#Emanuel Goldenberg

[girlactionfigure]

[perfettamentechic]

26 gennaio … ricordiamo …

26 gennaio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2017: Barbara Hale, attrice statunitense.  (n. 1922) 2016: Abe Vigoda, Abraham Charles Vigoda, è stato un attore statunitense, conosciuto soprattutto per il ruolo di Tessio nel film Il padrino.  (n. 1921) 2011: Mario Scaccia, attore italiano di cinema e teatro.  (n. 1919) 2011: John Herbert, John Herbert Buckup, è stato un attore, regista e produttore cinematografico brasiliano. Herbert fu…

[citizenscreen]

Portrait of a young Emanuel Goldenberg who later became Edward G. Robinson #DailyRobinson

[bobbyjean]

Edward G. Robinson (born Emanuel Goldenberg; December 12, 1893 – January 26, 1973) was an American actor of stage and screen, who was popular during Hollywood’s Golden Age. He appeared in 30 Broadway plays, and more than 100 films, during a 50-year career, and is best remembered for his tough-guy roles as gangsters in such films as Little Caesar and Key Largo. During his career, Robinson received the Cannes Film Festival Award for Best Actor for his performance in House of Strangers.

[pmstuff212]

Perfect overcast day to visit Emanuel Goldenberg aka actor Edward G. Robinson. @phantom_jetty and I just watched Scarlet Street, a brilliant example of film noir directed by Fritz Lang, with stellar performances by Robinson and Joan Bennett. He’s not easy to find because he was placed in a crypt under the name Goodman. Someone left a fake flower and the six of spades. I think that card is significant-Grand Larceny reference? The last photo is the grave of his real family; mother, father and siblings. The mysteries of death. May his memory be a blessing #bethelcemetery #queens #nyc #edwardgrobinson #goldenberg #goodmancrypt #timetravel #history #etchedinstone (at Machpelah Cemetery (Queens)) https://www.instagram.com/p/ComucScr6CL/?igshid=NGJjMDIxMWI=

[michaelcosio]

ENTERTAINMENT DAILY: ENT3- STAMP

(25 Oct 2000) English/Nat

TITLE: Charlton Heston unveils Edward G Robinson stamp LOCATION Hollywood, California date: USA 24 October 2000

An acting legend was honoured in Hollywood (Tuesday) when the US postal service and American Film Institute dedicated a tribute stamp to EDWARD G. ROBINSON.

Known in the industry as the "best actor never to win an Oscar", Robinson is the sixth honouree in the 'Legends of Hollywood' series.

Relatives, friends and former colleagues, including KARL MALDEN and comedian RICH LITTLE, gathered at a theatre in Hollywood for the unveiling of the stamp. He joins other movie icons such as Marilyn Monroe and Humphrey Bogart who have been portrayed on commemorative stamps.

Although he might not be quite so well-known as his predecessors, Edward G Robinson appeared in over 100 films during his life-time, including 'The Cincinatti Kid' and 'The Ten Commandments' with CHARLTON HESTON.

But it was as a sinister gangster in the black-and- white movies of the 1930's for which he is best remembered. He virtually singlehandedly created the gangster genre when he stepped on screen in 1930 as the demonic Cesare Enrico "Rico," in the classic film, 'Little Caesar'.

Robinson became renowned for his tough-guy image and gangster roles, but friends say he was really one of the good guys - a real gentleman.

But despite his fame and fortune the actor became the victim of the witchhunt against left-wingers that gripped the USA in the aftermath in World War II. In the 1950s, he was caught up in the anti-communist purge of Hollywood and called to testify before the House of Un-American Activities Committee when his name was linked with Communist organisations. He was subsequently blacklisted by the Hollywood studios for several years.

Meanwhile, as part of a bitter divorce settlement, the actor was forced to sell his famed art collection. He was a passionate art lover and it's reported that he had one of the largest privately-owned collections.

