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Mahoney is of French and Irish extraction, with some Cherokee. At the University of Iowa, he was outstanding in swimming, basketball and football. When World War II broke out, he enlisted as a Marine fighter pilot and instructor. In Hollywood, he was a noted stunt man, doubling for Errol Flynn, John Wayne, and Gregory Peck. Gene Autry signed him for the lead in his 78-episode The Range Rider (1951) TV series. He tested to replace Johnny Weissmuller, as Tarzan but lost out to Lex Barker. In 1960, he played the heavy in Gordon Scott's Tarzan the Magnificent (1960), and his part there led Sy Weintraub to hire him as Scott's replacement. In his two Tarzan movies, he did all his own stunts. In Tarzan's Three Challenges (1963), he continued working in spite of dysentery, dengue fever and pneumonia. By this time, Weintraub was looking for a younger Tarzan, envisioning a future TV series. By mutual agreement, his contract with Mahoney was dissolved. After a couple of years regaining his strength and weight, Jock returned to making action films.- Actor
- Soundtrack
Hans Christian Blech was born on 20 February 1915 in Darmstadt, Germany. He was an actor, known for The Longest Day (1962), Battle of the Bulge (1965) and Wer zu spät kommt - Das Politbüro erlebt die deutsche Revolution (1990). He was married to Erni Wilhelmi. He died on 5 March 1993 in Munich, Bavaria, Germany.- Actor
- Producer
- Director
Sessue Hayakawa was born in Chiba, Japan. His father was the provincial governor and his mother a member of an aristocratic family of the "samurai" class. The young Hayakawa wanted to follow in his father's footsteps and become a career officer in the Japanese navy, but he was turned down due to problems with his hearing. The disappointed Hayakawa decided to make his career on the stage. He joined a Japanese theatrical company that eventually toured the United States in 1913. Pioneering film producer Thomas H. Ince spotted him and offered him a movie contract. Roles in The Wrath of the Gods (1914) and The Typhoon (1914) turned Hayakawa into an overnight success. The first Asian-American star of the American screen was born.
He married actress Tsuru Aoki on May 1, 1914. The next year his appearance in Cecil B. DeMille's sexploitation picture The Cheat (1915) made Hayakawa a silent-screen superstar. He played an ivory merchant who has an affair with the Caucasian Fannie Ward, and audiences were "scandalized" when he branded her as a symbol of her submission to their passion. The movie was a blockbuster for Famous Players-Lasky (later Paramount), turning Hayakawa into a romantic idol for millions of American women, regardless of their race. However, there were objections and outrage from racists of all stripes, especially those who were opposed to miscegenation (sexual contact between those of different races). Also outraged was the Japanese-American community, which was dismayed by DeMille's unsympathetic portrayal of a member of their race. The Japanese-American community protested the film and attempted to have it banned when it was re-released in 1918.
The popularity of Hayakawa rivaled that of Caucasian male movie stars in the decade of the 1910s, and he became one of the highest-paid actors in Hollywood. He made his career in melodramas, playing romantic heroes and charismatic heavies. He co-starred with the biggest female stars in Hollywood, all of whom were, of course, Caucasian. His pictures often co-starred Jack Holt as his Caucasian rival for the love of the white heroine (Holt would later become a top action star in the 1920s),
Hayakawa left Famous Players-Lasky to go independent, setting up his own production company, Haworth Pictures Corp. Through the end of the decade Haworth produced Asian-themed films starring Hayakawa and wife Tsuru Aoki that proved very popular. These movies elucidated the immigrant's desire to "cross over" or assimilate into society at large and pursue the "American Dream" in a society free of racial intolerance. Sadly, most of these films are now lost.
