Billy House
Encyclopedia
Billy House was an US vaudevillian, Broadway performer and feature film
actor. After devoting most of his career to live performance, he moved to Hollywood where he became a supporting actor
during the 1940s and 1950s. According to admirer Orson Welles
, the name "Billy House" was likely an invention for use in burlesque
theatres.
es, vaudeville
, burlesque theatres and radio dramas before adding the occasional Broadway turn and bit part
in feature film
s to his résumé. One of his Broadway co-stars, Pauline Moore
, once recalled an incident about his performance in the 1933 Earl Carroll
version of Murder at the Vanities
:
House was also used as a live-action model for the Disney characters of Doc (from Snow White and the Seven Dwarfs (1937 film)
), and Schmee (from Peter Pan (1953 film)
).
By the mid 1940s he had begun working more steadily in film. The bulk of his larger film roles came between 1945 and 1952. Although he did appear on television at least once late in his career, he died before television had fully emerged from its infancy.
. This material was originally housed at the Society for the Preservation of Variety Arts in the Friday Morning Club
building in the 1970s and 1980s, but was subsequently moved to the basement of The Magic Castle
in about 1991.
House began performing on Broadway in the late 1920s, and generally caught the eye of national critics. Many reviews prominently mentioned his size as much as his performance. For instance, Time Magazine said of House's presence in Luckee Girl (1928), "Billy House moved about the stage like a grinning Guava
jelly
, singing 'Whoopee' with suave insinuations." The New York Times
was less focussed on House's size, and more interested in his performance, which they said gave "considerable liveliness" to the venture. Five years later, Time said of Murder at the Vanities
(1933) that House was "as incredibly fat behind as before", while noting that he contributed to the play's "bewildering" conclusion when his character requested "a steak so big you can milk it". By 1936, Time had essentially reduced House's contribution to White Horse Inn to theatrical trope, saying only that House was "a comic with a big belly". Still, the New York press was considerably kinder to White Horse Inn than Time. The New York Times said it was possessed of "lavish showmanship"; the New York Herald-Tribune said it was "a beautiful colorful and sufficiently lively show"; while the New York American raved, "Here, believe me, is a very magnum of delights." Because White Horse Inn was embraced by the New York press, Billy House received what one scholar of the play called "a big career boost".
. Together they made "The Dunker", "Retire Inn", "Bullmania", and "Out of Bounds". All of these were also written by House, and at least some were adaptations of theatrical routines he had previously copyright
ed. Between 1930 and 1931, he made at least four more two-reelers, and his first feature film, Smart Money. Money would see him work for the first time alongside Edward G. Robinson
and Boris Karloff
, both of whom would figure prominently in his later films.
After the short subject format fell out of fashion, House evolved into a character actor
in feature-length films. House's significant girth made him a natural for the memorable role of "Friar Tuck
", opposite Alan Hale
's "Little John
" in the 1950 film, Rogues of Sherwood Forest
. He is also remembered by scholars of horror film
s for his "superb" performance as the obese, ambiguously evil "Lord Mortimer" in Boris Karloff
's Bedlam
(1946). Later, he had significant role, as 'Billy Reed' in the first Ma and Pa Kettle
film, The Egg and I
(1947); Inner Sanctum
(1948); and Naked Gun (1956).
House was a particular favorite of actor/director Orson Welles
, who employed him on three occasions: The Stranger
(1946), The Fountain of Youth
(1958), and Touch of Evil
(1958). Indeed, Welles had long watched House's burlesque career before initially casting him in The Stranger. While working with him on that first film, Welles came to know House as a "very funny man" possessed of "great old-fashioned slang
that I've treasured through the years". His character — a comic druggist who played checkers — was not initially a major part of the film, but Welles became so enamored of House's talents, that the character's importance grew with last-minute script additions on the set. These revisions came at the expense of Edward G. Robinson
's character, causing the more famous actor to complain ineffectually to studio executives. In the end, The Stranger was, according to Welles himself, "House's picture".
Feature film
In the film industry, a feature film is a film production made for initial distribution in theaters and being the main attraction of the screening, rather than a short film screened before it; a full length movie...
actor. After devoting most of his career to live performance, he moved to Hollywood where he became a supporting actor
Supporting actor
A supporting actor is an actor who performs roles in a play or film other than that of the leads.These roles range from bit parts to secondary leads. They are sometimes but not necessarily character roles. A supporting actor must also use restraint not to upstage the main actor/actress in the...
during the 1940s and 1950s. According to admirer Orson Welles
Orson Welles
George Orson Welles , best known as Orson Welles, was an American film director, actor, theatre director, screenwriter, and producer, who worked extensively in film, theatre, television and radio...
