Early Life and Career
Napier was a cousin of Neville Chamberlain, Britain's prime minister from 1937 to 1940. He was stage-struck from childhood and after graduating from Clifton College, the tall 6 ft 6 in (1.98 m), booming-voiced Napier studied at the Royal Academy of Dramatic Art, then later was engaged by the Oxford Players, where he worked with such raw young talent as Sir John Gielgud and Robert Morley. He continued working with the cream of Britain's acting crop during his ten years (1929–1939) on the West End stage. He went to New York City in 1940 to co-star with Gladys George in Lady in Waiting. Though his film career had begun in England in the 1930s, he had very little success before the cameras until he arrived and joined the British community in Hollywood in 1941. There he spent time with such people as James Whale. He usually played dignified, sometimes WASPish roles of all sizes in such films as Cat People (1942), The Uninvited (1943), and House of Horrors (1946).
He made a brief appearance as an unnamed British tourist in Fiesta (1947), starring Esther Williams, though the characters of 'the Tourist' — as he was billed in the credits — and Maria Morales (as played by Williams) never meet on-screen.
In The Song of Bernadette, he played the ethically questionable psychiatrist who is hired to declare Bernadette mentally ill. He appeared in two Shakespeare films: the Orson Welles Macbeth, in which he played a priest that Welles added to the story, who spoke lines originally uttered by other characters, and MGM's Julius Caesar, in which he played Cicero. He also played the vicious Earl of Warwick in Joan of Arc. In 1949, he made an appearance on the short-lived television anthology series Your Show Time as Sherlock Holmes, in an adaptation of "The Adventure of the Speckled Band". In the 1950s he appeared on TV in four episodes of Alfred Hitchcock Presents and guest starred on Dale Robertson's NBC western series, Tales of Wells Fargo.
Read more about this topic: Alan Napier
Famous quotes containing the words early life, early, life and/or career:
“Many a woman shudders ... at the terrible eclipse of those intellectual powers which in early life seemed prophetic of usefulness and happiness, hence the army of martyrs among our married and unmarried women who, not having cultivated a taste for science, art or literature, form a corps of nervous patients who make fortunes for agreeable physicians ...”
—Sarah M. Grimke (1792–1873)
“All of Western tradition, from the late bloom of the British Empire right through the early doom of Vietnam, dictates that you do something spectacular and irreversible whenever you find yourself in or whenever you impose yourself upon a wholly unfamiliar situation belonging to somebody else. Frequently it’s your soul or your honor or your manhood, or democracy itself, at stake.”
—June Jordan (b. 1939)
“Every age, every culture, every custom and tradition has its own character, its own weakness and its own strength, its beauties and cruelties; it accepts certain sufferings as matters of course, puts up patiently with certain evils. Human life is reduced to real suffering, to hell, only when two ages, two cultures and religions overlap.”
—Hermann Hesse (1877–1962)
“I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a woman’s career for her to be able to go out on a limb without having her credentials questioned.”
—Ruth Behar (b. 1956)