The Weasels
They'd turn in their own mother to get out of trouble . . .
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A respected stage actor -- he trained at the New York Academy of Dramatic Arts -- since the 1920s, birdlike Charles Halton's thinning hair, rimless glasses and officious manner were familiar to generations of moviegoers. Whether playing the neighborhood busybody, a stern government bureaucrat or weaselly attorney, you could count on Halton to try to drive the "immoral influences" out of the neighborhood, foreclose on the orphanage, evict the poor widow and her children from their apartment, or any other number of dastardly deeds, all justified by "I'm sorry but that's my job." His 40-year film career ended with High School Confidential! (1958), after which he retired.- One of those wonderfully busy character actors whose face is familiar if not his name, mild-mannered actor Byron Foulger began performing with community theater, and stock and repertory companies after graduating from the University of Utah. He met his future wife, character actress Dorothy Adams, in one of these companies. The marriage lasted nearly five decades and ended only with his death.
Making his Broadway debut in a 1920 production of "Medea" that featured Moroni Olsen as Jason (of the Argonauts), and went on to appear in several other Olsen Broadway productions and in close succession (including "The Trial of Joan of Arc," "Mr. Faust" and "Candida"). While touring the country with Olsen's stock company, he ended up at the Pasadena Playhouse where he both acted and directed. Thereafter he and wife Dorothy decided to settle in Los Angeles.
Together the acting couple tried to stake a claim for themselves in 30s and 40s Hollywood films. Both succeeded, appearing in hundreds of film parts, both together and apart, albeit in small and often unbilled bits. A man of meek, nervous countenance, Foulger's short stature and squinty stare could be used for playing both humble and shady fellows. In the 1940s, the actor became a part of Preston Sturges' company of players, appearing in five of his classic films -- The Great McGinty (1940), Sullivan's Travels (1941), The Palm Beach Story (1942), The Miracle of Morgan's Creek (1943) and The Great Moment (1944).
Although predominantly employed as an owlish storekeeper, mortician, professor, or bank teller, his better parts had darker intentions. He was exceptional as weaselly, mealy-mouthed, whining henchmen who inevitably showed their yellow streak by the film's end.
The character actor eased into TV roles in the 1950s and '60s, displaying a comedy side in many folksy, rural sitcoms. His final regular TV role was as train conductor Wendell Gibbs in the final years of the Petticoat Junction (1963) series. The father of actress Rachel Ames, Foulger died of a heart ailment on April 4, 1970, coincidentally the same day the final new episode of Petticoat Junction (1963) was broadcast. . - Actor
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A minor prototype of the "Runyon-esque" character for more than three decades, Polish-born actor George E. Stone (né Gerschon Lichtenstein, on May 18, 1903) was, in actuality, a close friend of writer Damon Runyan and would play scores of colorful "dees, dem and dos" cronies throughout the 1920s, '30s, and '40s. With great names such as Johnnie the Shiek, Boots Burnett, Ice Box Hamilton, Wires Kagel, Ropes McGonigle, Society Max, and Toothpick Charlie, Stone delighted audiences in scores of crimers for decades.
A vaudeville and Broadway hoofer in the interim, the runt-sized Stone (5'3") finally scored in his first "grownup" part as the Sewer Rat in the silent drama 7th Heaven (1927) starring the once-popular romantic pair Charles Farrell and (Academy Award winner) Janet Gaynor. As "Georgie" sounded too child-like, he began billing himself as "George E. Stone." From there he was featured in a number of "tough guy" potboilers, particularly for Warner Bros. So typed was he as a henchman or thug, that he found few films outside the genre. His gunsels often possessed a yellow streak and could be both broadly comic or threatening in nature, with more than a few of them ending up on a morgue slab before film's end, including his Earl Williams on The Front Page (1931) and Otero in the classic gangster flick Little Caesar (1931).
Included in George's many films were a number of Oscar-quality pictures , including The Racket (1928), Cimarron (1931), Five Star Final (1931), 42nd Street (1933), Viva Villa! (1934), Anthony Adverse (1936), North West Mounted Police (1940), Pickup on South Street (1953), The Robe (1953), Broken Lance (1954), The Man with the Golden Arm (1955), Guys and Dolls (1955), Some Came Running (1958), Some Like It Hot (1959), Pocketful of Miracles (1961). Arguably, Stone's most popular, if not prolific, role was when he replaced Charles Wagenheim as The Runt in the second of the "Boston Blackie" film series, Confessions of Boston Blackie (1941) that starred Chester Morris as the title detective. The series lasted eight years.
