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George Raft (né Ranft; September 26, 1901[1][2] – November 24, 1980) was an American film actor and dancer identified with portrayals of gangsters in crime melodramas of the 1930s and 1940s. A stylish leading man in dozens of movies, Raft is remembered for his gangster roles in Quick Millions (1931) with Spencer Tracy, Scarface (1932) with Paul Muni, Each Dawn I Die (1939) with James Cagney, Invisible Stripes (1939) with Humphrey Bogart, and Billy Wilder's comedy Some Like It Hot (1959) with Marilyn Monroe and Jack Lemmon; and as a dancer in Bolero (1934) with Carole Lombard and a truck driver in They Drive by Night (1940) with Ann Sheridan, Ida Lupino and again with Bogart.[3]

Key Information

Early life and career

[edit]

Raft was born at 415 West 41st Street in Hell's Kitchen, Manhattan, New York City, the son of Eva (née Glockner), a German immigrant, and Conrad Ranft, who was born in Massachusetts to German immigrants.[4] His parents were married on November 17, 1895, in Manhattan. Raft's sister Eva, known as Katie, was born on April 18, 1896. Raft's grandfather had emigrated from Germany and worked on merry-go-rounds and prospected for gold. His father worked in carnivals before settling in New York.[5]

Most obituaries cited Raft's year of birth as 1895, which he stated was correct when he appeared on The Mike Douglas Show seven months prior to his death.[6] However, Raft is recorded in the New York City Birth Index as having been born on September 26, 1901, in Manhattan as "George Rauft" (although "Rauft" is likely a mistranscription of "Ranft").[7][dead link] The 1900 census for New York City lists his sister Katie as his parents' only child, with two children born and only one living.[8] In the 1910 census, he is listed as eight years old.[4][9]

Raft grew up on 41st Street and worked as an errand boy and a fishwrapper after school. His parents sent him to live at his grandparents' house on 164th Street. He left school at the age of 12, and left home at 13. He worked as an apprentice electrician for a year, then boxed professionally for two years beginning at the age of 15. As Dutch Rauft, he fought 14 bouts, with nine victories, three defeats and two draws.[10][11] Another account says that Raft fought 25 bouts and was knocked out seven times.[12]

Raft played minor-league baseball, reportedly with Springfield of the Eastern League, as a utility outfielder with pitching aspirations. However, his batting was poor and he was dropped.[13][14][15]

"I was just trying to find something that I liked that would make me a living," said Raft later. "I saw guys fighting, so I fought. I saw guys playing ball, so I played ball. Then I saw guys dancing... and getting paid for it!"[10]

Career as a dancer

[edit]

Raft's mother taught him how to dance, and he danced at outdoor amusement parks and carnivals with his parents.[16] Following his baseball career, he began working as a taxi dancer in the poorer sections of New York. At first he struggled financially, but then he won a Charleston competition and was launched professionally.

Raft started performing exhibition dances in the afternoon at Healy's, Murray's, Rectors and Churchills in New York.[17] He then started working in New York City nightclubs, often in the same venues as did Rudolph Valentino before Valentino became a film actor.[18] Raft had a notable collaboration with Elsie Pilcer.[19] A May 1924 review in Variety called him "gifted."[20]

"I could have been the first X-rated dancer," he said later. "I was very erotic. I used to caress myself as I danced. I never felt I was a great dancer. I was more of a stylist, unique. I was never a Fred Astaire or a Gene Kelly, but I was sensuous."[21]

Raft went on tour as a dancer and helped popularize the tango in Paris, Vienna, Rome, London and New York.[10] He had a great success as a dancer in London in 1926, and the Duke of Windsor was "an ardent fan and supporter."[22] Fred Astaire, in his autobiography Steps in Time (1959), wrote that Raft was a lightning-fast dancer and did "the fastest Charleston I ever saw."[23] A September 1926 edition of Variety spoke of Raft's reputation as "the best Charleston dancer in New York."[24]

