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Bud Jamison
Bud Jamison
Bud Jamison
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William Edward "Bud" Jamison (February 15, 1894 – September 30, 1944)[1] was an American film actor. He appeared in 450 films between 1915 and 1944, notably appearing in many shorts with The Three Stooges as a foil.

Key Information

Career

[edit]
Chef Bud Jamison wishbones Harry Sweet in this Wid's Daily 1921 ad.

Born in Vallejo, California, Jamison joined the ranks of stage and vaudeville performers making movies in California. Jamison's husky build and willingness to participate in messy slapstick and rowdy action guaranteed him work in silent comedies. In 1915 he was a member of Charlie Chaplin's stock company at Essanay Studios. From there he moved to the Hal Roach studio, playing hot-tempered comic foils for Harold Lloyd, Snub Pollard, and Stan Laurel. In the 1920s, he joined Universal Pictures' short-comedy contingent, and later worked in Mack Sennett comedies.

In his earliest films, Jamison looked too young to be totally convincing in heavy makeup as a veteran policeman, detective, or authority figure. As the years progressed, he grew into these roles, and by the time sound films arrived he was well established as a reliable character comedian.

Bud Jamison in Just Rambling Along (1918)

Jamison had a superb tenor singing voice, and loved to sing when not filming. Sound movies gave producers a chance to exploit his singing, and for the rest of his career he would occasionally be called upon to vocalize in films. A brief series of color travelogues filmed in 1930, featured Jamison and comic Jimmie Adams as "The Rolling Stones", two singing vagabonds seeing the country. Jamison would be hired just for his singing, as in Pot o' Gold where he plays a vagrant who harmonizes in jail.

Jamison continued to play cops, robbers, bosses, servants, and various professional men who clash with comedy stars. He appeared opposite Bing Crosby, W. C. Fields, and Andy Clyde in Sennett's talkies. Like other members of the two-reel-comedy community, he found work at various studios: Hal Roach (with Thelma Todd and ZaSu Pitts, and Charley Chase), Educational Pictures (with Buster Keaton), RKO Radio Pictures (with Clark & McCullough, Leon Errol, and Edgar Kennedy), and Columbia Pictures (with Keaton, Clyde, Chase, Harry Langdon, and The Three Stooges, among many others).

The Three Stooges

[edit]
Jamison (right) endures The Three Stooges' disruptive courtroom behavior in Disorder in the Court, 1936

Jamison acted at Columbia Pictures in their short subjects, primarily with the Three Stooges. He appeared in 38 Stooge entries over 10 years, including their debut, Woman Haters (1934). Jamison was a comic foil for the team. He also sings "You'll Never Know Just What Tears Are" in the Three Stooges film A Ducking They Did Go (1939). Stooge leader Moe Howard (who referred to Jamison as "Buddy Jamison") recalled singing barbershop harmony with Charley Chase, actor Vernon Dent, and Jamison many times on movie sets.[2] His last episode appearance with the Three Stooges was in Crash Goes the Hash (1944) as the majordomo, Lord Flint.

Death

[edit]

There are conflicting reports regarding Jamison's cause of death.[2] He died on September 30, 1944, at age 50, one day after completing work on the film Nob Hill.[2] Some sources indicate that Jamison developed a blood infection or kidney cancer and because he was a devout Christian Scientist, refused blood transfusions that resulted in his death.[2] However, several surviving family members have stated that Jamison had been suffering from phlebitis in his leg during the final week of filming Nob Hill and refused to seek medical help due to his "the show must go on" mentality (as opposed to religious reasons).[2] Jamison's family was told that the phlebitis caused a blood clot which traveled to his lung and caused his death.[2]

Jamison's death certificate lists mesenteric thrombosis as the official cause of death, with carcinoma of the right kidney also noted as a condition.[2] Jamison was also a Type 2 diabetic in his later years. He is buried in Inglewood Park Cemetery in Inglewood, California.[2]

Filmography

[edit]

References

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[edit]
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Bud Jamison

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from Grokipedia
Bud Jamison (February 15, 1895 – September 30, 1944) was an American film actor renowned for his prolific career in and features, appearing in approximately 450 films between 1915 and 1944. Born William Edward Jamison in , he began in as a teenager before transitioning to silent films with Keystone Studios in 1915, where he played heavies in Charlie Chaplin's Keystone comedies such as The Champion. Jamison's career flourished at in the 1920s, supporting stars like , , , and in numerous two-reel comedies, leveraging his imposing physique for antagonistic roles. In the sound era, he joined in 1934, becoming a staple foil in over 50 shorts, including Woman Haters (1934) and Disorder in the Court (1936), often portraying authority figures like policemen or bosses subjected to the Stooges' chaos. Beyond comedies, he took dramatic parts in features such as the 1930 adaptation of and The Grand Parade (1930). Jamison, a singer who occasionally showcased his voice in films like Pot o' Gold (1941), died in Hollywood at age 49 from a heart attack, following untreated health issues related to his beliefs, shortly after completing his final role.

