Best Performance by an Actor in a Supporting Role 1921
The 10 best performances by an actor in a supporting role among surviving American films of the year 1921
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- Actor
- Soundtrack
He was the man you loved to hiss. This towering (6' 4"), highly imposing character star with cold, hollow, beady eyes and a huge, protruding snout would go on to become one of the silent screen's finest arch villains. Born Ernest Thayson Torrence-Thompson on June 26, 1878, in Edinburgh, Scotland, he was, unlikely enough, an exceptional pianist and operatic baritone. A graduate of the Stuttgart Conservatory, Edinburgh Academy before earning a scholarship at London's Royal Academy of Music, he toured with the D'Oyly Carte Opera Company in such productions as "The Emerald Isle" (1901) and "The Talk of the Town" (1905) before serious vocal problems set in. Both Ernest and his actor brother David Torrence came to America directly from Scotland prior to WWI. Focusing instead on a purely acting career, both brothers developed into seasoned players on the New York stage. Ernest made his Broadway bow with "Modest Suzanne" in 1912 and a standout role in "The Night Boat" in 1920 brought him to the attention of Hollywood filmmakers.
He earned superb marks playing the despicable adversary Luke Hatburn in Tol'able David (1921) opposite Richard Barthelmess, and immediately settled into films for the rest of his career. Adept at both comedy and drama, Ernest avoided what could have been a damaging stereotype with his sympathetic portrayal of a grizzled old codger in the classic western The Covered Wagon (1923). He further bolstered his celebrity with plum, lip-smacking roles alongside Lon Chaney in The Hunchback of Notre Dame (1923) as Clopin, king of the beggars, and Betty Bronson in Peter Pan (1924) as the dastardly Captain Hook. In an offbeat bit of casting he paired up with Clara Bow in Mantrap (1926) as a gentle, bear-like backwoodsman in search of a wife, and participated in other silent classics such as The King of Kings (1927) (as Peter) and Steamboat Bill, Jr. (1928) as Buster Keaton's steamboat captain Dad.
Despite his celluloid villainy, Ernest was known as a courtly and cultivated gentleman in private. He made the transition into talking films intact and was able to play a marvelous nemesis, Dr. Moriarty, to Clive Brooks' Sherlock Holmes (1932) before his untimely death. Ernest died following his filming as a smuggler in I Cover the Waterfront (1933) starring Claudette Colbert in New York on May 15,1933, at the relatively young age of 54. It seems that while en route to Europe by ship, Torrence suffered an acute attack of gall stones and was rushed back to a New York hospital. He died of complications following surgery. Looking and usually playing much older than he was, Hollywood lost a marvelously talented and robust character player who had dozens of films ahead of him."TOL'ABLE DAVID"- Ralph Lewis was born on 28 October 1872 in Englewood, Illinois, USA. He was an actor, known for The Birth of a Nation (1915), Casey Jones (1927) and The Wolf Man (1915). He was married to Vera Lewis. He died on 4 December 1937 in Los Angeles, California, USA."THE CONQUERING POWER"
- The son of a sea captain, Theodore Roberts was a veteran stage actor, making his first appearance in 1880. Often referred to as the "Grand Duke of Hollywood," Roberts was a regular on the Cecil B. DeMille team and appeared in 23 of DeMille's films. He is best remembered for his role as Moses in DeMille's The Ten Commandments (1923). A well-known and well-loved actor, his funeral in Westlake Park (he died from uremic poisoning) was attended by nearly 2,000 people. However, Roberts felt so much bitterness in his heart for his immediate relatives that he bequeathed his estate to a nephew (a commercial illustrator) in New York. The estate was valued at nearly $20,000, including a yacht valued at $10,000. Several of Roberts' personal items were left to his friends William C. de Mille and his brother Cecil. Roberts claimed that during the worst times of his life, no one in his family offered a word of sympathy or any help at all. His only request was that he be laid to rest next to his beloved wife Florence Smythe, who passed away in 1925."MISS LULU BETT"