During this time, Raft befriended a number of gangsters, including Enoch Johnson and Larry Fay, and he would occasionally drive for Owney Madden.[25] A boyhood friend of gangster Benjamin "Bugsy" Siegel, and later a "wheel man" for the mob, Raft acknowledged having narrowly avoided a life of crime.[26]

Broadway

[edit]

Raft became part of the stage act of flamboyant speakeasy and nightclub hostess Texas Guinan at the 300 Club, and he also produced some of her shows.[11]

His success led him to Broadway, where he again worked as a dancer.[10] His stage performances included The City Chap (October 1925) (with music by Jerome Kern),[27] Gay Paree, Madhattan, Palm Beach Nights (also known as No Foolin') and Padlocks of 1927 (1927). He was called "the fastest Charleston dancer."[28]

Raft later starred in the film Broadway (1942), a fictionalized account of his life when he was working the Paramount-Publix circuit and performing in stage shows that were presented before movies.[citation needed]

Los Angeles and early films

[edit]

Owney Madden told Raft that he should be in motion pictures, and Raft decided to try to break into film acting after being threatened by the husband of a woman whom he had been seeing.[10][29] In 1927, Raft relocated to Hollywood, where he first danced in clubs to pay the bills.[10]

In October 1928, Raft appeared in a stage show presented by Texas Guinan called Night Club. The Los Angeles Times said Raft "scores a tremendous individual hit."[30] Variety wrote that Raft appeared at the climax when he "came to the front and did his eccentric dance routine, which he climaxed with the hottest black bottom ever. He goaled the audience, being the big punch of the show."[31]

Film debut

[edit]

Raft's screen debut was in Queen of the Night Clubs starring Guinan, who insisted Raft have a small role. Although Raft's scenes were cut, a Variety review said "...a nite club scene introduces George Raft, the hot stepper, as the m. c. and band leader, being brought down for one of his rip-snorting hoofing specialties."[32][33] Raft also appeared in stage shows supporting the film. One reviewer called him "a clever dancer".[34] Queen of the Night Clubs is considered a lost film.

Raft followed this with small roles in Gold Diggers of Broadway and Side Street. His dancing skills were noticed by director Rowland Brown, who cast him in a substantial supporting gangster role as Spencer Tracy's character's sidekick in Quick Millions (1931).[11] Raft's appearances in these films were followed by Goldie with Spencer Tracy and Jean Harlow, Hush Money with Joan Bennett, and the Eddie Cantor musical Palmy Days.

In Taxi! (1932), starring James Cagney and Loretta Young, Raft had a colorful unbilled dancing role as Cagney's competitor in a dance contest, who wins only to be knocked down by Cagney. He was third-billed in an extremely large role as a gangster in Dancers in the Dark (1932), below Miriam Hopkins as a dancer and Jack Oakie as a bandleader.

Raft said he never regarded himself as an actor. "I wanted to be me," he said.[35]

Scarface

[edit]
Further information: Scarface (1932 film)

Raft's big break came when cast as the second lead, alongside Paul Muni, as Tony Camonte in Howard Hawks's Scarface. In the film, he plays second-in-command Guino Rinaldo, who falls in love with Camonte's sister and is murdered by him. Raft's performance is notable for his character's habit of flipping a coin, which became an iconic trope in gangster films; while others claimed credit for the mannerism, writer W.R. Burnett confirmed that it was Raft who invented it. Burnett said: "He realized he wasn't a good actor, which he wasn't. But he knew if he reacted to what other people said, he was effective."[36]

Scarface was filmed in September 1931. It was released by United Artists in 1932. It became a hit and made Raft a star. He said: "That was the big one. People remembered me. I was getting real fan mail – by the bushel basket – and even a dumb kid from 10th Avenue could figure out how to translate that into money."[10]

After filming Scarface, Raft made Night World (1932) at Universal, supporting Lew Ayres, and Love Is a Racket, directed by William Wellman, although all of Raft's scenes were eventually cut.