Early life

Birth and family background

William Edward Jamison, professionally known as Bud Jamison, was born on February 15, 1895, in Vallejo, . Information on his family background remains limited, with few records detailing his parents or any siblings. Jamison grew up in during his early years, in a region known for its working-class communities at the . The nickname "Bud," a common affectionate diminutive, was adopted by Jamison for his professional endeavors, appearing consistently in his film credits and industry references from the outset of his career. No specific accounts of childhood interests in theater or performance have been documented, though his later path suggests an early affinity for that would define his life's work spanning 1915 to 1944.

Entry into the film industry

Jamison, born in , in 1895, began his career with a brief stint in before transitioning to the burgeoning industry on the West Coast. This move capitalized on the rapid growth of silent filmmaking in during the early , where local theater performers frequently sought opportunities in the new medium. In 1915, at age 20, Jamison joined in , as a member of Charlie Chaplin's stock company, where he took on support roles as a heavy or in short comedies. His debut came that year in Chaplin's A Night Out, playing the head waiter and the jealous husband of Edna Purviance's character, marking one of his earliest uncredited bit parts in the comedian's Essanay series. He followed with appearances in other early Chaplin shorts, such as In the Park, where he portrayed Edna's beau, and Shanghaied, as the second mate, honing his skills in and exaggerated gestures essential to silent-era storytelling. The 1910s silent film landscape was highly competitive, dominated by the and independent studios like Essanay, with thousands of extras and bit players vying for scarce roles amid rapid production demands. Jamison faced additional hurdles as a young often cast as older authority figures, relying on aging makeup like and costumes to appear more seasoned, though this sometimes undermined his convincingness in heavy roles. Through persistent work in these initial Essanay productions, he solidified his niche as a reliable in the frenetic Chicago-based studio's output.

Film career

Silent film era

Jamison's early experiences at Keystone and provided a foundation for his subsequent roles in more prominent productions. In 1916, he joined , where he emerged as a key supporting player in the studio's burgeoning output of one-reel comedies. There, his sturdy frame and expressive demeanor made him a natural fit for antagonistic characters, often embodying irascible authority figures or comic heavies who clashed with the protagonists in chaotic, physical gags. Jamison frequently served as a foil to , appearing in dozens of Lloyd's early shorts that showcased the comedian's daring stunts and everyman charm. Notable examples include Ask Father (1919), where he played the guardian at the door blocking Lloyd's path, and Over the Fence (1917), in which he contributed to the film's "glass character" humor through exaggerated reactions and confrontations. His performances emphasized robust physicality, enduring pratfalls and tussles that amplified the comedy's energetic pace. Jamison also collaborated with in Roach's early Laurel solo shorts, such as Hustling for Health (1919), portraying a beleaguered host in a series of domestic mishaps. Over his five-year tenure at Roach from 1916 to 1921, Jamison amassed credits in more than 100 films, honing his timing in ensemble . In the , Jamison extended his career to Mack Sennett's studio, immersing himself in the fast-paced world of Keystone-style comedies known for their anarchic chases and broad humor. He typically took on roles as policemen or tough-guy antagonists, leveraging his imposing presence to heighten the tension in pie-throwing escapades and vehicular mayhem. A representative appearance was in His First Flame (1927), where he supported as Hector Benedict amid firefighting hijinks and romantic entanglements. These Sennett efforts reinforced Jamison's versatility in rowdy, no-holds-barred scenarios. Through his prolific output—spanning roughly silent films across multiple studios—Jamison solidified his status as a dependable , excelling in the demands of mute-era and earning steady work as the perfect adversary to rising stars. His consistent portrayals of blustery foes not only drove narrative conflict but also showcased the era's emphasis on visual timing and bodily expressiveness, laying the groundwork for his enduring niche in film comedy.