Suffering from failing eyesight in later years, George was virtually blind by the late 1950s but, thanks to friends, managed to secure sporadic film and TV work. From 1958 on, Stone could be glimpsed in a recurring role on the popular courtroom series Perry Mason (1957) as a court clerk. Married to second wife Marjorie Ramey in 1946, 64-year-old George died following a stroke on May 26, 1967 in Woodland Hills, California, and was survived by two sisters.- Actor
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Former vaudevillian, who acquired a solid reputation as a practical joker and master of insult, second only to the great Groucho Marx. Celebrity hosts would often hire Vince to perform gags and put-on jokes at their lavish parties, where he would insult the guests and create mayhem in his wake. He often posed as heavily-accented journalists with names like 'Timothy Glutzspiegel'. Among the many victims of his pranks were such luminaries as Winston Churchill, Charles Lindbergh, Henry Ford and the Norwegian polar explorer Roald Amundsen. Clark Gable nearly punched him out during a party given by Joan Crawford. Vince greeted Greta Garbo with "Good Morning, Miss Hepburn", and, as 'sound expert' Dr. Hoffman, instructed star Richard Barthelmess to take voice lessons from Texas Guinan or quit acting. During a trip to New York, he even cornered Mae West, posing as a member of the vice squad and threatening to close down her show ('Diamond Lil') unless she cut some of her bawdy dialogue. When the star acquiesced, the phoney inspector ordered her to burn the whole play and take the next train out of town. Not even Jack L. Warner was immune, being told by 'foreign producer' Barnett to learn the basics of film-making.
Roly-poly, moustachioed, bald-pated Barnett followed in the footsteps of his father Luke, who had made a name for himself for playing similar pranks on people for thirty years in his home town of Pittsburgh. After studying at the Carnegie Institute of Technology, Vince, who was an avid amateur pilot, flew mail planes for a couple of years before making his stage debut with "Earl Carroll's Vanities" in 1926. The following year, he acted on Broadway in "George White's Scandals". Movie roles soon followed.
From 1930, Vince appeared, usually as comedy relief, in films and on television in a career spanning 45 years. Among his best-regarded early roles were Scarface (1932),as a dumb gangster; The Big Cage (1933), Thirty Day Princess (1934) and, in a perfectly-suited Runyonesque part, Princess O'Hara (1935). In later years, Vince often relinquished his comedy image and was seen in innumerable small roles, often as careworn little men, undertakers, janitors, bartenders and drunks in pictures ranging from films noir like The Killers (1946), to westerns such as Springfield Rifle (1952).
In one of his last public appearances, Vince showcased his unique brand of humour with a monologue, delivered at Madison Square Garden in the vaudeville revue 'The Big Show of 1936'. It was to his ever-lasting regret that he never got the chance to match wits (and insults) with his illustrious Irish contemporary George Bernard Shaw.- American character actor. Raised in New York City and Cincinnati, Ohio, Beddoe was the son of a professor at the Cincinnati Conservatory of Music who happened also to be the world-famous Welsh tenor, Dan Beddoe. Although Don Beddoe intended a career in journalism, he took an interest in theatre and became involved first with amateur companies and then with professional theatre troupes. He debuted on Broadway in 1929 and kept up a decade-long career on the stage. Although said to have made some minor appearances in silent films, Beddoe made his real transfer to film work in 1938. He appeared in a wide range of supporting roles in literally scores of films, often as either a fast-talking reporter or as a mousey sort. He became one of the most readily familiar faces in Hollywood movies, despite remaining almost unknown by name outside the industry. Following service in the Army Air Corps during the Second World War, he continued to work steadily in small roles, complementing them with television work. Despite advancing (and very ripe old) age, he remained quite active, supplementing his acting work with a second career in real estate. He died in 1991.
- Reedy, balding, often bespectacled American character actor with pencil-thin moustache, once described as the man with TV's 'most deceptive face'. He looked like - and was - a certified public accountant, graduate from Northeastern University. A struggling actor in his youth, he worked in stock, tent shows and on radio. After army service in World War II, he became a prolific performer in early anthology series on television (eg. Kraft Theatre (1947) and Robert Montgomery Presents (1950)), though he continued to alternate these with appearances on the New York stage. He was also glimpsed in movies, invariably in small supporting roles, most notably as Deacon Davis in Cat on a Hot Tin Roof (1958), and as George Lowery, boss to doomed Janet Leigh in Psycho (1960).
