in a house fire. Ironically, Darnell had a lifelong fear of dying in flames, speaking publicly of her phobia after appearing in a "burned at the stake" sequence in the 1946 film Anna and the King of Siam.

Trivia: Barbara Lawrence already had 10 years' experience as a photographer's model when, at age 17, she appeared in her first film, Billy Rose's Diamond Horseshoe (1945). She completed her studies at UCLA while co-starring in such 20th Century-Fox productions as Margie (1946) and Unfaithfully Yours (1948). Only occasionally a leading lady, Lawrence was generally cast as the heroine's best friend -- or, if there was a man involved, worst enemy. Lawrence's best-known screen role was the giggling Gertie Cummings in Oklahoma (1955), a part she had previously played on stage. In 1977, an unexpected biography appeared, Jim Connor's Hollywood Starlet: The Career of Barbara Lawrence.

Trivia: Born Hubert Vallee, he began playing the saxophone in his teens, then formed his own band in college. After graduating he formed another band, The Connecticut Yankees. He soon became popular as a singer on radio, in nightclubs, and on the stage; he became known as a "crooner," and his singing had a mysterious effect on some of the women in his audience, who were said to "swoon." He began appearing in films at the advent of the sound era; he starred in numerous light romantic films and shorts in the '30s, often seen holding his trademark, a megaphone. Later a second phase of his screen career began when he specialized in caricaturing stuffy, eccentric millionaires. From 1943-44 he was married to actress Jane Greer. He wrote two memoirs, My Time is Your Time (1962) and Let the Chips Fall (1975).

Trivia: Raised in Switzerland, Kreuger attended college in London and New York. He began appearing in films in 1943; thanks to his classic Aryan looks and Continental accent he was frequently cast as young Nazis, though he occasionally got romantic leads. Rugged and blond, he became very popular with women, and for a time he was 20th Century-Fox's #3 male pinup. He might have become a star, but he was never cast in suitably central roles. Kreuger became an American citizen in 1944. During the '50s he appeared primarily in European films, then later returned to Hollywood in supporting roles. He last appeared onscreen in 1967, but went on to occasional work on TV. He became a millionaire in Hollywood real estate transactions.

Trivia: American comic actor Edgar Kennedy left home in his teens, smitten with the urge to see the world. He worked a number of manual labor jobs and sang in touring musical shows before returning to his native California in 1912 to break into the infant movie industry. Hired by Mack Sennett in 1914, Kennedy played innumerable roles in the Keystone comedies. He would later claim to be one of the original Keystone Kops, but his specialty during this period was portraying mustache-twirling villains. By the early 1920s, Kennedys screen image had mellowed; now he most often played detectives or middle-aged husbands. He joined Hal Roach Studios in 1928, where he did some of his best early work: co-starring with Laurel and Hardy, Charlie Chase and Our Gang; directing two-reelers under the stage name E. Livingston Kennedy; and receiving top billing in one of Roach's most enduring comedies, A Pair of Tights (1928). Kennedy was dropped from the Roach payroll in a 1930 economy drive, but he'd already made a satisfactory talkie debut -- even though he'd had to lower his voice to his more familiar gravelly growl after it was discovered that his natural voice sounded high-pitched and effeminate. During his Roach stay, Kennedy developed his stock-in-trade "slow burn," wherein he'd confront a bad situation or personal humiliation by glowering at the camera, pausing, then slowly rubbing his hand over his face. In 1931, Kennedy was hired by RKO studios to star in a series of two-reelers, unofficially titled "Mr. Average Man." These films, precursors to the many TV sitcoms of the 1950s, cast Kennedy as head of a maddening household consisting of his dizzy wife (usually Florence Lake, sister of Arthur "Dagwood" Lake), nagging mother-in-law and lazy brother-in-law. Kennedy made six of these shorts per year for the next 17 years, taking time out to contribute memorable supporting roles in such film classics as Duck Soup (1933), San Francisco (1936), A Star Is Born (1937) and Anchors Aweigh (1944). Some of Kennedy's most rewarding movie assignments came late in his career: the "hidden killer" in one of the Falcon B mysteries, the poetic bartender in Harold Lloyd's Sin of Harold Diddlebock (1946), and the classical music-loving private detective in Unfaithfully Yours (1948), which like Diddlebock was directed by Preston Sturges. On November 9, 1948, shortly after completing his 103rd "Average Man" two-reeler and 36 hours before a Hollywood testimonial dinner was to be held in his honor, Kennedy died of throat cancer; his last film appearance as Doris Day's Uncle Charlie in My Dream is Yours (1949) was released posthumously.

