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When Estelle saw the girl on a white horse at the circus, she then decided that she wanted to be an actress. And she was from the age of 5, to the disapproval of her father. Her mother had her train with the Liverpool Repertory Company, and Estelle performed in many plays and many roles in the West End. In 1916, she made her debut on Broadway and worked with a number of acclaimed stage actors. Estelle spent the rest of the 'teens and '20s working in plays on both sides of the Atlantic. Being an actor in the theater, Estelle was not about to be one of those who acted in flicks and held out for a very long time. In fact, besides a small role in a few English films in the early 1930s, her real debut was Quality Street (1937), a picture that she undertook when she was in her 50s. Anyway, that was enough as it would be almost two decades before she would return to the big screen. She appeared on the stage in the plays "The Merry Wives of Windsor," "Ten Little Indians," and "The Importance of Being Earnest." But, in 1955, Estelle did return to the movies as Leslie Caron's "fairy godmother" in The Glass Slipper (1955). Estelle would spend the next 10 years appearing in films, often cast as eccentric, frail old ladies, some of whom could be deadly. Not to be left out, Estelle also would work on Television, doing guest spots in a number of shows. At 84, Estelle played a woman who was enamored by crooked Zero Mostel in the comedy The Producers (1967). Her last film would be the detective spoof Murder by Death (1976). When Estelle was asked, on the occasion of her 100th birthday, how she felt to have lived so long, she replied, "How rude of you to remind me!".

Although his parents were deaf, Leonidas Chaney became an actor and also owner of a theatre company (together with his brother John). He made his debut at the movies in 1912, and his filmography is vast. Lon Chaney was especially famous for his horror parts in movies like e.g. Quasimodo in The Hunchback of Notre Dame (1923). Due to his special make-up effects he carried the characterization to be "the man with the thousand faces." He only filmed one movie with sound: The remake of one of his earlier films The Unholy Three (1930). His son, Lon Chaney Jr., became a famous actor of the horror genre.

Douglas Fairbanks was born Douglas Elton Thomas Ullman in Denver, Colorado, to Ella Adelaide (nee Marsh) and Hezekiah Charles Ullman, an attorney and native of Pennsylvania, who was a captain for the Union forces during the Civil War. Fairbanks' paternal grandparents were German Jewish immigrants, while his mother, a Southerner with roots in Louisiana and Georgia, was of British Isles descent. From the age of five he was raised by his mother due to her husband's abandonment. She changed her sons' surnames to Fairbanks (her former husband's surname) and covered up their paternal Jewish ancestry.

He began amateur theater at age 12 and continued while attending the Colorado School of Mines. In 1900 they moved to New York. He attended Harvard, traveled to Europe, worked on a cattle freighter, in a hardware store and as a clerk on Wall Street. He made his Broadway debut in 1902 and five years later left theater to marry an industrialist's daughter.

He returned when his father-in-law went broke the next year. In 1915, he went to Hollywood and worked under a reluctant D.W. Griffith. The following year he formed his own production company. During a Liberty Bond tour with Charles Chaplin he fell in love with Mary Pickford with whom he, Chaplin and Griffith had formed United Artists in 1919. He made very successful early social comedies, then highly popular swashbucklers during the 'twenties. The owners of Hollywood's Pickfair Mansion separated in 1933 and divorced in 1936. In March 1936, he married and retired from acting.

