Edward G. Robinson arrived in the United States at age ten, and his family moved into New York's Lower East Side. He took up acting while attending City College, abandoning plans to become a rabbi or lawyer. The American Academy of Dramatic Arts awarded him a scholarship, and he began work in stock, with his new name, in 1913. Broadway was two years later; he worked steadily there for 15 years. His work included "The Kibitzer", a comedy he co-wrote with Jo Swerling. His film debut was a small supporting part in the silent The Bright Shawl (1923), but it was with the coming of sound that he hit his stride. His stellar performance as snarling, murderous thug Rico Bandello in Little Caesar (1931)--all the more impressive since in real life Robinson was a sophisticated, cultured man with a passion for fine art--set the standard for movie gangsters, both for himself in many later films and for the industry. He portrayed the title character in several biographical works, such as Dr. Ehrlich's Magic Bullet (1940) and A Dispatch from Reuter's (1940). Psychological dramas included Flesh and Fantasy (1943), Double Indemnity (1944), The Woman in the Window (1944)and Scarlet Street (1945). Another notable gangster role was in Key Largo (1948). He was "absolved" of allegations of Communist affiliation after testifying as a friendly witness for the House Un-American Activities Committee during the McCarthy hysteria of the early 1950s. In 1956 he had to sell off his extensive art collection in a divorce settlement and also had to deal with a psychologically troubled son. In 1956 he returned to Broadway in "Middle of the Night". In 1973 he was awarded a special, posthumous Oscar for lifetime achievement.IMDb Mini Biography By: Ed Stephan <email@example.com>
|Jane Robinson||(16 January 1958 - 26 January 1973) (his death)|
|Gladys Lloyd||(21 January 1927 - 20 July 1956) (divorced) 1 child|
Prideful, nasty and violent characters involved in the underworld
Unconventional, almost catfish-like mug
His short, squat frame
Son, Emmanuel (Manny) (b. 1933, d. 1974).
Born at 5:00 a.m. LMT.
Interred at Beth El Cemetery, Brooklyn, New York, USA, in the Goodman Mausoleum.
Incredibly, never even nominated for an Academy Award. He was awarded a special "Lifetime Achievement" Oscar two months after his death. His wife, who accepted for him, commented on how thrilled he was to learn he would be given the award.
Was originally slated to play Dr. Zaius in Planet of the Apes (1968) but dropped out due to heart problems.
Pictured on a 33¢ USA commemorative postage stamp in the Legends of Hollywood series, issued 24 October 2000.
Portrayed Steve Wilson, crusading editor of The Illustrated Press, on CBS Radio's "Big Town" (1937-1943).
Father of Edward G. Robinson Jr..
Died two weeks after he had finished filming Soylent Green (1973).
Although best known for playing fierce, shady little men, Robinson was well liked by almost everyone off-screen, having been a sensitive, quiet, artistic type when not performing.
Was nominated for Broadway's 1956 Tony Award as Best Actor (Dramatic) for "Middle of the Night."
Was named #24 greatest actor on The 50 Greatest Screen Legends by the American Film Institute
According to the March 31, 1941, issue of "Time" magazine, he and Melvyn Douglas bid $3,200 for the fedora hat that Franklin D. Roosevelt had worn during his three successful campaigns for the presidency. They acquired the hat at a special Hollywood auction to benefit the Motion Picture Relief Fund. Both Robinson and Douglas were identified as "loyal Democrats". Robinson would later be "grey-listed" during the McCarthy Red Scare hysteria of the 1950s and have to make his living on stage.
Member of the jury at the Cannes Film Festival in 1953.
Lived in a Yiddish community in Romania until he was 9.
Donated $100,000 to the United Service Organization (USO) during WW2. Like many celebrities, Robinson also pitched in at the Hollywood Canteen and, being multilingual (he reportedly spoke seven languages fluently), worked on broadcasts to countries occupied by the Nazis.
Spoke seven other languages besides English, including Yiddish, Romanian and German.
When he died in 1973, he left an estate valued at $2,500,000 which largely consisted of rare works of art.
In 1949, he was investigated by the California Senate's Fact Finding Committee on Un-American Activities (colloquially known as the "Tenney Committee" after Committee Chairman Jack Tenney). The Tenney Committee investigated alleged communists in California. Jack Tenney denounced Robinson for being "frequently involved in Communist fronts and causes".
Robinson's fellow student and close friend at the American Academy of Dramatic Arts was Joseph Schildkraut, who remembered, "I looked at the girls, but Manny stuck to his work.".
Robinson suffered a heart attack while filming "A Boy Ten Feet Tall" in Africa,.
Other alumni of his P.S. 21 in Manhattan were George Gershwin, Jacob Javits, an Paul Muni.
Although it has been said that Robinson chose his stage name after an actor he had seen and admired, later he said he was just trying to keep his birth initials. He was unsure as to why he had settled on Robinson but would have chosen a shorter name if allowed to do it again as it takes a long time to write Robinson in an autograph.
If I were just a bit taller and I was a little more handsome or something like that, I could have played all the roles that I have played, and played many more. There is such a thing as a handicap, but you've got to be that much better as an actor. It kept me from certain roles that I might have had, but then, it kept others from playing my roles, so I don't know that it's not altogether balanced.
[on Double Indemnity (1944)] It was, in fact, the third lead. I debated accepting it. Emanuel Goldberg told me that at my age it was time to begin thinking of character roles, to slide into middle and old age with the same grace as that marvelous actor Lewis Stone . . . The decision made itself . . It remains one of my favorites.
I have not collected art. Art collected me. I never found paintings. They found me. I have never even owned a work of art. They owned me.
To last you need to be real.
To be entrusted with a character was always a big responsibility to me.
To my mind, the actor has this great responsibility of playing another human being . . . it's like taking on another person's life and you have to do it as sincerely and honestly as you can.
Ah yes, I remember well what it was like to be a true collector, that soft explosion in the heart, that thundering inner "Yes!" when you see something you must have or die. For over 30 years I made periodic visits to Renoir's "Luncheon of the Boating Party" in a Washington museum, and stood before that magnificent masterpiece hour after hour, day after day, plotting ways to steal it.
I remember just before going onto the soundstage, I'd look in my dressing room mirror and stretch myself to my full 5'5" or 5'6" - whatever it was - to make me appear taller and to make me able to dominate all the others and to mow them down with my size.
Of course, I started as a collector. A true collector. I can remember as if it were only yesterday the heart-pounding excitement as I spread out upon the floor of my bedroom The Edward G. Robinson Collection of Rare Cigar Bands. I didn't play at collecting. No cigar anywhere was safe from me. My father and uncles and all their friends turned their lungs black trying to satisfy my collector's zeal. And then came cigarette cards, big-league baseball players. I was an insatiable fiend, and would cheerfully trade you three Indian Joes for one of that upstart newcomer, Ty Cobb.
Paintings never really belong to one of us. If we are fortunate, as I have been, we are allowed at most a lovely time of custody.
Acting and painting have much in common. You begin with the external appearance and then strip away the layers to get to the essential core. This is reality and that is how an artist achieves truth. When you are acting, you are playing a part, you are being somebody else. You are also, at the same time, being yourself.
Some people have youth, some have beauty - I have menace.
The sitting around on the set is awful. But I always figure that's what they pay me for. The acting I do for free.
[on Humphrey Bogart] I always felt sorry for him -- sorry that he had imposed upon himself the character with which he had become identified.
|Key Largo (1948)||$12,500/week|
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