Trivia: When he died in early 1965, Julius Tannen rated an obituary in Variety covering the better part of a page. That may surprise anyone who is wondering "Who was Julius Tannen?" -- viewers who have seen Stanley Donen's Singin' in the Rain, or the sophisticated comedies of Preston Sturges, however, have likely delighted in Tannen's work, even if they didn't know who he was. Born in Chicago and raised in a Jewish orphanage in Rochester, NY, Julius Tannen became one of the most celebrated and successful theatrical performers of his day, in a career that took him from the vaudeville stage into some of the most important movies ever made, and on to television before a return to the stage in his twilight years. Tannen didn't intend to become a performer -- he was making a living as a salesman, and his pitch to customers proved so engaging and funny, that he received offers to entertain at parties. He made his professional debut on the vaudeville stage in 1901, at age 21, and developed a particular comedic specialty as what was then called a "monologist" -- he would stand there and talk (today, it's called standup comedy). Among many techniques that he devised, one of his most popular was that of presenting a comic story and ending it before the payoff, leaving the audience to fill in the blank space. Tannen was the first successful modern practitioner of what is now known as the comedy monolog. He was also responsible for creating the exit phrase, "My father thanks you, my mother thanks you, my sister thanks you, and I thank you" -- certainly ironic in view of his background as an orphan, this phrase, heard by a young George M. Cohan (who was then performing with the Four Cohans), was adopted by him as his bow-off signature for the rest of his career, and immortalized in the movie Yankee Doodle Dandy. Tannen played the Palace Theater in New York more often than almost any other performer, and he subsequently made the jump to legitimate theater during the 1920s, performing in Earl Carroll's Vanities and the George White Scandals. He'd already been performing professionally for three decades when the advent of talking pictures created a need for actors who could handle spoken dialogue. His first film was Lady By Choice, starring Carole Lombard, in which he played a small role. Over the next 15 years, Tannen portrayed dozens of lawyers, clerks, journalists, and police detectives, usually (but not always) unnamed in the credits. He started getting bigger roles in the late '30s, in everything from light comedies to serious dramas such as Frank Borzage's The Mortal Storm (1940). He joined the stock company of director/writer Preston Sturges with the latter's second movie, Christmas in July, and was aboard for The Lady Eve, Sullivan's Travels, and The Palm Beach Story, and he enjoyed still larger roles in the director's final Paramount films. He continued working with Sturges right up through Unfaithfully Yours. It was with director Stanley Donen, however, that Tannen scored what may have been his most prominent screen appearance, in the movie Singin' in the Rain. Tannen appears in the opening section of the movie, as the man in the short film shown at the Hollywood party, introducing sound movies ("This is a talking picture...") -- to anyone knowing the man and the history, the in joke was priceless, the world's best stage monologist debuting talking pictures. Tannen subsequently worked in the Elvis Presley film Loving You (1957) and was apparently a favorite of director John Sturges, who used him in The People Against O'Hara (1952) and The Last Train From Gun Hill (1959). Tannen retained his comic edge and melodious voice into his seventies -- on December 2, 1954, he appeared on The George Gobel Show (in a program available on video) in a sketch where he ran circles around the star, and he earned a special curtain call from Gobel. He continued performing until 1964 when he suffered a stroke at the age of 84; he died the following year. His son, Charles Tannen (1915-1980), who looked like an identical but younger version of Julius Tannen, was a very busy character actor in his own right, with film credits dating from the mid-'30s to the early '60s, before he joined CBS as an executive.

