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El Brendel
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El Brendel
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Elmer Goodfellow "El" Brendel /ˈɛl brɛnˈdɛl/ (March 25, 1890 – April 9, 1964) was an American vaudeville comedian turned movie star, notable for his dialect routine as a Swedish immigrant.[1][2] His biggest role was as "Single-0" in the sci-fi musical Just Imagine (1930), produced by Fox Film Corporation. His screen name was pronounced "El Bren-DEL".[3]

Key Information

Early life

[edit]

He was born in Philadelphia, Pennsylvania. He attended the University of Pennsylvania.[1]

He entered vaudeville in 1913 as a German dialect comedian and married his vaudeville partner. Due to anti-German sentiment brought about by the sinking of the RMS Lusitania, Brendel developed a new character, one he would portray on stage and in films for the rest of his career: a good-natured, simple Swede, often called "Oley", "Ole" or "Ollie".[citation needed]

During the 1910s and early 1920s, he appeared with his wife, vaudeville star Flo Bert, doing a married-couple routine. It was during this period that he coined his trademark lines, "Yee vizz!" and "Yumpin' yiminy!"[3] He made his first stage appearance in 1921. He appeared in Cinderella on Broadway, Spice of 1922, Passing Show, and New York Whirl.[1]

Career

[edit]
El Brendel and Yola d'Avril in Hot for Paris (1929)

In 1926, he signed a contract with Famous Players Film Company and appeared in eight films there over the next two years, most memorably as the comic relief in Wings (1927) with Clara Bow and Buddy Rogers, a film which won the first Academy Award for Outstanding Production (an award that is comparable to today's Best Picture Oscar.) Brendel played the character Herman Schwimpf, a German-American whose patriotism is at first questioned when he volunteers for service in the United States Army Air Service.

Brendel left Paramount Pictures in 1927 to return to the vaudeville stage before being coaxed back to Hollywood in 1929, signing a contract with Fox Film Corporation. His star immediately rose at the studio, largely in part due to the advent of sound. His "simple Swede" character now had a voice, and his malaprop-ridden dialogue gave his character new appeal. He was featured in the boisterous "Quirt and Flagg" military comedies with Edmund Lowe and Victor McLaglen.

After finishing production of Sunny Side Up with Janet Gaynor, Brendel was the star comedian in New Movietone Follies of 1930, The Big Trail with John Wayne, and the Gershwin musical Delicious with Gaynor, which introduced the song "New York Rhapsody" and featured Brendel's rendition of "Blah Blah Blah".[4] In 1930 Brendel starred in Just Imagine, a science fiction musical directed by David Butler.[5]

In 1931 Fox starred him in the dual roles of Mr. Lemon and Silent McGee in the comedy Mr. Lemon of Orange. While Mr. Lemon of Orange was publicized by Fox as Brendel's first starring role, that distinction is more accurately given to Just Imagine, which was released five months earlier. Brendel was the most popular comedian in America at the time, according to author Richard Barrios.[3]

Despite the positive public reception of Just Imagine and Mr. Lemon of Orange, it was judged that Brendel could not carry an expensive film. He continued to play leads in B-pictures, but served in more prestigious fare mainly in supporting roles, mostly with his trademark Swedish accent. In 1933, he left Fox and had a brief tenure at Warner Bros. Studios making two-reelers, and for the next few years, was a freelance actor. His former director David Butler cast him in two major features, Little Miss Broadway with Shirley Temple, and If I Had My Way co-starring Bing Crosby and Gloria Jean.[6]

In 1936, El Brendel made his debut at Columbia Pictures in a pair of two-reel comedies; producer Jules White liked Brendel's act and hired him for a series in 1941. Brendel was a popular attraction in short subjects (Columbia billed him as "America's Swede-Heart!") and he was often paired with other well-known comedians, including Shemp Howard, Harry Langdon, Tom Kennedy, and Monty Collins. Brendel also starred in feature films for the independent PRC studio. When his PRC and Columbia work ran out in 1945, Brendel went back to vaudeville, returning to the screen only occasionally.[3]

Columbia began re-releasing some of El Brendel's two-reel comedies in 1948. The exposure may have resulted in his being hired for a new feature film, The Beautiful Blonde from Bashful Bend (1949), starring Betty Grable.

