Moving To Films
Edwards transitioned to films rather easily and was quickly lauded as a talented character actor. With his expressive and "homely" face, he was considered by many directors to be well-suited to light, comedic roles and often played characters written as a comic foil opposite starring actors. His "homely", pliable features eventually made Edwards a household name during the 1920s.
At his peak in the late 1910s and early 1920s, Edwards appeared with some of the most famous actors of the era, including: Mary Pickford, Clara Kimball Young, Barbara La Marr, Douglas Fairbanks, Sr., Wallace Reid, Lila Lee, Colleen Moore, Lionel Barrymore, Conrad Nagel, Owen Moore, Mildred Harris, Rod La Rocque, Ramón Novarro, Marion Davies and countless others. In 1925 he was cast in one of his most memorable roles, that of Florine Papillon in the Rupert Julian directed box-office hit The Phantom of the Opera, opposite Lon Chaney, Sr. and Mary Philbin; and he co-starred with Douglas Fairbanks in Thief of Bagdad.
Edwards was married to actress Eleanor Taylor and the couple had three daughters: Cricket, Evelyn and Marian. Edwards was a popular Hollywood personality, and he and Eleanor hosted lively parties as well as being guests of Marion Davies at San Simeon Castle.
Edwards also was personally chosen by actor and director Buster Keaton to act in three of Keaton's films: 1925's Seven Chances, 1926's Battling Butler, and the extremely popular 1927 film College.
By the early 1930s and the advent of talkies, Edwards was already in his 60s, suffering from crippling arthritis, but remaining active until his last role, a part in the 1931 William A. Wellman directed crime drama The Public Enemy opposite actors Jean Harlow, James Cagney, and Joan Blondell. Originally, the part was a significant one, but the first scenes were shot were in driving rain, causing Edwards to become severely ill. In the surviving film, he appears in only a few scenes (breezily saying "Hi ya, boys" to the juvenile Cagney and pal in the beer parlor, dropping a dime into a pay phone to rat out Cagney, refusing to open the door to Cagney after his first big job at the fur warehouse goes bad.)
Edwards died of natural causes on May 1, 1937 in Los Angeles, California at the age of 69. His wife Eleanor continued to act as a dress extra until World War II, when she volunteered at the Hollywood Canteen. Snitz's and Eleanor's three daughters continued careers in the movie industry; Cricket was an executive for Carl Foreman and for Columbia Pictures, Evelyn was a writer, story analyst and story editor for MGM and CBS, and Marian (married to writer Irwin Shaw) produced numerous plays in Europe. Eleanor died at the Motion Picture Country Hospital in Calabasas California in 1968.
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Famous quotes containing the words moving to, moving and/or films:
“One fellow I was dating in medical school ... was a veterinarian and he wanted to get married. I said, but you’re going to be moving to Minneapolis, and he said, oh, you can quit and I’ll take care of you. I said, “Go.””
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“Consider a man riding a bicycle. Whoever he is, we can say three things about him. We know he got on the bicycle and started to move. We know that at some point he will stop and get off. Most important of all, we know that if at any point between the beginning and the end of his journey he stops moving and does not get off the bicycle he will fall off it. That is a metaphor for the journey through life of any living thing, and I think of any society of living things.”
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“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)