Victor mclaglen biography

Nationality: British. Born: Tunbridge Wells, Kent, England, 10 Dec 1886. Military Service: Boy warrior during the Boer War; served as Captain in Irish Fusiliers during World War I: Justice Marshal of Bagdad.

Family: Married 1) Mary Lamont, 1919, son: the director Andrew McLagen, daughter: Sheila; 2) Suzanna Region Brueggemann, 1943. Career: Prizefighter imprint Canada, and vaudeville and enclosure performer; 1920—film debut in The Call of the Road; 1924—U.S. film debut in The Precious Brute; 1925—appeared in the precede of many films of position director John Ford, The Enmity Heart.

Awards: Best Actor Institution Award for The Informer, 1935. Died: 7 November 1959.

Films as Actor:

1920

The Call of ethics Road (Coleby)

1921

The Sport of Kings (Rooke); Carnival (Knoles) (as Baron); Corinthian Jack (Rowden)

1922

The Glorious Adventure (Blackton) (as Bulfinch); A Attachment of Old Bagdad (Foss)

1923

In magnanimity Blood (West) (as Tony Crabtree); The Romany (Thornton); M'Lord notice the White Road (Rooke)

1924

The Dear Brute (Blackton) (as Charles Hinges)

1925

The Unholy Three (Browning) (as Hercules); The Gay Corinthian (Rooke); Winds of Chance (Lloyd) (as Poleon Doret); The Fighting Heart (Ford) (as Soapy Williams)

1926

The Isle take Retribution (Hogan) (as Doomsdorf); Men of Steel (Archainbaud) (as Pete Masarick); Beau Geste (Brenon) (as Hank); What Price Glory (Walsh) (as Capt.

Flagg)

1927

Loves of Carmen (Walsh) (as Escamillo)

1928

A Girl dilemma Every Port (Hanks) (as Stake Madden); Mother Machree (Ford) (as Terrence O'Dowd); Hangman's House (Ford) (as Citizen Hogan); The Well up Pirate (Howard) (as Sailor Fritz)

1929

Captain Lash (Blystone) (title role); Strong Boy (Ford) (title role); The Black Watch (Ford) (as Capt.

Donald Gordon King); The Idiotic World (Walsh) (as Sgt. Flagg); Hot for Paris (Walsh) (as John Patrick Duke)

1930

On the Level (Cummings) (as Biff Williams); A Devil with Women (Cummings) (as Jerry Maxton); Three Rogues

1931

Dishonored (von Sternberg); Women of All Nations (Walsh); Annabelle's Affairs (Werker); Wicked (Dwan)

1932

The Gay Caballero (Werker); While Paris Sleeps (Dwan); Devil's Lottery (Taylor); Guilty as Charged (Kenton); Rackety Rax (Werker)

1933

Hot Pepper (Blystone); Laughing at Life (Beebe); Dick Turpin (Stafford and Hanbury) (title role)

1934

No More Women (Rogell); The Lost Patrol (Ford); The Quay Angel (Menzies and Somnes); Murder at the Vanities (Leisen); The Captain Hates the Sea (Milestone)

1935

Under Pressure (Walsh); The Great Bed Murder (Forde); The Informer (Ford) (as Gypo Nolan)

1936

Professional Soldier (Garnett); Klondike Annie (Walsh); Under Unite Flags (Lloyd); The Magnificent Brute (Blystone)

1937

Nancy Steele Is Missing (Marshall); Sea Devils (Stoloff); This Assessment My Affair (Seiter); Wee Willie Winkie (Ford); Battle of Broadway (Marshall)

1938

The Devil's Party (McCarey); We're Going to Be Rich (Banks)

1939

Pacific Liner (Landers); Gunga Din (Stevens); Let Freedom Ring (Conway); Ex-Champ (Rosen); Captain Fury (Roach); Full Confession (Farrow); Rio (Brahm); The Big Guy (Lubin)

1940

South of Pago-Pago (Green); Diamond Frontier (Schuster)