, the name "Billy House" was likely an invention for use in burlesque
Burlesque
Burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects...
theatres.
Career overview
Breaking into show business as a trumpet player, House worked in circusCircus
A circus is commonly a travelling company of performers that may include clowns, acrobats, trained animals, trapeze acts, musicians, hoopers, tightrope walkers, jugglers, unicyclists and other stunt-oriented artists...
es, vaudeville
Vaudeville
Vaudeville was a theatrical genre of variety entertainment in the United States and Canada from the early 1880s until the early 1930s. Each performance was made up of a series of separate, unrelated acts grouped together on a common bill...
, burlesque theatres and radio dramas before adding the occasional Broadway turn and bit part
Bit part
A bit part is a supporting acting role with at least one line of dialogue . In British television, bit parts are referred to as under sixes...
in feature film
Feature film
In the film industry, a feature film is a film production made for initial distribution in theaters and being the main attraction of the screening, rather than a short film screened before it; a full length movie...
s to his résumé. One of his Broadway co-stars, Pauline Moore
Pauline Moore
Pauline Moore was a popular B-movie actress of the 1930s and 1940s. Born in Harrisburg, Pennsylvania, she began her career moving to Hollywood in the early 1930s, and also starred on Broadway and worked as a model....
, once recalled an incident about his performance in the 1933 Earl Carroll
Earl Carroll
Earl Carroll was an American theatrical producer, director, songwriter and composer born in Pittsburgh, Pennsylvania.-Career:...
version of Murder at the Vanities
Murder at the Vanities
Murder at the Vanities is a musical film based on the 1933 Broadway musical with music by Victor Young, made in the pre-Code era, and released by Paramount Pictures. It was directed by Mitchell Leisen, stars Carl Brisson, Jack Oakie, Kitty Carlisle, Gertrude Michael, Toby Wing, and Jessie Ralph...
:
House was also used as a live-action model for the Disney characters of Doc (from Snow White and the Seven Dwarfs (1937 film)
Snow White and the Seven Dwarfs (1937 film)
Snow White and the Seven Dwarfs is a 1937 American animated film based on Snow White, a German fairy tale by the Brothers Grimm. It was the first full-length cel-animated feature in motion picture history, as well as the first animated feature film produced in America, the first produced in full...
), and Schmee (from Peter Pan (1953 film)
Peter Pan (1953 film)
Peter Pan is a 1953 American animated film produced by Walt Disney and based on the play Peter Pan, or The Boy Who Wouldn't Grow Up by J. M. Barrie. It is the fourteenth film in the Walt Disney Animated Classics series and was originally released on February 5, 1953 by RKO Pictures...
).
By the mid 1940s he had begun working more steadily in film. The bulk of his larger film roles came between 1945 and 1952. Although he did appear on television at least once late in his career, he died before television had fully emerged from its infancy.
Theatrical legacy
Because much of House's earliest theatrical work took place in smaller off-Broadway venues and burlesque stages, much of it escaped the notice of theatrical critics. Consequently, it is difficult to assess the nature or quality of his work until the late 1920s, when he began appearing on Broadway. Nevertheless, it is known that his estate memorabilia, which would have included many of his vaudeville routines, did pass into the hands of noted variety theatre enthusiast and historian, Milt LarsenMilt Larsen
Milt Larsen is a writer, actor, performer, lyricist, magician, entrepreneur, speaker and the creator of The Magic Castle, a private club for magicians and enthusiasts.-Early life:...
. This material was originally housed at the Society for the Preservation of Variety Arts in the Friday Morning Club
Friday Morning Club
Friday Morning Club is a historic building on South Figueroa Street in Downtown Los Angeles that was built in 1923 and was the home for many years of a women's club of the same name. The architects were Allison & Allison....
building in the 1970s and 1980s, but was subsequently moved to the basement of The Magic Castle
The Magic Castle
The Magic Castle, located at 7001 Franklin Avenue in the Hollywood district of Los Angeles, California, is a nightclub for magicians and magic enthusiasts, as well as the clubhouse for the Academy of Magical Arts. It bills itself as "the most unusual private club in the world."-Nightclub:The Magic...
in about 1991.