Born Emanuel Goldenberg, Robinson was a poor Jewish-Romanian immigrant who arrived in the United States aged ten. He orignally planned to become a lawyer or a rabbi unitl he get the acting bug. He died of cancer in 1973 .

The US commemorative stamp programme generates between $250-$350 million dollars in revenue for the Postal Service. The most popular stamp in history is the Elvis stamp issued in 1993.

[sandyhookhistory]

Good evening, folks! We'd like to wish world-renowned actor Edward G. Robinson a Happy 129th Birthday! (Which makes him 49 in 1942) Born Emanuel Goldenberg in Romania, he and his family struck off for the United States for religious safety and freedom when he was 10. Arriving at Ellis Island in 1904, he recalled " [...] I was born again [...] Life for me began when I was 10 years old. (America is pretty awesome like that. My own great-grandmother would follow in his footsteps, age 5, about two years later). Growing up in New York City, he traded in a law career when he discovered his love of acting. He would also go on to join the US Navy during World War One. The 1920's saw him on stage. His first major film role would be 1931's "Little Caesar." What would follow would become one of the most iconic careers of all actors - the epitome of the ruthless, gritty tough-guy mobster. His persona and impact have been felt ever since, and it's impossible to imagine gangster movies without him. In a rather unique twist, by the 1940's he would begin to play - quite successfully, I might add - the GOOD guys. With a really swell niche for G-Men and military troops, those roles underscored something deeper in the 1940s, and quite personal to him - his hatred of Nazis. And that brings us to tonight's post. It's December of 1942, and Edward G. Robinson, and many fellow Hebrews across the US, are aghast that nothing is being done about the Holocaust. That's going to change in the spring of 1943. Turned down for the military due to age, Robinson is going to take the fight to Adolf Hitler from right here in the United States. How, you ask? Well, guess you're gonna have to stick around and find out, see? 😉 ** 🇺🇲🇺🇲 ** Please Like & Follow "Sandy Hook History" on Facebook & Instagram for more amazing maritime and military histories of the Garden State and New York Harbor as well as a review of the 80th Anniversary of the Battle Of The Atlantic and World War 2** 🇺🇲🇺🇲 (at Fort Hancock, New Jersey) https://www.instagram.com/p/CmGAZ9MN6IX/?igshid=NGJjMDIxMWI=

[royatlyfree1923]

THE ADDING MACHINE

March 19, 1923

The Adding Machine is a tragedy in seven scenes by Elmer L. Rice, produced by Theatre Guild at the Garrick Theatre. Scenic and costume design by Lee Simonson. Incidental music by Deems Taylor. It ran there until April 21, when it transferred to (somewhat ironically) the Comedy Theatre where it closed on May 19 for a total of 72 performances. 

Synopsis ~  Mr. Zero is an accountant at a large, faceless company. After twenty-five years at his job, he discovers that he will be replaced by an adding machine. In anger and pain, he snaps and kills his boss. Mr. Zero is then tried for murder, found guilty, and hanged, only to wake up in a heaven-like setting known as the Elysian Fields. Mr. Zero then begins to operate an adding machine until the boss of the Elysian Fields tells Zero that he is a waste of space and his soul is going to be sent back to Earth to be reused. The play ends with Zero following a very attractive girl named Hope offstage. 

The play was revived off Broadway in 1956 starring Sam Jaffe.

It was adapted into an award-winning musical titled Adding Machine in 2008.  

The play has become a common offering at university and regional theatres. 

The play was adapted for British television in 1948 and again in 1956. 

It was filmed in 1969 starring Milo O’Shea and Phyllis Diller. 

AUTHOR

Elmer L. Rice (1892-1967) wrote The Adding Machine in 17 days. He was born Elmer Reizenstein in New York City and went to college to become a lawyer. In 1929 he play Street Scene earned him the Pulitzer Prize for Drama. Rice was one of the more politically outspoken dramatists of his time. His first Broadway production was On Trial in 1914 and his last was Cue for Passion in 1958.