Pauline Frederick was born Pauline Beatrice Libby in Boston, Massachusetts on August 12, 1883. She was fascinated with show business from an early age and throughout her childhood, she was bred for a career in music. It has been said she had a terrific soprano voice, but Pauline also dabbled a bit in acting. It was her acting ability that would make her famous. She starred in several stage productions with her manager, Benjamin Teal, guiding her every step of the way. Before long, Pauline was making a name for herself up and down the East Coast, especially in the hallowed halls of Broadway. The hard line critics raved of her appearances in productions such as "Samson" and "Joseph and His Brothers". Before long, it was recognized that a stage play with Pauline starring in it signified a top quality production. Pauline was at the pinnacle of her career, but with the fledgling film colony, then located in New York, it was only a matter of time before the movie moguls wooed her from the stage and into a film studio. They did. Pauline's first film on the silver screen was THE EMERALD CITY in 1915. She was 32, an age where most newcomers were much younger, but Pauline's reputation preceded her. Her name was a virtual drawing card for the flick and it turned out to be a success. Pauline was out of the gate and running. She had two other very successful films that year, BELLA DONNA and LYDIA GILMORE. The next two years saw Pauline in a number of high quality motion pictures. 1918 turned out to be a banner year for Pauline as her star power would shine bright with the critics and public alike in films such as FEDORA, RESURRECTION, and LA TOSCA. The latter film solidified Pauline's star power. In 1920, Pauline played Jacqueline Floriot in MADAME X in probably her greatest performance in her personal history. By now she had arrived in the new film colony of Hollywood, California to make films for Samuel Goldwyn. She quickly adapted to her new home. She began to pare back her film appearances, balancing her film work with continued acting on the stage in New York. But homesickness for her adopted home brought Pauline back to California and more starring roles. Because of her stage work and great screen presence, Pauline never had any trouble when movies switched from the silent era to sound. In 1932, Pauline she successfully played in WAYWARD with Nancy Carroll and Richard Arlen. Seven more sound films followed, each greeted with great success. Her final film was made in 1937 in THANK YOU, MR. MOTO. She may have continued to play on the big screen, after all she was only 54 years old. She had asthma which limited her activities somewhat. On September 19, 1938, Pauline died from that condition in Beverly Hills, California. She was just 55 years old.

Francis X. Bushman was born on 10 January 1883 in Baltimore, Maryland, USA. He was an actor and director, known for Sabrina (1954), The Phantom Planet (1961) and Ben-Hur: A Tale of the Christ (1925). He was married to Iva Millicient Richardson, Norma Emily Atkin, Beverly Bayne and Josephine Fladine Duval. He died on 23 August 1966 in Pacific Palisades, California, USA.

Forever embraced as the mumbling, bumbling Aunt Clara on the Bewitched (1964) television series, endearing character actress Marion Lorne had a five-decade-long career on the stage before ever becoming a familiar TV household name.

Born Marion Lorne MacDougall on August 12, 1883 (other sources list 1885 and 1888), she grew up in her native Pennsylvania, the daughter of Scottish and English immigrants. Trained at the American Academy of Dramatic Arts in New York, she appeared in stock shows, and was on the Broadway boards by 1905. She married English playwright Walter C. Hackett and performed in many of his plays throughout the 1920s and 1930s, including "Hyde Park Corner" and "The Gay Adventure". They at one point settled in England where they co-founded the Whitehall Theater. It was there that Marion began to sharpen and patent her fidgety comedy eccentrics in such plays as "Pansy's Arabian Knight," "Sorry You've Been Troubled," "Espionage" and "London After Dark". Upon Hackett's death in 1944, she returned to the States and again, after a brief retirement, became a hit in such tailor-made stage shows as "Harvey".

Marion made a definitive impression via her movie debut at age 60+ in Alfred Hitchcock's immortal suspenser Strangers on a Train (1951) as murderer Robert Walker's clueless, smothering mother. Surprisingly Hollywood used her only a couple more times on film after that auspicious beginning -- a grievously sad waste of a supremely talented comedienne. Marion wisely turned to TV instead and proved a dithery delight in such sitcoms as Mister Peepers (1952) and Sally (1957), gaining quirky status as well as part of the comedy ensemble on The Garry Moore Show (1958).

It was, however, her role as Elizabeth Montgomery's befuddled, muttering, doorknob-collecting witch-aunt on Bewitched (1964) -- whether bouncing into walls or conjuring up some unintended piece of witchcraft -- that put a lasting sheen on her long career. For that role she deservedly won an Emmy trophy for "Best Supporting Actress" -- albeit posthumously. Montgomery accepted her award. Sadly, Marion succumbed to a heart attack on May 9, 1968, just ten days before the actual ceremony. Elizabeth Montgomery gave a touching acceptance speech on her behalf.

Hungarian-born S.Z. Sakall was a veteran of German, Hungarian and British films when he left Europe because of the rise of Adolf Hitler and the Nazi movement. In Hollywood from shortly after the outbreak of World War II, Sakall began appearing in comedies and musicals, often playing a lovable if somewhat excitable and/or befuddled uncle, businessman or neighborhood eccentric. Memorable as the waiter in Casablanca (1942) and as a somewhat lecherous Broadway producer in Yankee Doodle Dandy (1942). He retired from films in 1954 and died of a heart attack in Hollywood in 1955.