Paramount

[edit]

Raft signed a contract with Paramount in March 1932.[37][38] The following month, he was cast in a supporting role in Madame Racketeer (1932), and contemporary reports referred to his "menacing suavity."[39] He was announced for Ladies of the Big House with Sylvia Sidney and Gene Raymond.[40]

Night After Night (1932)

[edit]
Further information: Night After Night (film)

When Scarface was released, public response was so strong that Raft was offered the lead role in a film based on a story by Louis Bromfeld, originally titled Number 55[41] and then changed to Night After Night (1932).[42] When the studio adamantly refused to hire Texas Guinan, upon whom one of the film's characters is based, because of her age, Raft advocated for his friend Mae West to be cast in a supporting role in his first film as leading man.[citation needed]

Raft was one of several Paramount stars who appeared in the episodic comedy/drama If I Had a Million (1932), playing a forger hiding from police who is suddenly given a million dollars with no place to cash the check. He starred in Under-Cover Man (1932) and was announced for Bodyguard, which was never made.[43] He next appeared in Pick Up (1933). A natural practitioner of a form of method acting, Raft told Variety:[44]

I don't know what I do, but it's not acting. It's me. Supposing I'm supposed to hate a guy. Then I think of somebody I hate and visualize him instead of the actor. Same way when I'm supposed to be in love with the heroine. I think of a girl I could be crazy about and though I'm saying to the actress "I love you, darling", all the time I keep thinking of the other party.

First suspension

[edit]

Raft refused to appear in The Story of Temple Drake (1933) with Miriam Hopkins, as he did not want to play a sadist. He was replaced by Jack La Rue, who had been originally cast for Raft's role in Scarface.[45] Raft was placed on suspension in February.[46]

He said: "It's not that I mind being the guy on the wrong side of the law. But I won't take a role that's pure heel. The character has to have some ray of warmth, some redeeming quality – or it just isn't real."[10]

The Story of Temple Drake performed poorly at the box office and was believed to have hurt La Rue's career.[17] Raft was removed from suspension in April 1933,[47] and he returned to Hollywood to appear in Midnight Club (1933), set in London.

The Bowery (1933)

[edit]
Further information: The Bowery (film)

Raft was borrowed by Twentieth Century Pictures, a new production company established by Darryl F. Zanuck (former head of production at Warner Bros.). He appeared in the studio's first film, Raoul Walsh's highly popular and energetic period piece The Bowery, as Steve Brodie, supposedly the first man to jump off the Brooklyn Bridge and survive. Raft plays the second lead to Wallace Beery as a flamboyant saloon owner who competes with Raft for Fay Wray's character as well as Pert Kelton as a singer/dancer.

Back at Paramount, Raft supported Fredric March and Miriam Hopkins in All of Me (1934), which was not popular. Zanuck wanted him for Blood Money, but Raft was too busy at Paramount.[48]

Bolero (1934)

[edit]
Further information: Bolero (1934 film)

Raft was meant to appear in It's a Pleasure to Lose, based on the life of Nick the Greek, but instead was slated to star in Bolero (1934), playing a dancer with Carole Lombard. Raft initially refused the film until it was re-written, and the studio suspended him, but Raft eventually made the film, which became a great success.[17][49] The New York Times wrote: "Raft is a vivid and pictorially interesting type, rather than an actor in the technical sense, and consequently he proves unequal to the full implications of the fame-hungry dancer. The exterior attractiveness which Mr. Raft brings to the rôle gives 'Bolero' considerable color, nevertheless."[50]

In March 1934, Raft was suspended a second time for having refused the male lead in Mae West's It Ain't No Sin (later changed to Belle of the Nineties) because his part was subordinate to West's.[51][52] In May 1934, Raft signed a new contract with Paramount to reflect his star status.[53]