"Elmer Rice's 1923 expressionist satire seems abrasively modern in its attack on the dehumanizing effect of industrial capitalism.” - The Guardian

CAST

Edward G. Robinson (1893-1973) as Shrdlu. Robinson was born in Romania as Emanuel Goldenberg. He appeared in 40 Broadway plays and more than 100 films during a 50-year career. He is best remembered for his tough-guy roles as gangsters in several films. He was nominated for a Tony Award in 1956 and posthumously given an honorary Oscar in 1973. 

VENUE

Garrick Theatre (67 West 35th Street; 910 seats) opened in 1890 as Harrigan’s Theatre, built by Edward Harrigan (of Harrigan & Hart), who managed it until 1895, when Richard Mansfield took over, renaming it the Garrick. The Shuberts bought it in 1916 and leased it to Otto Kahn, who named it Theatre du Vieux Columbier (for an avant-garde French company). Later, he gave it to the Theatre Guild. The Shuberts resumed management in 1925. After three years of burlesque, it was razed in 1932.

There is also a Garrick Theatre located near Charing Cross in London. It opened in 1889 and is still in operation today. Both venues were named after actor David Garrick. 

The play transferred to the Comedy Theatre where it closed after 72 performances. 

ALSO THAT NIGHT...

The Love Set a three-act comedy by Thomas Louden opened at the Punch and Judy Theatre and ran for 8 performances. 

[dweemeister]

Little Caesar (1931)

For a brief window in the early 1930s, Hollywood studios churned out a small flurry of gangster films that would define the genre into the present day. Among those influential progenitors was Mervyn LeRoy’s Little Caesar, released by Warner Bros. With Little Caesar, Warner Bros. was about to assume an identity of being the “dark” studio – greenlighting socially conscious films replete with human depravity and cynicism towards authority figures or, you know, gangster films where the police are given no nobility. Little Caesar, based on W.R. Burnett’s novel of the same name and adapted by Francis Edward Faragoh, Robert Lord, and future 20th Century Fox studio head Darryl F. Zanuck, is best remembered today as the film that made Edward G. Robinson a Hollywood superstar. Robinson and Little Caesar, as a film, resembled nothing moviegoers had seen before and demand for these movies – to the horror of state and local censors and special-interest morality groups – skyrocketed.

Audiences, in the opening throes of the Depression, admired these gangsters for their craftiness in assuaging their living conditions in dire economic times while hoping for their demise. Gangster films were an expression of wrath – bottled up within Western audiences due to the obvious costs of such behavior, but fully unleashed within the confines of fiction. That wrath could be consuming for characters in these films, and was often directed at the police, politicians (at any level of government), and other crime bosses with the gall to impose their own rules on a main character. By the end of the decade, this appealing aura would be reversed by the Hays Code – a set of guidelines by the Motion Picture Association of America (MPAA) created in 1930, not fully enforced until 1934, and replaced with the MPAA ratings system in the United States in 1968 – by turning gangsters into unflattering personalities or shifting the narrative to the police attempting to capture the criminals.

Caesar Enrico “Rico” Bandello (Robinson) starts out as a minor criminal in the lower Midwest, along with friend Joe Massara (Douglas Fairbanks, Jr.). Discontent with their fortunes, they travel to Chicago – Rico joins Sam Vettori’s (Stanley Fields) gang while Joe pursues a long-held dream of being a dancer. Rico wants to help Joe rise through the gang’s hierarchy, but Joe declines when he learns the next heist is at the Bronze Peacock – the dinner-and-a-show establishment where he works. The friends go their separate ways, with Joe heeding his dance partner Olga’s (Glenda Farrell) words to leave the gangster lifestyle. At the Bronze Peacock, Rico – against the orders of “Big Boy” (Sidney Blackmer) – hails the Chicago police commissioner with a fatal gunshot. Open gang war has broken out in Chicago’s Northside, Rico believes Joe knows too much about what he has done, and friendships and fates will be determined in the film’s closing acts.

In supporting roles are William Collier, Jr.; Ralph Ince; Thomas E. Jackson as a police sergeant; Maurice Black as a rival boss; and George E. Stone as one of Rico’s henchpersons.

