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Edwin Forrest Taylor (December 29, 1883 – February 19, 1965) was an American character actor whose artistic career spanned six different decades, from silents through talkies to the advent of color films.

Key Information

Early years

[edit]

Taylor was born in Bloomington, Illinois.[1] His father managed the Dreamland Theatre in Kewanee, Illinois, and a news item in 1916 reported, "Manager Chris Taylor of Dreamland at Kewanee features his son, E. Forrest Taylor, in Western pictures every Monday."[2]

Career

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Stage

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E. Forrest Taylor in 1911

Taylor was a veteran of the stage by the time he started appearing as a silent lead in both short and feature-length films. His talents extended beyond acting to include management. The Richfield Reaper, in a January 23, 1908, article, wrote about Taylor's efforts with the Empire Amusement Company, saying, "Mr. Taylor certainly deserves success as when he took hold of the company it was badly disorganized and in debt, but he has brought order out of the chaos and is now in good shape ..."[3]

A newspaper article published in The Arizona Republic on October 13, 1922, described Taylor and Anne Berryman as "two of the best known players in the western portion of the country."[4] At that time, Taylor headed his own troupe after having spent nine months with the Majestic Theatre Players in Los Angeles.[4]

Taylor's Broadway credits include Open House (1947) and We, the People (1932).[5]

Film

[edit]

Taylor essayed prime roles in the films The Terror of Twin Mountains (1915), Sunset Country (1915), April (1916), True Nobility (1916) and The Abandonment (1916), before joining the army during World War I. He would not return to films until 1926, appearing in A Poor Girl's Romance.

Riders of Destiny in 1933

During the 1930s, Taylor became entrenched as a supporting player in B-westerns and several cliffhanger serials, often playing either the action or brains heavy roles. As he grew older and grayer, Taylor migrated to nice guy roles, such as the father of the heroine, a lawman, or a scientist.

Taylor is identified in about 400 films, including 325 sound era films and of those, 201 are westerns and 36 are chapterplays, according to the Internet Movie Database. As well, his credits at Republic Pictures number about 75 for the period 1937-1953 (most all of these are B-westerns and serials).

His last film was Bitter Creek (1954).[1]

Television

[edit]

After the westerns and serials faded Taylor migrated to television work. From 1952 through 1954, he costarred as Grandpa Fisher on the religious TV series This is the Life. In 1960 Taylor appeared as the Minister on the TV western Cheyenne in the episode titled "The Long Rope." [citation needed] He retired in 1963 after filming an episode of Ripcord.

Personal life

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Taylor was married to actress Ada Daniels, and the two appeared together in stage productions. They had a son and a daughter.[6]

Death

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Taylor died of natural causes on February 19, 1965, in Garden Grove, California, at the age of 81.[1]

Filmography

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Films

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Serials

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Television appearances

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References

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Forrest Taylor

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''Forrest Taylor'' is an American character actor known for his prolific career spanning nearly five decades in film and television, particularly in B-westerns and cliffhanger serials where he frequently portrayed authority figures such as doctors, judges, sheriffs, and professors, as well as occasional villains. [1] [2] Born Edwin Forrest Taylor on December 29, 1883, in Bloomington, Illinois, he was a veteran stage performer who appeared in Broadway productions and stock companies before entering silent films in 1915, initially as a leading man in short subjects and features. [1] [2] After a hiatus from motion pictures to focus on theater work, he resumed his screen career in the late 1920s and became a familiar supporting player in the sound era, appearing in approximately 350 films, many uncredited or in low-billed roles. [1] [3] Taylor was especially active in low-budget westerns and serials during the 1930s and 1940s, often cast as outwardly respectable characters who sometimes revealed hidden villainous intentions, and he worked opposite numerous genre stars in titles including ''Riders of Destiny'' (1933), ''The Green Archer'' (1940), and ''The Iron Claw'' (1941). [1] [2] In his later years he shifted toward benevolent roles and television appearances, including a recurring part as Grandpa Fisher in the religious anthology series ''This Is the Life'' and guest spots on shows such as ''The Cisco Kid'', ''Annie Oakley'', and ''Bonanza''. [1] He retired in 1962 and died on February 19, 1965, in Garden Grove, California. [1]

