In honor of all those unsung classic movie actors out there who, as a friend recently remarked, "make re-watching films so entertaining", here's a spot that I'll use to celebrate favorite "never-weres", "almost-weres" and "once-weres" from time to time in the future.I'll kick this off with one of my easy-to-spot faves:
Louis Jean Heydt.
Need a guy who looks as though he might be friendly or might harbor some quasi-dark secret? A fellow who might personify everything from a Civil War to Depression era Hard Luck Joe? [Please see GWTW for the former & the MGM short subject, 1938's Crime Does Not Pay No. 18: They're Always Caught for the latter) Someone with a gentle manner and l-o-s-e-r tattooed in invisible ink on his forehead? A great little guy, whose blonde, bland likability, and generally soft-spoken mien, often laced with a sweet smile, made him ideal for human wallpaper roles that required someone who could follow instrux, give exposition of some plot point, show up sober, and look good in a double breasted suit as well as a weathered leather jacket and chinos. On occasion he could be a bit of a needler (Come to the Stable) and even a weasel (The Big Sleep), which kept his many appearances from utter predictability.
Sometimes the most distinctive thing about Mr. H. was his name, which seems to have been real. He also had a wistfulness that always made me wonder about his character's backstory. I'm probably just a weirdo, but I missed the guy after he got plugged, drove away, or just disappeared from the storyline without explanation. There was something about his presence that rarely seemed to find expression on-screen.
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| In one of his almost-a-breakthrough parts, Louis Jean Heydt (right) played Joe Brody in the incomprehensible but entertaining The Big Sleep (1946). I can't remember the names of those other actors in the picture above. Maybe it'll come to me. |
Oh, yes, Louis Jean also specialized in being the guy in a combat situation [i.e. They Were Expendable (1945), Thirty Seconds Over Tokyo (1944), et al] who makes a fond remark about the wife and kiddos back home. That sort of casual remark most often should have been accompanied by "Dum, da dum dum". Nice knowing ya, Lou!
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As a no-better-than-he-should-be salesman having a snort with Mary Beth Hughes on a train in the highly entertaining Mike Shayne mystery, Sleepers West (1941). |
One nagging question lingers--did his friends call him Lou, Louis, Louie or Louis Jean?
It's your turn to add a few candidates for this obscure file, gentle reader.
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* When you start to think it over, one of the most remarkable periods in theatrical history occurred during the studio era. A profession that once required non-stop touring, lousy pay and whose members were often regarded as thieves, whores and mountebanks by their audiences provided a consistent, sometimes better than average pay for actors and actresses for years on end, allowing them to become citizens, (even politicians!), own homes, and have a family. This was a first in history. Did it affect the quality of the acting? Yes and no--you be the judge.
4 comments:
"A profession that once required non-stop touring, lousy pay and whose members were often regarded as thieves, whores and mountebanks by their audiences provided a consistent, sometimes better than average pay for actors and actresses for years on end, allowing them to become citizens, (even politicians!), own homes, and have a family. This was a first in history."
Excellent point you make here, Moira. I don't know if it affected the quality of the acting one way or another, but it certainly provided an income to aged actors, and a training ground for younger ones.
Heydt was a character actor par excellence. Some of his other notable credits include ROADBLOCK
(1951) (as Charlie McGraw's straight arrow partner) and as the victim of sadistic prison guard John Wray in EACH DAWN I DIE. Heydt's pal in the latter flick, Stanley Ridges metes out gruesome revenge to Wray with a baling hook in the prison jute mill.
As an aside, IMdB is notoriously incomplete on performer credits, particularly stunt people such as Davey Sharpe and Gil Perkins who appeared in multiple features nearly every day during their peak periods. I also wonder how anyone could compile all of the credits of Bess Flowers and George Chandler.
Hope it's not too late to comment on Louis Jean Heydt. He was my father in law's 1st cousin. (Coincidently, also went to summer camp and Dartmouth with my father.) and Besides many films, he was often on stage - Broadway and more. He "died of a heart attack Jan. 29, 1960, backstage of the Colonial Theatre, Boston, after playing his first scene in the pre-Broadway try-out of 'There Was a Little Girl.' His Broadway appearances include "The Trial of Mary Dugan," "Strictly Dishonorable," "Nikki," "When the Bough Breaks,"Housewarming," "All Rights Reserved," "Thunder on the Left," "Bright Star," "Calico Wedding," and "Happy Birthday." He also appeared in many films."
So don't worry about him.
Nancy
Thank you so much, Ms. Heydt! I really wasn't too worried about this gentleman at this late date, but it is always a pleasure to spot him in parts large and small. He was a true pro.
Thanks very much for filling in Louis Jean Heydt's Broadway credits. Since writing this piece for my blog, I've discovered that the actor also dabbled in producing, gave several critically hailed performances in live tv in the '50s and started life as a reporter--stepping behind the footlights in a similar role, with love playing another part in this personal drama. The following is from a New York Times obit on Jan. 30, 1960:
"Louis J. Heydt, 54-year-old actor, collapsed and died tonight after having played the first scene of "There Was a Little Girl," in which he appeared opposite Jane Fonda, daughter of the actor, Henry Fonda.
His understudy, William Adler, took over the role at the Colonial Theater. The cause of death was not immediately known.
Mr. Heydt was the second performer to die this year while appearing in an out-of-town tryout. Margaret Sullavan, the actress, died on Jan. 1 in New Haven.
Mr. Heydt, a native of Montclair, N.J., started a career in a journalism with the old New York World, but in 1927 he turned to the stage, making his debut on Broadway in the role of Harry Jones in "The Trial of Mary Dugan."
[After reiterating the info above about Mr. Heydt's theatrical and cinematic career, the article mentions his beginnings as an actor...]
"Mr. Heydt was graduated from Dartmouth College. He got his start in the theatre while visiting a classmate backstage at the National Theatre, whre "The Trial of Mary Dugan" was in rehearsal. Because he was a reporter, he was offered the part of a reporter and he quit The World to become an actor."
In a brief note in the Times from Aug. 18, 1928, the following appeared:
MARRIAGE IN "MARY DUGAN" CO.
It was learned yesterday that Louis Jean Heydt and Leona Maricle, both members of 'The Trial of Mary Dugan' company, have been married since last Monday. The ceremony was performed in the Church of the Transfiguration 1 East Twenty-Ninth Street, by the Rev. Arthur H. Styron.
Mr. Heydt who is the son of Mr. and Mrs. George F. Heydt of Montclair, N.J., sailed this week to join an English company of the production. Miss Maricle, whose New York address is 72 Barrow Street, is the daughter of Mr. and Mrs. Peter Cooper Maricle of 1,825 Collins Avenue, Wichita Falls, Texas.
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