Vaughn reserved his best for the small screen, where he showed his versatility in genial or waspish roles, often as doctors, judges and bankers. He was capable of portraying benevolence as easily as taking on the mantle of greedy or corrupt attorneys, or second-string grifters. He also played George 'Pa' Barker, in an episode of The Untouchables (1959)). Among his numerous TV credits, his five journeys into The Twilight Zone (1959) stand out in particular.
Severe spinal deterioration brought about Vaughn's retirement from acting in 1976. His wife of many years, Ruth Moss, a fellow graduate of the Leland Powers School, was a noted Boston radio personality and Broadway actress. - Actor
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Stuart Margolin, the Emmy Award-winning actor and director, was born in Davenport, Iowa. He won two Best Supporting Actor Emmies playing James Garner's former cell-mate "Angel" Martin in The Rockford Files (1974).
Margolin made his debut in The Gertrude Berg Show (1961) before becoming a series regular on Ensign O'Toole (1962) the following year. His acting career has now spanned more than 50 years.
Most of Margolin's work has been on television, where he also has worked as a director since he helmed an episode of Love, American Style (1969) in 1973. He has been directing episodic TV and made-for-TV movies for 37 years. He has been nominated twice for directing Emmies: in 1987 for a Prime Time Emmy for Outstanding Directing in a Variety or Music Program for The Tracey Ullman Show (1987) and in 1999 and a Daytime Emmy for Outstanding Directing in a Children's Special for The Sweetest Gift (1998).- Actor
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One of the most familiar faces and voices in Hollywood films of the 1950s. Percy Helton acted almost from infancy, appearing in his father's vaudeville act. The famed Broadway producer David Belasco cast Helton in a succession of child roles over several years, giving the boy an invaluable grounding in the technique and spirit of the theatre. George M. Cohan took Helton under his wing and used him in a number of plays.
Helton served in the United States Army in Europe during World War I in the American Expeditionary Forces, with the 305th Field Artillery, and at war's end returned to acting on the stage, carving out a substantial career as a juvenile in plays such as "One Sunday Afternoon" and "Young America". In one of these plays he was required to shout and scream for much of the performance, and by the end of the run his voice had become permanently hoarse. He moved by necessity into character roles, working primarily on the stage until the late 1940s. Despite some early work as a juvenile in silent films, it was not until his brief but memorable appearance as a drunken Santa Claus in Miracle on 34th Street (1947) that he began to shift primarily into film work. His diminutive physique and unmistakable voice made him a fixture in a wide range of films and TV programs throughout the next two decades.- Parfrey was born Sydney Woodrow Parfrey in New York City, New York, to Hazel (James) and Sidney Parfrey, both Welsh immigrants. One of the most interesting character actors to emerge on American film and television in the 1960s, Parfrey brought a quirky charisma to every role he played, from shopkeepers to space-age simians. His noted turn as the unbalanced informer in Broadway's "Advise and Consent" (1961) set the standard for his offbeat, conspiratorial persona in dozens of TV and movie appearances into the 1980s. Always a supporting player receiving inconsistently deferential billing, Parfrey did manage some focal TV guest-star roles, mainly in the late sixties, and a few big A-movie parts, most notably as one of the wretched prisoners in Papillon (1973). Parfrey's association with that film's director, Franklin Schaffner, also included his bit as one of the three "See No Evil" orangutan judges in Planet of the Apes (1968) (he would don the prosthetics again for the pilot of the spinoff TV series). In addition, Parfrey also turned up in the unofficial repertory companies of both Clint Eastwood and Don Siegel. His determination to bring that edgy "something extra" to his profession lives on in his son, the "underground" publisher Adam Parfrey.
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George Furth wrote eleven one-act plays planned for Kim Stanley as each of the separate leads. Hollywood actor Anthony Perkins, interested in directing, asked Sondheim to read the material. After Sondheim read the plays, Sondheim asked Harold Prince for his opinion; Prince thought the plays could form the basis for a musical. The theme would be New York marriages with a central character to examine those marriages. Originally titled "Threes", its plot revolves around Bobby, a single man unable to commit fully to a steady relationship, let alone marriage, four married couples, and one single couple, who are his best friends, and also includes Bobby's three free-wheeling girl friends.