Ned Sparks proved himself a top character support whose style would be imitated for decades to come. Although less remembered now, he was an inimitable cinematic player back in 1930s Hollywood. The nasal-toned, deadpan comedian Sparks was born Edward A. Sparkman in Guelph, Canada, and was raised for a time in St. Thomas, Ontario. He attended the University of Toronto and, after a period of soul-searching, decided upon acting. He began, believe it or not, as a honky-tonk balladeer in Dawson Creek, Alaska. In 1907, he went to New York and developed his stone-faced reputation in comic outings. His first film in 1915 did not lead to other offers, particularly during a black-balling incident as a one of the founding members of Actors Equity. In 1922, his movie career headed full steam, but it was the advent of sound with Ned's cynical tones, raspy whines and sour disposition that sparked a comfortable film niche, making close to 100 films in all. Gold Diggers of 1933 (1933), Going Hollywood (1933), the Caterpillar in the all-star Alice in Wonderland (1933), the Claudette Colbert and Louise Beavers version of Imitation of Life (1934) were just a few of his more noticeable roles. His cigar-chomping puss became so well-known at Warner Bros., in fact, that Walt Disney's short animated film Broken Toys (1935) had a Jack-in-the-Box character based exclusively on Ned's image. A few years later, when Disney made Mother Goose Goes Hollywood (1938), Ned's caricature played The Jester. In 1939, Tex Avery portrayed him as a hermit crab in Fresh Fish (1939). A radio favorite over the years, he performed alongside Bing Crosby quite frequently. His last disagreeable Hollywood role would be alongside James Stewart in Magic Town (1947). In 1957, he died of an intestinal blockage.

She was born Edna May Nutter, a child of solid New England stock, on 9th November 1883 in Malden, Massachusetts. The daughter of Ida May and Charles Edward Nutter, Edna was a descendant of the 2nd American president John Adams and his son, the 6th American president John Quincy Adams. In addition, her father's stepfather, Samuel Oliver, had a mother named Julia Adams who was descended from another John Adams (born 1724). Miss Oliver took an early interest in the stage, and she would quit school at the age of 14 to pursue her ambitions in the theater. Despite abandoning traditional schooling, Edna continued to study the performing arts, including speech and piano. One of her first jobs was as pianist with an all female orchestra which toured America around the turn of the century. By 1917 she had achieved success on Broadway in the hit play "Oh, Boy". By 1923 she had appeared in her first film. Edna May Oliver seems to have been born to play the classics of American and British literature. Some of her most memorable film roles were in adaptations of works of Charles Dickens. Although some have described her as plain or "horse faced", Edna May Oliver's comedic talents lent a beautiful droll warmth to her characters. She was usually called upon to play less glamorous roles such as a spinsters, but she played them with such soul, wit, and depth that to this day she remains one of the best loved of Hollywood's character actresses. A fine example of her comedic talent can be found in Laugh and Get Rich (1931). Here we find her playing a role almost autobiographical in nature, that of a proud woman with Boston roots who has married "down". As the plot unwinds, she is invited to a society gala despite her modest circumstances. At the gala she becomes tipsy. With a frolicsome air Edna May seems to use the role to gently mock her real self. Her slightly drunk character seizes upon a bit of flattery, and alluding to her old New England family, proudly proclaims to each who will listen, "I am a Cranston. That explains everything!". In real life, Edna May Oliver was a Nutter, and perhaps that explains everything. Edna May Oliver married stock broker David Pratt in 1928, but the marriage ended in divorce five years later. In 1939 she received an Oscar nomination for her supporting role as Widow McKlennar in the picture Drums Along the Mohawk (1939). That was to be one of her last films. Miss Oliver was struck ill in August of 1942. Although she seemed to recover briefly, she was re-admitted to Los Angeles's Cedars of Lebanon hospital in October Her dear friend actress Virginia Hammond flew out from New York to stay by her bedside. Edna May Oliver died on her 59th birthday, 9th November 1942. Virginia Hammond was with her and said, "She died without ever being aware of the gravity of her condition. She just went peacefully asleep."

