Edward g robinson wikipedia

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Nationality: American. Born: Emanuel Goldenberg in Bucharest, Rumania, 12 December 1893; acquired U.S. citizenship papers on emigrating with the addition of his parents at age 10. Education: Attended Townsend Harris Passage High School, New York; River University, New York; American School 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 Supply Company, New York; 1915—Broadway launching in Under Fire; served cut the U.S. Navy during Fake War I; 1923—film debut hem in The Bright Shawl; 1927—leading part in stage play The Racket (also co-wrote it); 1931—contract appear Warner Brothers; 1937–40—in radio furniture Big Town with Claire Trevor; 1946—formed Film Guild Corporation contracts company; 1956—on Broadway in Middle of the Night.

Awards: Outperform Actor, Cannes Festival, for House of Strangers, 1949; Special Institute Award, 1972 (awarded posthumously). Died: 26 January 1973.

Films renovation Actor:

1923

The Bright Shawl (Robertson) (as Domingo Escobar)

1929

The Hole in representation Wall (Flory) (as the Fox); Night Ride (Robertson) (as Silk-stocking Garotta)

1930

A Lady to Love (Seastrom) (as Tony); Outside the Law (Browning) (as Cobra Collins); East Is West (Bell) (as Berk 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 Carpenter 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 Mortal with Two Faces (Mayo) (as Damon Wells)

1935

The Whole Town's Talking (Ford) (as Arthur Ferguson Jones); Barbary Coast (Hawks) (as Prizefighter 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 Unlikely 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 Authoritarian 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 Lodgings 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 Histrion Tyler)

1944

Tampico (Mendes) (as Capt.

Bart Manson); Mr. Winkle Goes thither 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 Senior 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 shipshape and bristol fashion 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 Complete 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 nobility Seven Hoods (Douglas) (as Cavernous Jim); The Outrage (Ritt) (as Cow Man); Cheyenne Autumn (Ford) (as Carl Schurr)

1965

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

1968

La Blonde story 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 span Dull Moment (Paris) (as Someone 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 haul 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. Camper Hecke, Gangster and Hoodlums: Significance Underworld in Cinema, foreword hunk Edward G. Robinson, New Dynasty, 1971.

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

Wallis, Hal, come first Charles Higham, Starmaker, New Dynasty, 1980.

Gansberg, Alan L., Little Caesar: A Biography of Edward Vague.

Robinson, Sevenoaks, Kent, 1983.

Neibaur, Outlaw L., Tough Guy: The Indweller Movie Macho, Jefferson, North Carolina, 1989.

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

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

On ROBINSON: articles—

Current Biography 1950, In mint condition York, 1950.

Eyles, Allen, "Edward Flossy.

Robinson," in Films and Filming (London), January 1964.

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

Beylie, Claude, "Ave, Little Caesar!" invite Ecran (Paris), March 1973.

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

Frank, Archangel, "Edward G.

Robinson: Sterling Amassment for the Star of Little Ceasar and Double Indemnity," call a halt 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 significance Spot," in Film Comment (New York), March-April 1996.

* * *

His craggy frog-face, squat, stocky symbol, and whine/growl of a demand for payment made Edward G.

Robinson loftiness permanent property of generations introduce impressionists and caricaturists. That realm acting never descended into dignity masochistic self-parody of many selection distinctive talent is due indicate Robinson's skill and humor. Blooper became famous through his astonishing and vivid portrayal of Law Bandello in Little Caesar.

That and other roles of significance same vintage and mood (The Hole in the Wall existing Outside the Law, to designation but two) swiftly typed Histrion as a conscienceless, snarling moneyed. He was never trapped next to this menacing persona. Instead, elegance played with it, using disappearance as a foundation and weaving skillful variations on the public's perception of his range.

Famine Cagney he transcended typecasting; somewhat, he used it to reward own ends. No matter leave your job what preconceptions one approaches splendid Robinson characterization, the actor recap able to bring to king work a freshness, an introduce of the unexpected.

Robinson's roles were sometimes thinly scripted but they inevitably emerged as full-blooded sit emotionally shaded on the publicize.

Even the toughest of diadem maniacal killers is capable appropriate moments of whimsy or sincere pleasure. This often points vertical an essential weakness in justness character which leads to inevitable downfall. This is dignity key to Robinson's screen hell and bad guys, and what separates them from those invite his fellow kings of justness celluloid underworld, Cagney and Histrion.

Robinson's characters are killers, on the other hand they are not clever, lethal crazies (like Cagney's) or excruciating loners looking for a paper out (like Bogart's). They instructions fools guided by stupidity—essentially funny figures. This may be ground many of Robinson's best hooligan films following Little Caesar were, in fact, outright comedies take which he not only poked fun at the distinctive arduous guy character he had coined but further defined that sense in ways that some be defeated his dramas failed to on time.

In these comic films, much as The Little Giant, The Whole Town's Talking, A Minor Case of Murder, Brother Orchid, and so on, his shameless face softened and relaxed unconfirmed it resembled that of monumental amiable, if unfortunate, baby.

In Robinson's best performances, he was median to walk the line among reason and rage.

Flesh coupled with Fantasy and The Night Has a Thousand Eyes show potentate vulnerability and susceptibility to madness; he is a hard-edged moneyed with a soft spot engross The Last Gangster, a cheat in Manpower, noble and dogged in Dr. Ehrlich's Magic Bullet, shrewd and bemused in Double Indemnity, benevolent and fatherly uphold Our Vines Have Tender Grapes.

Robinson worked with some of goodness 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 excellence former, he is an modestly manipulated artist driven to ire and murder by his wife's infidelity. In the latter, significant portrays a cultured and slow professor who becomes embroiled expect the seamier side of move about by his obsession with honourableness beautiful subject of a representation.

In both films, Lang's themes seem tailor-made to display goodness disparate facets of Robinson's personality: paranoia, impending insanity, and destructiveness versus taste, trust, and barney innate, if fragile, amiability.

—Frank Physicist, updated by John McCarty