For modern audiences, one of the most glaring impediments to investing oneself into Little Caesar is the clunky acting from everyone who is not Edward G. Robinson (Fairbanks, Jr. feels like he is simply reading lines too often; Farrell is in her first credited feature film and will grow into her reputation as the wisecracking blonde in later comedies and musicals). The dialogue is delivered in stilted fashion, with theatrical voices being used in every scene (this is a legacy of the silent era, as actors and filmmakers were still trying to adapt themselves to synchronized sound – if Little Caesar was a silent film, I would be calling the acting anything but “clunky”). Despite this, the friendship between Rico and Joe feels like it existed even before the first minute of the film begins.

As a pre-Code film, Rico and Joe’s friendship also contains potential homoerotic subtext – Rico is completely dismissive of women as objects of sexual attraction (opens the possibility of other subtexts), he criticizes Joe’s attraction to Olga, almost always keeps his hands on his gun (concealed or otherwise) when rival men are around, the two are complete opposites but want the other to reform their ways, and Joe is the only person in the film that Rico can share his private ideas and life with. This subtext was overwhelming to ‘30s audiences, forcing W.R. Burnett (the author of the novel) to write a lambasting letter to the producers about the “conversion” of his originally and explicitly heterosexual title character. No matter Burnett’s complaints, the fact that the screenwriting team of Faragoh, Lord, and Zanuck packages this convincing friendship (or whatever it is) within a seventy-nine-minute runtime is an impressive achievement. It is also impossible without the performances of Robinson and, to a lesser extent, the junior Douglas Fairbanks.

Robinson, along with James Cagney, defined gangster films of the 1930s. Their relatively short stature – Robinson was 5′7″, Cagney 5′5″ – does not suggest a domineering physical presence on paper. But as Rico, Robinson is a fearsome menace constantly compensating for something. Rico cares little – but understands completely – about the ramifications of violence on society, friends, and families. Unlike many gangsters that would follow him, he is not seen under the influence of harder drugs or alcohol – he commits all his schemes and homicides sober. He does not have the athletic or imposing build of later gangsters, nor the cadence to force someone holding up their hands before their lights are turned off to piss their pants. Without any of this, Rico bathes himself in violence, committed to never being cuffed by the cops while still breathing (a promise to himself and the police that he exclaims several times, beaming with pleasure). His intelligence has justified killings in the name of gang loyalty and the familial structure it provides. His instincts allow him to evade capture and death from the hands of the police and rival hoodlums for a time, becoming the most feared – and, in a perverse way, admired – gangster of the Windy City.

Little Caesar does not have the scope of a gangster film directed by Francis Ford Coppola (The Godfather trilogy) or a Martin Scorsese (1990′s GoodFellas, 2006′s The Departed). Many of the clichés found in the genre have not been codified yet but appear in this film: the small-time ruffian who shoots his way to the top, the friend of said ruffian attempting to escape a life of crime before meeting an end that involves the gallows or gunfire, the girlfriend who wants their man to stop working with the gang, the intransigent crime boss too set in their ways to prevent their usurpation, the rival crime bosses who instantly recognize the upstart as a destabilizing force in the balance of gang power, the police figures gunned down to kickstart what will lead to the film’s climax. All those aspects appear in Little Caesar – omitting, for the purposes of this review and in respect for those who have not seen the film, clichés in gangster movie finales. The gangster picture, in its concentration on violent masculinity, is one of the least versatile genres innovated by Hollywood. The blame for that dearth of narrative versatility should not be assigned to films that appeared before those tropes became tropes.

With film noir the eventual successor to the early 1930s gangster films, Little Caesar does not have the chiaroscuro lighting that would define film noir. Nevertheless, some of the imagery from cinematographer Tony Gaudio (1936′s Anthony Adverse, 1938′s The Adventures of Robin Hood) breathes grittiness and even a hint of tragedy to this set-bound production when the action is not set indoors. Otherwise, Little Caesar is not imaginatively shot for long stretches. With only one chilling exception, the lack of close-ups almost prevents Robinson, as Rico, from establishing invisible bounds that his subordinates dare not cross.