Early life and stage career

Birth and family background

Edwin Forrest Taylor was born on December 29, 1883, in Bloomington, Illinois, [4] [2] although some sources, including his World War I and World War II draft registrations, his son's birth certificate, and his own death certificate, record the birthplace as the nearby town of Ellsworth, Illinois, approximately 18 miles distant. [3] He was the son of Christopher C. Taylor (1855–1919), a showman, theater owner, and manager who operated theaters in Illinois towns such as Kewanee and Princeton, and who was also described in some accounts as a prominent newspaperman originally from New Jersey. [3] [2] Taylor grew up in a theatrical family environment that fostered his early immersion in the performing arts. [3] [5]

Early theater experience

Forrest Taylor began his acting career on stage at a fairly young age, becoming professionally active in theater by 1905. [5] His family background in theater, with his father as a theater owner, naturally influenced his early entry into the profession. [5] Taylor was billed as "E. Forrest Taylor" during his stage years, with much of his work occurring in theater troupes out west in California, as indicated by contemporary newspapers and trade publications. [3] However, detailed documentation on specific plays, troupes, locations, or individual performances remains scarce, and little is known about the particulars of his early stage days. [6] By the time he entered films, he was regarded as a veteran of the stage with established experience in live theater. [3] [5]

Silent film career

Entry into films

Forrest Taylor entered the film industry around 1915, transitioning from a well-established career in legitimate theater to the burgeoning medium of silent cinema. [2] As a stage veteran, he brought considerable acting experience to the screen, enabling a relatively smooth shift from live performances to motion pictures at a time when the film industry was rapidly expanding. [1] He began appearing in silent short films and feature-length productions, frequently in leading roles that capitalized on his theatrical background. [1] His early work included stints with studios such as the American Film Company and Kalem, primarily in western-themed shorts, reflecting the genre's popularity during the mid-1910s. [3] This initial phase marked his establishment as a film actor, setting the foundation for subsequent developments in his career. [5]

Leading roles in silent era

Forrest Taylor assumed leading and prime roles in several silent films during the mid-1910s, mostly within the Western genre, though this phase of his career remained secondary to his established work on the legitimate stage. [3] [7] Between approximately 1915 and 1917, he starred or played prominent parts in a number of productions, including In the Sunset Country (1915), April (1916), and True Nobility (1916). [7] Details on his silent-era leading work are limited, reflecting the relatively minor emphasis he placed on film during this period compared to theater. [3] His contributions as a lead actor in these early silent pictures marked a transitional phase before he later shifted primarily to supporting and character roles in the sound era. [3]

Sound film career and character roles

Transition to sound films

Having previously appeared as a leading man in silent short and feature films during the 1910s before a hiatus to focus on theater work and a brief return to silents in 1926, Forrest Taylor successfully continued his acting career into the sound era in the early 1930s.[1] By the early 1930s he had settled in Hollywood as a minor character actor in talking pictures, shifting away from lead roles to supporting and bit parts in low-budget productions.[5] Taylor adapted readily to the demands of sound films, drawing on his extensive stage experience to deliver well-modulated dialogue in a variety of authoritative or dignified roles, though his parts typically offered limited screen time and were often uncredited.[1] He became highly prolific throughout the 1930s and subsequent decades, appearing in hundreds of secondary B-movies where he frequently portrayed attorneys, judges, scientists, executives, professors, and similar figures.[1] This transition marked a permanent move from the prominence of silent-era leads to a long career as a reliable minor character player in Hollywood's lower-tier output, sustaining steady employment without regaining starring status.[5][1]