Benito Amilcare Andrea Mussolini was born in Predappio, Emilia-Romagna, Italy. He was the son of Alessandro Mussolini, a socialist, and Rosa Maltoni, a devout Catholic schoolteacher. In 1915, Mussolini married Donna Rachele Guidi. Together, they had five children. On October 31, 1922, at the age of 39, Mussolini became the Prime Minister of Italy. He was removed from power and placed under arrest by order of King Victor Emmanuel III in July 1943, but two months later was rescued by the Germans and installed as the puppet leader of a German client state, the Italian Social Republic. On April 28, 1945, Mussolini was shot dead by Italian Communists in Giulino di Mezzegra, Lombardy, Italy and his corpse was hung by its feet. He was 61 years old. In 1957, his remains were allowed to be interred in the Mussolini family crypt in his home town of Predappio. His tomb has become a place of pilgrimage for neo-fascists and the anniversary of his death is marked by neo-fascist rallies.

Joseph Crehan was born on 15 July 1883 in Baltimore, Maryland, USA. He was an actor, known for Black Magic (1944), Dick Tracy Meets Gruesome (1947) and The Case of the Stuttering Bishop (1937). He was married to Dorothy R. Lord. He died on 15 April 1966 in Hollywood, Los Angeles, California, USA.

Mary Forbes was born on 1 January 1883 in Hornsey, Middlesex [now in Haringey, London], England, UK. She was an actress, known for You Can't Take It with You (1938), The Awful Truth (1937) and The Picture of Dorian Gray (1945). She was married to Wesley Wall, Charles Quatermaine and Ernest J. Taylor. She died on 22 July 1974 in Beaumont, California, USA.

Following a two-year apprenticeship under Cecil B. DeMille as assistant director, Samuel Grosvenor Wood had the good fortune to have assigned to him two of the biggest stars at Paramount during their heyday: Wallace Reid (between 1919 and 1920) and Gloria Swanson (from 1921 to 1923). By the time his seven-year contract with Paramount expired, the former real estate dealer had established himself as one of Hollywood's most reliable (if not individualistic) feature directors. Not bad for a former real estate broker and small-time theatrical thesp. In 1927, Wood joined MGM and remained under contract there until 1939. During this tenure he was very much in sync with the studio's prevalent style of production, reliably turning out between two and three films a year (of which the majority were routine subjects).

Most of his films in the 1920s were standard fare and it was not until he directed two gems with The Marx Brothers, A Night at the Opera (1935) and A Day at the Races (1937) that his career picked up again. Looking at the finished product it is difficult to reconcile this to Groucho Marx finding Wood "rigid and humorless". Maybe, this assessment was due to Wood being vociferously right-wing in his personal views which would not have sat well with the famous comedian. His testimonies in 1947 before the House Un-American Activities Committee certainly gained Wood more enemies than friends within the industry.

Regardless of his personality or his habitually having to shoot each scene twenty times over, Wood turned out some very powerful dramatic films during the last ten years of his life, beginning with Goodbye, Mr. Chips (1939). This popular melodrama earned him his first Academy Award nomination. At RKO, he coaxed an Oscar-winning performance out of Ginger Rogers (and was again nominated himself) for Kitty Foyle (1940). Ronald Reagan gave, arguably, his best performance in Kings Row (1942) under Wood's direction. His most expensive (and longest, at 170 minutes) assignment took him back to Paramount. This was Ernest Hemingway's Spanish Civil War drama For Whom the Bell Tolls (1943), bought for $150,000 (De Mille was originally slated as director). In spite of editorial incongruities and the relatively uneven pace, the picture turned out to be the biggest (and last) hit of Wood's career.

Sam Wood died of a heart attack on September 22 1949. He has a star on the Walk of Fame on Hollywood Boulevard.

