Stage and Film Career
Horton started his stage career in 1906, singing and dancing and playing small parts in Vaudeville and in Broadway productions. In 1919, he moved to Los Angeles, California, and started getting roles in Hollywood films. His first starring role was in the 1922 comedy film Too Much Business, and he portrayed the lead role of an idealistic young classical composer in Beggar on Horseback in 1925. In the late 1920s he starred in two-reel silent comedies for Educational Pictures, and made the transition to talking pictures with Educational in 1929. As a stage trained performer, he found more film work easily, and appeared in some of Warner Bros.' early talkies, including The Hottentot and Sonny Boy. His distinctive voice was one of his trademarks.
Horton originally went under his given name, Edward Horton. His father persuaded him to adopt his full name professionally, reasoning that there might be other actors named Edward Horton, but only one named Edward Everett Horton.
Horton's screen character was instantly defined from his earliest talkies: pleasant and dignified, but politely hesitant when faced with a potentially embarrassing situation. Horton soon cultivated his own special variation of the time-honored double take (an actor's reaction to something, followed by a delayed, more extreme reaction). In Horton's version, he would smile ingratiatingly and nod in agreement with what just happened; then, when realization set in, his facial features collapsed entirely into a sober, troubled mask.
Horton starred in many comedy features in the 1930s, usually playing a mousy fellow who put up with domestic or professional problems to a certain point, and then finally asserted himself for a happy ending. He is best known, however, for his work as a character actor in supporting roles. Some of his noteworthy films include The Front Page (1931), Trouble in Paradise (1932), Alice in Wonderland (1933), The Gay Divorcee (1934), Top Hat (1935, one of several Astaire/Rogers films in which Horton appeared), Danger - Love at Work (1937), Lost Horizon (1937), Holiday (1938), Here Comes Mr. Jordan (1941), Arsenic and Old Lace (1944), Pocketful of Miracles (1961),It's a Mad, Mad, Mad, Mad World (1963), and Sex and the Single Girl (1964). He last appeared in a non-speaking role in Cold Turkey (1971).
Horton continued to appear in stage productions, often in summer stock. His performance in the play Springtime for Henry became a perennial in summer theaters.
Author F. Scott Fitzgerald lived in a cottage on Horton's estate for a time in the late 1930s.
Read more about this topic: Edward Everett Horton
Famous quotes containing the words stage and, stage, film and/or career:
“In Manhattan, every flat surface is a potential stage and every inattentive waiter an unemployed, possibly unemployable, actor.”
—Quentin Crisp (b. 1908)
“A method of child-rearing is not—or should not be—a whim, a fashion or a shibboleth. It should derive from an understanding of the developing child, of his physical and mental equipment at any given stage, and, therefore, his readiness at any given stage to adapt, to learn, to regulate his behavior according to parental expectations.”
—Selma H. Fraiberg (20th century)
“Is America a land of God where saints abide for ever? Where golden fields spread fair and broad, where flows the crystal river? Certainly not flush with saints, and a good thing, too, for the saints sent buzzing into man’s ken now are but poor- mouthed ecclesiastical film stars and cliché-shouting publicity agents.
Their little knowledge bringing them nearer to their ignorance,
Ignorance bringing them nearer to death,
But nearness to death no nearer to God.”
—Sean O’Casey (1884–1964)
“Like the old soldier of the ballad, I now close my military career and just fade away, an old soldier who tried to do his duty as God gave him the light to see that duty. Goodbye.”
—Douglas MacArthur (1880–1964)