Transition to sound films

The advent of sound films in the late presented both challenges and opportunities for Bud Jamison, whose established from the silent era transitioned into dialogue-driven roles that highlighted his vocal talents. Jamison possessed a barbershop-quality singing voice, which producers began to exploit as talkies emphasized audio elements over purely visual gags. His first notable showcase came in early sound shorts, such as the 1930 color travelogues where he and comedian Jimmie Adams portrayed "," singing vagabonds touring scenic locales. This marked a shift from his silent-era reliance on expressive facial contortions and to incorporating song and spoken banter, allowing his built-up comedic persona as a hapless heavy to evolve into more verbal confrontations. Jamison adapted by moving between studios, departing ' short-comedy unit—where he had honed his skills in the 1920s—to Mack Sennett's production of shorts in the early . At Sennett, he appeared in dialogue-heavy shorts like The Old Barn (1929), voicing a radio in one of the studio's earliest talkies, and Match Play (1930), where he played a suitor in a bet-driven blending physical antics with witty exchanges. His roles increasingly featured him as irritable authority figures or comic foils, such as servants, bosses, or policemen, adapting his robust physicality to support -era humor. For instance, in Sweepstakes (1931), he sang as a waiter in a racetrack , demonstrating how amplified his versatility beyond silent visuals. This period saw Jamison in features and shorts alongside major stars, expanding his opportunities amid the industry's sound revolution. He collaborated with in the Mack Sennett short (1932), playing the dentist's golfing pal Charley Frobisher in a sequence of verbal and physical mishaps on the course. Similarly, in Blue of the Night (1933), another Sennett production, Jamison portrayed a suspicious cop opposite , contributing to the musical comedy's blend of songs and chases. He also took on boss-like roles in shorts such as (1933), as the head of a rival cab company, and The Soilers (1932), as a in a college caper. From 1929 to 1933, Jamison's output included dozens of such two-reel comedies and supporting parts, reflecting the rapid decline of silent productions and his successful pivot to sound's demands.

Work with Columbia Pictures

In 1934, Bud Jamison signed a contract with , beginning a decade-long association that saw him contribute to the studio's robust output of two-reel comedy shorts and occasional features. His prior experience in silent films and early sound productions equipped him well for Columbia's evolving comedy format, where dialogue and intertwined seamlessly. Over the next ten years, until , Jamison appeared in more than 100 Columbia shorts, often in supporting capacities that bolstered the studio's diverse comedy series. Jamison frequently portrayed heavies, authority figures like cops, or sources of , roles that capitalized on his imposing physique and expressive timing. In the series, for instance, he featured in 13 of the 20 shorts produced between 1937 and 1940, including The Big Squirt (1937) as the suspicious policeman Murphy and The Heckler (1940) as a rowdy spectator. Similarly, in Buster Keaton's Columbia outings, Jamison played antagonistic parts such as the bullying Tom in So You Won't Squawk (1941), adding tension to Keaton's antics. His work extended to Harry Langdon's series, where he embodied stern bosses or detectives, and Andy Clyde's comedies, enhancing the ensemble dynamics typical of Columbia's economical yet inventive short subjects. Jamison's tenor voice occasionally shone in Columbia's musical comedy shorts, providing barbershop-style harmony or solo interludes that lightened the proceedings. Notable examples include his uncredited role as a member of the singing waiters quartette in the feature Nob Hill (1944), his final film, where he contributed to the saloon's lively musical numbers alongside George Montgomery and Joan Bennett. Earlier crossovers with Educational Pictures material, which Columbia sometimes distributed, saw Jamison in light musical roles, such as in the Moran and Mack series shorts from the early 1930s, bridging his pre-Columbia work into the studio's sound-era productions. These contributions underscored Jamison's versatility, helping sustain Columbia's reputation for punchy, character-driven comedies during the 1930s and 1940s.

Association with The Three Stooges

Initial collaborations

Bud Jamison's association with began with their inaugural short, (1934), where he portrayed the pompous chairman of the Woman Haters Club and delivered the series' first eye pokes during an initiation sequence. This debut marked the start of Jamison's integration into the Stooges' comedic ensemble, leveraging his prior experience in Columbia shorts to secure the role as a reliable supporting player. In the ensuing years, Jamison appeared in approximately 10 Stooges shorts from 1934 to 1936, frequently cast as straight men or antagonists who clashed with the trio's anarchic antics. Examples include his role as a stern doctor in Men in Black (1934), a bumbling general in Uncivil Warriors (1935), and a haughty butler in Hoi Polloi (1935), where he often served as the foil to heighten the Stooges' physical comedy. His husky, imposing physique provided a stark contrast to the Stooges' wiry chaos, amplifying the visual humor in slapstick sequences and establishing him as a go-to actor for authority figures under directors like Jules White. These initial collaborations solidified Jamison's place in ' early output, with his consistent presence across films such as Three Little Beers (1935) and A Pain in the Pullman () helping to define the series' dynamic of hapless protagonists versus exasperated opponents. By , his recurring roles had transitioned from novelty appearances to essential elements of the formula, paving the way for deeper involvement in the franchise.

