Edward G. Robinson Net Worth Income Profile and Salary . (Emmanuel Goldenberg, Bucharest, 1893 – Los Angeles, 1973) At the age of ten, he left his native Romania to go with his family to the United States. It is established in the East Side of New York, and goes to the City College, in which will be graduated. As a good student, he joins the prestigious Columbia University, where he already shows an interest in the world of interpretation, which earns him a scholarship at the American Academy of Dramatic Arts.
There he changed his name to that of Edward G. (by Goldenberg) Robinson, with whom he began to make small interpretations, in 1913, in various functions of Vaudeville. He made his Broadway debut in 1915, and for the next fifteen years of his life he continues to appear with increasing recognition in an extensive number of works, including The Kibitzer (1929), a three-act comedy he also wrote with Jo Swerling Who later would be, in the years of the sonorous, one of the most famous writers of the industry).
He had previously starred in a silent film called The Bright Shawl (1923) by John S. Robertson, but he was not to be too pleased, because he did not return to prove fortune until 1929, with the sonorous in full effervescence. After his wonderful Cesare Rico Bandello of Golden Hampa (1930), by MervynLeRoy (an interpretation that became, without a doubt, the prototype of the gangster who, from now on, would be portrayed on the screen), Robinson was typecast for many Years in similar roles, but in a very short time demonstrated that he was an exalted actor, able to give life to multitude of different personages.
In the early 1930s, when he became familiar with his new medium, he worked with Hollywood’s best directors: Howard Hawks, John Ford (Passport to Fame), Michael Curtiz (Kid Galahad), Anatole Litvak (The Amazing Dr. Clitherhouse, Confessions of a Nazi spy) or William A. Wellman (The righteous ax). In 1940, he offers unforgettable interpretations in two biographical adaptations for the big screen, both directed by William Dieterle, The Magic Ball of Dr. Ehrlich, the chronicle of the famous German scientist who devised a cure for venereal diseases, and The Life of Reuter, the History of the man who established the first telegraphic news agencies.
His best performances would come during the forties, almost all of them in memorable black cinema or psychological dramas. In 1941, it will be a despotic Wolf Larsen in The Sea Wolf, by Michael Curtiz, who, with a master hand, disguises the adventurous hue to show a philosophical parable on life and death. Robinson entirely supports a script written by Robert Rossen, before becoming a superb director, and draws the personality of a tyrant (direct descendant of Captain Bligh of Rebellion aboard) who directs his crew without the slightest sign of humanity.
Between 1942 and 1943, it is part of the large cast of good actors who offer their face to the two famous productions of episodes of Julien Duvivier, Six destinies and On the margin of life. And, in 1944, it intervenes in two masterpieces of the black cinema: Perdición, of Billy Wilder, and the woman of the picture, of Fritz Lang. In the first, the adaptation of the novel by James M. Cain, is Barton Keyes, a man who bases all his theories on that “enanito” that takes inside and the boss and friend of Fred MacMurray, that insurance agent that, for Love, scam to his own signature, and, therefore, also to his friend.
In The Woman of the Picture, the proud and free adaptation of JH Wallis’s novel Once Off Guard, Robinson plays Richard Wanley, a gentle and timid professor of psychology, an expert in criminology, who, standing in front of a showcase, admires Portrait of a beautiful woman (Joan Bennett). After having drunk a few more drinks, he is in the street with the woman of the painting, who invites him to his house. From here, the poor teacher will be enveloped in a nightmare, woven malevolently by the master Lang, where the dream is confused with reality. Robinson edges his paper, but they are not left behind neither the Bennett nor a disturbing Dan Duryea.
The idea of the nightmarish climate in a story pleased Fritz Lang, who for his next film, Perversity (1945), a new version of Jean Renoir’s La Golfa (1931), again invited the three protagonists of the dream The woman of the painting, Joan Bennett, Dan Duryea and, of course, Edward G. Robinson. He is again incommensurable incorporating a troubled cashier who maintains a mediocre marital relationship with his wife, a cold and calculating woman who does not let him breathe, so he spends most of his time at home painting.
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The irony with which Lang presents his protagonist, the mysterious chance that decides that Robinson and a woman of great beauty meet, the situation so unsustainable that forces a modest man to commit an embezzlement in his company, to paint and not to sign his paintings For the woman to sign, everything hides a background so ironic that explodes in the light when we witness the fatal destiny of that petty bourgeois who ends up being a successful artist and a murderer whose crime remains unpunished, but will live in misery and tormented For the continuous memory.