General character acting

Following his transition from leading roles in silent films to the sound era, Forrest Taylor became a prolific minor character actor, appearing in hundreds of secondary productions primarily in bit and supporting parts. [1] Many of these roles were uncredited, reflecting the typical fate of background players in the studio system. [1] He specialized in portraying authority figures and professionals such as attorneys, judges, scientists, executives, and professors, bringing a no-nonsense presence often accentuated by his thick mustache and imposing demeanor. [1] These types suited the demands of ensemble casts in both modest B-pictures and occasional mainstream features across the 1930s, 1940s, and 1950s. [1] Although much of his sound-era output concentrated in specialized genres, Taylor also contributed to varied Hollywood features outside those categories, demonstrating his versatility as a reliable utility actor. [1] One such appearance came in Samuel Fuller's newspaper drama Park Row (1952), where he played Charles A. Leach. [8] His decades-long career as a character actor exemplified the depth of supporting talent that sustained Hollywood's output during its golden age. [1]

B-westerns

Roles in B-western films

Forrest Taylor became one of the most recognizable villains in B-western films during the 1930s, leveraging his gray-haired, fatherly appearance to portray seemingly trustworthy characters who harbored evil intentions.[2] His malevolence was particularly effective in this era, as he often played the "kindliest appearing but most deadly screen heavy," disarming others with an outward honest demeanor while scheming with henchmen.[2] This typecasting frequently placed him in roles as down-to-earth fathers or uncles whose true nature as antagonists emerged over the course of the story.[2] Taylor returned to western films in 1933 after a long stage hiatus, marking his sound-era B-western debut as the villainous James Kincaid in Riders of Destiny opposite John Wayne.[1] He continued as a prolific heavy in low-budget westerns throughout the 1930s and 1940s, working opposite stars such as Johnny Mack Brown, Tom Tyler, Tex Ritter, and groups like the Range Busters and Trail Blazers.[9] Notable villain roles include the brains heavy in Orphan of the Pecos (1937) opposite Tom Tyler, a scheming antagonist in Desert Phantom (1936), and a courtroom villain in Too Much Beef (1936).[9] In the 1940s, he maintained similar heavy portrayals in films like Ridin' the Cherokee Trail (1941) with Tex Ritter, Trail Riders (1942) with the Range Busters, Thundering Trails (1943) with Bob Steele and Tom Tyler, and Wild Horse Stampede (1943) with the Trail Blazers.[9] Although best known for villainy, Taylor occasionally took supporting parts in B-westerns, such as a stagecoach guard in Western Trails (1938) or other non-antagonistic roles.[9] By 1950, in his late 60s, he largely transitioned away from bad-guy parts toward benevolent supporting characters like fathers, sheriffs, doctors, and townsmen in westerns.[2] His extensive work in B-westerns spanned from the early sound era through the 1950s, contributing to the genre's staple of memorable heavies and character players.[1]

Villain and supporting parts

Forrest Taylor became one of the most reliable character actors in B-westerns during the 1930s and early 1940s, frequently cast in villainous parts that capitalized on his imposing presence and versatility. [10] He typically played either the "action heavy"—a rough, physically threatening henchman—or the "brains heavy," a smoother, scheming leader or mastermind behind criminal schemes. [11] These roles often saw him as crooked ranchers, outlaw bosses, or corrupt officials opposing the hero in low-budget productions from studios such as Monogram, PRC, and Republic Pictures. As he advanced in age into his late 50s and beyond, Taylor shifted almost exclusively to sympathetic supporting roles, portraying kindly ranchers, small-town sheriffs, doctors, bankers, ministers, and other authority figures or elder mentors who aided the protagonists. [10] This transition reflected his aging from menacing antagonist to benevolent character player, making him a familiar face in the genre's later years. [11] His prolific output in these supporting and villain capacities contributed to his appearance in hundreds of B-western titles across two decades.