House began performing on Broadway in the late 1920s, and generally caught the eye of national critics. Many reviews prominently mentioned his size as much as his performance. For instance, Time Magazine said of House's presence in Luckee Girl (1928), "Billy House moved about the stage like a grinning Guava
Guava
Guavas are plants in the myrtle family genus Psidium , which contains about 100 species of tropical shrubs and small trees. They are native to Mexico, Central America, and northern South America...
jelly
Fruit preserves
Fruit preserves are preparations of fruits and sugar, often canned or sealed for long-term storage. The preparation of fruit preserves today often involves adding commercial or natural pectin as a gelling agent, although sugar or honey may be used, as well. Prior to World War II, fruit preserve...
, singing 'Whoopee' with suave insinuations." The New York Times
The New York Times
The New York Times is an American daily newspaper founded and continuously published in New York City since 1851. The New York Times has won 106 Pulitzer Prizes, the most of any news organization...
was less focussed on House's size, and more interested in his performance, which they said gave "considerable liveliness" to the venture. Five years later, Time said of Murder at the Vanities
Murder at the Vanities
Murder at the Vanities is a musical film based on the 1933 Broadway musical with music by Victor Young, made in the pre-Code era, and released by Paramount Pictures. It was directed by Mitchell Leisen, stars Carl Brisson, Jack Oakie, Kitty Carlisle, Gertrude Michael, Toby Wing, and Jessie Ralph...
(1933) that House was "as incredibly fat behind as before", while noting that he contributed to the play's "bewildering" conclusion when his character requested "a steak so big you can milk it". By 1936, Time had essentially reduced House's contribution to White Horse Inn to theatrical trope, saying only that House was "a comic with a big belly". Still, the New York press was considerably kinder to White Horse Inn than Time. The New York Times said it was possessed of "lavish showmanship"; the New York Herald-Tribune said it was "a beautiful colorful and sufficiently lively show"; while the New York American raved, "Here, believe me, is a very magnum of delights." Because White Horse Inn was embraced by the New York press, Billy House received what one scholar of the play called "a big career boost".
Film legacy
House began his film career as the star of two-reelers in about 1930. His most frequent collaborator in these short films was the prolific two-reel director, Aubrey ScottoAubrey Scotto
Aubrey Scotto was an American film director and editor.Born in Los Angeles and active in films from 1929, Scotto graduated from directing short subjects to Republic Pictures features in 1933.- Selected films :* The Viking, 1928...
. Together they made "The Dunker", "Retire Inn", "Bullmania", and "Out of Bounds". All of these were also written by House, and at least some were adaptations of theatrical routines he had previously copyright
Copyright
Copyright is a legal concept, enacted by most governments, giving the creator of an original work exclusive rights to it, usually for a limited time...
ed. Between 1930 and 1931, he made at least four more two-reelers, and his first feature film, Smart Money. Money would see him work for the first time alongside Edward G. Robinson
Edward G. Robinson
Edward G. Robinson was a Romanian-born American actor. A popular star during Hollywood's Golden Age, he is best remembered for his roles as gangsters, such as Rico in his star-making film Little Caesar and as Rocco in Key Largo...
and Boris Karloff
Boris Karloff
William Henry Pratt , better known by his stage name Boris Karloff, was an English actor.Karloff is best remembered for his roles in horror films and his portrayal of Frankenstein's monster in Frankenstein , Bride of Frankenstein , and Son of Frankenstein...
, both of whom would figure prominently in his later films.
After the short subject format fell out of fashion, House evolved into a character actor
Character actor
A character actor is one who predominantly plays unusual or eccentric characters. The Oxford English Dictionary defines a character actor as "an actor who specializes in character parts", defining character part in turn as "an acting role displaying pronounced or unusual characteristics or...
in feature-length films. House's significant girth made him a natural for the memorable role of "Friar Tuck
Friar Tuck
Friar Tuck is a companion to Robin Hood in the legends about that character. He is a common character in modern Robin Hood stories, which depict him as a jovial friar and one of Robin's Merry Men. The figure of Tuck was common in the May Games festivals of England and Scotland during the 15th...
", opposite Alan Hale
Alan Hale, Sr.
Alan Hale, Sr. was an American movie actor and director, most widely remembered for his many supporting character roles, in particular as frequent sidekick of Errol Flynn. His wife of over thirty years was Gretchen Hartman , a child actress and silent film player and mother of their three children...
's "Little John
Little John
Little John was a legendary fellow outlaw of Robin Hood, and was said to be Robin's chief lieutenant and second-in-command of the Merry Men.-Folklore:He appears in the earliest recorded Robin Hood ballads and stories...