Raft next appeared in The Trumpet Blows (1934), playing a matador. The film was an attempt to invoke Valentino's Blood and Sand, and for a time, Raft was promoted as a "second Valentino."[54] Raft walked out on the film unhappy with his role, but later returned after re-writes were made. The film was a box-office disappointment.[55]

Raft then starred in Limehouse Blues (1934) with Anna May Wong. In February 1934, he admitted to having been involved in three fights during his career as a dancer and actor, including one in which he hit the producer of Bolero.[56] In August 1934, Raft was involved in a brawl at the Hollywood Brown Derby.[57] At the end of 1934, Raft was listed in a survey of theater managers as among Paramount's secondary tier of stars "if properly cast."[58]

In Rumba (1935), Raft was reunited with Lombard. He also starred in Stolen Harmony (1935) and was slated to appear in Gambler's Maxim from a story by James Edward Grant, but the film was not made.[59]

The Glass Key (1935)

[edit]
Further information: The Glass Key (1935 film)

Raft starred in a brutal and fast-paced adaptation of Dashiell Hammett's The Glass Key (1935). He tried a comedy, Every Night at Eight (1935), and was borrowed by Columbia Pictures to appear in She Couldn't Take It (1935), a comedy in the vein of It Happened One Night (1934). He then was borrowed by 20th Century-Fox for It Had to Happen (1936) and starred in Paramount's Yours for the Asking (1936).

Raft was meant to team with Lombard for a third time in The Princess Comes Across (1936), but refused to make the film as he was unhappy with the choice of cameraman. He was replaced by Fred MacMurray and was suspended again in February 1936.[60] He was scheduled to star in You and Me, the directorial debut of Norman Krasna, but he refused to work for a first-time director.[61] Raft was put on suspension and $24,000 of his salary was withheld.[62] In October 1936, he reconciled with Paramount and the studio returned his $24,000.[63]

Souls at Sea (1937)

[edit]
Further information: Souls at Sea

Raft was offered a part opposite the studio's top male star Gary Cooper in Souls at Sea (1937), directed by Henry Hathaway. Raft originally turned it down as his character was a coward, leaving Paramount and his $4,000-per-week contract in November 1936, though the contract still had two years remaining. Samuel Goldwyn wanted Raft for the film version of Dead End and Universal, David O. Selznick and 20th Century Fox were keen on using Raft. Lloyd Nolan was announced as Raft's replacement in Souls at Sea.[64] Raft was discussing a three-films-per-year deal with United Artists for three years, to start with Dead End.[65] However, Raft agreed to return to Paramount and Souls at Sea when his part was re-written to be more sympathetic.[66] Souls at Sea was a great hit, and in 1937 Raft was the third-highest-paid star in Hollywood (behind Cooper and Warner Baxter), earning $202,666.[10] In May 1937, Raft reportedly tested for the role of Rhett Butler for the film Gone with the Wind.[67]

Paramount announced Raft for Millions for Defense with Ray Milland and Frances Farmer, a film about the Barbary War, but the picture was not made.[68] Instead, Raft appeared with Sylvia Sidney in Fritz Lang's drama You and Me (1938), and was next reunited with Hathaway to star in another adventure story, Spawn of the North (1938), with Henry Fonda and John Barrymore playing supporting roles.

Raft was announced for the films The World Applauds and Two-Time Loser.[69]

Paramount wanted Raft to appear in St. Louis Blues, but he refused and was replaced by Lloyd Nolan.[70] "Raft is Hollywood's authority on walk outs," wrote one columnist.[55] He was suspended again, then allowed to do a comedy, The Lady's from Kentucky (1939). In January 1939, he refused to make The Magnificent Fraud and was again replaced by Nolan. Raft's contract was meant to last until February of that year, but Paramount ended it prematurely.[37]

Warner Bros: 1939–1943

[edit]
Raft in Invisible Stripes (1939)

