Alan Dinehart(1889-1944)
- Actor
- Additional Crew
- Soundtrack
Tall, heavy-set character actor Alan Dinehart dropped out of school to
join a repertory company. He had extensive stage experience (including
some 27 appearances on Broadway) and, by the time he was signed by Fox
in 1931, he had worked not only as an actor but as a stage manager and
writer. On screen he appeared for the most part in "B" pictures,
notable exceptions being the MGM musical blockbuster
L'amiral mène la danse (1936) and the 20th
Century-Fox classic family drama
Mam'zelle vedette (1938).
Dinehart specialized in portraying blustering or shifty businessmen,
crooked politicians or racketeers. While he is usually described as a
supporting player, he actually started out in the early 1930s playing
leading roles opposite some of the major female stars of the period.
However, Dinehart's characters were rarely sympathetic. In Street of Women (1932) he essayed an architect who, bored with his society wife, indiscreetly keeps a mistress (Kay Francis) on the side. In Supernatural (1933) he was true to form as the phony spiritualist fleecing a wealthy socialite, played by Carole Lombard; and in Jimmy the Gent (1934) he was an urbane con artist in competition with James Cagney. On rarer occasions Alan found gainful employment as more benevolent characters, point in case his theatrical impressario Theodore von Eltz in Dance, Girl, Dance (1933). All of these performances attracted good reviews from Mordaunt Hall of the New York Times, ranging from "excellent" to "bearing up valiantly".
In unlikely contrast to his self-styled image of "Hollywood's most versatile villain", Dinehart had strong comedic inclinations, co-authoring several comedy plays towards the later stages of his career. The last and most successful of these, "Separate Rooms" (1940-1941), with Dinehart top-billed alongside Glenda Farrell and Lyle Talbot, became one of the longest-running non-musical plays on Broadway at the time, finally closing after 613 performances. Alan's son, Mason Alan Dinehart, followed in his father's footsteps and also became an actor, featured in several westerns and on television from the late 1940's.
However, Dinehart's characters were rarely sympathetic. In Street of Women (1932) he essayed an architect who, bored with his society wife, indiscreetly keeps a mistress (Kay Francis) on the side. In Supernatural (1933) he was true to form as the phony spiritualist fleecing a wealthy socialite, played by Carole Lombard; and in Jimmy the Gent (1934) he was an urbane con artist in competition with James Cagney. On rarer occasions Alan found gainful employment as more benevolent characters, point in case his theatrical impressario Theodore von Eltz in Dance, Girl, Dance (1933). All of these performances attracted good reviews from Mordaunt Hall of the New York Times, ranging from "excellent" to "bearing up valiantly".
In unlikely contrast to his self-styled image of "Hollywood's most versatile villain", Dinehart had strong comedic inclinations, co-authoring several comedy plays towards the later stages of his career. The last and most successful of these, "Separate Rooms" (1940-1941), with Dinehart top-billed alongside Glenda Farrell and Lyle Talbot, became one of the longest-running non-musical plays on Broadway at the time, finally closing after 613 performances. Alan's son, Mason Alan Dinehart, followed in his father's footsteps and also became an actor, featured in several westerns and on television from the late 1940's.