Movie serials

Serial appearances

Forrest Taylor enjoyed a prolific career in movie serials that spanned nearly two decades, with appearances in approximately 36 chapterplays from 1935 to 1953, primarily for studios such as Mascot, Republic, Universal, and Columbia. [5] [3] His frequent casting in these productions placed him in upright and authoritative roles, including doctors, professors, officials, and other respectable figures whose grave demeanor and earnest delivery suited his lean, lined face and resonant voice. [5] Representative portrayals include Professor Dorn in The Lost Planet (1953), a captive scientist who repeatedly outwits his captor; Professor Forrest in Manhunt of Mystery Island (1945), a courageous inventor imprisoned by the villain; and Dr. Harding in Haunted Harbor (1944), a perceptive physician who identifies the killer. [5] Such roles contrasted with his more villainous assignments in B-westerns, while in serials he was more commonly typecast as men of rectitude and authority. [5] Although Taylor displayed considerable range in serials—taking on cheerful rascals, scheming secondary villains, and even maniacal master criminals—he remained best known for his adept handling of dignified, upright characters across urban crime, Western, adventure, and science-fiction chapterplays. [5] As a reliable character actor in the sound era, he became a quintessential presence in the serial format through his expert stagecraft and versatility in both leading support and smaller parts. [5]

Typical character portrayals

Forrest Taylor proved to be one of the most prolific and versatile character actors in the movie serial era. [5] [3] His grave and resonant voice, quietly earnest manner, and lean, lined face made him ideally suited to frequent portrayals of respectable authority figures, including doctors, professors, scientists, officials, and judges, who often displayed dignity, intelligence, and quiet courage in the face of danger. [5] Representative examples include his role as Professor Forrest, a kidnapped inventor who bravely resists his captors in Manhunt of Mystery Island (1945), and Dr. Harding, a perceptive physician who exposes a murderer in Haunted Harbor (1944). [5] Taylor's versatility extended to more villainous parts, where he regularly played cheerful rascals, scheming secondary villains, and maniacal master criminals, often as ambiguous "pawns" or "suspects" whose true allegiance kept audiences guessing. [5] [2] He was described as one of the kindliest-appearing but most deadly screen heavies, frequently using a gray-haired, fatherly exterior to mask sinister intentions. [2] His performances in Columbia serials, especially those directed by James W. Horne, tended toward flamboyantly hammy and theatrical style, as exemplified by his over-the-top miser Anton Benson in The Iron Claw (1941) and the comically bombastic Gargoyle in The Spider Returns (1941). [5] In contrast, Taylor's roles in Republic serials often emphasized understated authority and subtle stagecraft, such as thoughtful facial expressions, well-modulated dialogue delivery, and small physical gestures like tapping or pointing his glasses to emphasize lines. [5] This range allowed him to excel across serial subgenres—from urban crime and Westerns to exotic adventures and science-fiction—making him a quintessential chapterplay supporting player. [5]

Later years and death

Final roles and television work

In his later years, Forrest Taylor transitioned primarily to television as feature film opportunities in B-westerns and serials diminished during the 1950s. [1] [3] He continued acting as an aging character actor, accepting small supporting and guest roles that typically cast him as elderly figures such as doctors, ministers, sheriffs, judges, or ranchers. [2] [1] Taylor secured a recurring role as Grandpa Fisher in the syndicated religious anthology series This Is the Life from 1952 to 1954. [1] [3] He also made guest appearances across numerous episodic television programs, including The Cisco Kid (from 1950 onward), Adventures of Wild Bill Hickok, Annie Oakley, Lassie, Tales of Wells Fargo, Cheyenne, Maverick, and Bonanza (with episodes in 1960 and 1962). [1] His television credits extended into the early 1960s, with later appearances on Whispering Smith (1961), The Law and Mr. Jones (1962), and Ripcord (1963), the latter representing his final known performance before retirement around age 80. [1] His last film role was an uncredited appearance as a minister in The F.B.I. Story (1959). [2] These sparse, supporting parts reflected the natural decline in demand for character actors of his generation in major productions. [2]

Death

Forrest Taylor died on February 19, 1965, at the age of 81 in Garden Grove, California. [12] He was buried at Forest Lawn Memorial Park in Hollywood Hills, Los Angeles, California. [12]
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