Lloyd Nolan - Film Career

Film Career

Although Nolan's acting was often praised by critics, he was, for the most part, relegated to B pictures. Despite this, Nolan costarred with a number of well-known actresses, among them Mae West, Dorothy McGuire, and former Metropolitan Opera mezzo-soprano Gladys Swarthout. Under contract to Paramount and 20th Century Fox studios, he assayed starring roles in the late 30s and early-to-mid 40s and appeared as the title character in the Michael Shayne detective series. Raymond Chandler's novel The High Window was adapted from a Philip Marlowe adventure for the seventh film in the Michael Shayne series, Time to Kill (1942). The film was remade five years later as The Brasher Doubloon, truer to Chandler's original story, with George Montgomery as Marlowe.

The majority of Nolan's films comprised light entertainment with an emphasis on action. His most famous films include: Atlantic Adventure, costarring Nancy Carroll; Ebb Tide; Wells Fargo; Every Day's A Holiday, starring Mae West; Bataan; and A Tree Grows in Brooklyn, with Dorothy McGuire and James Dunn. He also gave a strong performance in the 1957 film Peyton Place with Lana Turner.

Nolan subsequently contributed many solid and key character parts in numerous other films. One of these films, The House on 92nd Street, was a startling revelation to audiences in 1945. It was a conflation of several true incidents of attempted sabotage by the Nazi regime - incidents which the FBI was able to thwart during World War II - and many scenes were filmed on location in New York City, an unusual occurrence at the time. Nolan portrayed FBI agent Briggs, and actual FBI employees interacted with Nolan throughout the film. He reprised the role in a subsequent 1948 movie, The Street with No Name.

Read more about this topic:  Lloyd Nolan

Famous quotes containing the words film and/or career:

    Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.
    David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)

    Like the old soldier of the ballad, I now close my military career and just fade away, an old soldier who tried to do his duty as God gave him the light to see that duty. Goodbye.
    Douglas MacArthur (1880–1964)