ως ηθοποιός του Χόλιγουντ.
Υπήρξε ο κατ' εξοχήν "κακός" στις περισσότερες ταινίες του ,
όπως ο δικός μας Αρτέμης Μάτσας.
Οι γκανγκστερικοί ρόλοι τού πήγαιναν γάντι ,
όμως έπαιξε και σε πολλά κοινωνικά δράματα.
Γενικώς ο Έντουαρντ Ρόμπινσον ήταν ένας από τους ακρογωνιαίους λίθους του χρυσού οικοδομήματος του αμερικάνικου κινηματογράφου
και ιδιαίτερα των ταινιών "νουάρ".
“The best actor never to win the ®Oscar!”
Edward G. Robinson (1893–1973)
Eddie never got the Oscar he so richly deserved, noting especially his chilling performance as Wolf Larsen in The Sea Wolf, a pity! He must be regarded as one America's finest film actors. In Caesar Enrico Bandello, he created the prototype for the modern American movie gangster. For the wonderful memories he gave me, this site if dedicated. Information about Eddie is extremely difficult to obtain, any additions are welcome.
Emanuel Goldenberg, forceful, authoritative character star of Hollywood films, memorable for his tough impersonation of gangster boss Rico Bandello in Little Caesar (1930) and many other characterizations of underworld types in Warner’s crime cycle of the 30s. In the US from age–10, he grew up on New York’s Lower East Side and gave up plans to become a rabbi or a lawyer in favor of acting during studies at City College, where he was elected to the Elizabethan Society. He won a scholarship to the American Academy of Dramatic Arts and, changing his name to Edward G. (for Goldenberg) Robinson, began appearing in stock in 1913. He made it to Broadway in 1915 and over the next 15 years appeared with increasing recognition in a wide variety of plays, including The Kibitzer (1929), a three–act comedy that he also wrote with Jo Swerling. He made an isolated film appearance during the silent era, playing a supporting role in The Bright Shawl (1923), but it was only after the advent of sound that he began to be seen regularly in movies. After his great success with Little Caesar (1930), a performance that became a prototype for screen gangster portrayals, Robinson was typecast for several years in similar roles, but he gradually broadened his range and proved himself a highly skilled actor in a great variety of parts. He gave memorable performances in two screen biographies Dr. Ehrlich’s Magic Bullet (1940), the story of the German scientist who developed a cure for venereal disease, and A Dispatch From Reuters (1940), the chronicle of the man who pioneered the telegraphic news agency. Some of his best portrayals where in psychological dramas of the 40s, notably Flesh and Fantasy (1943), Double Indemnity (1944), The Woman in the Window (1944), and Scarlet Street (1945).
Robinson’s personal life was beset by problems in the 50s. Despite a well–known record of activity for patriotic causes during and after WWII, his name was linked by Red Channels with Communist–front organizations. He was called to testify before the House Un–American Activities Committee but was cleared of all suspicion and won a clean bill of health. In 1956 he was forced to sell his famous art collection, one of the world’s largest privately owned, as part of his divorce settlement with his wife of 29 years, actress Gladys Lloyd. During this period he was also troubled by the maladjustment of his only son, who got into frequent frictions with the law and attempted suicide several times. Despite the personal setbacks, Robinson continued his busy acting career on television as well as in films. In 1956 he returned to Broadway after a long absence, scoring a success in the role of an elderly widower who marries a young bride in Paddy Chayefsky’s Middle of the Night. His film appearances during the 60s were mainly in the supporting capacity. In the Academy Award ceremonies that took place shortly after his death of cancer in 1973, Robinson was awarded a special Oscar in recognition of his achievements in films, in a magnificent career that spanned five decades of cinema. His life provided the basis for the 1979 play Manny, by Raymond Serra, who also played the title role.
Δεν υπάρχουν σχόλια:
Δημοσίευση σχολίου