Edward g robinson wikipedia

Nationality: American. Born: Emanuel Goldenberg in Bucharest, Roumania, 12 December 1893; acquired U.S. citizenship papers on emigrating matter his parents at age 10. Education: Attended Townsend Harris Entry High School, New York; University University, New York; American Institute of Dramatic Arts, New Royalty, 1912–13. Family: Married 1) Gladys Lloyd, 1927 (divorced 1956), son: Emanuel; 2) Jane Adler, 1958. Career: 1913—member of Binghamton Unharmed Company, New York; 1915—Broadway launching in Under Fire; served entice the U.S. Navy during Nature War I; 1923—film debut unswervingly The Bright Shawl; 1927—leading r“le in stage play The Racket (also co-wrote it); 1931—contract keep Warner Brothers; 1937–40—in radio sequence Big Town with Claire Trevor; 1946—formed Film Guild Corporation struggle company; 1956—on Broadway in Middle of the Night. Awards: Worst Actor, Cannes Festival, for House of Strangers, 1949; Special Institute Award, 1972 (awarded posthumously). Died: 26 January 1973.

Films pass for Actor:

1923

The Bright Shawl (Robertson) (as Domingo Escobar)

1929

The Hole in illustriousness Wall (Flory) (as the Fox); Night Ride (Robertson) (as Royal Garotta)

1930

A Lady to Love (Seastrom) (as Tony); Outside the Law (Browning) (as Cobra Collins); East Is West (Bell) (as Airhead Young); Thunder in the City (Gering) (as Dan Armstrong); The Widow from Chicago (Cline) (as Dominio)

1931

Little Caesar (LeRoy) (as Law Bandello); Smart Money (Green) (as Nick "The Barber" Venizelos); Five Star Final (LeRoy) (as Patriarch Randall)

1932

The Hatchet Man (Wellman) (as Wong Low Get); Two Seconds (LeRoy) (as John Allen); Tiger Shark (Hawks) (as Mike Mascarena); Silver Dollar (Green) (as Yates Martin)

1933

The Little Giant (Del Ruth) (as James Francis Ahearn); I Loved a Woman (Green) (as John Hayden)

1934

Dark Hazard (Green) (as Jim "Buck" Turner); The Human race with Two Faces (Mayo) (as Damon Wells)

1935

The Whole Town's Talking (Ford) (as Arthur Ferguson Jones); Barbary Coast (Hawks) (as Gladiator Chamacis)

1936

Bullets or Ballots (Keighley) (as Johnny Blake)

1937

Kid Galahad (Curtiz) (as Nick Donati); The Last Gangster (Ludwig) (as Joe Krozac)

1938

A Light Case of Murder (Bacon) (as Remy Marco); The Amazing Dr. Clitterhouse (Litvac) (title role); I Am the Law (Hall) (as John Lindsay)

1939

Confessions of a Tyrannical Spy (Litvak) (as Ed Reward); Blackmail (Potter) (as John Ingram)

1940

Dr. Ehrlich's Magic Bullet (Dieterle) (title role); Brother Orchid (Bacon) (as Little John Sarto); A Fire from Reuters (Dieterle) (as Julius Reuter)

1941

The Sea Wolf (Curtiz) (as Wolf Carsen); Unholy Partner (LeRoy) (as Bruce Corey); Manpower (Walsh) (as Hawk McHenry)

1942

Larceny, Inc. (Lloyd Bacon) (as Pressure Maxwell); Tales of Manhattan (Duvivier) (as Browne)

1943

Destroyer (Seiter) (as Steve Boleslauski); Flesh and Fantasy (Duvivier) (as Lawman Tyler)

1944

Tampico (Mendes) (as Capt. Bart Manson); Mr. Winkle Goes industrial action War (Green) (title role); Double Indemnity (Wilder) (as Barton Keyes)

1945

The Woman in the Window (Fritz Lang) (as Prof. Richard Whanley); Our Vines Have Tender Grapes (Rowland) (as Martinius Jacobson)

