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The Case Of The Vanishing Eccentrics_ by Denzil Howson ··

Those of us who are past the fJrst flush of youth, and can recall our movie-going of thirty odd years ago, will recall that
the movie screens of that era were peopled by a lovable group of eccentrics who always played•second fiddle to the big-
name performers. But we suggest they were as well-known as the glittering stars because they probably worked more
often than the Gables, the Harlows, the Hayworths and the Bogarts.

They popped up in the most unlikely situations and we welcomed them as familiar friends. We knew exactly how they
would perform, and in many instances what they would say and how they would say it. Some worked for the one studio,
others freelanced at the beck and call of any producer who sought their particular type and their unique eccentricities.

For instance, who could forget Zasu Pitts, the perennial old maid, with her fluttering "Oh dear! Oh me! Oh my!"
Zasu's long career, playing Zasu, began in 1917. Her last film was in 1963 "It's a Mad, Mad, Mad, Mad World".
Audiences would not accept her playing any other character than he!self.

According to Halliwell's "Film Companion", when Lewis Milestone, directing "All Quiet On The Western Front" in the
year 1930, cast her as the "Mother" a serious tragic role, preview audiences laughed her off the screen. The part had to be
re-cast and the scenes re-shot.

Then there was Edward Everett Horton, with the perpetual worried expression and the ineffectual and tentative approach
to life in general and any actor with whom he was playing a scene. I can still hear him saying, "Oh dear who would ever
have thought of that. Oh dear!" Always the same, always just Edward Everett Ho1ton.

And did you ever see Francis L. Sullivan as anything other than a wheezing, slightly suspect character, either a crooked
advocate or a snide businessman?

Then there was Edna May Oliver, the haughty testy spinster lording it over everybody, but with a heart of gold. Always
the same character in every film she made, her decidedly equine proftle no doubt heightened her slightly bizarre image.

Mary Boland, with her comfortable matron-like figure, made a career in later years of playing the fluttery, but domineer-
ing spouse, of the diffident but eager to please Charlie Ruggles, who never veered from playing Charlie Ruggles!
Frank Morgan was never anyone other than everybody's kindly, slightly befuddled and utterly confused uncle. Even
when playing the tragic telegraphist in "The Human Comedy" the innate nature of the man fJlled the screen. Any director
who cast him knew exactly what the public would see "Frank Morgan playing Frank Morgan", be he Wizard or anyone
else he would give the familiar much-loved performance.

And did we ever see the long suffering, genteel Margaret Dumont in any other role than the innocent butt of Groucho's
barbed insults? Did she ever fully comprehend the pruport of his remark? From her reactions, I doubt it.
And of course, Groucho was the leering eccentric of that unforgettable trio of eccentrics, playing themselves in the ten
films they made togeth.er. We waited expectantly for Chico to play the piano in his on-fingered style, and for the gentle
Harpo to play his harp. Never mind if neither had anything to do with the plot.
It appears we shall not see their like again nor shall we see that impeccably dressed drunk, Arthur Houseman who
briefly appeared "Hitchcock Like" in so many films of the thirties and early forties.

And surely there was no more irascible eccentric than the bulbous nosed one time juggler master of the flowery phrase,
always delivered with studied gentility. "Ah yes! What a euphonious appellation!", when Mae West revealed that her
name was "Flowerbelle". With his oft-quoted philosophy on life, "Anyone who hates small dogs and children can't be all
bad!", W.C. Fields was definitely a "one-off".

But perhaps the most lovable eccentric of all was S.Z. "Cuddles" SakaU wltb his fractured English overlaid with a thick
Hungarian accent. He began his career in Hollywood in 1916, and died in 1955. Whether he was playing in a light
musical, like "Wonder Man" or a tense drama like "Casablanca", he was always just "Cuddles". But like all the other
eccentrics we have mentioned, he has gone to that great film studio in the sky.

Amongst the plethora of todays's lithe leading men and svelte leading ladies, who will replace him?

Who could replace any of them?

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