Unlike most book musicals, which follow a clearly delineated plot, "Company" is a concept musical composed of short vignettes, presented in no particular chronological order, linked by a celebration for Bobby's 35th birthday. "Company" was among the first musicals to deal with adult themes and relationships. As Sondheim puts it, "Broadway theater has been for many years supported by upper-middle-class people with upper-middle-class problems. These people really want to escape that world when they go to the theatre, and then here we are with 'Company' talking about how we're going to bring it right back in their faces." "Company" opened in Boston in out-of-town tryouts, receiving mixed reviews, from the Boston Evening Globe "Brilliant", to Variety Magazine "The songs are for the most part undistinguished" and "As it stands now it's for ladies' matinees, homos and misogynists." The book was by Furth; Lyrics and music was by Stephen Sondheim; direction was by Prince.
"Company" opened on April 26, 1970, at the Alvin Theatre in New York City, where it ran for 705 performances after seven previews. Musical staging was by Michael Bennett, assisted by Bob Avian. The set design by Boris Aronson consisted of two working elevators and various vertical platforms that emphasized the musical's theme of isolation. "Company" was honored with the following theatre awards: the 1971 New York Drama Desk Award for (1) Outstanding Book of a Musical awarded to Furth; (2) Outstanding Director of a Musical awarded to Harold Prince; (3) Outstanding Lyrics and (4) Outstanding Music awarded to Stephen Sondheim; (5) Outstanding Set Design was awarded to Boris Aronson. The New York Theatre World Award was awarded to actor Susan Browning. In an unusual move, the Tony Awards committee deemed Larry Kert eligible for a nomination, an honor usually reserved for the actor (Dean Jones, in this case) who technically originates a role.
The musical was nominated for a record setting 14 Tony Award Nominations and won six. "Company" won the (1) Tony Award for Best Musical; (2) Tony Award Best Score (music) and (3) Tony Award Best Lyrics by Stephen Sondheim; (4) Tony Award Best Book of a Musical by George Furth; (5) Tony Award Best Direction for a Musical by Harold Prince; (6) Tony Award Best Scenic Design by Boris Aronson; Nominated for Tony Award Best Performance by a Leading Actor in a Musical (7) Larry Kert; Nominated for Tony Award Best Performance by a Leading Actress in a Musical (8) Elaine Stritch and (9) Susan Browning; Nominated for Tony Award Best Performance by a Featured Actor in a Musical (10) Charles Kimbrough; Nominated for Tony Award Best Performance by a Featured Actress in a Musical (11) Barbara Barrie and (12) Pamela Myers; Nominated for Tony Award Best Choreography (13) Michael Bennett; Nominated for Tony Award Best Lighting Design (14) Robert Ornbo. (In the early 1990s, Furth and Sondheim revised the libretto, cutting and altering dialogue that had become dated and rewriting the end to act one.)- Actor
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American character actor. Upon his entry into films in 1930, he was typecast as a weakling or criminal type. He received great acclaim for his role as Garth Esdras, the haunted and hunted accessory to murder in Winterset (1936). Memorable as the weaselly convict who tries to kill James Cagney at Steve Cochran's behest, but gets his just deserts in the trunk of a car, in White Heat (1949). After two decades as a film actor, he made a small foray into film directing. He died at 58.- Actor
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Typical of busy character actors, Fiedler made his face (and voice) recognizable to millions. Many know the bald-pated Fiedler as therapy patient "Mr. Peterson" on The Bob Newhart Show (1972); others might first recognize him for the 1968 movie, The Odd Couple (1968), and spin-off TV show, The Odd Couple (1970), or perhaps even from the Broadway play that preceded them. Even kids would know that helium-high voice from animated Disney features like Robin Hood (1973), The Fox and the Hound (1981) and the "Winnie the Pooh" stories, in which he voiced "Piglet". The son of an Irish-German beer salesman, Fiedler knew he wanted to be an actor from his childhood days, when he had a full head of reddish-yellow hair. He made his first professional appearances onstage, branched out into live TV in New York and, then, during the 20 years he lived in Hollywood (1960-80), he turned up in many movies and an ever greater number of popular TV shows.- Robert Osterloh was born on 31 May 1918 in Pittsburgh, Pennsylvania, USA. He was an actor, known for Riot in Cell Block 11 (1954), Gun Crazy (1950) and Baby Face Nelson (1957). He was married to Harriet Cecilia Hughes. He died on 16 April 2001 in Los Osos, California, USA.
