Laird Cregar Poster


Jump to: Overview (5)  | Mini Bio (1)  | Trade Mark (3)  | Trivia (11)  | Personal Quotes (5)

Overview (5)

Born in Philadelphia, Pennsylvania, USA
Died in Los Angeles, California, USA  (heart attack)
Birth NameSamuel Laird Cregar
Nickname Sam
Height 6' 3" (1.91 m)

Mini Bio (1)

Seemingly suave, cultivated actor by nature, definitely huge in both talent and girth, and capable of playing much older than he was, Hollywood of the early '40s tragically lost Laird Cregar before it could fully comprehend on how to best utilize his obvious gifts. He was born Samuel Laird Cregar in a well-to-do section of Philadelphia, eventually dropping his first name after forging an acting career. At age eight his parents sent him to England and enrolled him at the Winchester Academy. During his school's off time, his pique in acting escalated after being employed as a page boy with the Stratford-on-Avon Players. Thereafter, his mind was set to become a professional actor. Returning to the U.S., he attended Episcopal Academy in Philadelphia and the Douglas Adams School in Longport, New Jersey. Again, he found meager jobs, such as an usher, in order to stay close to the theater. Awarded a scholarship to the Pasadena Community Playhouse, he trained there for two years before going out on his own and finding minor work on the bi-coastal stage and finding minuscule parts in films.

Laird's break came of his own making. After witnessing Robert Morley's triumph in the title role of "Oscar Wilde" on Broadway, Laird set upon finding backing for his own version of the play. Debuting in Los Angeles and finding resounding success there as well as in San Francisco, film studios began competing for his services with Twentieth Century-Fox winning out. He made his feature debut opposite Paul Muni in Hudson's Bay (1940) in the boisterous role of a fur trapper and solidified his movie standing by appearing flamboyantly as a bullfighting critic at odds with Tyrone Power's matador in the popular Technicolor classic Blood and Sand (1941). He then went on to show a scene-stealing prowess for stylish farce as one of Jack Benny "suitors" in the drag comedy Charley's Aunt (1941).

By the time Laird cut a mean, sinister path in I Wake Up Screaming (1941), playing a detective so insanely hung up on a murdered girl (Carole Landis) that he deliberately frames an innocent man (Victor Mature) for her crime, it was obvious films could rely on him for any of their comedic or dramatic ventures. There seemed nothing he couldn't do, but it was obvious audiences loved him as the 300 lb. man you love to hate - goaded on by his nefarious doings in the film noir classic This Gun for Hire (1942) starring Alan Ladd and Rings on Her Fingers (1942) with Gene Tierney.

On the Los Angeles theater front he gave Monty Woolley a run for the money in Woolley's signature stage role of Sheridan Whiteside in "The Man Who Came to Dinner". Along with the good came some contrived roles in a few mediocre films ranging from training officers to hammy-styled pirates. Even so, he usually stood out among the other actors in some fashion. He even played the Devil himself in the exquisitely humor-laced Ernst Lubitsch comedy Heaven Can Wait (1943).

His film career was capped by his definitive Jack the Ripper in The Lodger (1944). Investing the psychotic role with an intense, gripping realism and off-putting, oily charm, he led a brilliantly seasoned cast and relished a death scene in the film (in truth, the real-life serial killer was never caught) that dared to forever stereotype him as a Sydney Greenstreet-like villain. Unfortunately, his early death robbed film audiences of seeing what course Laird's career would have taken. Sure enough, his last celluloid offering in Hangover Square (1945) was as another despicable character with murder on its maniacal mind. Top-lining a cast that included Linda Darnell (as an object of his affection), and George Sanders, he this time portrayed a temperamental composer who suffers from a split personality disorder and, prone to periodic blackouts, commits brutal murders. Another compelling death scene had his mad character wildly pounding out a concerto while the room around him goes up in flames and the ceiling crashes down on him.

Laird's obsession with avoiding the inevitable stereotype as a "heavy heavy" and wistful pursuit of a romantic leading man career compelled him to go on a reckless, unsupervised crash diet (from 300 lbs to 200 lbs), which is evident by his drastically trimmed-down look in his last film. This proved too strenuous on his system and he was forced to undergo surgery for a severe stomach disorder. His 30-year-old heart gave out on the morning of December 9, 1944, only days after his operation. He was survived by his mother.

- IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net

Trade Mark (3)

Scene-stealing performances as extremely unconventional characters
Towering height and massive frame
Some of the most memorable screen villains of the Golden Age of Hollywood

Trivia (11)

Interred at Forest Lawn, Glendale, California, USA, in the Eventide section, lot #37.
Best remembered as the title character in The Lodger (1944).
His funeral eulogy was delivered by Vincent Price.
His rapid loss of weight to 200 pounds (88 kg) from 300 (132 kg) was more than his system could endure.
Mammoth-sized US character actor, often in sinister or sulking roles -- sometimes of men twice his real age. He died young, of complications from a crash campaign to lose weight.
He appeared in 3 movies with Gene Tierney: Hudson's Bay (1940), Rings on Her Fingers (1942) and Heaven Can Wait (1943).
He appeared in 3 movies with George Sanders: The Black Swan (1942), The Lodger (1944) and Hangover Square (1945).
Attended fashionable Episcople Academy just outside Philadelphia, where he became active in dramatics.
Was an usher at Grauman's Chinese Theater in 1937.
Attended Winchester Academy, a noted boys' school in Longport, New Jersey.
Played featured roles in six important films during the first year of his Fox contract.

Personal Quotes (5)

[from one of his final interviews] I have a feeling the studio is almost beginning to consider me an actor now, instead of a type.
[on his character in The Lodger (1944)] A lonely man, a man obsessed by an imaginary wrong dealt him by one woman but which he has transferred to the entire sex.
(In an interview after the release of "The Lodger) Lots of people get a great kick out of evil efficiently wrought, and they write in and pat me on the back. Then, too, there are the righteous people who think I'm actually the kind of person I portray on the screen, and who enumerate the various ways in which they would like to eliminate me. The only ones I really like are the letters from the few kind souls who realize that I'm only an actor trying to make a living.
(1940s interview) I signed with 20th Century Fox because at that time there was only one other character man, John Carradine, under contract, and, of course, we two couldn't ever vie for roles.
(In a 1940s press release about his introduction to the theater as a page boy at Stratford-on-Avon) I never wanted to be anything but an actor after that. There have been times, though, when I've wished my ambition wasn't so firmly fixed.

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