In 1950, Brendel recorded four numbers for Imperial Records: Frankie And Johnny, Hulda, Pinch Of Snoose and Yumpin' Yiminy (a loose adaptation of the 1918 song Holy Yumpin Yimini).[7][8]

During the 1950s, he shared a brief revival with his wife, Flo Bert, on television variety shows, including You Asked For It with Art Baker. He also appeared in a few television series such as Cowboy G-Men, My Little Margie, and Perry Mason.[9] His last film was Laffing Time (1959), a featherweight, sitcom-styled comedy. Producer Edward Finney took the leading role, with Gloria Jean as the feminine lead, and Mr. and Mrs. Brendel as neighbors. Brendel also recorded narration for a proposed children's-television project; some of this footage appears in Finney's feature film Tobo the Happy Clown.[10]

Death

[edit]

El Brendel died of a heart attack at the Hollywood Presbyterian Hospital in Hollywood, California, on April 9, 1964.[1] He is buried at the Hollywood Forever Cemetery.[11]

Partial filmography

[edit]
El Brendel and Greta Nissen in Women of All Nations (1931)
Wings (1927)

El Brendel films may be viewed at the Internet Archive[12][13] and other video-sharing websites [14] or purchased from online retailers.

Feature films and short subjects in which El Brendel appeared:

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

El Brendel

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El Brendel (March 25, 1891 – April 9, 1964) was an American , stage, film, and television comedian and actor, renowned for his "Synthetic Swede" persona that featured a thick, humorous Swedish dialect and the "Yumpin' Yiminy!" Born Elmer Goodfellow Brendel in , , he began his career in around 1913, performing alongside his wife, Flo Bert (also known as Sophie Flo Bert), with whom he toured for eight years before making his Broadway debut in 1921 in productions such as Cinderella on Broadway and Spice of 1922. Brendel's transition to film came in 1926 with short comedies for , but he gained prominence in the late 1920s and early 1930s through roles in major features, often leveraging his dialect humor. Notable early appearances include the silent war epic Wings (1927), where he played the comic relief character Herman Schwimpf, and the ambitious widescreen Western (1930) as Gus, marking John Wayne's screen debut. He starred in the science-fiction musical (1930) as the bumbling Single O and appeared in the Janet Gaynor vehicle Sunny Side Up (1929). During this period, he signed with 20th Century Fox, appearing in a series of sound films from 1929 to 1931 that capitalized on his ethnic comedy style. In the mid-1930s, Brendel's career shifted toward shorter formats, starring in over two dozen two-reel comedies for from 1936 to 1945, including the short Blitzkiss (1941). He continued working sporadically in features like The Beautiful Blonde from Bashful Bend (1949) and made television appearances in character roles during the 1950s and early 1960s, though he largely semi-retired by the late 1950s. Brendel died of a heart attack at on April 9, 1964, at the age of 73, and is buried at .

Early Life

Birth and Family

Elmer Goodfellow Brendel, professionally known as El Brendel, was born on March 25, 1891, in , . His father was a German immigrant from , and his mother was American of Irish descent, contributing to a household blending European immigrant traditions with American life. The family operated a small store in , reflecting their modest socioeconomic background amid the city's working-class environment. Brendel grew up as one of seven children, with biographical accounts noting a younger brother among his siblings. His early childhood in Philadelphia's diverse immigrant communities exposed him to a rich tapestry of dialects and cultural influences, particularly from German and Irish enclaves, which later informed his distinctive style. The family's occasional moves to nearby areas in underscored their rooted yet adaptable life in the region.

Education and Vaudeville Beginnings

Brendel attended the , studying engineering before opting to leave academia in favor of a career in . In 1913, Brendel made his professional debut in as a German , performing in small theaters across and the East Coast circuits. His initial acts featured comedic sketches and songs that played on ethnic stereotypes and language barriers, quickly establishing him in the competitive world of live . The outbreak of and the in May 1915 sparked widespread in the United States, prompting Brendel to pivot his persona in 1915 to that of a bumbling Swedish immigrant, often referred to as "Oley" or "Ole." This shift preserved his dialect comedy style while adapting to the era's social climate, allowing him to continue building his reputation through humorous portrayals of immigrant misunderstandings in songs and routines on regional stages.