Though this review, among most all others one could find on Little Caesar, has waxed about Edward G. Robinson’s violent-with-a-smile performance, Robinson himself was squeamish to the sound of gunshots. In the rushes, LeRoy and editor Ray Curtiss noticed, “Every time he squeezed the trigger, he would screw up his eyes. Take after take, he would do the same thing.” To resolve this, Robinson’s eyelids – in any scenes that involved Rico firing his guns – would be taped. Robinson, by all accounts, was anything but Caesar Enrico Bandello or any other of the gangsters he would portray on-screen. The immigrant son of a Romanian Jewish family, Emanuel Goldenberg was a fine arts lover who spoke to and of others with gentleness. He was more of a Christopher Cross from Scarlet Street (1945) or, maybe, a Martinius Jacobson from Our Vines Have Tender Grapes (1945).

Robinson would take on gangster roles – comedies and dramas – until Never a Dull Moment (1968). Somewhat typecast as the tough gangster in the coming decades, few other Robinson performances were as frightening as this. For almost that performance alone, Little Caesar is one of the most important and accomplished films of the early 1930s. It is not the first gangster film ever made, but the gangster film playbook that it wrote – alongside the other great gangster pictures shortly to follow it – has undergone few sweeping revisions since its release.

My rating: 9/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

[citizensaul]

Familiar names in Entertainment

Just a little trivia of names in Entertainment like Larry Philips real  name  Shaul Faivish Heller:

Stage name                                 Real Name  June Allyson                                 Ella GeismanLauren Bacall                               Betty PerskeTony   Curtis                                 Bernie SchwartzKirk   Douglas                               Issur  DanielovitchDinah Shore                                 Frances Rose SchorrPaulette Goddard                                        Marion LevyPaul Muni                                                    Muni WeissenkorfJohn Garfield                                              Julie  GarfinkelWoody Allen                                                Allan KoenigsbergJack Benny                                                 Benny KubelskyAl Jolson                                                     Asa JoelsonZza Zza Gabor                                           Sara  GaborCary Grant                                                  Archilbald LeachLorne Greene                                             Chaim LeibovitzDanny Kaye                                                David KaminskyDorothy Lamour                                          Dorothy KaumeyerMichael Landon                                          Mike OrowitzJerry Lewis                                                 Joseph LevitchTony Randall                                              Leonard  RosenbergEdward G Robinson                                   Emanuel  Goldenberg Lee J Cobb                                                 Lee JacobWynona Ryder                                           Laura  Horowitz WHO KNEW ?                                                                                         

[perfettamentechic]

26 gennaio … ricordiamo …

26 gennaio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic #felicementechic #lynda

2017: Barbara Hale, attrice statunitense.  (n. 1922) 2016: Abe Vigoda, Abraham Charles Vigoda, è stato un attore statunitense, conosciuto soprattutto per il ruolo di Tessio nel film Il padrino.  (n. 1921) 2011: Mario Scaccia, attore italiano di cinema e teatro.  (n. 1919) 2011: María Mercader, María Asunción Mercader Fordada, vedova De Sica, è stata un’attrice spagnola naturalizzata italiana. (n.…

[citizenscreen]

While at American Academy of Dramatic Arts, Edward G. Robinson was asked to change his name from Emanuel Goldenberg. #DailyRobinson

"I kept the initials E.G., but I have no idea why I chose Robinson. If I had to do it again I’d take a shorter one – you have no idea how long it takes to write ‘Edward G. Robinson’ for a flock of autograph hunters… "

[elcinelateleymickyandonie]