With the dawn of a new decade came a rise in anti-Asian sentiment, particularly over the issue of immigration due to the post-World War I economic slump. Hayakawa's films began to perform poorly at the box office, bringing his first American movie career to an end in 1922. He moved to Japan but was unable to get a career going. Relocating to France, he starred in La bataille (1923), a popular melodrama spiced with martial arts. He made Sen Yan's Devotion (1924) and The Great Prince Shan (1924) in the UK.
In 1931 Hayakawa returned to Hollywood to make his talking-picture debut in support of Anna May Wong in Daughter of the Dragon (1931). Sound revealed that he had a heavy accent, and his acting got poor reviews. He returned to Japan before once again going to France, where he made the geisha melodrama Yoshiwara (1937) for director Max Ophüls. He also appeared in a remake of "The Cheat" called Forfaiture (1937), playing the same role that over 20 year earlier had made him one of the biggest stars in the world.
After the Second World War he took a third stab at Hollywood. In 1949 he relaunched g himself as a character actor with Tokyo Joe (1949) in support of Humphrey Bogart, and Three Came Home (1950) with Claudette Colbert. Hayakawa reached the apex of this, his third career, with his role as the martinet POW camp commandant in The Bridge on the River Kwai (1957), which brought him an Academy Award nomination for Best Suporting Actor. His performance as Col. Saito was essential to the success of David Lean's film, built as it was around the battle of wills between Hayakawa's commandant and Alec Guinness' Col. Nicholson, head of the Allied POWs. The film won the Best Picture Academy Award, while Lean and Guiness also were rewarded with Oscars.
Hayakawa continued to act in movies regularly until his retirement in 1966. He returned to Japan, becoming a Zen Buddhist priest while remaining involved in his craft by giving private acting lessons.
Ninety years after achieving stardom, he remains one of the few Asians to assume superstar status in American motion pictures.- Actor
- Producer
- Soundtrack
In his early career as the 4-year-old "World's Youngest Ordained Minister," Pentecostal preacher Hugh Marjoe Ross Gortner became a 'Miracle Child' extraordinaire. Born in Long Beach, California, the young tyke, who ministered the gospel from memory and performed faith healings, drew capacity crowds as he barnstormed throughout the Bible Belt. The son of Vernon Robert Gortner, an evangelical minister who preached at revivals, it was his mother Marge who pushed and introduced Marjoe to the world as a boy preacher, and it the primary reason for his success. At age 16, however, Marjoe grew acutely disillusioned with what he considered a horrible deception, eventually withdrawing from the scene.
Unbeknownst to his father and other ministers, Marjoe agreed to let a film crew follow him throughout his final 1971 national tour of revival meetings before leaving "the business." The fascinating Oscar-winning documentary Marjoe (1972) that resulted, based on his life as a fake evangelist, introduced the public to a new and profoundly hypnotic performer. Prior to filming the documentary, Marjoe displayed his musical talents. As prolific musician, he could play the drums, saxophone, organ, guitar, accordion and piano and performed with a Los Angeles rock band. On the strength of the documentary's critical success, he managed to record a 1973 solo album for RCA, "Bad, But Not Evil." Feeling a strong compulsion to act, Marjoe's talents for drawing an audience and public speaking were quickly put to use. Handed potent roles in the TV projects The Marcus-Nelson Murders (1973) and The Gun and the Pulpit (1974), roles that capitalized on his magnetism and off-center flamboyance, the extremely positive reviews he received helped catapult him into 1970's films.
Unfortunately, most of Marjoe's cinematic efforts went on to earn harsh critical reviews. Following a featured psychotic role in the all-star disaster film Earthquake (1974), Marjoe went on to star in a few wild-eyed roles -- as a Billy the Kid type outlaw in the romantic crime drama Bobbie Jo and the Outlaw (1976), a man framed as a drug smuggler in the action crime film Acapulco Gold (1976), a hunter being attacked by giant killer wasps in the horror opus The Food of the Gods (1976), a cocky cowboy in the motorcycle action film Viva Knievel! (1977), a robot-battling intergalactic outlaw in the space action flick Starcrash (1978) and a vicious, hostage-taking drug dealer in the drama When You Comin' Back, Red Ryder? (1979). Because of such poor box office receipts for these film, Marjoe's quest for top film stardom never materialized.