" in the 1950 film, Rogues of Sherwood Forest
Rogues of Sherwood Forest
Rogues of Sherwood Forest is a 1950 Technicolor Columbia Pictures film directed by Gordon Douglas and featuring John Derek as Robin the Earl of Huntingdon, the son of Robin Hood, Diana Lynn as Lady Marianne, and the late Alan Hale, Sr...
. He is also remembered by scholars of horror film
Horror film
Horror films seek to elicit a negative emotional reaction from viewers by playing on the audience's most primal fears. They often feature scenes that startle the viewer through the means of macabre and the supernatural, thus frequently overlapping with the fantasy and science fiction genres...
s for his "superb" performance as the obese, ambiguously evil "Lord Mortimer" in Boris Karloff
Boris Karloff
William Henry Pratt , better known by his stage name Boris Karloff, was an English actor.Karloff is best remembered for his roles in horror films and his portrayal of Frankenstein's monster in Frankenstein , Bride of Frankenstein , and Son of Frankenstein...
's Bedlam
Bedlam (film)
Bedlam is a film starring Boris Karloff and Anna Lee, and was the last in a series of stylish B films produced by Val Lewton for RKO Radio Pictures. The film was inspired by William Hogarth's A Rake's Progress, and Hogarth was given a writing credit.-Plot:Set in 1761 London, England, the film...
(1946). Later, he had significant role, as 'Billy Reed' in the first Ma and Pa Kettle
Ma and Pa Kettle
Ma and Pa Kettle are comic film characters of the successful film series of the same name, produced by Universal Studios, in the late '40s and '50s. They are a hillbilly couple with fifteen children whose lives turn upside-down when they win a model-home-of-the-future in a slogan-writing contest...
film, The Egg and I
The Egg and I (film)
The Egg and I is a 1947 film directed by Chester Erskine, who co-wrote screenplay with Fred F. Finklehoffe, based on the book by Betty MacDonald.This comedy was such a hit with audiences, it spawned the Ma and Pa Kettle film series...
(1947); Inner Sanctum
Inner Sanctum (1948 film)
- Plot summary :Inner Sanctum is a movie about a murderer who is on the lam and hiding out in a small town. Unbeknownst to him, he is not only hiding in the same boarding house as the only witness to his crime, he is sharing the same room....
(1948); and Naked Gun (1956).
House was a particular favorite of actor/director Orson Welles
Orson Welles
George Orson Welles , best known as Orson Welles, was an American film director, actor, theatre director, screenwriter, and producer, who worked extensively in film, theatre, television and radio...
, who employed him on three occasions: The Stranger
The Stranger (1946 film)
The Stranger is an American film noir directed by Orson Welles and starring Welles, Edward G. Robinson, and Loretta Young. The film was based on an Oscar-nominated screenplay written by Victor Trivas. Sam Spiegel was the film's producer, and the film's musical score is by Bronisław Kaper...
(1946), The Fountain of Youth
The Fountain of Youth (film)
The Fountain of Youth is a 1956 TV pilot for a proposed Desilu TV series which was never produced, and was subsequently televised once, on September 16, 1958 for NBC's Colgate Theatre...
(1958), and Touch of Evil
Touch of Evil
Touch of Evil is a 1958 American crime thriller film, written, directed by, and co-starring Orson Welles. The screenplay was loosely based on the novel Badge of Evil by Whit Masterson...
(1958). Indeed, Welles had long watched House's burlesque career before initially casting him in The Stranger. While working with him on that first film, Welles came to know House as a "very funny man" possessed of "great old-fashioned slang
Slang
Slang is the use of informal words and expressions that are not considered standard in the speaker's language or dialect but are considered more acceptable when used socially. Slang is often to be found in areas of the lexicon that refer to things considered taboo...
that I've treasured through the years". His character — a comic druggist who played checkers — was not initially a major part of the film, but Welles became so enamored of House's talents, that the character's importance grew with last-minute script additions on the set. These revisions came at the expense of Edward G. Robinson
Edward G. Robinson
Edward G. Robinson was a Romanian-born American actor. A popular star during Hollywood's Golden Age, he is best remembered for his roles as gangsters, such as Rico in his star-making film Little Caesar and as Rocco in Key Largo...
's character, causing the more famous actor to complain ineffectually to studio executives. In the end, The Stranger was, according to Welles himself, "House's picture".