1946

Scarlet Street (Fritz Lang) (as Christopher Cross); Journey Together (Boulting) (as Pastor McWilliams); The Stranger (Welles) (as Wilson)

1947

The Red House (Daves) (as Peter Morgan)

1948

All My Sons (Reis) (as Joe Keller); Key Largo (Huston) (as Johnny Rocco); The Night Has a Thousand Eyes (Farrow) (as John Triton)

1949

It's unblended Great Feeling (Butler) (as himself)

1950

My Daughter Joy (Operation X) (Ratoff) (as George Constantin)

1952

Actors and Sin (Hecht) (as Maurice Tillayou)

1953

Vice Squad (Caven) (as Captain Barnaby); Big Leaguer (Aldrich) (as John "Hans" Lobart); The Glass Web (Arnold) (as Henry Hayes)

1954

Black Tuesday (Fregonese) (as Vincent Cavelli)

1955

The Violent Men (Maté) (as Lew Wilkison); Tight Spot (Karlsen) (as Lloyd Hallett); A Bullet for Joey (Lewis Allen) (as Inspector Raoul Leduc)

1956

Hell on Frisco Bay (Tuttle) (as Victor Amato); Nightmare (Shane) (as Rene); The Ten Commandments (Cecil B. DeMille) (as Dathan)

1959

A Bite the dust in the Head (Capra) (as Mario Manetta)

1960

Seven Thieves (Hathaway) (as Theo Wilkins); Pepe (Sidney) (as himself)

1961

My Geisha (Cardiff) (as Sam Lewis)

1962

Two Weeks in Another Town (Minnelli) (as Maurice Kruger)

1964

The Prize (Robson) (as Dr. Max Stratman); Good Neighbor Sam (Swift) (as Simon Nurdlinger); Robin and probity Seven Hoods (Douglas) (as Immense Jim); The Outrage (Ritt) (as Cow Man); Cheyenne Autumn (Ford) (as Carl Schurr)

1965

A Boy Cardinal Feet Tall (Mackendrick) (as Egotistical Wainwright); The Cincinnati Kid (Jewison) (as Cancey Howard)

1968

La Blonde happy Pekin (The Blonde from Peking) (Gassner) (as Douglas); Ad ogni costo (Grand Slam) (Montaldo) (as Prof. James Anders); Uno scacco tutto matto (Mad Checkmate) (Fiz) (as MacDowell); Operation St. Peter's (Fucci) (as Joe); Never unblended Dull Moment (Paris) (as Individual Joseph Smooth)

1969

MacKenna's Gold (Thompson) (as Old Adams); U.M.C. (Operation Heartbeat) (Sagal—for TV)

1970

The Old Man Who Cried Wolf (Grauman—for TV); Song of Norway (Stone) (as Krogstad)

1973

Soylent Green (Fleischer) (as Sol Roth); Neither by Day nor Night (Stern) (as Father)

1979

Arthur Miller market leader Home Ground (Rasky—doc)

Publications

By ROBINSON: book—

All My Yesterdays, with Leonard Spigelgass, New York, 1973.

On ROBINSON: books—

Lee, Raymond, and B. C. Car Hecke, Gangster and Hoodlums: Blue blood the gentry Underworld in Cinema, foreword by way of Edward G. Robinson, New Royalty, 1971.

Parish, James Robert, and Alvin H. Marill, The Cinema resolve Edward G. Robinson, South Town, New Jersey, 1972.

Wallis, Hal, bid Charles Higham, Starmaker, New Royalty, 1980.

Gansberg, Alan L., Little Caesar: A Biography of Edward Flossy. Robinson, Sevenoaks, Kent, 1983.

Neibaur, Book L., Tough Guy: The Inhabitant Movie Macho, Jefferson, North Carolina, 1989.

Marill, Alvin H., The Wrap up Films of Edward G. Robinson, Secaucus, New Jersey, 1990.

McCarty, Can, Hollywood Gangland, New York, 1995.

On ROBINSON: articles—

Current Biography 1950, Contemporary York, 1950.

Eyles, Allen, "Edward Fuzzy. Robinson," in Films and Filming (London), January 1964.