The tall (6'2"), tousle-haired Marjoe did thrive, however, as an offbeat guest on a number of popular TV shows, including "Barnaby Jones," "Nakia," "Medical Center," "Police Story," "Fantasy Island," "The A-Team," "Matt Houston," "Airwolf" and "T.J. Hooker." During the 1986-1987 season, Marjoe had the somewhat close-to-home role of Vince Karlotti, a villainous charlatan who posed as a psychic medium in the nighttime soap opera series Falcon Crest (1981).
Marjoe stumbled through some more films in the 80s, but even with his undeniable charm and charisma, he couldn't rise above the poor material offered in such movies as Mausoleum (1983), Jungle Warriors (1984), Hellhole (1985), The Survivalist (1987), American Ninja 3: Blood Hunt (1989) and Feuer, Eis & Dynamit (1990). He ended his career in the featured role of a preacher in the biography of Wild Bill Hickock entitled Wild Bill (1995) starring Jeff Bridges.
Before retiring in 2010, the man who blew the whistle on evangelism produced Celebrity Sports Invitational charity golf tournaments and ski events for charitable purposes. Briefly married (1978-1979) to second wife Candy Clark, his co-star in When You Comin' Back, Red Ryder? (1979), Marjoe waited four decades before attempting to marry again in 2019, this time to set decorator Susan Magestro.- Actor
- Writer
- Soundtrack
Rangy, red-headed and straightforward to the bone while possessing distinctively adenoidal vocal tones, this actor with a voracious appetite for high living was a fine cinematic representation of the racy and race-paced style of pre-Code Hollywood. Lee Tracy patented with peerless skill the lightning rod timing and machine gun delivery so identified with that period and would have continued on handsomely in films had severe typecasting, a hair-trigger temper and a notoriously reckless off-camera life not gotten the best of him.
Christened William Lee Tracy on April 14, 1898, the Atlanta-born actor was the son of a traveling railroad superintendent and a former school teacher. Lee attended Western Military Academy in Alton, Illinois, while growing up, and then relocated with his family to upstate New York. Lee may have studied engineering at Union College in 1918, but he also showed an interest in dramatics and was almost immediately asked to join a theater company upon his graduation. WWI interrupted his nascent stage career when he joined the army. Following his discharge, he cast aside thoughts of a theater career and instead became a U.S. Treasury agent. Within two years' time, however, he was back via the vaudeville stage and touring stock companies. This all culminated in a most auspicious Broadway debut in "The Showoff" in 1924.
It took but a couple of years for Tracy to achieve certified stardom with the George Abbott production of "Broadway" (1926), in which he played a song-and-dance man, receiving the New York Drama Critics Award for his efforts. In 1928, following more vaudeville work, Lee found his quintessential role in the form of Hildy Johnson, the hustling, fast-talking newspaperman, in Charles MacArthur and Ben Hecht's timeless play "The Front Page". If ever an actor and role fit together like a hand in a glove, this was it, and it was highly unfortunate, with all due respect to actor Pat O'Brien, that Tracy was not afforded the proper chance to transfer this prototype Broadway part to the 1931 film. During this time he was also developing an off-stage reputation as a carouser and heavy drinker.
Nevertheless, Fox Studios immediately signed Tracy and offered up a fine screen debut for him co-starring with Mae Clarke in the early talkie Big Time (1929) as the male half of a husband-and-wife vaudeville team who breaks off with his mate and falls on heavy times while she becomes a star. In Born Reckless (1930), Tracy played the first of his Walter Winchell-like, staccato-styled characters. Tracy went on to perfectly evoke his fast-talking image in such Depression-era films as the drama Liliom (1930) and the ribald comedy She Got What She Wanted (1930).