Career

Stage and Vaudeville

El Brendel made his Broadway debut in the 1920 musical revue Cinderella on Broadway, where he performed alongside performers such as John T. Murray and Flo Bert in a spectacle blending fantasy elements with song and dance at the Winter Garden Theatre. The production, which ran from June 24 to September 25, 1920, marked his entry into major stage work following earlier vaudeville experiences. Brendel achieved star status in subsequent revues, including the 1922 production Spice of 1922, a musical extravaganza written by Jack Lait and directed by Allan K. Foster, featuring a cast with Valeska Surratt, Nan Halperin, and Georgie Price. This show, presented at venues like the Studebaker Theatre in , echoed the lavish style of Florenz Ziegfeld's through its elaborate sets, chorus numbers, and comedic sketches. He also appeared in Ziegfeld's The Passing Show of and other similar revues like New York Whirl, solidifying his reputation for dialect comedy in live theater. In parallel with his solo stage roles, Brendel developed a prominent vaudeville duo act with Flo Bert, whom he married in 1925 after years of professional collaboration. Their routine combined song-and-dance sequences with Brendel's signature Swedish dialect humor, portraying a bumbling immigrant character that originated from his early days when he shifted from German impersonations due to wartime sentiments. The pair's married-couple dynamic added authenticity and charm, performing married-life sketches that resonated with audiences. The duo reached peak popularity in the , headlining on major U.S. circuits including the Keith-Albee, where they appeared in bills at theaters like in New York and across the Northeast. Their acts, blending Brendel's comedic monologues with Bert's and , drew consistent in two-a-day programs. By the late , however, Brendel and Bert faced challenges as 's prominence waned amid rising competition from motion pictures, which offered cheaper, more accessible entertainment and drew away audiences and performers alike. The Keith-Albee circuit, once a vaudeville powerhouse, began incorporating films, contributing to the genre's overall decline during this period.

Film Roles and Hollywood Transition

Brendel entered the film industry in 1926 when he signed a long-term contract with Famous Players-Lasky Corporation, the production arm of . His screen debut came that year in the silent romantic drama You Never Know Women, directed by , where he appeared in a supporting role as part of a circus troupe. This marked the beginning of his transition from stages to Hollywood screens, leveraging his established dialect comedy in visual gags suited to silent cinema. A breakthrough came in 1927 with his role as Herman Schwimpf in the epic Wings, directed by Wellman and produced by Paramount Famous Lasky Corporation. Brendel portrayed a bumbling German-American recruit providing comic relief amid the film's intense aerial combat sequences, earning praise for his timing and physical humor that lightened the narrative's dramatic tension. The film's success, including its status as the first recipient of the , elevated Brendel's visibility as a reliable supporting in silent features. By 1929, Brendel had shifted to Fox Film Corporation, aligning with the industry's rapid move toward films. He starred in the ambitious musical (1930), directed by David Butler, playing the lead role of Peter Nilsson, revived as "Single O" in a futuristic 1980 New York; the film showcased his vocal talents in early talkie production numbers and dialect-driven comedy. This period highlighted his adaptation of vaudeville's Swedish immigrant persona—marked by phrases like "Yumpin' yiminy!"—to the auditory demands of synchronized , where his distinctive accent became a signature asset. Throughout the 1930s and into the 1940s, Brendel appeared in numerous Fox productions, often in supporting comic roles that echoed his dialect humor. Notable examples include his portrayal of the hapless immigrant Gussie in Raoul Walsh's widescreen Western (1930), alongside newcomer as the wagon train leader. He followed with Delicious (1931), a musical romance directed by , where he played the prankish Swedish valet Chris Jansen, contributing to the film's lighthearted immigrant-themed subplot. That same year, Brendel took a dual lead in the comedy Mr. Lemon of Orange, directed by John G. Blystone, embodying both a mild-mannered Swede and a lookalike, which drew laughs for its mistaken-identity antics at the Roxy Theatre. As his Fox tenure waned, Brendel freelanced across studios, maintaining his niche in dialect comedy during the talkie era. At 20th Century Fox, he appeared as the animal trainer Ole in Irving Cummings's musical Little Miss Broadway (1938), supporting Shirley Temple in a story of vaudeville performers facing eviction. Later, in Preston Sturges's Western comedy The Beautiful Blonde from Bashful Bend (1949), he played the mild deputy Mr. Jorgensen, providing gentle humor amid Betty Grable's gunslinging antics. Brendel also worked with Warner Bros. in features like God's Country and the Woman (1937), Columbia in a series of two-reel shorts from 1936 to 1945, and Producers Releasing Corporation (PRC) in low-budget comedies during the 1940s. His final major film role was in the independent comedy Laffing Time (1959), directed by Alf Goulding, where he portrayed the family man Efrem "Blobbsy" Blobbs in a sitcom-style farce. Over his career, Brendel amassed more than 100 film credits, predominantly as a supporting comedian whose vaudeville roots ensured steady work through Hollywood's evolving sound landscape.