Trivia: Sour-visaged Danish actor Torben Meyer entered films as early as 1913, when he was prominently featured in the Danish super-production Atlantis. Despite his Scandinavian heritage, Meyer was usually typecast in Germanic roles after making his American screen debut in 1933. Many of his parts were fleeting, such as the Amsterdam banker who is offended because "Mister Rick" won't join him for a drink in Casablanca (1942). He was shown to excellent advantage in the films of producer/director Preston Sturges, beginning with Christmas in July (1940) and ending with The Beautiful Blonde of Bashful Bend (1949). Evidently as a private joke, Sturges nearly always cast Meyer as a character named Schultz, with such conspicuous exceptions as "Dr. Kluck" in The Palm Beach Story (1942). Torben Meyer made his last movie appearance in Judgment at Nuremberg (1961), playing one of the German judges on trial for war crimes; Meyer's guilt-ridden inability to explain his actions was one of the film's most powerful moments.

Trivia: Endowed with a voice like a bellows and a face like a bullfrog, Australian actor Robert Greig specialized in pompous-servant roles. In Greig's first talking picture, the Marx Brothers' vehicle Animal Crackers (1930), he portrays Hives, Margaret Dumont's imperious butler; Hives dominates the film's opening scene by singing his instructions to the rest of the staff, and later participates in Groucho Marx' signature tune "Hooray for Captain Spaulding". Evidently the Marx Brothers liked his work, for in 1932 Greig was cast as an unflappable chemistry professor in Horse Feathers (1932). In most of his films, Greig played variations of Hives, notably in the wacked-out 1932 comedy short Jitters the Butler, in which he willingly offers his ample derriere to be kicked at the slightest provocation. In 1940, Greig became a member of the informal stock company of writer/producer Preston Sturges. Sturges brought out untapped comic possibilities in all of his favorite character actors; accordingly, Greig's performances in The Lady Eve (1941), Sullivan's Travels (1942) and The Palm Beach Story (1942) are among his best. Fans of Robert Greig's work with Sturges and the Marx Brothers are advised to catch his non-butler roles as the Duke of Weskit in Wheeler and Woolseys Cockeyed Cavaliers (1934) and as the wealthy, gross "protector" of Hedy Lamarr in Algiers (1938).

Trivia: A dignified if somewhat corpulent British stage veteran, Evelyn Beresford joined the large British contingency in Hollywood during World War II. Usually cast as rather grand dowagers, Beresford was a virtual dead ringer for the aged Queen Victoria, whom she portrayed twice, in Buffalo Bill (1944) and Annie Get Your Gun (1950).

Trivia: Georgia Caine is best remembered today by film buffs for her work in most of Preston Sturges's classic films for Paramount Pictures, as well as the movies he subsequently made independently and at 20th Century Fox. She was practically born on stage, the daughter of George Caine and the former Jennie Darragh, both of whom were Shakespearean actors. As an infant and toddler, she was kept in the company of her parents as they toured the United States. Bitten by the theatrical bug, she left school before the age of 17 to become an actress and she started out in Shakespearean repertory. Caine quickly shifted over to musical comedy, however, and became a favorite of George M. Cohan, appearing in his plays Mary, The O'Brien Girls, and The Silver Swan, among others. In 1914, she also starred in a stage production of The Merry Widow in London. Caine was a favorite subject of theater columnists during the teens and '20s. By the end of that decade, however, after 30 years on stage, her star had begun to fade, and that was when Hollywood beckoned. The advent of talking pictures suddenly created a demand for actors and actresses who could handle spoken dialogue. She moved to the film Mecca at the outset of the 1930s, and Caine worked in more than 60 films over the next 20 years, usually playing mothers, aunts, and older neighbors. She also occasionally broke out of that mold to do something strikingly different, most notably in Camille (1937), in which she portrayed a streetwalker. Starting with Christmas in July in 1940, she was a regular member of Preston Sturges' stock company of players (even portraying a bearded lady in The Sin of Harold Diddlebock), appearing in most of his movies right up to his directorial swan song, The Beautiful Blonde From Bashful Bend (1949).