Raft received an offer from Warner Bros. to appear opposite James Cagney in a prison film titled Each Dawn I Die (1939); the film was a great success and Warner Bros. offered Raft a long-term contract in July 1939 at three films per year. He next appeared in I Stole a Million (1939) for Universal.[71][72]

Hal Wallis later wrote that "Our association with Raft was a constant struggle from start to finish. Hypersensitive to public accusations of underworld connections, he flatly refused to play the heavy in any film... Time and time again we offered him gangster parts and time and time again he turned them down."[73]

Raft was slated to appear in a remake of The Patent Leather Kid, one of his favorite films,[74] and a John Dillinger film with Cagney, but both projects were canceled.[75] He was assigned to Invisible Stripes (1939) with William Holden, Jane Bryan and Humphrey Bogart. Raft was borrowed by Walter Wanger to play a gangster in The House Across the Bay (1940), which was a flop. He was cast in City for Conquest (1940), but declined the role and was replaced by Anthony Quinn.[76]

Raft was scheduled to appear in Star of Africa[77] and declined a role in The Dealer's Name Was George, but neither film was made.[78]

In Raoul Walsh's trucking melodrama They Drive by Night (1940), Raft played the lead, with Ann Sheridan as Raft's leading lady, Humphrey Bogart in a supporting role as his brother, and Ida Lupino as a ravishing young beauty relentlessly pursuing Raft. In July 1940, Raft reprised his vaudeville act.[79]

In August 1940, Raft declined the lead role in South of Suez (1940) and was replaced by George Brent.[80] He was again placed on suspension, but was intended to appear in The Sea Wolf (1941) after the suspension period. However, Raft did not like the role and was suspended again,[81] with John Garfield taking his place.[82] MGM intended to borrow Raft to costar with Norma Shearer in The World We Make,[83] but the film was never made.[citation needed]

Raft also declined the leads in High Sierra and The Maltese Falcon (1941), and both roles were played by Bogart, catapulting Bogart's career. Raft instead made Manpower (1941) with Edward G. Robinson and Marlene Dietrich. Robinson recalled Raft as "touchy, difficult and thoroughly impossible to play with."[84] During filming, Raft and Robinson came to blows, with photographs splashed across newspapers.

Raft next rejected the lead role in All Through the Night (1942), refusing to appear on the first day of filming because he did not want to play a heel,[85] and Bogart once again replaced him. Raft was unable to accept Fox's offer to appear in To the Shores of Tripoli (1942).[86]

Raft wanted to appear in Universal's film version of the musical Broadway (1942), but Jack Warner refused to loan him, so Raft spent eight months on suspension without pay. However, Warner Bros. could only maintain the suspension while making films that Raft declined, and the studio eventually ran out of such films, forcing them to resume paying him, and they eventually agreed to let him make Broadway, playing a fictionalized version of himself as a young dancer named George Raft.[87]

Raft said that he paid $27,500 of his own money so that Warner Bros. could borrow Robert Cummings from Universal for another film.[88] Raft was reported to have turned down Bogart's role in Casablanca (1942), although according to some Warner Bros. memos, this story is apocryphal. Raft was discussed as a possibility for the lead at one stage, as was Ronald Reagan, but was never offered it.[89]

Raft was one of many Warner Bros. stars who appeared in United Artists' Stage Door Canteen (1943). He finally returned to filming at Warner Bros. with the espionage thriller Background to Danger (1943), a film intended to capitalize on the success of Casablanca.[35] In November 1942, Raft bought himself out of his Warner Bros. contract in order to appear in Hell's Kitchen, a story of his life, on stage,[90] but the play never materialized.[citation needed]

Freelance star and producer

[edit]

Raft's career as a freelance actor initially began well. He toured the U.S., England and Africa performing for the troops from January through March 1944.[91] In March 1943, he was voted the sixth-most-popular star among African-American movie audiences; Variety said: "Raft has always been a prime favorite with the Negro filmgoer."[92] His price as a guest star on radio was $1,500-$2,500.[93]