Radio and Television Work

During the , El Brendel made guest appearances on radio variety shows, performing his signature Swedish sketches that had gained popularity from his film roles. A contemporary review highlighted his comedy as having strong potential to establish him as a leading radio performer, noting the appeal of his humorous characterizations in broadcast format. Following , Brendel and his wife Flo Bert revived their routines for radio audiences through collaborative spots that adapted their married-couple act to the medium. These performances drew on their longstanding partnership, offering lighthearted humor to listeners seeking familiar entertainment. Brendel's transition to television in the 1950s marked a nostalgic extension of his career, beginning with guest spots on variety programs such as , where he and Flo Bert performed together, and , capitalizing on his vintage comedic style. These appearances allowed him to reconnect with audiences through short sketches reminiscent of his earlier work. He also took on supporting guest roles in television series, including an episode of in 1955 and the role of Court Manager in a 1962 episode of . Brendel's television output remained limited, reflecting the era's shift toward more visually dynamic formats, but his select engagements preserved his legacy as a dialect comedian through brief, endearing revivals of his classic routines. His final screen work came in the early 1960s, concluding an active performing career that spanned multiple media.

Personal Life

Marriage to Flo Bert

El Brendel first met Flo Bert, born Florence Sophie Bert on December 2, 1898, in , while both were performing in circuits in the early ; she was a singer and whistler known for her work in shows like The Suffragette Revue. Their professional collaboration began around 1913 when their acts merged, leading to a successful duo routine that blended Brendel's comedic Swedish with Bert's supportive role as the straight woman. The couple married in 1924, formalizing a that extended both onstage and in their personal lives; they remained together until Brendel's in 1964. In , they headlined at major venues like the Palace Theatre and appeared in Broadway productions such as Cinderella on Broadway (1920) and The Mimic World of 1921, where Bert's poised delivery complemented Brendel's humorous characterizations. Their act transitioned to early films, including the short Beau Night (1929), and later features like I'm from (1944), The She-Creature (1956), and Laffing Time (1959), maintaining the dynamic of Bert playing the level-headed foil to Brendel's antics. The Brendels had , channeling their energies into their shared career rather than expansion. Bert played a key supportive role in Brendel's career shifts, co-appearing with him on radio programs such as The George Jessel Show in 1938 and accompanying him during television revivals in the , helping sustain their duo's appeal across media. Bert outlived Brendel, passing away on April 8, 1981, in .

Family and Residence

Brendel and his wife Flo Bert formed the core of his unit, sharing a childless but stable household that emphasized their partnership without offspring or grandchildren. Born into a of seven children in to a German immigrant father and an Irish-descended mother, Brendel maintained close ties with his siblings and there throughout his life, making occasional visits during the height of his and film career peaks. During his early vaudeville years in the 1910s and 1920s, Brendel resided in modest apartments in while performing on the Orpheum and Keith circuits. In 1929, following his breakout role in the Fox musical Sunny Side Up, he relocated permanently to Hollywood to capitalize on emerging film opportunities. In , Brendel and Flo Bert settled into a cozy duplex flat far from the major studios, reflecting their preference for a low-key domestic life away from the glamour of the industry. Their home routine centered on simple pleasures, such as hosting friends for casual dinners planned by Flo, enjoying games and prize fights, and Brendel practicing dance steps indoors, underscoring the couple's enduring companionship in a quiet, supportive environment.

