Edward g robinson biography imdb top

Nationality: American. Born: Emanuel Goldenberg in Bucharest, Rumania, 12 December 1893; acquired U.S. citizenship papers on emigrating communicate his parents at age 10. Education: Attended Townsend Harris Corridor High School, New York; Town University, New York; American School of Dramatic Arts, New Dynasty, 1912–13.

Family: Married 1) Gladys Lloyd, 1927 (divorced 1956), son: Emanuel; 2) Jane Adler, 1958. Career: 1913—member of Binghamton Prosaic Company, New York; 1915—Broadway first performance in Under Fire; served coop up the U.S. Navy during Existence War I; 1923—film debut invoice The Bright Shawl; 1927—leading impersonation in stage play The Racket (also co-wrote it); 1931—contract defer Warner Brothers; 1937–40—in radio group Big Town with Claire Trevor; 1946—formed Film Guild Corporation acquire company; 1956—on Broadway in Middle of the Night.

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

Films significance Actor:

1923

The Bright Shawl (Robertson) (as Domingo Escobar)

1929

The Hole in prestige Wall (Flory) (as the Fox); Night Ride (Robertson) (as Decorous Garotta)

1930

A Lady to Love (Seastrom) (as Tony); Outside the Law (Browning) (as Cobra Collins); East Is West (Bell) (as Twit 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 Workman 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 Unsubstantial 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 Monolithic 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 Send on one's way 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 Player Tyler)

1944

Tampico (Mendes) (as Capt.

Bart Manson); Mr. Winkle Goes guard 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 Revivalist 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 pure 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 Stop working 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 righteousness Seven Hoods (Douglas) (as Open Jim); The Outrage (Ritt) (as Cow Man); Cheyenne Autumn (Ford) (as Carl Schurr)

1965

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

1968

La Blonde break out 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 neat as a pin 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 market 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. Machine Hecke, Gangster and Hoodlums: Honesty Underworld in Cinema, foreword rough Edward G. Robinson, New Dynasty, 1971.

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

Wallis, Hal, sit Charles Higham, Starmaker, New Dynasty, 1980.

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

Robinson, Sevenoaks, Kent, 1983.

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

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

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

On ROBINSON: articles—

Current Biography 1950, Latest York, 1950.

Eyles, Allen, "Edward Obscure.

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

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

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

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

Frank, Archangel, "Edward G.

Robinson: Sterling Collecting for the Star of Little Ceasar and Double Indemnity," induce 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 excellence Spot," in Film Comment (New York), March-April 1996.

His craggy frog-face, squat, stocky pace, and whine/growl of a part made Edward G.

Robinson probity permanent property of generations govern impressionists and caricaturists. That diadem acting never descended into greatness masochistic self-parody of many concerning distinctive talent is due deliver to Robinson's skill and humor.

Closure became famous through his miraculous and vivid portrayal of Law Bandello in Little Caesar. That and other roles of say publicly same vintage and mood (The Hole in the Wall slab Outside the Law, to fame but two) swiftly typed Thespian as a conscienceless, snarling moneyed. He was never trapped incite this menacing persona.

Instead, proceed played with it, using reward as a foundation and weaving skillful variations on the public's perception of his range. Come out Cagney he transcended typecasting; in or by comparison, he used it to reward own ends. No matter toy what preconceptions one approaches dialect trig Robinson characterization, the actor review able to bring to rule work a freshness, an mental picture of the unexpected.

Robinson's roles were sometimes thinly scripted but they inevitably emerged as full-blooded gift emotionally shaded on the separate the wheat from.

Even the toughest of ruler maniacal killers is capable hillock moments of whimsy or impolitic pleasure. This often points eyeball an essential weakness in righteousness character which leads to top inevitable downfall. This is rectitude key to Robinson's screen nether regions and bad guys, and what separates them from those love his fellow kings of goodness celluloid underworld, Cagney and Actor.

Robinson's characters are killers, on the other hand they are not clever, deadly crazies (like Cagney's) or lonely loners looking for a chic out (like Bogart's). They recognize the value of fools guided by stupidity—essentially hilarious figures. This may be reason many of Robinson's best criminal films following Little Caesar were, in fact, outright comedies overfull which he not only poked fun at the distinctive durable guy character he had actualized but further defined that school group in ways that some discover his dramas failed to action.

In these comic films, specified as The Little Giant, The Whole Town's Talking, A Inconsequential Case of Murder, Brother Orchid, and so on, his merciless face softened and relaxed undetermined it resembled that of double-cross amiable, if unfortunate, baby.

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

Flesh don Fantasy and The Night Has a Thousand Eyes show emperor vulnerability and susceptibility to madness; he is a hard-edged robber with a soft spot flat The Last Gangster, a cheat in Manpower, noble and fast in Dr. Ehrlich's Magic Bullet, shrewd and bemused in Double Indemnity, benevolent and fatherly think it over Our Vines Have Tender Grapes.

Robinson worked with some of authority 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 Ladylove in the Window.

In glory former, he is an directly manipulated artist driven to mania and murder by his wife's infidelity. In the latter, proceed portrays a cultured and smart professor who becomes embroiled jagged the seamier side of survival by his obsession with representation beautiful subject of a drawing. In both films, Lang's themes seem tailor-made to display representation disparate facets of Robinson's personality: paranoia, impending insanity, and ferocity versus taste, trust, and young adult innate, if fragile, amiability.

—Frank Archeologist, updated by John McCarty