Notable roles and contributions

Bud Jamison appeared in 39 shorts between 1934 and 1944, establishing himself as a reliable foil during the series' prime years at . His roles often positioned him as an antagonist or authority figure, providing the straight-man contrast essential to the ' chaotic humor, with appearances spanning from early entries like (1934) to later ones. A standout mid-period performance came in Disorder in the Court (), where Jamison portrayed the stern Defense Attorney in a high-stakes trial, reacting with escalating frustration to the ' disruptive testimony and physical antics, which amplified the short's legendary sequences. Jamison's signature characters frequently embodied pompous bosses, policemen, or officials, delivering deadpan reactions that heightened the Stooges' escalating mayhem. In A Ducking They Did Go (1939), he played the Police Chief, contributing a memorable musical moment by singing alongside the Stooges in a comedic rendition of "Swingin' the Alphabet," his tenor voice adding an unexpected layer of absurdity to the duck-hunting farce. His physical presence and timing in gags—such as enduring eye-pokes in Woman Haters (1934), where he delivered the series' first such poke to each Stooge—exemplified how his exaggerated responses and sturdy build enhanced the trio's violent comedy without overshadowing their antics. Jamison's contributions extended to the structural rhythm of many shorts, where his authoritative demeanor set up conflicts ripe for the ' resolution through escalation, including pie fights, chases, and improvised destruction. His final appearance came in Crash Goes the Hash (1944), as the Flint in a butler-themed , marking the end of his tenure just months before his death.

Personal life

Marriage and family

Bud Jamison married Georgia Kathleen in 1921, during the height of his early career in silent films. The couple remained together until Jamison's death in , sharing a stable marital life that lasted over two decades. Jamison and Holland had no children, maintaining a private family existence largely shielded from the spotlight. They resided in the area, where Jamison balanced his demanding film schedule with a home life centered on close . Relatives, including great-niece Dixie Cartmell Stevenson and great-nephew Sam Cartmell, later recalled him as a loving and kind individual, highlighting his family-oriented personality off-screen and visits to Vallejo. While specific details on Holland's influence on his career are not well-documented, their enduring partnership provided personal stability amid his professional transitions from silent to sound eras.

Health and religious beliefs

Jamison was a devout practitioner of , a founded by that emphasizes spiritual healing over medical intervention. He suffered from in his later years, and some sources suggest his faith led him to refuse conventional treatments like insulin. However, the role of his beliefs in his health management is disputed; his family stated that did not influence his death decisions. Jamison's condition was largely private, though he experienced during the filming of his final movie in September 1944. The exact cause of Jamison's death remains controversial, with official records listing mesenteric thrombosis and , while other accounts attribute it to complications from untreated or a gangrenous infection, potentially linked to his religious principles.

Death and legacy

Final years and passing

In 1944, Bud Jamison continued his busy schedule of film work, completing his final feature role in the musical comedy Nob Hill, released in 1945, where he appeared uncredited as a member of the singing waiters quartette. His last collaboration with was in the short Crash Goes the Hash, filmed in October 1943 and released in February 1944, in which he portrayed the majordomo Flint. Jamison collapsed at his home in , , on September 29, 1944, shortly after finishing Nob Hill, and died the following day at age 49 from mesenteric , with of the right noted on his as a contributing condition. Conflicting accounts exist regarding the precise circumstances; while family members reported untreated that led to a fatal blood clot in the lungs, potentially exacerbated by Jamison's refusal of medical intervention due to his faith—though the family disputed the extent of religious influence on his decisions. He was interred at in , in the Mausoleum of the Golden West, Sanctuary of Dreams, Alcove of Psalms, Niche 26. His sudden passing left his wife, Georgia Kathleen Holland Jamison, and colleagues in the film industry mourning the loss of a whose reliable presence had supported hundreds of productions over nearly three decades.

