Alan Baxter(1908-1976)
- Actor
- Soundtrack
Before there was an Alan Ladd, there was another furtive-eyed, baby-faced, cigarette-dangling Alan, impacting the movie scene with his various colorless and cold-hearted thugs, mobsters and killers. Dark-haired, bullet-headed actor Alan Baxter earned a noticeable degree of popularity back in the late 1930s and 1940s with his various despicable characters, before his film career
lost steam and he sought more and more TV and stage work.
The son of a Cleveland Trust Company vice president, Baxter was born on November 19, 1908, in East Cleveland. Following high school, he studied drama at Williams College in Williamstown, Massachusetts, where he forged a strong friendship with fellow collegiate and future directing icon, Elia Kazan. Once they graduated in 1930, the duo attended Yale's School of Drama.
Baxter hooked up with the then-fledgling Group Theatre in the early 1930s and appeared in such stage productions as "Lone Valley", "The Pure in Heart" and "Waiting for Lefty". His performance in "Black Pit" in 1935, however, was witnessed by a Hollywood talent scout and it was enough to change the course of his career. Immediately heading west to Hollywood, Baxter made an auspicious debut with his strong performance as "Babe Wilson", the unfeeling killer loved by Sylvia Sidney's character in Mary Burns, la fugitive (1935). Three years later, Baxter went on to recreate the role on radio.
With his foot strongly in the Paramount door, he continued playing dangerous, unsavory types in 13 heures dans l'air (1936), Empreintes digitales (1936) and The Case Against Mrs. Ames (1936), until his contract ran out. Continuing to freelance throughout the remainder of the 1930s, he remained on the wrong side of the law in Sur parole (1936), Breezing Home (1937), Alerte la nuit (1937), Drôle d'équipe (1938), Off the Record (1939), Mon fils a tué (1939), and À chaque aube je meurs (1939).
A solid "B" lead player who appeared in support when it came to "A" pictures, Baxter occasionally broke out of the "bad guy" mold -- but not often. By this time, Alan Ladd was starting to cut in on Baxter's action with his moody and sexy versions of trench-coat-trendy villains. Baxter, nevertheless, continued to roll on, playing outlaw "Jesse James" in Bad Men of Missouri (1941) opposite Dennis Morgan, Wayne Morris, and Arthur Kennedy as the Younger brothers, while adding slick malevolence to such films as Escape to Glory (1940) (with Constance Bennett), Under Age (1941) (with Nan Grey and Mary Anderson), The Pittsburgh Kid (1941) (with Jean Parker), and Rags to Riches (1941) (with Mary Carlisle). This period of filming was topped by an excellent support role in the classic Alfred Hitchcock thriller, Cinquième colonne (1942), in which he, as the meek-voiced, mustachioed, bespectacled, peroxide blond Nazi spy "Freeman", shares a memorable scene with lead Robert Cummings.
Following standard work in La pagode en flammes (1942) and Behind Prison Walls (1943), Baxter (at age 35) signed up for the Army Air Force in 1943, and appeared in the Broadway production of Moss Hart's "Winged Victory", which later was turned into the 1944 movie version of the same name, La victoire des ailes (1944) (also featuring Baxter). Post-war filming grew more dismal with a high majority of "Poverty Row" pictures coming Baxter's way. His last appearance in a strong film was the Robert Ryan boxing pic, Nous avons gagné ce soir (1949), as a mobster involved in fixing matches. Alan decided to return to the challenge of the stage, appearing in such plays as "Home of the Brave" (1945), "The Voice of the Turtle" (1947), "The Hallams" (1948), "Jenny Kissed Me" (1948), "Tea and Sympathy" (1955), and "South Pacific" (1957) (in a non-singing role). TV also became a positive medium, with adventure guest roles on L'homme à la carabine (1958), La grande caravane (1957), Colt .45 (1957) and Alfred Hitchcock présente (1955), among the offerings.