Raft declined the lead role in Billy Wilder's Double Indemnity (1944). Wilder later said "We knew then that we'd have a good picture"[94] and Raft later admitted that "I wasn't very intelligent then."[35] Raft's first film after leaving Warner Bros. was the 1944 Universal musical Follow the Boys (1944), which featured a number of Universal's stars in a guest spots and Raft in the lead. It achieved a healthy gross. 20th Century Fox hired him to a contract so that he could appear in Henry Hathaway's hit musical Nob Hill (1945), replacing Fred MacMurray.[95]

Edwin Marin

[edit]
Whistle Stop (1946) with Ava Gardner

Raft next appeared in director Edwin Marin's Johnny Angel (1945) for RKO,[96] an unexpected hit that realized a profit of more than a million dollars.[97] He next appeared in the popular Whistle Stop (1946), a United Artists melodrama that offered a good early role to Ava Gardner. Mr. Ace (1946), with Sylvia Sidney and director Marin for producer Benedict Bogeaus, was a flop, but it did lead to a rather successful radio series starring Raft entitled The Cases of Mr. Ace (1947).[citation needed]

In 1946, Raft earned a reported $108,000 for the year.[98] He created his own production company, Star Films, with Sam Bischoff as president, and planned to make three films in two years for $3.5 million.[99] He and Marin returned to RKO to make the popular film noir Nocturne (1946), produced by Joan Harrison.

Raft's next three films were all directed by Marin: Christmas Eve (1947) at United Artists for Bogeaus, a box-office disappointment, Intrigue (1947) at United Artists for Star Films and Race Street (1948) at RKO.

In June 1947, Raft received bad publicity when his friend, the Las Vegas mobster Bugsy Siegel, was murdered.[100] However, the following year, Hedda Hopper wrote that Raft was "going stronger than ever today" adding that "he has made millions, but hasn't got 'em due to a fondness for gambling and a loyalty to helping old friends."[101]

Decline as a star

[edit]

Star Film's second film was Outpost in Morocco (1949), a story of the French Foreign Legion partly shot on location in Africa that was a box-office disappointment.[102] Raft followed this with a series of thrillers: Johnny Allegro (1949), directed by Ted Tetzlaff for Columbia, Red Light (1949), by Roy Del Ruth for United Artists and A Dangerous Profession (1949) by Tetzlaff for RKO. None of these performed strongly at the box office, and Raft's standing as a box-office attraction had been damaged. The lengthy period of shooting for Johnny Allegro caused him to miss the chance to star in The Big Steal (1949), and he was replaced by Robert Mitchum.[103]

Raft went to England to make I'll Get You for This, which was filmed in 1950 but not released for another year. In the summer of 1951, Raft took the title role in the radio adventure series Rocky Jordan, playing "the owner of a cabaret in Cairo whose life is steeped in intrigue." However, it only lasted a few months.[104]

Three films for Lippert Pictures

[edit]

Raft appeared in two Lippert Pictures low-budget thrillers, Escape Route (1952), shot in England with Sally Gray, and Loan Shark (1952).

He starred in a syndicated television series titled I'm the Law (1953) that ran for one season.[104] The Man from Cairo (1953), also for Lippert and shot in Europe and Africa, was Raft's last film with top billing. He resumed his dancing career, including an exhibition in Las Vegas. "As far as films are concerned, I'm dead," he said, "Nobody has been breaking their necks trying to hire me."[105] He tried to persuade Darryl Zanuck to remake The Honor System. He said: "I want to play heavies again. I think I made a mistake going straight."[106]

Supporting actor

[edit]

Raft took an excellent role as a mob boss supporting Robert Taylor in Rogue Cop (1954), a hit for MGM. Also popular was Black Widow (1954), a film noir with Ginger Rogers, but A Bullet for Joey (1955), which reunited Raft with Edward G. Robinson, was a flop.

