Mantan Moreland(1902-1973)
- Actor
- Soundtrack
Although his bulgy-eyed brand of humor was once popular and considered funny, "second banana" character actor Mantan Moreland, who maintained a steadfast career playing cocky but jittery characters in late 1930s and early 1940s comedy, would later be ostracized for it. The talented funnyman, who gained his strongest recognition in a long string of comedy thrillers, would eventually find himself on the unemployment line.
Born to a Dixieland bandleader just after the turn of the century in Louisiana on September 3, 1902, Mantan developed the itch to perform and often times ran away from home at age 14 to join circuses, minstrel shows and medicine shows. From these escapades, he sharpened his comic skills and developed routines and acts that eventually made a mark on the vaudeville stage, or what was then called the "chitlin' circuit." A solo performer by nature, he often teamed up with other famous comics (such as Ben Carter) to keep working, and became a deft performer of "indefinite talk" routines, wherein two quicksilver comics continually topped each other in mid-sentence, as if reading each other's mind (i.e., "Say, did you see...?" "Saw him just yesterday...did't look so good"). In 1927, he found work as a comedian in "Connie's Inn Frolics" in Harlem and worked steadily in the musical revue "Blackbirds of 1928" for ,
Mantan's focus and interest gradually shifted toward film, where he would appear in servile bits (butlers, shoeshine men, porters, chauffeurs, janitors, waiters, elevator operators). He made his film debut paired with one of his vaudeville partners, F.E. Miller (aka Flournoy Miller), in the one-reel short That's the Spirit (1933) as frightened night watchmen in a haunted pawn shop. His talent for making people laugh was not to be overlooked and he soon earned featured status in such Harlem-styled western parodies as Harlem on the Prairie (1937) and Two-Gun Man from Harlem (1938).
Mantan managed to find a niche for himself in mainstream comedies of the late 1930's and 1940's playing the pop-eyed, superstitious, highly perceptive manservant running away from impending doom -- Millionaire Playboy (1940), Ellery Queen's Penthouse Mystery (1941), Cracked Nuts (1941), Revenge of the Zombies (1943) and the serial The Mystery of the River Boat (1944). He had more prominence appearing as a corner ring man for a boxing story, played by real-life boxing champ Joe Louis and providing comedy relief along with Shemp Howard in the mystery horror opus The Strange Case of Doctor Rx (1942). He was occasionally given stereotyped ne-er-do-well leads in such vehicles as One Dark Night (1939) and Up Jumped the Devil (1941) and the musical short Tall, Tan, and Terrific (1946). He later starred in two self-named vehicles for Lucky Productions -- Mantan Messes Up (1946) and Mantan Runs for Mayor (1946).
The comic actor also teamed up (as a character named "Jefferson") with a young, pint-sized white actor Frankie Darro in seven adventure comedies for Monogram Pictures -- Irish Luck (1939), Chasing Trouble (1940), On the Spot (1940), Laughing at Danger (1940), Up in the Air (1940), You're Out of Luck (1941) and The Gang's All Here (1941). Monogram later utilized his talents as chauffeur Birmingham Brown as comedy relief in 15 of the "Charlie Chan" mystery whoddunits beginning opposite Charlie Chan #2, Sidney Toler in Charlie Chan in the Secret Service (1944), and ending opposite Charlie Chan #3 Episode #1.51 (2004) in Charlie Chan et le dragon volant (1949).
Although haunted mansions were an ideal place for setting off his stereotyped character, Mantan would be haunted in a different way by this Hollywood success in years to follow. By the 1950s, racial attitudes began to change and, with the rise of the civil rights movement in the mid 1960's, what was once considered hilarious was now interpreted as offensive. Mantan and others, such as Stepin Fetchit, were unfairly ostracized and ridiculed by Hollywood for their past negative portrayals and lost work.
In the late 1960s he managed a modest resurgence on TV and in commercials and occasional films, allowing him to work again with such comic heavyweights as Bill Cosby, Godfrey Cambridge and director Carl Reiner. He appeared in bit parts on such shows as "Julia," "The Bill Cosby Show," "Adam-12" and "Love, American Style." His later could be glimpsed in such films as Jerry souffre-douleur (1964), Enter Laughing (1967), the cult film Spider Baby (1967) and Watermelon Man (1970). His final movie was a bit part as an old man in The Young Nurses (1973).