By the 1960s, Baxter was seen primarily in incidental film roles, his last being the cult rodent thriller, Willard (1971). Diagnosed with cancer, the twice-married actor died a few years later at the Motion Picture Country Home in Woodland Hills, Los Angeles, on May 8, 1976, aged 67.
The son of a Cleveland Trust Company vice president, Baxter was born on November 19, 1908, in East Cleveland. Following high school, he studied drama at Williams College in Williamstown, Massachusetts, where he forged a strong friendship with fellow collegiate and future directing icon, Elia Kazan. Once they graduated in 1930, the duo attended Yale's School of Drama.
Baxter hooked up with the then-fledgling Group Theatre in the early 1930s and appeared in such stage productions as "Lone Valley", "The Pure in Heart" and "Waiting for Lefty". His performance in "Black Pit" in 1935, however, was witnessed by a Hollywood talent scout and it was enough to change the course of his career. Immediately heading west to Hollywood, Baxter made an auspicious debut with his strong performance as "Babe Wilson", the unfeeling killer loved by Sylvia Sidney's character in Mary Burns, la fugitive (1935). Three years later, Baxter went on to recreate the role on radio.
With his foot strongly in the Paramount door, he continued playing dangerous, unsavory types in 13 heures dans l'air (1936), Empreintes digitales (1936) and The Case Against Mrs. Ames (1936), until his contract ran out. Continuing to freelance throughout the remainder of the 1930s, he remained on the wrong side of the law in Sur parole (1936), Breezing Home (1937), Alerte la nuit (1937), Drôle d'équipe (1938), Off the Record (1939), Mon fils a tué (1939), and À chaque aube je meurs (1939).
A solid "B" lead player who appeared in support when it came to "A" pictures, Baxter occasionally broke out of the "bad guy" mold -- but not often. By this time, Alan Ladd was starting to cut in on Baxter's action with his moody and sexy versions of trench-coat-trendy villains. Baxter, nevertheless, continued to roll on, playing outlaw "Jesse James" in Bad Men of Missouri (1941) opposite Dennis Morgan, Wayne Morris, and Arthur Kennedy as the Younger brothers, while adding slick malevolence to such films as Escape to Glory (1940) (with Constance Bennett), Under Age (1941) (with Nan Grey and Mary Anderson), The Pittsburgh Kid (1941) (with Jean Parker), and Rags to Riches (1941) (with Mary Carlisle). This period of filming was topped by an excellent support role in the classic Alfred Hitchcock thriller, Cinquième colonne (1942), in which he, as the meek-voiced, mustachioed, bespectacled, peroxide blond Nazi spy "Freeman", shares a memorable scene with lead Robert Cummings.
Following standard work in La pagode en flammes (1942) and Behind Prison Walls (1943), Baxter (at age 35) signed up for the Army Air Force in 1943, and appeared in the Broadway production of Moss Hart's "Winged Victory", which later was turned into the 1944 movie version of the same name, La victoire des ailes (1944) (also featuring Baxter). Post-war filming grew more dismal with a high majority of "Poverty Row" pictures coming Baxter's way. His last appearance in a strong film was the Robert Ryan boxing pic, Nous avons gagné ce soir (1949), as a mobster involved in fixing matches. Alan decided to return to the challenge of the stage, appearing in such plays as "Home of the Brave" (1945), "The Voice of the Turtle" (1947), "The Hallams" (1948), "Jenny Kissed Me" (1948), "Tea and Sympathy" (1955), and "South Pacific" (1957) (in a non-singing role). TV also became a positive medium, with adventure guest roles on L'homme à la carabine (1958), La grande caravane (1957), Colt .45 (1957) and Alfred Hitchcock présente (1955), among the offerings.
By the 1960s, Baxter was seen primarily in incidental film roles, his last being the cult rodent thriller, Willard (1971). Diagnosed with cancer, the twice-married actor died a few years later at the Motion Picture Country Home in Woodland Hills, Los Angeles, on May 8, 1976, aged 67.