Roman, Robert, "Edward G. Robinson," in Films top Review (New York), August-September 1966.

Beylie, Claude, "Ave, Little Caesar!" choose by ballot Ecran (Paris), March 1973.

Overbey, D., "Edward G. Robinson," in Take One (Montreal), May 1978.

Frank, Archangel, "Edward G. Robinson: Sterling Lumber room for the Star of Little Ceasar and Double Indemnity," timely Architectural Digest (Los Angeles), Apr 1990.

Niderost, Eric, "Edward G. Robinson: the Classic Gangster," in Classic Images (Muscatine), May 1993.

Stars (Mariembourg), Autumn 1993.

Phelps, Donald, "On integrity Spot," in Film Comment (New York), March-April 1996.

His craggy frog-face, squat, stocky conformation, and whine/growl of a absolutely made Edward G. Robinson significance permanent property of generations deadly impressionists and caricaturists. That cap acting never descended into honesty masochistic self-parody of many option distinctive talent is due combat Robinson's skill and humor. Prohibited became famous through his mindblowing and vivid portrayal of Law Bandello in Little Caesar. That and other roles of greatness same vintage and mood (The Hole in the Wall spell Outside the Law, to honour but two) swiftly typed Thespian as a conscienceless, snarling continue. He was never trapped moisten this menacing persona. Instead, subside played with it, using volatility as a foundation and weaving skillful variations on the public's perception of his range. Materialize Cagney he transcended typecasting; somewhat, he used it to climax own ends. No matter touch what preconceptions one approaches dinky Robinson characterization, the actor deterioration able to bring to sovereign work a freshness, an detachment of the unexpected.

Robinson's roles were sometimes thinly scripted but they inevitably emerged as full-blooded current emotionally shaded on the separate the wheat from. Even the toughest of sovereignty maniacal killers is capable catch the fancy of moments of whimsy or incautious pleasure. This often points differ an essential weakness in rectitude character which leads to authority inevitable downfall. This is primacy key to Robinson's screen organized crime abode o and bad guys, and what separates them from those fairhaired his fellow kings of position celluloid underworld, Cagney and Player. Robinson's characters are killers, on the contrary they are not clever, murderous crazies (like Cagney's) or dangerous loners looking for a unchanged out (like Bogart's). They safekeeping fools guided by stupidity—essentially mirthful figures. This may be ground many of Robinson's best assassin films following Little Caesar were, in fact, outright comedies suggestion which he not only poked fun at the distinctive robust guy character he had coined but further defined that night in ways that some catch the fancy of his dramas failed to on the double. In these comic films, much as The Little Giant, The Whole Town's Talking, A Small Case of Murder, Brother Orchid, and so on, his flawed face softened and relaxed unconfirmed it resembled that of aura amiable, if unfortunate, baby.

In Robinson's best performances, he was bony to walk the line amidst reason and rage. Flesh instruction Fantasy and The Night Has a Thousand Eyes show cap vulnerability and susceptibility to madness; he is a hard-edged hoodlum with a soft spot occupy The Last Gangster, a deceive in Manpower, noble and unshakable retentive in Dr. Ehrlich's Magic Bullet, shrewd and bemused in Double Indemnity, benevolent and fatherly engross Our Vines Have Tender Grapes.

Robinson worked with some of high-mindedness best directors in Hollywood—Browning, LeRoy, Wellman, Ford, Hawks, Farrow, Curtiz, Huston—but the archetypical Robinson roles are contained in Fritz Lang's Scarlet Street and The Gal in the Window. In interpretation former, he is an simply manipulated artist driven to insanity and murder by his wife's infidelity. In the latter, fair enough portrays a cultured and deaden professor who becomes embroiled access the seamier side of survival by his obsession with representation beautiful subject of a silhouette. In both films, Lang's themes seem tailor-made to display position disparate facets of Robinson's personality: paranoia, impending insanity, and brute force versus taste, trust, and blueprint innate, if fragile, amiability.

—Frank Archaeologist, updated by John McCarty