His return was all too brief, however, for Mantan, long suffering from ill health, died of a cerebral hemorrhage on September 28, 1973, just as he was starting to settle into working again. Today, audiences tend to be kinder and more understanding of Moreland, remembering him as a highly talented comic who, in the only way he knew, broke major barriers and opened the doors for others black actors to follow.
Born to a Dixieland bandleader just after the turn of the century in Louisiana on September 3, 1902, Mantan developed the itch to perform and often times ran away from home at age 14 to join circuses, minstrel shows and medicine shows. From these escapades, he sharpened his comic skills and developed routines and acts that eventually made a mark on the vaudeville stage, or what was then called the "chitlin' circuit." A solo performer by nature, he often teamed up with other famous comics (such as Ben Carter) to keep working, and became a deft performer of "indefinite talk" routines, wherein two quicksilver comics continually topped each other in mid-sentence, as if reading each other's mind (i.e., "Say, did you see...?" "Saw him just yesterday...did't look so good"). In 1927, he found work as a comedian in "Connie's Inn Frolics" in Harlem and worked steadily in the musical revue "Blackbirds of 1928" for ,
Mantan's focus and interest gradually shifted toward film, where he would appear in servile bits (butlers, shoeshine men, porters, chauffeurs, janitors, waiters, elevator operators). He made his film debut paired with one of his vaudeville partners, F.E. Miller (aka Flournoy Miller), in the one-reel short That's the Spirit (1933) as frightened night watchmen in a haunted pawn shop. His talent for making people laugh was not to be overlooked and he soon earned featured status in such Harlem-styled western parodies as Harlem on the Prairie (1937) and Two-Gun Man from Harlem (1938).
Mantan managed to find a niche for himself in mainstream comedies of the late 1930's and 1940's playing the pop-eyed, superstitious, highly perceptive manservant running away from impending doom -- Millionaire Playboy (1940), Ellery Queen's Penthouse Mystery (1941), Cracked Nuts (1941), Revenge of the Zombies (1943) and the serial The Mystery of the River Boat (1944). He had more prominence appearing as a corner ring man for a boxing story, played by real-life boxing champ Joe Louis and providing comedy relief along with Shemp Howard in the mystery horror opus The Strange Case of Doctor Rx (1942). He was occasionally given stereotyped ne-er-do-well leads in such vehicles as One Dark Night (1939) and Up Jumped the Devil (1941) and the musical short Tall, Tan, and Terrific (1946). He later starred in two self-named vehicles for Lucky Productions -- Mantan Messes Up (1946) and Mantan Runs for Mayor (1946).
The comic actor also teamed up (as a character named "Jefferson") with a young, pint-sized white actor Frankie Darro in seven adventure comedies for Monogram Pictures -- Irish Luck (1939), Chasing Trouble (1940), On the Spot (1940), Laughing at Danger (1940), Up in the Air (1940), You're Out of Luck (1941) and The Gang's All Here (1941). Monogram later utilized his talents as chauffeur Birmingham Brown as comedy relief in 15 of the "Charlie Chan" mystery whoddunits beginning opposite Charlie Chan #2, Sidney Toler in Charlie Chan in the Secret Service (1944), and ending opposite Charlie Chan #3 Episode #1.51 (2004) in Charlie Chan et le dragon volant (1949).
Although haunted mansions were an ideal place for setting off his stereotyped character, Mantan would be haunted in a different way by this Hollywood success in years to follow. By the 1950s, racial attitudes began to change and, with the rise of the civil rights movement in the mid 1960's, what was once considered hilarious was now interpreted as offensive. Mantan and others, such as Stepin Fetchit, were unfairly ostracized and ridiculed by Hollywood for their past negative portrayals and lost work.
In the late 1960s he managed a modest resurgence on TV and in commercials and occasional films, allowing him to work again with such comic heavyweights as Bill Cosby, Godfrey Cambridge and director Carl Reiner. He appeared in bit parts on such shows as "Julia," "The Bill Cosby Show," "Adam-12" and "Love, American Style." His later could be glimpsed in such films as Jerry souffre-douleur (1964), Enter Laughing (1967), the cult film Spider Baby (1967) and Watermelon Man (1970). His final movie was a bit part as an old man in The Young Nurses (1973).
His return was all too brief, however, for Mantan, long suffering from ill health, died of a cerebral hemorrhage on September 28, 1973, just as he was starting to settle into working again. Today, audiences tend to be kinder and more understanding of Moreland, remembering him as a highly talented comic who, in the only way he knew, broke major barriers and opened the doors for others black actors to follow.