Posthumous recognition

Following his death in 1944, Bud Jamison's contributions to comedy, particularly as a reliable foil in over 450 films, have been frequently highlighted in retrospectives and dedicated fan communities. His roles in 38 Stooges shorts from 1934 to 1944, where he often played exasperated authority figures enduring the trio's chaos, are celebrated for enhancing the group's physical humor, as noted in comprehensive analyses of their output. These mentions underscore his skill in "reliable foiling," a staple of Stooges that amplified the leads' antics without overshadowing them. Jamison's work has gained visibility through archival media and releases preserving Columbia . He features prominently in Sony Pictures' The Three Stooges: The Ultimate Collection (2024), a 20-disc set compiling 100 classic two-reel comedies from 1934–1957, including many of his appearances that highlight his extensive career spanning silent and sound eras. Documentaries and compilations on the Columbia department, such as those exploring the studio's two-reelers, reference his 450+ contributions as emblematic of the era's ensemble , often pairing him with contemporaries like in discussions of supporting players' impact. In modern scholarship on , Jamison receives citations alongside luminaries like and , whom he supported in early silent comedies. Books such as Scrapbook (updated edition) detail his role in the Stooges canon and broader comedy history, praising his build and willingness for rowdy action as key to the genre's physicality. Similarly, The 100 Greatest Silent Film Comedians acknowledges his foundational work in Essanay and productions, positioning him as a bridge between silent heavies and sound-era foils. Online resources, including specialized film databases, further appreciate his versatility, though no formal awards for supporting actors from his era have been posthumously bestowed. Despite this, Jamison remains underappreciated relative to lead comedians, with fan discussions often lamenting the lack of standalone biographies or in-depth profiles compared to stars like themselves. Calls persist in comedy history circles for greater biographical coverage to elevate his status among slapstick's unsung ensemble contributors.

Filmography

Silent films

Bud Jamison entered the film industry in 1915 at , where he appeared in several comedy shorts, often cast as a burly or thug in uncredited roles. His debut was in His New Job, playing an , followed by A Night Out as the headwaiter who clashes with Chaplin's drunken character. In The Champion, he portrayed Bob Uppercut, the boxing champion defeated by Chaplin. Other notable Essanay appearances include In the Park and as a thug pursuing Chaplin's vagrant , By the Sea as a large beach bully, and A Night in the Show as Dash in the comedy duo Dot & Dash. These roughly seven films established Jamison as a reliable heavy in early . From 1916 to 1927, Jamison's most prolific silent-era output came at Hal Roach Studios, where he contributed to over 100 shorts and features, frequently in supporting roles as rivals, bosses, or comedic foils, with a mix of credited and uncredited parts. In the Lonesome Luke series starring Harold Lloyd, he appeared in nearly all 1916-1917 entries, such as Luke Joins the Navy as the romantic rival and Luke's Movie Muddle as an aggressive theater patron. Later Roach highlights include Over the Fence (1917) as the boss, Just Rambling Along (1918) as a chef, and Do You Love Your Wife? (1919) as a man tending a dog. Jamison also featured in Lloyd's feature-length comedies, playing the sheriff in Grandma's Boy (1922), a thug in Doctor Jack (1922), and an uncredited role in Safety Last! (1923). He supported Charley Chase in shorts like On the Fire (1919) as a ballooning flirt and worked in other Roach series, including uncredited bits in The Freshman (1925). In the 1920s, Jamison worked at other studios, including ' short-comedy unit and Comedies, appearing in about a dozen films per studio, often uncredited as heavies or authority figures. At Universal, representative roles include the rival in Don't Shove (1919) and the boxer father in The Marathon (1919), both directed by Alfred J. Goulding. For Sennett, he played supporting parts in comedies like Ring Up the Curtain (1919) as an unidentified character and silent shorts with uncredited thug roles in Keystone-influenced slapsticks. Additional 1920s appearances encompass features like His First Flame (1927) as a and scattered roles in independent shorts up to 1928, such as Bear Knees (1928) for . Overall, Jamison's output from 1915 to 1928 totaled approximately 200 appearances across studios, with accounting for the majority (over 100, including 30+ uncredited in early ), Essanay for about 7 (all uncredited), Universal for around 12 (mostly credited in ), and Sennett/others for 20-30 (predominantly uncredited). These roles ranged from 70% uncredited early on to more credited supporting parts by the mid-1920s. Regarding accessibility, most Essanay Chaplin featuring Jamison survive in restored prints, available through collections like Flicker Alley's Chaplin's Essanay Comedies (1915), with high-quality versions scored by The Mont Alto Motion Picture Orchestra. films, including Lloyd features like Grandma's Boy, are preserved by the Trust and widely accessible in restorations; however, many early Lonesome Luke exist only in incomplete or degraded prints, with about 80% surviving overall. Sennett and Universal vary, with roughly half extant and some restored in sets like The Mack Sennett Collection Volume II (2020). Jamison's silent contributions formed the foundation of his career, which spanned 450 films total through 1944.