Edward G. Robinson α:12  Diciembre 1893 Ω:26 enero 1973

Edward G. Robinson (nacido Emanuel Goldenberg ; 12 de diciembre de 1893 - 26 de enero de 1973) fue un actor judío-estadounidense de teatro y pantalla durante la Edad de Oro de Hollywood . Apareció en 40 obras de Broadway y más de 100 películas durante una carrera de 50 años y es mejor recordado por sus papeles de hombre duro como pandilleros en películas como Little Caesar y Key Largo . Durante las décadas de 1930 y 1940, fue un crítico público abierto del fascismo y el nazismo , que creció en fuerza en Europa antes de la Segunda Guerra Mundial . Su activismo incluyó contribuir con más de $ 250,000 a más de 850 organizaciones involucradas en el alivio de la guerra, junto con grupos culturales, educativos y religiosos. Durante la década de 1950, fue llamado a declarar en el Comité de Actividades Antiamericanas de la Cámara de Representantes durante el Susto Rojo , pero fue absuelto de cualquier participación comunista . Las representaciones del personaje de Robinson han cubierto una amplia gama, con roles como investigador de seguros en la película Double Indemnity , Dathan (adversario de Moisés) en The Ten Commandments , y su actuación final en la historia de ciencia ficción Soylent Green. Robinson recibió un Premio Honorífico de la Academia por su trabajo en la industria del cine, que fue otorgado dos meses después de su muerte en 1973. Ocupa el puesto número 24 en la lista del Instituto de Cine Americano de las 25 mejores estrellas masculinas del Clásico Americano. cine.

FILMOGRAFIA 1916 Arms and the Woman 1923 The Bright Shawl 1929 The Hole in the Wall 1930 Warner Bros. Jubilee Dinner 1930 Night Ride 1930 La mujer que amamos (A Lady to Love) 1930 Fuera de la ley (Outside the Law) 1930 East Is West 1930 The Widow from Chicago 1931 How I Play Golf by Bobby Jones No. 10: Trouble Shots 1931 Hampa dorada (Little Ceasar) 1931 The Slippery Pearls 1931 Smart Money 1931 Sed de escándalos (Five Star Final) 1932 El hacha justiciera (The Hatchet Man) 1932 Dos segundos (Two Seconds) 1932 Pasto de tiburones (Tiger Shark) 1932 El rey de la plata (Silver Dollar) 1933 El pequeño gigante (The Little Giant) 1933 I Loved a Woman 1934 Dark Hazard 1934 El hombre de las dos caras (The Man with Two Faces) 1935 Pasaporte a la fama (The Whole Town's Talking) 1935 Ciudad sin ley (Barbary Coast) 1936 Bullets or Ballots 1937 Pánico en la banca (Thunder in the City) 1937 Kid Galahad 1937 El último gangster (The Last Gangster) 1938 A Slight Case of Murder 1938 The Amazing Dr. Clitterhouse 1938 Yo soy la ley (I Am the Law) 1939 Verdensberomtheder i Kobenhavn 1939 A Day at Santa Anita 1939 Confessions of a Nazi Spy 1939 Blackmail 1940 Dr. Ehrlich's Magic Bullet 1940 El hermano orquídea (Brother Orchid) 1940 A Dispatch from Reuters 1941 El lobo de mar (The Sea Wolf) 1941 Manpower 1941 Polo with the Stars 1941 Unholy Partners 1942 Larceny, Inc. 1942 Seis destinos (Tales of Manhattan) 1942 Moscow Strikes Back 1943 Magic Bullets 1943 Destroyer 1943 Al margen de la vida (Flesh and Fantasy) 1944 Tampico (Tampico) 1944 Mr. Winkle Goes to War 1944 Perdición (Double Indemnity) 1945 La mujer del cuadro (The Woman in the Window) 1945 El sol sale cada mañana (Our Vines Have Tender Grapes 1945 Perversidad (Scarlet Street) 1946 American Creed 1946 Journey Together 1946 El extraño (The Stranger) 1947 La casa roja (The Red House) 1948 All My Sons 1948 Cayo Largo (Key Largo) 1948 Mil ojos tiene la noche (Night Has a Thousand Eyes) 1949 Odio entre hermanos (House of Strangers) 1949 It's a Great Feeling 1950 Operation X 1950 La pasión de su vida (My Daughter Joy) 1952 Actors and Sin 1953 Investigación criminal (Vice Squad 1953 Big Leaguer 1953 Ensayo dramático (The Glass Web) 1954 Martes negro (Black Tuesday) 1955 Hell on Frisco Bay 1955 Hombres violentos (Violent men) 1955 En un aprieto (Tight Spot) 1955 El regreso del gangster (A Bullet for Joey) 1955 Illegal 1956 Noche de pesadilla (Nightmare) 1956 Los diez mandamientos (The Ten Commandments) 1957 The Heart of Show Business 1959 Millonario de ilusiones (A Hole in the Head) 1960 Siete ladrones (Seven Thieves) 1960 Pepe 1962 My Geisha (My Geisha) 1962 Dos semanas en otra ciudad (Two Weeks in Another Town) 1963 El premio (The Prize) 1964 Cuatro gángsters de Chicago (Robin and the 7 Hoods) 1964 Cheyenne Autumn 1964 Préstame tu marido (Good Neighbor Sam) 1963 Sammy (Huida hacia el sur) (Sammy Going South) 1964 Cuatro confesiones (The Outrage) 1965 El rey del juego (The Cincinnati Kid) 1967 All About People 1967 Diamantes a gogó (Ad ogni costo) 1967 La rubia de Pekín (The Blonde from Peking) 1967 Operation St. Peter's 1968 Raquel y sus bribones (The Biggest Bundle of Them All) 1968 Ni un momento de respiro (Never a Dull Moment) 1969 Un atraco de ida y vuelta (It's Your Move) 1969 El oro de Mackenna (MacKenna's Gold) 1970 Canción de Noruega (Song of Norway) 1971 Mooch Goes to Hollywood 1972 Neither by Day Nor by Night 1973 Cuando el destino nos alcance (Soylent Green)