- John St. Polis was born on 24 November 1873 in New Orleans, Louisiana, USA. He was an actor, known for Three Weeks (1924), Why Be Good? (1929) and The Hero (1923). He was married to Angela M. Grimaldi and Rachel Amelia Ryan. He died on 8 October 1946 in Los Angeles, California, USA."FOUR HORSEMEN OF THE APOCALYPSE"
- Actor
- Additional Crew
British-born Nigel De Brulier's long career began in silent films, but unlike many performers of that era, he managed to successfully transition into sound films. His authoritarian and somewhat regal bearing was perfect for the many bishops, cardinals, knights and other authority figures he often played (he portrayed Cardinal Richelieu four times: in The Three Musketeers (1921), The Three Musketeers (1935), The Iron Mask (1929) and The Man in the Iron Mask (1939))."THE THREE MUSKETEERS"- Actor
- Soundtrack
A man so disagreeable on celluloid, Claude Gillingwater's characters seemed to subsist on a steady diet of persimmons. Fondly recalled as the cranky old skinflint whose seemingly cold heart could only be warmed by the actions of a cute little tyke, the tall and rangy Gillingwater invariably played much older than he was. He, with the omnipresent bushy brows, crop of silver hair and perpetually sour puss, had a much more versatile career than perhaps realized -- on both stage and in film. Most assuredly, this caustic screen image he perfected belied a softer, gentler off-screen demeanor for he was a kind and sympathetic gent and devoted husband to wife Carlyn Stiletz (or Stellith). Their only child, Claude Gillingwater Jr., briefly became an actor himself. Sadly, Gillingwater Sr.'s thriving character career ended on a grim and tragic note in 1939.
Born Claude Benton Gillingwater on August 2, 1879, in the small Mississippi River town of Louisiana, Missouri, he was the son of James E. and Lucy (Hunter) Gillingwater and attended St. Louis High School. For a time he was an apprentice to a lawyer uncle, but he eventually left home and joined a traveling stock company. Gradually building up his nascent career on the stage, he was discovered by theater impresario David Belasco. Gillingwater proceeded strongly on the Broadway stage beginning with a melodramatic role in "A Young Wife" (1899). This led to a well-received series of parts for the next full decade in New York ranging from high drama ("Madame Butterfly", "Du Barry") to operettas ("Mlle. Modiste," "The Old Town," "The Girl in the Train") to original works ("The Only Son," "The New Secretary").
1918 was a banner year for Gillingwater for he not only appeared in the hit Broadway show "Three Wise Fools," but also made his silent film debut in support of Gladys Leslie and Richard Barthelmess in Wild Primrose (1918). This disagreeable typecast began to assert itself with his second movie three years later as the grumbling, icy-souled Earl of Dorincourt whose grandson helps reveal his tenderer side in Little Lord Fauntleroy (1921), which starred America's sweetheart Mary Pickford in a dual role.
A rash of leading/co-starring roles came with the immediate impact of this single success, including Crinoline and Romance (1923) with Viola Dana, Alice Adams (1923) with Florence Vidor, Dulcy (1923) with Constance Talmadge, and Three Wise Fools (1923) with Eleanor Boardman. The last film mentioned gave him the opportunity to repeat his 1918 Broadway triumph. More than not, however, he was supporting the Hollywood elite such as kid star Jackie Coogan in My Boy (1921), Richard Dix in Fools First (1922) and The Christian (1923), 'Leonore Ulric' in Tiger Rose (1923), Alla Nazimova in Madonna of the Streets (1924), Ronald Colman in A Thief in Paradise (1925), Anna Q. Nilsson in Winds of Chance (1925), and Colleen Moore in Oh Kay! (1928). Sometimes his character's names reflected his curt, stern image -- names such as John P. Grout, Lord Storm and Simon Peck.
A founding member of the Academy of Motion Pictures Arts and Sciences (1927), he advanced into the talking era of films with equal verve, although his roles were, more often than not, token grouches. Some of his more distinctive parts came with the films A Tale of Two Cities (1935) (as Jarvis Lorry), Mississippi (1935) and The Prisoner of Shark Island (1936). He proved to be an excellent crabapple foil for 20th Century-Fox moppet star Shirley Temple in Poor Little Rich Girl (1936) and subsequently appeared in two more of her pictures - Just Around the Corner (1938) and Little Miss Broadway (1938).