Death and Legacy

Final Years and Death

In the early 1960s, El Brendel lived in semi-retirement in Hollywood, , after a long career in , film, and occasional television appearances, such as his role in the 1962 CBS anthology series The Comedy Spot. He resided there with his wife, vaudeville partner Flo Bert, making sporadic public outings together in their later years. Brendel's health deteriorated due to cardiac problems, culminating in a fatal heart attack. On April 9, 1964, he was admitted to Hollywood Presbyterian Hospital shortly after midnight suffering from a coronary condition and died approximately five hours later at the age of 73. Following his death, Brendel was buried at in Hollywood, .

Cultural Impact and Recognition

El Brendel played a pioneering role in dialect comedy during the early , particularly through his portrayal of the stereotypical "simple Swede" immigrant character in and film. Despite his birth to a German immigrant father and an Irish mother, Brendel shifted from a German routine to a Swedish one amid I-era , using exaggerated mispronunciations, catchphrases like "Yumpin' Yiminy," and folksy naivety to create a comedic that resonated with audiences. This popularized Swedish immigrant stereotypes in American entertainment, emphasizing bumbling and linguistic mangling as sources of humor. Brendel's influence extended to the broader tradition of ethnic dialect humor, contributing to its development in and regional performances, particularly in the where Scandinavian heritage was prominent. His success and early screen appearances helped establish comedy as a staple of transitional silent-to-sound era films, paving the way for later performers who employed similar immigrant stereotypes for laughs. While direct lineages to specific modern comedians are not well-documented, his style informed the use of exaggerated accents in subsequent Hollywood comedy. In terms of recognition, Brendel received no formal , but his contributions were acknowledged through the lasting appeal of his roles, especially as comic relief in the 1927 war epic Wings, the first film to win the Oscar for Outstanding Picture. Wings was selected for preservation in the United States in 1997 by the , ensuring Brendel's performance remains accessible as a culturally significant example of early drama blended with humor. His work has appeared in retrospectives on comedy at events like the Silent Film Festival, where his expressive work in lesser-known shorts highlighted his roots. Contemporary views of Brendel's legacy reflect a mixed reception, with his films occasionally revived in discussions of and early talkies for their historical value, yet often critiqued for perpetuating ethnic caricatures. The evolution of cultural sensitivities toward immigrant has led to his underrepresentation in , as modern audiences grapple with the era's reliance on such tropes for broad appeal. Scholars note that while Brendel's humor captured the immigrant experience's challenges through exaggeration, it contributed to simplified perceptions that have aged poorly in diverse, inclusive contexts.

References

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  2. https://www.nytimes.com/1964/04/10/el-brendel-73-dies-on-coast.html
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  7. https://www.imdb.com/name/nm0107151/bio/
  8. https://time.com/archive/6813567/milestones-apr-17-1964/
  9. https://vintoz.com/blogs/vintage-movie-resources/el-brendel-yust-a-fearless-feller
  10. https://elbrendel.blogspot.com/2008/12/elmer-goodfellow-brendel-before-fame.html
  11. https://archiveswest.orbiscascade.org/ark:80444/xv64370
  12. https://playbill.com/production/cinderella-on-broadway-winter-garden-theatre-vault-0000011642
  13. https://www.ibdb.com/broadway-production/cinderella-on-broadway-8887
  14. https://www.nitrateville.com/viewtopic.php?t=16534
  15. https://www.uflib.ufl.edu/spec/belknap/ufplaybills5.htm
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  36. https://www.imdb.com/title/tt0036941/
  37. https://www.moviestarhistory.com/movie-stars-1/el-brendel-245-p
  38. https://soundcloud.com/worcestersuperflame/el-brendel-flo-bert-on-the-george-jessel-show-2-20-38
  39. https://cladriteradio.com/10-things-you-should-know-about-el-brendel/
  40. https://www.findagrave.com/memorial/21158/flo-brendel
  41. https://www.instagram.com/p/CAxIbG7nk83/
  42. https://www.sciencedirect.com/science/article/pii/S2215039020300072
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