Career
Victor Moore made his film debut in 1915. He starred in three films that year, two of which were directed by Cecil B. DeMille - Chimmie Fadden and Chimmie Fadden Out West.
He appeared in over 50 films and 21 Broadway shows. His first appearance was on Broadway in Rosemary (1896). He also appeared in George M. Cohan's Forty-five Minutes from Broadway, which opened January 1, 1906, and its sequel, The Talk of New York (1907). He went on to star in shows such as Oh, Kay! (1926) as Shorty McGee, Hold Everything! (1928) as Nosey Bartlett, Gershwin's Of Thee I Sing (1931) with William Gaxton, Let 'Em Eat Cake (1933), Cole Porter's Anything Goes (1934) as Moonface Martin, and Irving Berlin's Louisiana Purchase (1940) as Oliver P. Loganberry.
Victor Moore worked in film twice with Bob Hope, first in Louisiana Purchase (1941) and again in Star Spangled Rhythm (1942).
He made a guest appearance as himself on The Martin and Lewis radio show on 8/16/49, and was a regular (as himself) on The Jimmy Durante Show.
He also appeared in such Hollywood films as Swing Time (1936) with Fred Astaire and Ginger Rogers, Make Way for Tomorrow (1937), The Heat's On with Mae West, Duffy's Tavern (1945), Ziegfeld Follies (1946), It Happened on 5th Avenue (1947), On Our Merry Way (1948), A Kiss in the Dark (1949), and We're Not Married (1952), working with Ginger Rogers for a second time. His last screen appearance was a role as a plumber in The Seven Year Itch (1955).
His most unusual role came in the 1945 Daffy Duck cartoon Ain't That Ducky. Moore was so pleased with the caricature of him that he offered to add his voice free of charge on one condition: that the animators drew him with a little more hair.
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Famous quotes containing the word career:
“The 19-year-old Diana ... decided to make her career that of wife. Today that can be a very, very iffy line of work.... And what sometimes happens to the women who pursue it is the best argument imaginable for teaching girls that they should always be able to take care of themselves.”
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“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)