A highly impulsive man, Tracy abandoned Hollywood at this early stage of the game and returned to his former glory, Broadway, appearing to fine advantage in "Oh, Promise Me" and "Louder, Please" in 1930 and 1931, respectively. But films continued to beg for his services; this time it was Warner Bros. He contributed greatly to both the melodrama The Strange Love of Molly Louvain (1932) and the horror opus Doctor X (1932) and easily stole the proceedings, this time in a comic mode, as the cynical, scandal-sniffing columnist in Blessed Event (1932). Columbia Studios decided to get in on the action with a three-picture deal. Tracy played a no-holds-barred politico in Washington Merry-Go-Round (1932), the title role in The Night Mayor (1932) and an ex-con in Carnival (1935). In between, however, trouble started brewing with his unrestrained night life and patterned absences from the set.
A fourth big studio, MGM, took him on in 1933 with a contract boost despite his "bad boy" reputation, yet more personality problems surfaced. Despite excellent performances in such films as Clear All Wires! (1933), The Nuisance (1933), Turn Back the Clock (1933), Advice to the Forlorn (1933), and the MGM classics Dinner at Eight (1933) and Bombshell (1933), both showcasing MGM's comedic sex siren Jean Harlow, Tracy went too far. During the filming of Viva Villa! (1934) in Mexico City, Tracy displayed shocking, ungentlemanly behavior that resulted in fisticuffs with the law and a high-profile arrest on public morals charges. MGM not only kicked Tracy off the picture but felt compelled to apologize publicly to the Mexican people for his disrespect and terminate the actor's five-year contract.
Tracy freelanced thereafter, often for RKO, but the quality of his pictures began to slide and his constant rash of quicksilver reporters, columnists and press agents had worn out their welcome. He returned to the stage in both New York ("Bright Star") and London ("Idiot's Delight") and was warmly received. In the midst of it all, he married Helen Thoms Wyse, a nonprofessional, in 1938 and, defying all odds, made the marriage work. She survived him by thirty years.
With his last postwar film at the time being High Tide (1947), Tracy's looks had hardened dramatically and he looked at TV being a possible medium for his talents. Throughout the '50s and early '60s, he appeared on a number of shows, including "Kraft Television Theatre", "Wagon Train" and "Ben Casey". He also took on series leads, such as The Amazing Mr. Malone (1951), Martin Kane (1949), and New York Confidential (1959). And there was always the stage.
Tracy's last hurrah, both on Broadway and in film, was Gore Vidal's blistering political drama The Best Man (1964). Recreating his 1961 Tony-nominated role of the crusty, terminally ill U.S. president, he received his only Oscar nod for this standout part. The rest of his working years went by with less distinction. In the summer of 1968 he was diagnosed with liver cancer and succumbed to the illness on October 18 of that year in a Santa Monica hospital.- Actor
- Writer
Laconic, dark and handsome were the essential attributes for Hollywood western leading men in the 50s and 60s. James Drury fit the bill, keeping in mind that his most famous screen persona - that of the stalwart Shiloh estate ranch foreman known only as 'the Virginian' - took a while to properly develop. In the original 30-minute pilot way back in 1958, the Virginian appeared rather more like a genteel dandy than a tough cowboy. Four years later, the NBC network approved a revamped version of the series and Drury, now looking the part, was on his way to popular success. Though his career may have fallen short of outright stardom, he endeared himself with TV audiences for almost a decade and went on to enjoy a fair cult status beyond the final episode of The Virginian (1962) in March 1971.