Gillingwater played a few more curmudgeons in his last years but this period of time was to be marked by acute sadness and physical/mental hardship. A serious accident on the movie set of the picture Florida Special (1936) (he fell from a platform and injured his back) damaged his health and threatened his career, and the death of his long-time wife Carlyn left him irrevocably depressed. Fearing the possibility of becoming an invalid and wishing not to become a serious burden to anyone, the 69-year-old actor committed suicide at his Beverly Hills home with a self-inflicted gunshot to the head on November 1, 1939. Gillingwater left a fine Hollywood legacy and the fun of some of his old films is watching his vinegar turn to sugar."LITTLE LORD FAUNTLEROY"- Clarence Burton was born on 10 May 1882 in Fort Lyons, Missouri, USA. He was an actor, known for The Crimson Challenge (1922), Midnight Madness (1928) and Purity (1916). He was married to Gladys Graham and Sadie (actress). He died on 2 December 1933 in Hollywood, California, USA."MISS LULU BETT"
- Actor
- Soundtrack
An imposing Austrian import-turned-matinée idol on the silent screen, Hollywood actor Joseph Schildkraut went on to conquer talking films as well -- with Oscar-winning results. Inclined towards smooth, cunning villainy, his Oscar came instead for his sympathetic portrayal of Captain Alfred Dreyfus in The Life of Emile Zola (1937). His most touching role on both stage and screen would come as the Jewish father-in-hiding, Otto Frank, in The Diary of Anne Frank (1959).
Born on March 22, 1895, in Vienna, Austria, Joseph was the son of famed European/Yiddish stage actor Rudolph Schildkraut and his wife, the former Erna Weinstein. Nicknamed "Pepi" as a boy, the affectionate tag remained with him throughout his life. The family moved to Hamburg, Germany, when Joseph was 4. Joseph studied the piano and violin and grew inspired with his father's profession. On stage (with his father) from age 6, the family again relocated to Berlin where his father built a strong association with famed theatrical director Max Reinhardt.
Following Joseph's graduation from Berlin's Royal Academy of Music in 1911, the family migrated to America and settled in New York in 1912. His father continued making his mark in America's Yiddish theater while Joseph was accepted into the American Academy of Dramatic Arts. Offered lucrative theatre work back in Germany, Rudolf and family returned to Europe where Joseph began to grow in stature on the stage with the help of mentor Albert Bassermann. Joseph, like his father, would become well known not only for his prodigious talents on stage, but his marriage-threatening, Lothario-like behavior off-stage.
World War I and a call to the Austrian Army could have interrupted his career but his theatrical connections helped exempt him from duty. A thriving member of the Deutsches Volkstheatre (1913-1920), work became difficult to find in the post-war years so once again the family returned to America in 1920. Now an established stage player, Joseph was handed the title role in the Guild Theatre production (and American premiere) of "Liliom" opposite his leading lady of choice Eva Le Gallienne. It made stars out of both actors and both revisited their parts together on stage many years later in 1932.
Having appeared in a few silent pictures in Germany and Austria, Joseph was handed a prime role in the silent screen classic Orphans of the Storm (1921) starring the Gish sisters. This alone established him as an exotic matinée figure along the lines of a Valentino and Navarro. Preferring the stage, he nevertheless continued making films while conquering (on screen) Hollywood's loveliest of actresses, including Norma Talmadge in The Song of Love (1923), Seena Owen in Shipwrecked (1926), Marguerite De La Motte in Meet the Prince (1926), Bessie Love in Young April (1926) (which also co-starred father Rudolf), Lya De Putti in The Heart Thief (1927), and Jetta Goudal in The Forbidden Woman (1927). Most notable was his participation in the Cecil B. DeMille epics The Road to Yesterday (1925) and The King of Kings (1927), the latter co-starring as Judas Iscariot, with father Rudolf playing the high priest Caiaphas.
Joseph met his first wife, aspiring actress Elise Bartlett, during a herald run as "Peer Gynt" (1923) on Broadway. The impulsive romantic swept her off her feet, proposed to her on the day he met her, and married her the following week. The couple separated a few years later and his first wife fell to drink, dying at a fairly young age of an alcohol-related illness. His second marriage to Marie McKay was much happier and lasted almost three decades.