Raft was one of many guest stars in Around the World in 80 Days (1956), and after the film's release, he said that "the telephone just seemed to stop ringing."[10] He decided to seek other work.

Television

[edit]

In 1953 Raft appeared as NYPD detective Lt. George Kirby on 27 episodes of I'm the Law, a police drama series. He spoofed his tough-guy image in a comedy sketch on the Feb. 20, 1955 episode of The Jack Benny Program. He appeared in 3 episodes of The Red Skelton Show, portraying gangster-types in comedy skits. In 1964 he performed a tango dance with the Hugh Lambert dancers to the song "La Cumparsita" on an episode of The Ed Sullivan Show. In 1967 he did an episode of the Batman (TV series), “Black Widow Strikes Again”. In 1971 he twice appeared on Rowan & Martin's Laugh-In comedy show, and in one episode of the sitcom The Chicago Teddy Bears, which was his last TV acting role.

Later career

[edit]

Casinos

[edit]

In 1955, Raft was offered the chance to buy a 2% share in the Flamingo Hotel for $65,000 if he would act as its entertainment director. Raft agreed, but was rejected for a gaming license because of his alleged associations with underworld figures. He appealed, arguing that although he knew many gangsters, "I never did business with any of them," and the decision was overturned in December 1955. Raft worked at the hotel negotiating its showbusiness deals.[10][107]

Raft was hired by Santo Trafficante, Jr. to work as a greeter at the Capri Casino in Havana, Cuba,[108] at which he was also a part owner. However, Fidel Castro took command of the country and closed all of its casinos, and Raft was in Havana on the night when the rebels arrived.[10][91]

Return to filmmaking

[edit]

In July 1958, Raft was offered a role in his first film in four years, Some Like It Hot (1959), playing a gangster. Because of Marilyn Monroe's tardiness on set, the job turned into 16 weeks of work[91] before Raft was able to appear in Jet Over the Atlantic (1959). The success of Some Like It Hot did not lead to a comeback, but Raft subsequently appeared as a casino owner in the Rat Pack movie Ocean's 11 (1960), and he appeared in a cameo role as himself in The Ladies Man (1961). In Britain, he appeared in Two Guys Abroad (1962), a film intended as a pilot for a television series, and back in Hollywood had small roles in For Those Who Think Young and The Patsy (both 1964).

In 1965, Raft was convicted of income-tax evasion. He pleaded guilty to one count and was fined $2,500. The following year, he testified in front of a New York grand jury about organized-crime financial transactions.[13]

London

[edit]
Judy Canova and Raft in 1979

Raft received an offer from Andy Neatrour to work as a host and part owner of a gambling club in London called the Colony Club. He went to London in 1966,[109] and while there, he took parts in several films, including a cameo role in the 1967 James Bond spoof Casino Royale, the French film The Upper Hand (1966) with Jean Gabin and Five Golden Dragons (1967). Although the gambling club was successful, after having returned from the U.S. in 1967 for a trip home, Raft was banned from reentering the UK as an "undesirable."[13]

Raft's later films included Skidoo and Madigan's Millions (both 1968). However, Raft became ill during the making of Madigan's Millions, and he was replaced by Cesar Romero in the title role. None of Raft's scenes remain in the film.[citation needed]

In the early 1970s, Raft appeared in an Alka-Seltzer television commercial as a prison inmate, worked as a goodwill ambassador for the Riviera in Las Vegas[13] and sold his house to move into an apartment in Century City.[10]

Raft's final film appearances were in Hammersmith Is Out (1972), Sextette (1978), in which he reunited with Mae West, and The Man with Bogart's Face (1980), a nod to 1940s detective films. He also cohosted an episode of The Mike Douglas Show in 1980.[citation needed]

Raft was a stockholder in the Parvin-Dohrmann Corporation, a hotel and casino company that owned the Flamingo Las Vegas.[110]