Leonard Mudie was a stalwart acting veteran who made nearly 150 appearances before the camera. He was from the Midlands of England and began on stage in 1908 at the Gaiety Theater (1884-1959) in Manchester. This was the first regional repertory theater in England and well noted for the spectrum of plays produced and the patronage of new plays by local writers. Mudie was well accomplished when he came to America and Broadway in 1914, where he first appeared in the original play "Consequences". He was active there off and on through 1948 in some twenty-five roles. Later in 1921 Mudie was lured to Hollywood and silent films, sampled two for a year and then returned to Broadway. But after late 1931 Mudie returned to Hollywood, not to return to the Great White Way until his last appearance in 1948. Hollywood sound era could use his efficient, somewhat nasal British intonation and did - profusely. He managed to appear as at least a featured extra - not always with lines - in many of the great and historic films of the mid 1930s. About half his roles to 1946 were uncredited, but his was a steady voice of realism in whatever the part: stiff British official, doctor, lawyer - lots of judges - but also many an everyman role. In 1935 alone he was in thirteen films. And in one of these he was a particularly noteworthy judge. Warner Bros. was gambling on a dashing but relatively untried and unknown Australian (well Tasmanian) actor named Errol Flynn for a hoped hit remake version of the Rafael Sabatini novel Captain Blood (1935). Production was combing Hollywood for character actors for the huge cast, and Mudie was picked for one of the most villainous yet historical characters of the film, Chief Judge George Jeffreys, Baron of Wem, the "Hanging Judge", who presided over the "Bloody Assizes", the wholesale trials of the followers of the Duke of Monmouth's Rebellion at the beginning of the film. Flynn's first big dramatic scene is his confrontation with Jeffreys, bewigged and looking ashen with the kidney disease killing him. It is a great scene with great lines for both actors. Mudie was busy with over ten roles per year from 1937 thru 1941 before he began to slow down, age bringing about fewer character roles -- four or so per annum in the ensuing years. He had a somewhat prophetic line playing an old traditional actor Horace Karlos in a Charlie Chan whodunit The Scarlet Clue (1945) when he makes a reference to appearing in the still infant television as "Well, it's a living!" Indeed by 1953 Mudie got his feet wet in TV, and by later 1955 he was more a fixture of that medium than film and visiting all the varied series with a full sprinkling of character roles-including judges. In fact in the super cast of Hollywood who's who in the film The Story of Mankind (1957), he was the Chief Inquisitor for the cosmic aliens putting humanity on trial. That bit of fantasy was director by future sci-fi and underwater adventure showman Irwin Allen. He finished off his long, busy life with a few more TV roles at 82 - it certainly was a living.

American actor who specialized in timid or whiny characters. He appeared on the stage in England and in the USA, and performed in musical comedy. He began his film work in silents and often worked in the films of Hal Roach.

Although all too frequently neglected by fans of silent comedy, Max Linder is in many ways as important a figure as Charles Chaplin, Buster Keaton or Harold Lloyd, not least because he predated (and influenced) them all by several years and was largely responsible for the creation of the classic style of silent slapstick comedy.

Linder started out as an actor in the French theatre, but after making his screen debut in 1905 he quickly became an enormously famous and successful film comedian on both sides of the Atlantic, thanks to his character "Max," a top-hatted dandy. By 1912 he was the highest-paid film star in the world, with an unprecedented salary of one million francs. He began to direct films in 1911 and showed equal facility behind the camera, but his career suffered an almost terminal blow when he was drafted into the French army to fight in World War I. He was gassed, and the illness that resulted would blight his career. Although offered a contract in America, recurring ill health meant that his US films had little of the sparkle of his early French work, and a brief attempt to revive his career by making films for the recently-formed United Artists (one of whose founders, of course, was Chaplin) in the early 1920s came to little, although these later films are now regarded as classics. He returned to France and killed himself in a suicide pact with his wife in 1925.

Franz Kafka was born into a German-speaking Jewish family in Prague, Austrian Empire, in 1883. His father, Hermann Kafka, was a business owner and a domestic tyrant, frequently abusing his son. Kafka later admitted to his father, "My writing was all about you...". He believed that his father broke his will and caused insecurity and guilt, that affected his whole life. Their tensions come out in "The Trial" and in "The Castle" in form of a hopeless conflict with an overwhelming force. His mother, Julie Lowy, came from an intellectual, spiritual family of the Jewish merchant and brewer Jakob Lowy. Although her influence was diminished by his dominating father, she shared her son's delicate nature. Kafka had a few relationships with women and was engaged, but never made a family.