The actor's sturdy voice and strong command of the stage led to an easy transition into talking films. Among others, Joseph won the role of Gaylord Ravenal in the Kern and Hammerstein musical Show Boat (1929) opposite Laura La Plante as Magnolia. Despite his preference for the theater, Depression-era finances forced him to relocate to Los Angeles for more job security. Throughout the 1930s and 1940s, Joseph evolved into one of Hollywood's most distinctive character actors.
He played Wallace Beery's nemesis, General Pascal in MGM's Viva Villa! (1934), King Herod opposite Claudette Colbert in DeMille's Cleopatra (1934), and stole scenes as the cunning and underhanded Conrad, Marquis of Montferratin, in DeMille's The Crusades (1935). Joseph received his Oscar for his portrayal of Captain Dreyfus, a proud and robust French Jew wrongly convicted of treason and subsequently exiled to Devil's Island, in the biopic The Life of Emile Zola (1937). He soon became a Hollywood fixture appearing in everything from sumptuous costumers (Marie Antoinette (1938), The Three Musketeers (1939), The Man in the Iron Mask (1939), Monsieur Beaucaire (1946)), to action adventure (Lancer Spy (1937), Suez (1938)) to potent drama (The Rains Came (1939), The Shop Around the Corner (1940)). His film output slowed down considerably at the outbreak of WWII in 1941, however; nevertheless he continued to show vitality on the stage with notable successes in "Clash by Night" (1941) with Tallulah Bankhead, "Uncle Harry" (1942) and "The Cherry Orchard" (1944) (again with Eva Le Gallienne).
His Hollywood downfall happened when he signed his career away to the low budget Republic Pictures studio...for financial reasons. The films were unworthy of his participation and his roles secondary in nature to the storyline. His final Broadway appearance and greatest stage triumph would occur in 1955 as Otto Frank and he repeated his role on film but The Diary of Anne Frank (1959). In one of Hollywood's bigger missteps, he was not even nominated for an Academy Award. Sporadic appearances followed on stage and film -- his last movie role wasted on the trivial role of Nicodemus in the epic failure The Greatest Story Ever Told (1965). The film was released posthumously. On TV, however, he played Claudius to Maurice Evans' Hamlet in 1953 and filmed a memorable "Twilight Zone" episode in 1961.
Following his beloved second wife's death in 1961, he married one more time, in 1963, to a much younger woman named Leonora Rogers. Joseph died of a heart attack only months later at his New York City home on January 21, 1964, He was 68, almost the exact same age his father Rudolf was when he too suffered a fatal heart attack. Joseph was interred in the Beth Olam Mausoleum of the Hollywood Forever Cemetery in Los Angeles."ORPHANS OF THE STORM"- Louis Hendricks was born in June 1860 in Buffalo, New York, USA. He was an actor, known for The Conquest of Canaan (1921), Come on In (1918) and The Family Stain (1915). He was married to Geraldine De Rohan. He died on 18 December 1923."THE CONQUEST OF CANAAN"
- Actor
- Producer
- Soundtrack
The words "suave" and "debonair" became synonymous with the name Adolphe Menjou in Hollywood, both on- and off-camera. The epitome of knavish, continental charm and sartorial opulence, Menjou, complete with trademark waxy black mustache, evolved into one of Hollywood's most distinguished of artists and fashion plates, a tailor-made scene-stealer, if you will. What is often forgotten is that he was primed as a matinée idol back in the silent-film days. With hooded, slightly owlish eyes, a prominent nose and prematurely receding hairline, he was hardly competition for Rudolph Valentino, but he did possess the requisite demeanor to confidently pull off a roguish and magnetic man-about-town. Fluent in six languages, Menjou was nearly unrecognizable without some type of formal wear, and he went on to earn distinction as the nation's "best dressed man" nine times.
Born on February 18, 1890, in Pittsburgh, Pennsylvania, he was christened Adolphe Jean Menjou, the elder son of a hotel manager. His Irish mother was a distant cousin of novelist / poet James Joyce ("Ulysses") (1882-1941). His French father, an émigré, eventually moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent an already piqued Adolphe to Culver Military Academy in Indiana in the hopes of dissuading him from such a seemingly reckless and disreputable career. From there Adolphe was enrolled at Stiles University prep school and then Cornell University. Instead of acquiescing to his father's demands and obtaining a engineering degree, however, he abruptly changed his major to liberal arts and began auditioning for college plays. He left Cornell in his third year in order to help his father manage a restaurant for a time during a family financial crisis. From there he left for New York and a life in the theater.