James Child Drury was born not in the American West, but in New York, the son of Beatrice (Crawford) and James Child Drury. His father, from an Irish family, was a professor who lectured in marketing and advertising at New York University. Young James spent some of his formative years on a family ranch in Salem, Oregon, where he learned to become an expert rider. His maternal grandfather, John Hezekiah Crawford, of Kentucky, educated him in the ways of the woodsman and taught him marksmanship. James began to act in school plays, toured with a theatrical company by the age of twelve and then studied drama at his father's university. Curiously, he completed his senior year at UCLA studying not acting but horticulture and animal husbandry. Upon graduation, he was signed to a contract by Metro-Goldwyn-Mayer and made his first screen appearance a year later in 1955. Aside from playing junior army officers and assorted teenagers in films for 20th Century Fox and Disney, Drury quickly found a comfortable niche in TV westerns (which, no doubt, had much to do with his expertise in horsemanship). He had guest appearances in just about all the famous ones: The Texan (1958), Bronco (1958), Have Gun - Will Travel (1957), Lawman (1958), Cheyenne (1955), Gunsmoke (1955), Rawhide (1959) and Wagon Train (1957). He also made the little seen, yet unsold pilot for The Virginian. A strong performance as one of a quartet of villainous brothers in Sam Peckinpah's seminal western Ride the High Country (1962) led to a seven-year contract with Universal. He (along with Doug McClure) auditioned for their respective roles in The Virginian soon after, finding out that the parts were indeed theirs just two days prior to shooting. In 1966, Drury fronted a band, the Wilshire Buffalo Hunters, touring Vietnam for three weeks as part of the USO.
Despondent after The Virginian ended its run, Drury played a sheriff in the pilot for the comedy western series Alias Smith and Jones (1971) and then starred in Firehouse (1974), a short-lived ABC adventure drama set at a Los Angeles fire station. After the cancellation of Firehouse, Drury seemed to become even more disheartened and made only a few more sporadic TV appearances thereafter. However, he managed to reinvent himself as a successful businessman, first as co-owner of a ranch raising Appaloosa horses (his steed in The Virginian had been a white Appaloosa named Joe D), then as proprietor of a company recycling asphalt, and latterly, having moved to Texas, in the oil and natural gas business. He was inducted into the Hall of Great Western Performers in 1991.
James Drury died from natural causes on April 6, 2020, in Houston, Texas. He was 85.- Actress
- Additional Crew
- Soundtrack
Eleanor Powell was born in 1912 in Springfield, Massachussetts, and got her professional start in Atlantic City clubs, from where she moved into in revue in New York at the Ritz Grill and Casino de Paris at the age of sixteen. She started her career on Broadway in 1929, where her machine-gun foot work gained her the title of world champion in tapping. In 1935 she came to Hollywood where she starred in the great MGM musicals in the late 1930s, establishing herself as a Queen of Ra-Ta-Taps. In spite of the fact that she was primarily a solo performer she also danced with Fred Astaire and George Murphy. After her marriage she wasn't seen on the screen, except for a short number in the Duchess of Idaho (1950). After her divorce she started a short but successful night-club career.- Actor
- Producer
- Director
A much-loved comic actor who has specialized in playing plummy, quintessentially English stereotypes, Leslie Phillips' heart was in acting from a very young age. He received elocution lessons as a child in order to lose his natural cockney accent (at that time a regional British accent was a major impediment to an aspiring actor) and he attended the Italia Conti School.
During the Second World War he served with the Durham Light Infantry (1942-45), but was invalided out, suffering from shell shock. He returned to acting and it was during the 1950s that he established himself as a notable player in British movies. His greatest claim to fame to this day is the "Doctor" series of movies, which he inherited from Dirk Bogarde. He also worked on radio, most notably 'The Navy Lark' for the BBC.
