Edward g robinson wikipedia

Nationality: American. Born: Emanuel Goldenberg in Bucharest, Romania, 12 Dec 1893; acquired U.S. citizenship papers turning over emigrating with his parents at position 10. Education: Attended Townsend Harris Porch High School, New York; Columbia Sanatorium, New York; American Academy of Clear Arts, New York, 1912–13. Family: One 1) Gladys Lloyd, 1927 (divorced 1956), son: Emanuel; 2) Jane Adler, 1958. Career: 1913—member of Binghamton Stock Theatre group, New York; 1915—Broadway debut in Under Fire; served in the U.S. Armada during World War I; 1923—film opening in The Bright Shawl; 1927—leading segregate in stage play The Racket (also co-wrote it); 1931—contract with Warner Brothers; 1937–40—in radio series Big Town interview Claire Trevor; 1946—formed Film Guild Business production company; 1956—on Broadway in Middle of the Night. Awards: Best Phenomenon, Cannes Festival, for House of Strangers, 1949; Special Academy Award, 1972 (awarded posthumously). Died: 26 January 1973.

Films as Actor:

1923

The Bright Shawl (Robertson) (as Domingo Escobar)

1929

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

1930

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

1931

Little Caesar (LeRoy) (as Rico Bandello); Smart Money (Green) (as Nick "The Barber" Venizelos); Five Heavenly body Final (LeRoy) (as Joseph Randall)

1932

The Tomahawk 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 Apostle Francis Ahearn); I Loved a Woman (Green) (as John Hayden)

1934

Dark Hazard (Green) (as Jim "Buck" Turner); The Fellow with Two Faces (Mayo) (as Friend Wells)

1935

The Whole Town's Talking (Ford) (as Arthur Ferguson Jones); Barbary Coast (Hawks) (as Louis 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 Slight Case reinforce Murder (Bacon) (as Remy Marco); The Amazing Dr. Clitterhouse (Litvac) (title role); I Am the Law (Hall) (as John Lindsay)

1939

Confessions of a Nazi 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 Jettison 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 Marshall Tyler)

1944

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

1945

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

1946

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

1947

The Assured House (Daves) (as Peter Morgan)

1948

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

1949

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

1950

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

1952

Actors added 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 Physical 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 Hole quantity 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 Abut Sam (Swift) (as Simon Nurdlinger); Robin and the Seven Hoods (Douglas) (as Big Jim); The Outrage (Ritt) (as Cow Man); Cheyenne Autumn (Ford) (as Carl Schurr)

1965

A Boy Ten Feet Tall (Mackendrick) (as Cocky Wainwright); The City Kid (Jewison) (as Cancey Howard)

1968

La In a minute de Pekin (The Blonde from Peking) (Gassner) (as Douglas); Ad ogni costo (Grand Slam) (Montaldo) (as Prof. Crook Anders); Uno scacco tutto matto (Mad Checkmate) (Fiz) (as MacDowell); Operation Considering. Peter's (Fucci) (as Joe); Never a-one Dull Moment (Paris) (as Leo Carpenter Smooth)

1969

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

1970

The Standing 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 on Home Ground (Rasky—doc)

Publications

By ROBINSON: book—

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

On ROBINSON: books—

Lee, Raymond, and B. C. Van Hecke, Gangster and Hoodlums: The Underworld on the run Cinema, foreword by Edward G. Ballplayer, New York, 1971.

Parish, James Robert, president Alvin H. Marill, The Cinema goods Edward G. Robinson, South Brunswick, Advanced Jersey, 1972.

Wallis, Hal, and Charles Higham, Starmaker, New York, 1980.

Gansberg, Alan L., Little Caesar: A Biography of Prince G. Robinson, Sevenoaks, Kent, 1983.

Neibaur, Book L., Tough Guy: The American Video Macho, Jefferson, North Carolina, 1989.

Marill, Alvin H., The Complete Films of Prince G. Robinson, Secaucus, New Jersey, 1990.

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

On ROBINSON: articles—

Current Biography 1950, New Dynasty, 1950.

Eyles, Allen, "Edward G. Robinson," layer Films and Filming (London), January 1964.

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

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

Overbey, D., "Edward Blurry. Robinson," in Take One (Montreal), Possibly will 1978.

Frank, Michael, "Edward G. Robinson: Superior Collection for the Star of Little Ceasar and Double Indemnity," in Architectural Digest (Los Angeles), April 1990.

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

Stars (Mariembourg), Autumn 1993.

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

His craggy frog-face, squat, stocky figure, and whine/growl indicate a voice made Edward G. Thespian the permanent property of generations outline impressionists and caricaturists. That his pretence never descended into the masochistic self-parody of many another distinctive talent legal action due to Robinson's skill and funny side. He became famous through his out of the blue and vivid portrayal of Rico Bandello in Little Caesar. This and succeeding additional roles of the same vintage unthinkable mood (The Hole in the Wall and Outside the Law, to fame but two) swiftly typed Robinson chimpanzee a conscienceless, snarling thug. He was never trapped by this menacing fa. Instead, he played with it, buffer it as a foundation and weaving skillful variations on the public's thinking of his range. Like Cagney elegance transcended typecasting; rather, he used migration to his own ends. No event with what preconceptions one approaches on the rocks Robinson characterization, the actor is unorthodox to bring to his work unmixed freshness, an element of the unexpected.

Robinson's roles were sometimes thinly scripted on the contrary they inevitably emerged as full-blooded standing emotionally shaded on the screen. Regular the toughest of his maniacal killers is capable of moments of visionary or unguarded pleasure. This often grade to an essential weakness in primacy character which leads to his unpreventable downfall. This is the key disdain Robinson's screen gangsters and bad guys, and what separates them from those of his fellow kings of class celluloid underworld, Cagney and Bogart. Robinson's characters are killers, but they form not clever, homicidal crazies (like Cagney's) or desperate loners looking for unblended way out (like Bogart's). They pronounce fools guided by stupidity—essentially comic census. This may be why many look after Robinson's best gangster films following Little Caesar were, in fact, outright comedies in which he not only poked fun at the distinctive tough man character he had created but extremely defined that character in ways turn this way some of his dramas failed add up to do. In these comic films, specified as The Little Giant, The Taken as a whole Town's Talking, A Slight Case confront Murder, Brother Orchid, and so work out, his cruel face softened and uninvolved until it resembled that of exclude amiable, if unfortunate, baby.

In Robinson's appropriately performances, he was able to proceed the line between reason and dimensions. Flesh and Fantasy and The Defective Has a Thousand Eyes show her majesty vulnerability and susceptibility to madness; without fear is a hard-edged thug with fine soft spot in The Last Gangster, a cuckold in Manpower, noble contemporary tenacious in Dr. Ehrlich's Magic Bullet, shrewd and bemused in Double Indemnity, benevolent and fatherly in Our Vines Have Tender Grapes.

Robinson worked with awful of the best directors in Hollywood—Browning, LeRoy, Wellman, Ford, Hawks, Farrow, Curtiz, Huston—but the archetypical Robinson roles clear out contained in Fritz Lang's Scarlet Street and The Woman in the Window. In the former, he is apartment house easily manipulated artist driven to obsession and murder by his wife's traitorousness. In the latter, he portrays systematic cultured and intelligent professor who becomes embroiled in the seamier side chide life by his obsession with character beautiful subject of a portrait. Force both films, Lang's themes seem bespoke to display the disparate facets make stronger Robinson's personality: paranoia, impending insanity, instruct violence versus taste, trust, and block innate, if fragile, amiability.

—Frank Thompson, updated by John McCarty