He will be simply masterful when, the following year, the great Orson Welles offers him the opportunity to work alongside him, in The Stranger (1946), playing a Nazi hunter who lets one escape to take him to another fatter, Welles, who lives under another, respected name in a small town in New England. And if here is a stubborn, but calm and calculating hound, in Cayo largo, which starred under John Huston (1948), plays a gangster in low hours, in absolute decline (even his henchmen are decadent and tacky), With nerves about to jump through the air at any moment.
Cayo largo, made from a play by Maxwell Anderson and written by also director Richard Brooks and Huston himself, tells the story of a World War II veteran who marches to a Florida hotel in Cayo Largo , To see the father, an invalid man (Lionel Barrymore, who by then was a real man), and the widow of an army companion. Robinson, his alcoholic lover (Claire Trevor) and his thugs, also come to that hotel, who kidnap the others and force the veteran to patrol a yacht that will take them to Cuba. There is little action in Cayo Largo: the main thing is the tension created by Robinson in his captives and among his men themselves. The film is best known for its credits to Humphrey Bogart and Lauren Bacall, then husband and wife, but Robinson, the defeated gangster who retains cruelty and malice as traits of identity, power, and Claire Trevor, who won the Academy Award for Best Supporting Actress.
Its critical, not necessarily interpretative, summit would come a year later, in 1949, when, for its recreation of Gino Monetti in Hate between brothers, of Joseph L. Mankiewicz, would gain the prize of Interpretation in the International Festival of Cannes. Inspired by a chapter in a novel by Jerome Weidman, Mankiewicz rebuilds, in flashback, the life of an Italian emigrant, a professional barber, fabulously incarnated by Robinson, who by force of money from his compatriots becomes a peculiar banker. Mankiewicz’s great family melodrama, which, despite his regret, could not count on Robinson for any of his subsequent films, as was his desire.
The fifties were disastrous for Robinson. In spite of having stood out like one of the actors that more aided the patriotic cause during World War II, its name was associated by sneers with communist organizations. He was called to testify before the Committee on Un-American Activities and was declared clear of all suspicion. But the damage was already done.
He was called for low-budget movies and the directors did not trust him too much. His best known performances in this decade were unscrupulous businessman in Gregory Ratoff’s The Passion of His Life (1950); John B. “Hans” Cobert, a famous baseball player, in Robert Leigh’s Big Leaguer (1953); An elegant criminal, as he has always become accustomed to, in Jack Arnold’s The Glass Webb (1953); He rewrapped the gangster image, typical of the thirties, in Hugo Fregonese’s Black Tuesday (1954); The hateful and conspiratorial Hebrew Dathan of The Ten Commandments (1956) by Cecil B. De Mille, and one of Sinatra’s friends in Millionaires of Illusions (1959) by Frank Capra.
In 1956, he was forced to sell his famous Impressionist collection, one of the largest and most prestigious in the world, to face the divorce of his 29-year-old wife, actress Gladys Lloyd. He decides to leave the cinema for a few years and returns to Broadway to intervene in Paddy Chayefsky’s “Middle of the Night”, which was a resounding success. In the sixties, again enjoy good papers. Vincente Minnelli rescues him, in 1962, to accompany Kirk Douglas in that continuation of Captives of Evil that was Two weeks in another city, and Alexander Mackendrick offers the protagonism of Huida towards the South (1963). From now on, his appearances will be rather secondary, in films such as John Ford’s The Great Fight (1964); The Game King (1965), by Norman Jewinson, or The Mackenna Gold (1969), by J. Lee Thompson.
Net Worth of Edward G. Robinson
The net worth of Edward G. Robinson is $100 Million.
|Full Name||Edward G. Robinson|
|Net Worth||$100 Million|
|Annual Income||$17 Million|
He died of cancer without seeing his latest film, When Fate Reaches Us (1973), by Richard Fleischer, where Robinson was splendid, next to Charlton Henston, in the adaptation of Harry Harrison’s famous science fiction novel “Make Room Make Room! “. In 1972, he received an honorary Oscar “for his fabulous performances in the cinema, his taste for the arts and for being a model American citizen … In short, a Renaissance Man. They love you “. The same ones who, for more than four decades, did not grant him even a single Oscar nomination for best actor; A trade in which he was, despite his short stature, one of the largest.