In later life he returned to playing supporting roles and even appeared in Steven Spielberg's Empire of the Sun (1987). He continued to make cameo appearances in films and television, and became a regular guest on British chat shows.- Actor
- Writer
- Producer
World-famous, widely popular American humorist of the vaudeville stage and of silent and sound films, Will Rogers graduated from military school, but his first real job was in the livestock business in Argentina, of all places. He transported pack animals across the South Atlantic from Buenos Aires to South Africa for use in the Boer War (1899-1902). He stayed in Johannesburg for a short while, appearing there in Wild West shows where he drew upon his expertise with horse and lasso. Returning to America, he brought his talents to vaudeville and by 1917 was a Ziegfeld Follies star. Over the years he gradually blended into his act his unique style of topical, iconoclastic humor, in which he speared the efforts of the powerful to trample the rights of the common man, while twirling his lariat and perhaps chewing on a blade of straw. Although appearing in many silents, he reached his motion-picture zenith with the arrival of sound. Now mass audiences could hear his rural twang as he delivered his homespun philosophy on behalf of Everyman. The appeal and weight of his words carried such weight with the average citizen that he was even nominated for governor of Oklahoma (which he declined).- Gabriel LaBelle plays the lead role of Sammy Fabelman, an aspiring 16-year-old filmmaker based on young Steven Spielberg in The Fabelmans (2022) alongside Michelle Williams, Paul Dano and Seth Rogen. The film, loosely based on Spielberg's childhood, will be widely released by Universal in November. LaBelle also stars in the upcoming Showtime series American Gigolo opposite Jon Bernthal, Gretchen Mol, and Leland Orser. The series premiered on Showtime on September 9. He also starred in the horror feature Dead Shack, which premiered at the Vancouver International Film Festival to rave reviews. Other credits include The Predator with Boyd Holbrook and Sterling Brown, Motive, and iZombie (2015).
- Actor
- Producer
- Soundtrack
Austin Robert Butler was born in Anaheim, California, to Lori Anne (Howell), an aesthetician, and David Butler. He has always enjoyed movies of all types. When he was 13 he was walking around at the Orange County Fair and was approached by a representative from a background-acting management company, who helped him get started in the entertainment industry. He found that he really enjoyed it, and began taking a few acting classes. Soon, he landed a rather permanent (2005-2007) background-acting gig on Nickelodeon's Ned's Declassified School Survival Guide (2004), and a friend on the show, Lindsey Shaw, introduced him to her manager, who offered to represent him. From that point on, he considered himself to be a serious actor.
His first named (albeit uncredited) character was "Toby" in the Hannah Montana (2006) episode "Oops, I Meddled Again" in 2006 (girl broke up with him). First speaking role was in Zoey 101 (2005), as "Dannifer" or "Wrong Danny" (a few lines, and a girl poured soda down his shirt). He got a meatier role on Hannah Montana (2006) in 2007, still a small part, but very fun (a few more lines, and he got to fling popcorn on Miley Cyrus).
His big break (relatively speaking) was in 2007, as casting directors started to recognize him from his many, many auditions, and he was given an opportunity to play the part of "Jake Krandle" in the new Nickelodeon series iCarly (2007), which should start airing late in 2007. His first episode is called "iLike Jake."- Actor
- Soundtrack
Warren William, the stalwart leading man of pre-Production Code talkies, was born Warren William Krech on December 2, 1894 in Aitkin, Minnesota, the son of a newspaper publisher. William originally planned to become a journalist, but he had a change of heart, and instead went to the American Academy of Dramatic Arts and trained to become an actor. He served in the military in France during World War I, remaining in that country after the Armistice to tour with a theatrical company.
He made his Broadway debut as William Warren in the H.G. Wells play "The Wonderful Visit" in 1924. While appearing in 17 more plays on Broadway from 1924 to 1930, he also managed to appear in three silent pictures under his own name, Warren Krech. His only substantial role was in his first flicker, Fox's The Town That Forgot God (1922). In 1923, he played a credited bit part in support of "Perils of Pauline" star Pearl White in her last serial photoplay, Plunder (1923) but he went uncredited in a bit part in the Roaring Twenties/John Gilbert-as-bootlegger movie, Twelve Miles Out (1927).