Sound films and shorts

Bud Jamison's sound film career spanned from 1929 to 1944, encompassing approximately 300 credits in features and shorts, a marked increase from his approximately 150 silent-era appearances. Much of his sound work centered on comedy shorts at , where he frequently played authority figures or foils in scenarios. He also took on supporting roles in RKO features and other studio productions, contributing to the era's burgeoning talkie comedy landscape.

Features

Jamison appeared in several features during the sound period, often in bit parts that showcased his comedic timing. Notable RKO examples include Ticket to Paradise (1936), where he played the taxi dispatcher, and Captain Caution (1940), in which he portrayed the character Blinks. Other features from the era featured him as a cop in (1940, RKO) and as Hairless Joe in (1940). His final feature credit came in (1944), as a janitor.

Shorts

Jamison's most prolific output in sound shorts was at , where he supported various comedy series. In non-Stooges Columbia shorts, he appeared in Buster Keaton's two-reelers such as Pest from the West (1939), So You Won't Squawk (1941), General Nuisance (1941), and A Study in Socks (1942, as Policeman Mike). Additional Columbia shorts included His Bridal Fright (1940, as J.B.) and (1940, as a policeman). He also worked in early sound shorts like (1930, as Bud Harvey) and had uncredited roles in features transitioning to sound, such as (1930, as shipping agent) and Her Man (1930, as man in derby). Jamison's most extensive involvement was with at Columbia, appearing in over 40 of their shorts from 1934 to 1944, typically as judges, policemen, or other obstructive characters that advanced ' chaotic plots. Examples include his defense attorney role in the classic Disorder in the Court (1936) and police chief in A Ducking They Did Go (1939), where he notably sang "You'll Never Know Just What Tears Are." His final Columbia short was Crash Goes the Hash (1944), his last credited role overall, playing Flint as a manager. The following table lists all his shorts chronologically, with roles where specified.
YearTitleRole
1934Club chairman
1934Men in BlackDoctor
1935Uncivil WarriorsGeneral Buttz
1935James, the butler
1935Three Little BeersMr. Panther
1936Ants in the PantryProfessor Repulso
1936Movie ManiacsFuller Rath
1936Disorder in the CourtDefense Attorney
1936A Pain in the PullmanMr. Johnson
1936Whoops, I'm an Indian!Pierre
1937Dizzy DoctorsCop
1937Back to the WoodsProsecutor
1938Termites of 1938Lord Wafflebottom
1938Wee Wee MonsieurSergeant
1938Tassels in the AirThaddeus Smirch
1938Healthy, Wealthy and DumbHouse detective
1938Violent Is the Word for CurlyGas station owner
1938Not Guilty EnoughPoliceman
1938Mutts to YouOfficer O'Halloran
1939Three Little Sew and SewsPoliceman
1939We Want Our MummyDr. Powell
1939A Ducking They Did GoPolice Chief
1939Three Sappy PeopleWilliams
1940Money SquawksSheriff
1940Officer Kelly
1940Boobs in the WoodsMr. Livingstone
1941So Long Mr. ChumpsPoliceman (scene deleted)
1941Dutiful But DumbVulgarian Sergeant
1941All the World's a StoogePoliceman
1941I'll Never Heil AgainMr. Umpchay
1941Baker
1942Loco Boy Makes GoodHappy Haven manager
1942Three Smart SapsParty guest
1942Even As Cop
1942Sock-a-Bye BabyPete, motorcycle cop
1943Dizzy Detectives
1943Back From the FrontGerman Petty Officer
1943Three Little TwirpsPoliceman
1943I Can Hardly WaitDr. A. Yank,
1943Phony ExpressRed Morgan
1944Crash Goes the HashFlint
This section provides selected highlights from Jamison's sound-era filmography; a complete bibliography is available in comprehensive databases such as .

References

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