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Sid Tomack was born on 8 September 1907 in Brooklyn, New York, USA. He was an actor, known for The Life of Riley (1948), Living It Up (1954) and Boston Blackie's Chinese Venture (1949). He died on 12 November 1962 in Palm Springs, California, USA.- Actor
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Gene Lockhart was born on July 18, 1891, in London, Ontario, Canada, the son of John Coates Lockhart and Ellen Mary (Delany) Lockhart. His father had studied singing and young Gene displayed an early interest in drama and music. Shortly after the 7-year-old danced a Highland fling in a concert given by the 48th Highlanders' Regimental Band, his father joined the band as a Scottish tenor. The Lockhart family accompanied the band to England. While his father toured, Gene studied at the Brompton Oratory School in London. When they returned to Canada, Gene began singing in concert, often on the same program with Beatrice Lillie. His mother encouraged his career, urging him to try for a part on Broadway. Lockhart went to America. At 25, he got a part in a New York play in September, 1917, as Gustave in Klaw and Erlanger's musical "The Riviera Girl." Between acting engagements, he wrote for the stage. His first production was "The Pierrot Players" for which he wrote both book and lyrics and played. It toured Canada in 1919 and introduced "The World Is Waiting for the Sunrise" (words by Lockhart, music by Ernest Seitz), which became a very popular ballad.. "Heigh-Ho" (1920) followed, a musical fantasy with score by Deems Taylor and book and lyrics by Lockhart. It had a short run (again, with him in the cast). Lockhart's first real break as a dramatic actor came in the supporting role of Bud, a mountaineer moonshiner, in Lula Vollmer's Sun Up (1939). This was an American folk play, first presented by The Players, a theatrical club, in a Greenwich Village little theater in 1923. After great notices it moved to a larger house for a two-year run. During this engagement, in 1924 at the age of 33, Lockhart married Kathleen Lockhart (aka Kathleen Arthur), an English actress and musician. Gene meanwhile also appeared in a series of performances presented by The Players in New York theaters: as Gregoire in "The Little Father of the Wilderness"; as Waitwell in "The Way of the World," as Gumption Cute in "Uncle Tom's Cabin", and as Faust in "Mephisto." The Lockharts' daughter, June Lockhart, was born in 1925. She would eventually appear regularly in the television series Lassie (1954) and Lost in Space (1965). In 1933, Gene and Kathleen were featured in "Sunday Night at Nine," a radio program presented at New York's Barbizon-Plaza Hotel. Meanwhile, Lockhart was keeping busy writing articles for theatrical magazines and a weekly column for a Canadian publication, coaching members of New York's Junior League in dramatics, lecturing on dramatic technique at the Julliard School of Music, and directing a revival of "The Warrior's Husband"--a formidable schedule. It amused him as he said that, "in spite of [the amount of work in a typical day] I don't get thin." Lockhart had by this time taken on the appearance that audiences would see again and again in films--short and plump with a chubby, jowly face and twinkling blue eyes. In 1933, he played Uncle Sid in the Theatre Guild's production of Eugene O'Neill's comedy "Ah, Wilderness!" co-starring George M. Cohan. This was the role that was to bring Lockhart stardom and lead to a contract with RKO Pictures and his first film, By Your Leave (1934). O'Neill wrote to Lockhart: "Every time your Sid has come in for dinner I've wanted to burst into song, and every time you've come down from that nap I've felt the cold gray ghost of an old heebie-jeebie." The acclaim for his acting in "Ah, Wilderness!" allowed Lockhart to proceed to Hollywood and remain there almost without interruption. However, he was back on Broadway in December, 1949, when he took over the part of Willy Loman in the New York production of "Death of a Salesman." Lockhart appeared in over 125 films. Though he often played upright doctors, judges and businessmen, and was in real life described as an amiable and gentle soul, Lockhart is perhaps best remembered on film as a villain who usually ends up cowering in a corner whimpering pitifully before getting his just desserts, a scene he played to the hilt in such movies as Algiers (1938) (for which he was nominated for an Oscar), Blackmail (1939), Geronimo (1939), Northern Pursuit (1943), and Hangmen Also Die! (1943). Late on Saturday, March 30, 1957, Lockhart suffered a heart attack while sleeping in his apartment at 10439 Ashton Avenue in West Los Angeles. He was taken to St. John's Hospital and died on Sunday afternoon, March 31. He is buried in Holy Cross Cemetery.