Edward Robinson biography

Synopsis

Profile

Robinson was born in Romania but emigrated with his parents at age 10 and grew up on New York's Lower East Side. He gave up early dreams of becoming either a rabbi or a lawyer and while a student at City College settled on acting. After winning a scholarship (1911) to the American Academy of Dramatic Arts, he made his stage debut in Paid in Full (1913). His knowledge of many languages helped him win a multilingual part in Under Fire (1915), his Broadway debut. He continued acting each Broadway season for the next decade, and in 1927 he had his first starring role, in the play The Racket. Two years later he appeared in The Kibitzer, a three-act comedy he wrote with Jo Swerling.

Though he had appeared in two silent films—Arms and the Woman (1916) and The Bright Shawl (1923)—it was not until the advent of sound that Robinson's movie career began in earnest. After a few undistinguished dramas, he starred as the trigger-happy gangster Enrico Bandello in Little Caesar (1931). It was the perfect part for Robinson and made him an instant star. Robinson's dynamic performance, like that of James Cagney in The Public Enemy (1931), made the film stand apart from the usual underworld story, and both films marked the start of a long series of gangster pictures with which the Warner Brothers studio would become most associated throughout the 1930s and '40s.

Short, chubby, with “the face of a depraved cherub and a voice which makes everything he says seem violently profane,” as Time magazine described him in 1931, Robinson was content that his career would consist of rough-and-tumble roles and character parts; he was happy to turn what would have otherwise been physical drawbacks into instantly identifiable trademarks. He continued playing “tough mugs” in film after film: a con man in Smart Money (1931), a cigar-chomping newspaper editor in Five Star Final (1931), a convicted murderer in Two Seconds (1932), and a spoof of his own Little Caesar image in The Little Giant (1933). The Whole Town's Talking (1935), in which he played the dual roles of a timid bank clerk and a ruthless hoodlum, showed Robinson capable of fine, understated comedy, whereas