He finished the German National Gymnasium in 1901, and graduated from the German University in Prague as Doctor of Law in 1906. He worked for insurance companies for the rest of his life. His profession shaped the formal, cold language of his writings which avoided any sentimental interpretations, leaving it to the reader. In 1908 Kafka published eight short stories compiled under the title "Meditation". In 1911 he became interested in Yiddish theater, that absorbed him more than abstract Judaism. In 1912 he began writing "The Judgment", which was more than an autobiography, providing a therapeutical outlet for his wrecked soul. The same year he started "Metamorphosis" about a traveling salesman, who transformed into a giant bug. In 1914 he wrote "In the Penal Colony" and "The Trial", which is regarded to be his best work. His style remains unique, though literary connections may be traced to Edgar Allan Poe, E.T.A. Hoffmann and Nikolay Gogol, as well as to Chinese parables, to the Bible and Talmud.

As a Jew Kafka experienced social tensions and isolation from the German community, so very few of his writings could find readers during his life. His three sisters later died in the Nazi concentration camps. He suffered from clinical depression, social anxiety, insomnia, and tuberculosis, complicated by laryngitis, that caused him the loss of his voice before his death in 1924. He was comforted by his girlfriend Dora Diamant, who had broken away from her Hasidic shtetl in Poland. She was 19 when they met in 1923 and Kafka wrote to her parents, asking for their permission to marry her. Their answer was negative, because Kafka presented himself as a non-religious Jew. He asked Dora to destroy his manuscripts after his death, but she kept about 20 notebooks of his writings and 35 private letters, that were reportedly confiscated by the Gestapo in 1933 and are not yet recovered. His university friend Max Brod became his editor, biographer and literary agent, who preserved and published most of Kafka's works posthumously, including the unfinished novels "The Trial", "The Castle", and "America".

Moshe "Mauritz" Stiller, born July 17, 1883, in Helsinki, Finland, was a director, writer and actor. He began his artistic activity in the theatre, as an actor at 16. Mauritz Stiller portrayed 87 roles from 1899-1916 and directed 16 productions 1911-28. Together with Viktor Sjöström ( director, actor, writer) he was recruited in 1912 as director/actor to the Swedish film industry by Charles Magnusson at AB Svenska Biografteatern. Mauritz Stiller's films was instantly successful. During his first year he directed six feature films. "Herr Arnes pengar" (1919), "Erotikon" (1920) and "Gösta Berlings saga" (1923) are three cornerstones of Swedish film production. In "Gösta Berlings saga" Greta Garbo, 18 years old, made her first major role. Greta Garbo and Mauritz Stiller came to be best friends and allies forever. Stiller introduced Garbo to the German audience in 1925, before the two sailed of to the USA to make "The Temptress" for Paramount/Irving Thalberg in 1926. Mauritz Stiller directed 51 feature films and appeared as an actor in seven productions from 1912-1927. At 1:05 am Nov 8, 1928, Mauritz Stiller died in Stockholm, after undergoing numerous surgeries, an abscess of a lung ended a great artist's life.

Ralph Morgan was born on 6 July 1883 in New York City, New York, USA. He was an actor, known for Strange Interlude (1932), Rasputin and the Empress (1932) and The Power and the Glory (1933). He was married to Grace Arnold. He died on 11 June 1956 in New York City, New York, USA.

Virginia Brissac was an actress, best known for Rebel Without a Cause (1955), Dark Victory (1939) and The Scarlet Clue (1945). Prior to her work in film and television, she had a thirty-year career as a stage actress on the West Coast stock circuit, including three years in residence with her own company in San Diego, managed by then husband John Griffith Wray. She had one daughter, Ardel Wray, by a previous marriage.

Edward E. Clive was a Welsh-born actor/manager, initially, it seemed, slated for a medical career. After four years, he suddenly elected to abandon his studies at the University of Wales. For the next ten years, he trod the boards in diverse theatrical productions across Britain, becoming adept at a variety of regional dialects. Clive arrived in the United States in 1912 and set up the Copley Theatre Stock Company in Boston, with himself as leading performer. By the 1920's, he made a name for himself as a producer and director on Broadway ("The Creaking Chair",1926; "The Whispering Gallery",1929; "The Bellamy Trial",1931). He also continued in his position as director of the Copley.

Clive arrived on Hollywood screens relatively late in life, making his debut with The Invisible Man (1933). Thereafter, he was effectively typecast in a long line of austere, humourless British butlers, town mayors and haughty aristocrats, his demeanour invariably ranging from gloomy to irritable. Though most these parts were often quite small, Clive managed to steal the odd scene or two. At his best, he was the burgomaster in Bride of Frankenstein (1935), Sir Humphrey Harcourt in The Charge of the Light Brigade (1936) and (in a recurring role), manservant 'Tenny' Tennison in several instalments of Paramount's 'Bulldog Drummond' series.

