Main Cast
Ricardo Cortez
Ricardo Cortez (September 19, 1900 – April 28, 1977) was an American film actor who began his career during the silent film era. Born Jacob Krantz in New York City into a Jewish family, he worked on Wall Street in a broker's office and as a boxer before his looks got him into the film business. Hollywood executives changed his name to Cortez to appeal to film-goers as a "Latin lover" to compete with such highly popular actors of the era as Rudolph Valentino, Ramon Novarro and Antonio Moreno. When rumour began to circulate that Cortez was not actually Spanish, the studios tried to pass him off as a different type of Latin, French, before they finally admitted his (supposedly) Viennese origin. Cortez appeared in over 100 films. He played opposite Joan Crawford in Montana Moon in 1930, played Sam Spade in the original The Maltese Falcon in 1931, co-starred with Charles Farrell and Bette Davis in The Big Shakedown and Wonder Bar (with Al Jolson and Dolores del Río) in 1934. He also played Perry Mason in the 1936 film The Case of the Black Cat. Although he began his career playing romantic leads with actresses like Greta Garbo, when sound cinema arrived, his powerful delivery and New York accent made him an ideal villain and conman, and he switched from sex symbol to character actor. Cortez was married to silent film actress Alma Rubens until her death of pneumonia in 1931. When he retired from the film business, Cortez went to work as a stockbroker for Solomon Brothers on New York's Wall Street. He died in New York City in 1977 and was interred at Woodlawn Cemetery in The Bronx. He was the older brother of noted cinematographer Stanley Cortez (born Stanislaus Krantz).
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Up the River
1930
Dorothy Peterson
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Barton MacLane
Barton MacLane graduated from Wesleyan University, where he displayed a notable aptitude for sports, in particular football and basketball. Not surprisingly, his physical prowess led to an early role in The Quarterback (1926) with Richard Dix. MacLane once commented that, as an actor, he needed to have the physical strength to tear the bad guys "from limb to limb", if necessary. Ironically, it was usually Barton himself who was destined to be at the end of a hiding (when not getting shot, instead), typically as snarling henchmen, outlaws and other assorted dubious or abrasive types throughout most of his 40-year acting career. In fact, Barton became so typecast that his name was for a time used proverbially, to generally describe a shouting, hard-nosed ruffian. After training at the American Academy of Dramatic Arts, MacLane joined a stock company in Brooklyn. In 1927 he had his first part on Broadway, a brief moment as an assistant district attorney, in the melodrama "The Trial of Mary Dugan". He then played a small featured role as a police officer in "Subway Express" (1929-30), a drama enacted in the interior of a subway car. In mid-1932 MacLane tried his hand at writing his own starring vehicle for the stage, entitled "Rendezvous". While the play closed after just 21 performances, it led to a contract with Warner Brothers. Barton had already appeared in bit roles for Paramount at their Astoria Studios, including The Marx Brothers' debut film The Cocoanuts (1929). He portrayed mobster Brad Collins in 'G' Men (1935) (with James Cagney), which set the tone for most of his future assignments. Brawny, with squinty eyes and a rasping voice, MacLane was the ideal surly tough guy, particularly suitable for westerns and the type of films noir Warner Brothers excelled at. He was often cast as cops, be they bent or honest. Some of his most representative performances include gangster Al Kruger in Bullets or Ballots (1936), which won him some of the best critical notices of his career; outlaw Jack Slade in Western Union (1941); crooked construction boss Pat McCormick, who gets beaten up by Humphrey Bogart and Tim Holt over past-due wages in The Treasure of the Sierra Madre (1948); hard-nosed cops Detective Dundy in The Maltese Falcon (1941) and Lt. Reece in Kiss Tomorrow Goodbye (1950). MacLane, on loan to Universal, also had a starring role in Prison Break (1938) as an innocent tuna fisherman who is framed for murder. He was prominent as a tough but sympathetic cop, foil to sleuthing girl reporter Glenda Farrell in the "Torchy Blaine" series of the mid- to late 1930s. In the 1960s Barton began to cultivate a good-guy image as Marshal Frank Caine in the NBC western series Outlaws (1960) as well as showing up in a small recurring role as Air Force Gen. Martin Peterson in I Dream of Jeannie (1965). Barton was married to the actress Charlotte Wynters, who appeared with him in six of his films. When not on the set, the couple spent time on their 2000-acre cattle ranch in Madera County, California. For his work in television, Barton has a star on the Hollywood Walk of Fame.
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Charles Middleton
Charles Brown Middleton (October 3, 1874 – April 22, 1949) was an American stage and film actor. During a film career that began at age 46 and lasted almost 30 years, he appeared in nearly 200 films as well as numerous plays. Sometimes credited as Charles B. Middleton, he is perhaps best remembered for his role as the villainous emperor Ming the Merciless in the three Flash Gordon serials made between 1936 and 1940.
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Maude Eburne
From Wikipedia, the free encyclopedia Maude Eburne (born Maud Eburne Riggs, 10 November 1875 – 15 October 1960) was a Canadian character actress of stage and screen, known for playing eccentric roles. Eburne began her career in stock theater in Buffalo, New York. Her early theater work was in Ontario and New York City, debuting on Broadway to great acclaim as "Coddles" in the 1914 farce A Pair of Sixes. "When I first came to New York... I said I didn't want to be beautiful young girls or stately leading women, but wanted parts that had something queer in them, especially if there were dialect." She continued to play mainly humorous domestic roles on stage, appearing in productions such as The Half Moon (1920), Lady Butterfly (1923), Three Cheers (1928) and Many a Slip (1930), before her first significant film role — and first sound film role — in The Bat Whispers (1930), director Roland West's sound remake of his 1926 silent feature The Bat.
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Al Hart
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Dinner at Eight
1933
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Nothing Sacred
1937