Trivia: A veteran of vaudeville and Broadway, Harry Seymour came to films with extensive credits as a composer and musical-comedy star. Unfortunately, Seymour made his movie debut in 1925, at the height of the silent era. When talkies came in, he was frequently employed as a dialogue director with the Warner Bros. B-unit. From 1932 to 1958, Harry Seymour also essayed bit roles at Warners and 20th Century Fox, most often playing pianists (Irish Eyes Are Smiling, Rhapsody in Blue, A Ticket to Tomahawk, etc.).

Trivia: Born and raised on a Wyoming ranch, American actress Isabel Jewell would only rarely be called upon to play a "Western" type during her career. For the most part, Isabel -- who made her screen debut in Blessed Event (1932) -- was typecast as a gum-chewing, brassy urban blonde, or as an empty-headed gun moll. Jewell's three best remembered film performances were in Tale of Two Cities (1935), where she was atypically cast as the pathetic seamstress who is sentenced to the guillotine; Lost Horizon (1937), as the consumptive prostitute who finds a new lease on life when she is whisked away to the land of Shangri-La; and Gone with the Wind (1939), where she appears briefly as "poor white trash" Emmy Slattery. In 1946, Isabel finally got to show off the riding skills she'd accumulated in her youth in Wyoming when she was cast as female gunslinger Belle Starr in Badman's Territory. Denied starring roles because of her height (she was well under five feet), Isabel Jewell worked as a supporting player in films until the '50s and in television until the '60s.

Trivia: In his autobiography The Moon's a Balloon, David Niven recalled the kindnesses extended to him by Hollywood's dress extras during Niven's formative acting years. Singled out for special praise was a dignified, frequently bearded gentleman, deferentially referred to as "The Major" by his fellow extras. This worthy could be nobody other than the prolific Major Sam Harris, who worked in films from the dawn of the talkie era until 1964. Almost never afforded billing or even dialogue (a rare exception was his third-billed role in the 1937 John Wayne adventure I Cover the War), Harris was nonetheless instantly recognizable whenever he appeared. His output included several of John Ford's efforts of the 1940s and 1950s. Drawing upon his extensive military experience, Major Sam Harris showed up in most of the "British India" pictures of the 1930s, and served as technical advisor for Warners' Charge of the Light Brigade (1935).

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: The son of vaudeville monologist Julius Tannen, Charles Tannen launched his own film career in 1936. For the rest of his movie "life," Tannen was most closely associated with 20th Century Fox, playing minor roles in films both large (John Ford's The Grapes of Wrath) and not so large (Laurel and Hardy's Great Guns). Rarely receiving screen credit, Tannen continued playing utility roles well into the 1960s, showing up in such Fox productions as The Fly (1958) and Voyage to the Bottom of the Sea (1961). Charles Tannen's older brother, William, was also an active film performer during this period.

Trivia: Not to be confused with the later 20th Century-Fox contract player of the same name, silent screen actor Harry Carter had appeared in repertory with Mrs. Fiske and directed The Red Mill for Broadway impresario Charles Frohman prior to entering films with Universal in 1914. Often cast as a smooth villain, the dark-haired Carter made serials something of a specialty, menacing future director Robert Z. Leonard in The Master Key (1914); playing the title menace in The Gray Ghost (1917); and acting supercilious towards Big Top performers Eddie Polo and Eileen Sedgwick in Lure of the Circus (1918). In addition to his serial work, Carter played General Von Kluck in the infamous propaganda piece The Kaiser, the Beast of Berlin (1918). It was back to chapterplays in the 1920s, where he menaced Claire Anderson and Grace Darmond in two very low-budget examples of the genre: The Fatal Sign (1920) and The Hope Diamond Mystery (1921).