Greta Meyer was born on 7 August 1883 in Dessau, Germany. She was an actress, known for De jantjes (1922), Mister Dynamite (1935) and The Nuisance (1933). She died on 8 October 1965 in Gardena, California, USA.

Minor American character actor Forrest Taylor was a veteran of the stage by the time he started appearing as a silent lead in both short and feature-length films. He went on to appear in hundreds of secondary "B" movies, although his name does not appear in a large percentage of them. Taylor was born Edwin Forrest Taylor in Bloomington, Illinois, in 1883. Little is known about his early days on stage but he assayed prime roles in such films as In the Sunset Country (1915), April (1916), True Nobility (1916) and The Abandonment (1916) before World War I service intervened. With his leading-man career fatally interrupted, he would not return to films until a decade later in 1926. Playing a few strong supports, he regressed quickly to atmospheric bits primarily in westerns and cliffhangers. With a no-nonsense attitude and imposingly thick mustache, his attorneys, judges, scientists, executives and professors were for the most part scarcely acknowledged, so when he did receive a bit more screen time than usual he pounced on the opportunity, such as he got in John Wayne's programmer Riders of Destiny (1933) where he played a sagebrush villain; the serial Shadow of Chinatown (1936) as a Chief of Police; and The Oregon Trail (1939) as a nemesis to hero Johnny Mack Brown. Taylor also managed some deliciously hammy roles in a few popular serials including The Green Archer (1940), The Spider Returns (1941) and The Iron Claw (1941). On-camera for nearly five decades, he extended himself into TV programming in the 1950s, taking part in various TV westerns including episodes of Adventures of Wild Bill Hickok (1951), Annie Oakley (1954), The Life and Legend of Wyatt Earp (1955), Maverick (1957) and My Friend Flicka (1955), not to mention both Gene Autry's and Roy Rogers' weekly shows. He was an occasional player on the series The Cisco Kid (1950) from 1950 on, and from 1952-1954 had one of his more visible roles as Grandpa Fisher on the religious TV series This Is the Life (1952). Broaching the age of 80, Taylor finally retired in 1962 after filming an episode of Bonanza (1959) and died three years later of natural causes in Garden Grove, California.

A senior Greek lady spotted on a New York restaurant visited by filmmaker William Friedkin, Vasiliki Maliaros impressed the director with her age and presence, and later he decided to cast her in the role of Jason Miller's mother (Father Karras) in the classic horror The Exorcist (1973). She was not a professional actress, and at the time she was reaching nearly 90-years-old when she landed the brief but key role in the film, one of the most acclaimed and controversial films of all time. Sadly, Vasiliki passed away a few months prior to the film's release, in early 1973.

Born in Austria in 1883, Ludwig Stossel was an established theater presence (from age 17) in both his homeland and in Germany for decades, performing at one time or another for both Max Reinhardt and Otto Preminger. He made a handful of German silents beginning in 1926 and had moved with ease into sound pictures.

The Nazi invasion of Austria forced Stossel to emigrate to the United Kingdom in 1938. He rekindled his film career there but moved to America within a couple years. Many German and Austrian actors left their countries because of the Nazi takeover and emigrated to the US, winding up in Hollywood where they formed a sort of "colony", often being used in war-themed dramas to play either refugees or Nazi officers and officials. Stossel found a plethora of work that made use of his thick accent and benevolent countenance, his balding characters often accompanied by a monocle and handlebar mustache. He provided secondary but memorable foreign characters in such WWII classics as Casablanca (1942), Kings Row (1942), and the Lou Gehrig biopic The Pride of the Yankees (1942) as Gehrig's (Gary Cooper) father.

Firmly established in Hollywood, the amiable Stossel continued playing sweet and wise old souls throughout the remainder of his career. Particularly outstanding was his role as Albert Einstein in The Beginning or the End (1947). He also worked on TV in the 1950s and is perhaps best remembered for his long series of commercials for Italian Swiss Colony wine in which he played "that little old winemaker, me!" in Swiss costume. Married to actress Eleanore Stossel, he died in 1973 at age 89 in Beverly Hills, California.