Adolphe toiled as a laborer, a haberdasher and even a waiter in one of his father's restaurants during his salad days, which included some vaudeville work. Oddly enough, he never made it to Broadway but instead found extra and/or bit work for various film studios (Vitagraph, Edison, Biograph) starting in 1915. World War I interrupted his early career, and he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. When the New York-based film industry moved west, so did Adolphe.
Nothing of major significance happened for the fledgling actor until 1921, an absolute banner year for him. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer (1921) and Through the Back Door (1921), the latter starring Mary Pickford. He formed some very strong connections as a result and earned a Paramount contract in the process. Cast by Mary's then-husband Douglas Fairbanks as Louis XIII in the rousing silent The Three Musketeers (1921), he finished off the year portraying the influential writer/friend Raoul de Saint Hubert in Rudolph Valentino's classic The Sheik (1921).
Firmly entrenched in the Hollywood lifestyle, it took little time for Menjou to establish his slick prototype as the urbane ladies' man and wealthy roué. Paramount, noticing how Menjou stole scenes from Charles Chaplin favorite Edna Purviance in Chaplin's A Woman of Paris: A Drama of Fate (1923), started capitalizing on Menjou's playboy image by casting him as various callous and creaseless matinée leads in such films as Broadway After Dark (1924), Sinners in Silk (1924), The Ace of Cads (1926), A Social Celebrity (1926) and A Gentleman of Paris (1927). His younger brother Henri Menjou, a minor actor, had a part in Adolphe's picture Blonde or Brunette (1927).
The stock market crash led to the termination of Adolphe's Paramount contract, and his status as leading man ended with it. MGM took him on at half his Paramount salary and his fluency in such languages as French and Spanish kept him employed at the beginning. Rivaling Gary Cooper for the attentions of Marlene Dietrich in Morocco (1930) started the ball rolling for Menjou as a dressy second lead. Rarely placed in leads following this period, he managed his one and only Oscar nomination for "Best Actor" with his performance as editor Walter Burns in The Front Page (1931). Not initially cast in the role, he replaced Louis Wolheim, who died ten days into rehearsal. Quality parts in quality pictures became the norm for Adolphe during the 1930s, with outstanding roles given him in The Great Lover (1931), A Farewell to Arms (1932), Forbidden (1932), Little Miss Marker (1934), Morning Glory (1933), A Star Is Born (1937), Stage Door (1937) and Golden Boy (1939).
The 1940s were not as golden, however. In addition to entertaining the troops overseas and making assorted broadcasts in a host of different languages, he did manage to get the slick and slimy Billy Flynn lawyer role opposite Ginger Rogers' felon in the "Chicago" adaptation Roxie Hart (1942), and continued to earn occasional distinction in such post-WWII pictures as The Hucksters (1947) and State of the Union (1948). His last lead was in the crackerjack thriller The Sniper (1952), in which he played an (urbane) San Francisco homicide detective tracking down a killer who preys on women in San Francisco, and he appeared without his mustache for the first time in nearly two decades. Also active on radio and TV, his last notable film was the classic anti-war picture Paths of Glory (1957) playing the villainous Gen. Broulard.
Adolphe's extreme hardcore right-wing Republican politics hurt his later reputation, as he was made a scapegoat for his cooperation as a "friendly witness" at the House Un-American Activities Commission hearing during the Joseph McCarthy Red Scare era. Following his last picture, Disney's Pollyanna (1960), in which he played an uncharacteristically rumpled curmudgeon who is charmed by Hayley Mills, he retired from acting. He died after a nine-month battle with hepatitis on October 29, 1963, inside his Beverly Hills home. Three times proved the charm for Adolphe with his 1934 marriage to actress Verree Teasdale, who survived him. The couple had an adopted son named Peter. His autobiography, "It Took Nine Tailors" (1947), pretty much says it all for this polished, preening professional."THE SHEIK"