Trivia: J. Farrell MacDonald was one of the most beloved and prolific character actors in Hollywood history. A former minstrel singer, MacDonald toured the U.S. in stage productions for nearly two decades before he ever set foot in Tinseltown. He made his earliest film appearances in 1911 with Carl Laemmle's IMP company (the forerunner of Universal); within two years he was a firmly established lead actor and director. While functioning in the latter capacity with L. Frank Baum's Oz Film Company, MacDonald gave much-needed work to up-and-coming extras Hal Roach and Harold Lloyd. When Roach set up his own production company in 1915 with Lloyd as his star, he signed MacDonald as director (both Roach and Lloyd would hire their one-time employer as character actor well into the sound era). In the 1920's, MacDonald had returned to acting full time, appearing extensively in westerns and Irish-flavored comedies. A particular favorite of director John Ford, he was prominently featured in such Ford silents as The Iron Horse (1924), The Bad Man (1926) and Riley the Cop (1927, as Riley). He also showed up as Kelly in some of Universal's culture-clash "Cohens and Kellys" comedies. With a voice that matched his personality perfectly, MacDonald was busier than ever in the early-talkie era, usually playing such workaday roles as cops and railroad engineers; in 1932 alone, he showed up in 18 films! Even when his footage was limited, he was always given a moment or two to shine, as witness his emotional curtain speech in Shirley Temple's Our Little Girl. He kept up his workload into the 1940s, often popping up in the films of John Ford and Preston Sturges. His later roles often went unbilled, but he gave his all no matter how fleeting the assignment. One of his choicest roles of the 1940s was as the Dodge City barkeep in Ford's My Darling Clementine (1946). J. Farrell MacDonald continued working right up to his death in 1952; one of his last assignments was a continuing character on the Gene Autry-produced TV series Range Rider.

Trivia: A stage actor, Melford began appearing in films in 1909 and was directing by the early teens. Notable among his silent films are the Rudolph Valentino vehicles The Sheik and Moran of the Lady Letty; the standout among his talkies is the Spanish-language version of Dracula, which he shot on the sets of Tod Browning's 1931 film. In the late '30s Melford left directing and returned to acting, and appeared in several major films of the '40s, including the comedy My Little Chickadee with W.C. Fields and Mae West; Preston Sturges' classic farces The Miracle of Morgan's Creek and Hail the Conquering Hero; and Elia Kazan's debut feature A Tree Grows in Brookly.

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: Gravel-voiced, granite-faced former heavyweight boxer Frank C. Moran made his film debut as a convict in Mae West's She Done Him Wrong (1933). Though quickly typecast as a thick-eared brute, Moran was in real life a gentle soul, fond of poetry and fine art. Perhaps it was this aspect of his personality that attracted Moran to eccentric producer/director/writer Preston Sturges, who cast the big lug in all of his productions of the 1940s. It was Moran who, as a cop in Sturges' Christmas in July (1940), halted a tirade by an argumentative Jewish storeowner by barking, "Who do ya think you are, Hitler?" And it was Moran who, as a tough truck driver in Sullivan's Travels (1942), patiently explains to his traveling companions the meaning of the word "paraphrase." On a less lofty level, Frank Moran shared the title role with George Zucco in Monogram's Return of the Ape Man (1944).

Trivia: Best known today for claiming to have suggested the name "Marilyn Monroe," darkly exotic Laurette Luez (real name: Loretta Luiz) had been a protégée of drama coach Marie Stoddard prior to being spotted by Cecil B. De Mille, who cast the youngster in a bit role in The Story of Dr. Wassell (1944). Luez went on to portray a seemingly endless series of South Seas islanders, pagan girls, and jungle vixens in potboilers ranging from Prehistoric Women (1950) to The Adventures of Haji Baba (1954); she also appeared in the short-running syndicated television series Adventures of Fu Manchu (1956).

Trivia: In films from 1931, Alan Bridge was always immediately recognizable thanks to his gravel voice, unkempt moustache and sour-persimmon disposition. Bridge spent a lot of time in westerns, playing crooked sheriffs and two-bit political hacks; he showed up in so many Hopalong Cassidy westerns that he was practically a series regular. From 1940's Christmas in July onward, the actor was one of the most ubiquitous members of writer/director Preston Sturges' "stock company." He was at his very best as "The Mister," a vicious chain-gang overseer, in Sturges' Sullivan's Travels, and as the political-machine boss in the director's Hail the Conquering Hero, shining brightly in an extremely lengthy single-take scene with blustery Raymond Walburn. Alan Bridge also essayed amusing characterizations in Sturges' Sin of Harold Diddlebock (1946), Unfaithfully Yours (1948, as the house detective) and the director's final American film, The Beautiful Blonde From Bashful Bend (1949).