[timeless-hollywood-classics]

Edward G. Robinson (born Emanuel Goldenberg; Yiddish: December 12, 1893 – January 26, 1973) was a Romanian American actor of stage and screen during Hollywood's Golden Age. He appeared in 30 Broadway plays and more than 100 films during a 50-year career and is best remembered for his tough-guy roles as gangsters in such films as Little Caesar and Key Largo.

During the 1930s and 1940s, he was an outspoken public critic of fascism and Nazism, which were growing in strength in Europe leading up to World War II. His activism included contributing over $250,000 to more than 850 organizations involved in war relief, along with cultural, educational and religious groups. During the 1950s, he was called to testify at the House Un-American Activities Committee during the Red Scare, but was cleared of any Communist involvement.

Robinson's roles included an insurance investigator in the film noir Double Indemnity, Dathan (adversary of Moses) in The Ten Commandments, and his final performance in the science-fiction story Soylent Green. Robinson received an Academy Honorary Award for his work in the film industry, which was awarded two months after he died in 1973. He is ranked number 24 in the American Film Institute's list of the 25 greatest male stars of Classic American cinema.

[classicfilmfan64]

Issur Danielovitch Demsky and Emanuel Goldenberg, aka, Kirk Douglas and Edward G. Robinson.

[abloodymess]

1939′s “Confessions of a Nazi Spy” was the first anti-Nazi film made by the Hollywood studio system. 

Warner Bros. were quickly sued and called warmongers by many Americans.

It was originally banned in Germany, Japan and 18 Latin American countries.

Hitler reportedly planned to execute the makers of this film upon winning the war.

Many in the industry felt that studios should just stick to entertainment and keep politics out of it, in fear of losing money in Europe. 

In April 1940 the news filtered back to Hollywood that several Polish exhibitors who had shown "Confessions of a Nazi Spy" had been hanged in the foyers of their own cinemas.

Jack, Albert, and Harry Warner along with star Edward G. Robinson (born Emanuel ‘Manny’ Goldenberg) fled antisemitism and came to the US. They all felt it was their duty to make this film.