Edward Everett Horton

Edward Everett Horton Jr. (March 18, 1886 – September 29, 1970) was an American character actor.^[1] He had a long career in film, theater, radio, television, and voice work for animated cartoons.

Early life

Horton was born March 18, 1886, on the west end of

That concluded Horton's brief collegiate period.

Stage and film career

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Horton had begun his stage career at age 20 in 1906, singing and dancing and playing small parts in productions during his brief college experiences, then vaudeville, and Broadway productions. His father persuaded him to adopt his full name professionally. "Originally, I went under the name of just Edward Horton. My father said, 'I think you're making a mistake, Edward. Anybody could be Edward Horton, but nobody else could be Edward Everett Horton.' I said, 'I think I like that.'"^[7]

In 1919, he moved to Los Angeles, where he began acting in Hollywood films of the growing film community in southern California. His first starring role was in the silent film comedy Too Much Business (1922), and he portrayed the lead role of an idealistic young classical music composer in the comedy Beggar on Horseback (1925). In 1927–29, he starred in eight two-reel silent comedies produced by Harold Lloyd for Paramount Pictures release. He made the transition to sound films with Educational Pictures in 1929, in a series of sound-comedy playlets. As a stage-trained performer, he found more film work easily and appeared in several Warner Bros. movies, including The Terror (1928) and Sonny Boy (1929).

Horton soon cultivated his own special variation of the double take (an actor's reaction to something, followed by a delayed, more extreme reaction). In Horton's version, he smiled ingratiatingly and nodded in agreement with what just happened; then, when realization set in, his facial features collapsed entirely into a sober, troubled mask.

As Horton became known for his performances in movies, he continued to work on the legitimate stage, which he preferred.^[8] He appeared with Gavin Gordon in a 1931 production of Private Lives by Noël Coward.^[8]

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 remembered, however, for his work in supporting roles. These include

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.^[9]

Horton was so prolific he sometimes found himself committed to two projects at the same time. One project would be in progress while the second project suddenly came up sooner than expected, forcing Horton to make other arrangements. In 1953, Horton announced on the ABC-TV game show The Name's the Same that his next picture would be one of the Ma and Pa Kettle comedies. A scheduling conflict compelled Horton to bow out, and his role in Ma and Pa Kettle at Home was played by Alan Mowbray.

In 1960, Horton was approached by his former director Frank Capra to work in the new film Pocketful of Miracles. Horton wanted to rejoin Capra, but had a commitment to finish a stage run of the play Once Upon a Mattress; the show wouldn't be closing for another two weeks. Horton phoned Buster Keaton, who had played the same role in an earlier production, and asked if Keaton could replace him. Keaton finished the play's run, and Horton made the Capra film.

Radio and television

From 1945 to 1947, Horton hosted radio's Kraft Music Hall. An early television appearance came in the play Sham, shown on The Chevrolet Tele-Theatre on December 13, 1948. During the 1950s, Horton worked primarily in television. One of his best-remembered appearances is in an episode of I Love Lucy, broadcast in 1952, in which he is cast against type as a frisky, amorous suitor. In 1960, he guest-starred on The Real McCoys as J. Luther Medwick, grandfather of the boyfriend of series character Hassie McCoy (Lydia Reed). In the story, Medwick clashes with the equally outspoken Grandpa Amos McCoy (played by Walter Brennan).

He remains, however, best known to younger Saturday morning television viewers of the