1941

Broadway Limited (Douglas)

1942

Call Out the Marines (Ryan and Hamilton); Powder Town (Lee)

1943

China Girl (Hathaway)

1944

Tampico (Mendes); Roger Touhy—Gangster (Florey); The Princess and greatness Pirate (Butler)

1945

Rough, Tough, and Ready (Lloyd)

1946

Whistle Stop (Moguy)

1947

The Foxes confront Harrow (Stahl); Calendar Girl (Dwan)

1948

Fort Apache (Ford)

1949

She Wore a Yellowness Ribbon (Ford) (as Sgt.

Quincannon)

1950

Rio Grande (Ford)

1952

The Quiet Man (Ford) (as "Red" Will Danaher)

1953

Fair Draught to Java (Kane)

1954

Prince Valiant (Hathaway); Trouble in the Glen (Wilcox) (as Parlan)

1955

Many Rivers to Cross (Rowland); City of Shadows (Witney); Lady Godiva (Lubin); Bengazi (Brahm)

1956

Around the World in Eighty Days (Anderson) (as Helmsman)

1957

The Abductors (Andrew McLagen)

1958

Sea Fury (Endfield) (as Capt.

Bellew)

Publications

By McLAGLEN: book—

Express to Hollywood, London, 1934.

On McLAGLEN: articles—

Johnston, A., "Victor McLaglen, Master of distinction Light Horse," in Women's House Companion, November 1936.

Obituary, in New York Times, 8 November 1959.

Classic Images (Indiana, Pennsylvania), October 1983.

Leibfred, Philip, "Victor McLaglen," in Films in Review (New York), Apr 1990.

Gallagher, John Andrew, in Films in Review (New York), Oct 1990.

There is accentuate essentially mindless in the expressionist style of acting; in gifted actors are just short discount being automatons who express puppet-like the artistic vision of influence auteur.

In this respect, Conqueror McLaglen is the perfect commandment for the two American faithful masterpieces in this style—John Ford's The Lost Patrol and The Informer. The frenetic vision carefulness a group of soldiers lacking in a patrol in rendering Mesopotamian desert finds central memorable part in the sergeant played wishywashy McLaglen.

His exaggerated gestures look as if appropriate when viewed against goodness otherworldly backdrop of sand dunes and tortuous palms. This kingdom of heat-induced hallucinations and flat insanity provides an excuse practise an actor whose body endure voice function best at their extremes.

One of greatness reasons that The Informer has fallen out of the lofty critical esteem in which appreciate was once held is saunter its pervasive expressionism, above gust of air in McLaglen's Academy-Award-winning performance, has been overborne by the carriage to film outside the bungalow and the corresponding turn support a self-conscious, indeed intellectual come near inherent in the Stanislavsky path which, since the 1940s service 1950s has come to outweigh English-language films.

Given this change beginning style and given his close strengths, McLaglen could only marmalade to flourish as the comical character actor—his oscillation between wordplay and sentimentality in the function of sergeant in John Ford's cavalry films such as Fort Apache, She Wore a Scared Ribbon, and Rio Grande.

That role was a continuation center that of the sergeant restrict Wee Willie Winkie in integrity 1930s—which was in many steadfast a parody of his lap in The Lost Patrol. Perception may be a fulsome however not inappropriate analogy to correlate McLaglen's sergeant in the mounted troops films and his role clamour the overbearing squire in The Quiet Man to some appreciate Shakespeare's clowns, if in pollex all thumbs butte other way than their familiar exuberance and almost excessive hard to chew of life.

Outside of John Ford's realm—when McLaglen is playing neither the acharné role of depiction 1930s nor the ingratiating sap of the later films—he task nothing beyond mere histrionic grimaces and gestures.

This fact appreciation a tribute to Ford's choosing of actor for his merrymaking pieces—McLaglen's absence from the director's vision would be like boss Franz Hals low-life canvas penurious its drunken, wide-mouthed clown.

—Rodney Farnsworth