Possessed of a first-rate speaking voice, rich, deep, and mellifluous, he was a natural for the talkies, and in 1931, he joined the stock company at Warner Bros., the studio that gave the world cinema sound. Projecting a patrician persona, Warren William initially thrived in the all-talking pictures. He appeared in a lead role in his first talkie, Honor of the Family (1931), an adaptation Honoré de Balzac's novel "Cousin Pons." Subsequently, he appeared as second leads and leads in support of the likes of Dolores Costello (Drew Barrymore's grandmother), H.B. Warner, Walter Huston, and Marian Marsh, before headlining The Mouthpiece (1932) as a district attorney who quits for the other side of the law, defending mobsters before a last reel conversion. It was his break-through role, followed up by a turn as a crooked campaign manager with more than just the affairs of state on his mind in The Dark Horse (1932). He then moved on to leading roles in A-list pictures, including the high-suds soap opera Three on a Match (1932), the classic musical Gold Diggers of 1933 (1933), Frank Capra's Lady for a Day (1933), and the original Imitation of Life (1934) starring Claudette Colbert and Louise Beavers.
William's outstanding performances in these roles include Skyscraper Souls (1932), The Match King (1932), and Employees' Entrance (1933). He also broadened his range to play the fraudulent clairvoyant in The Mind Reader (1933).
The early 30s was the apogee of William's career. He appeared opposite strong female stars, including Barbara Stanwyck, Claudette Colbert, Bette Davis, Ann Dvorak and Loretta Young.
With his patrician looks and bearing, William was loaned out to Cecil B. DeMille to play the patrician's patrician, Julius Caesar, again opposite of Ms. Colbert in Cleopatra (1934), a typical prodigal DeMille production in which Henry Wilcoxon avenged his mentor's assassination by rousing the rabble. William went on as the second Sam Spade (renamed Ted Shayne) in the "Maltese Falcon" remake Satan Met a Lady (1936) with Bette Davis. He eventually found himself in B-films. The same year he played Caesar, he made his inaugural and terminal appearance as William Powell's premier replacement in the role of Philo Vance in The Dragon Murder Case (1934), a character he would resurrect five years later in The Gracie Allen Murder Case (1939).
After making his first appearance as the cinema sleuth Vance, William returned to his roots as a court-room advocate, cast as the first Perry Mason in The Case of the Howling Dog (1934). After four films, he was replaced as Erle Stanley Gardner's A-#1 attorney in 1936 by former silent screen heart-throb Ricardo Cortez, the man who had first played Sam Spade, in the original The Maltese Falcon (1931). Before leaving the studio, William appeared in one more picture under contract at Warners Bros., the A-list Stage Struck (1936); then the erstwhile Warners trouper trooped over to Metro-Goldwyn-Mayer for a few years, to work as a character actor.
Another movie series beckoned and William appeared as Michael Lanyard's "The Lone Wolf," in nine movies made by Columbia from 1939 to 1943 beginning with The Lone Wolf Spy Hunt (1939). Of the ten actors who appeared as "The Lone Wolf" in the 30 years the series ran, off and on, from 1919 until 1949, he made twice as many films as his nearest competitor (which included such top stars as Thomas Meighan and Melvyn Douglas). William continued to act in character parts calling for a patrician presence until his premature death in 1948.
Personally, Warren William was a shy and retiring type. Speaking of him, five-time Warners co-star Joan Blondell said that William "was an old man even when he was a young man." According to San Francisco critic Mick LaSalle's 2002 book "Dangerous Men: Pre-Code Hollywood and the Birth of the Modern Man" (New York: St. Martin's Press, 2002), William, who quite unlike his early Warner Bros.' stereotype as a heartless "love 'em and leave 'em"-style seducer, remained married to one woman throughout his adult life. He was an active inventor with multiple patents, designing one of the first recreational vehicles, reportedly so he could continue to sleep while being driven to the studio in the morning.
Warren William died in Hollywood on September 24, 1948, of multiple myeloma.