Controversies

[edit]
[edit]

When James Cagney became president of the Screen Actors Guild in 1942 for a two-year term, he took a role in the guild's fight against the Mafia, which had taken an active interest in the movie industry. Cagney's wife Billie once received a phone call telling her that Cagney was dead.[111] Cagney alleged that, having failed to scare him, the mob sent a hitman to kill him by dropping a heavy light on his head. On hearing about the rumor of the hit, George Raft allegedly made a call to have the hit cancelled.[111][112]

Raft was interviewed by FBI agents in 1938 and 1953. The 1938 interview was about his knowledge of Louis Buchalter and Jacob Shapiro.[113]

Raft was investigated for alleged tax evasion in 1942.[114]

In 1944, he gave evidence when Bugsy Siegel was on trial for bookmaking.[115]

In 1946, Raft was sued by an attorney in Australia for assault.[116]

In 1957, Mickey Cohen said that he wanted Raft to play him in any film about his life because "the others would portray me as a vicious gangster, but George would not."[117]

In 1967, Raft was denied entry into the UK, where he had been installed as casino director at the Colony Club, because of his alleged underworld associations.[118]

Personal life

[edit]

Raft married Grace Mulrooney (1902–1970) in 1923,[119] long before his stardom. The pair separated soon thereafter, but the devoutly Catholic Mulrooney refused to grant a divorce, and Raft officially remained married to her and continued to support her until her death in 1970. A romantic figure in Hollywood, Raft had love affairs with Hilda Ferguson, Betty Grable, Marlene Dietrich, Tallulah Bankhead, Carole Lombard and Mae West. He stated publicly that he wanted to marry Norma Shearer, with whom he had a long romance, but his wife's refusal to allow a divorce eventually caused Shearer to end the affair.[26][120]

Death

[edit]

Raft died from emphysema at the age of 79 in Los Angeles on November 24, 1980. Raft left behind no will, and his estate consisted of only a $10,000 insurance policy and some furniture. In the last years of his life, he had lived on approximately $800 a month, a combination of social security and his pension.[121] He was interred at the Forest Lawn – Hollywood Hills Cemetery in Los Angeles. Raft's personal effects and wardrobe were sold through a classified advertisement listing the lot for $800 in Hemmings Motor News in the fall of 1981.

Legacy

[edit]

Raft has two stars on the Hollywood Walk of Fame: for movies at 6150 Hollywood Boulevard and for television at 1500 Vine Street.

[edit]

Ray Danton played Raft in The George Raft Story (1961), which co-starred Jayne Mansfield. Raft excoriated the film upon its release due to inaccuracies.[citation needed] In the 1991 biographical movie Bugsy, the character of George Raft was played by Joe Mantegna.

In season 2, episode 6 of The Sopranos (2000), Corrado "Junior" Soprano reveals to Tony that there was another uncle, the "feeble-minded" Ercole, who Junior describes as "handsome, like George Raft".

In the Francis Ford Coppola film "The Cotton Club" (1984), the character of Dixie Dwyer appears to be loosely based on Raft: in the film, the character Owney Madden (Bob Hoskins) sends Dwyer (Richard Gere) to LA to appear in films - the first of which is titled "Mob Boss".

Filmography

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Short subjects

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  • Hollywood on Parade No. A-9 (1933)
  • Hollywood on Parade No. B-5 (1933)
  • Hollywood on Parade No. B-8 (1934)
  • The Fashion Side of Hollywood (1935)
  • Screen Snapshots Series 18, No. 4 (1938)
  • Meet the Stars #6: Stars at Play (1941)
  • Hedda Hopper's Hollywood No. 2 (1941)
  • Hollywood Park (1946)
  • Screen Snapshots: Vacation at Del Mar (1949)

Roles rejected

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Raft turned down roles in the following films:[122][123]

Select radio appearances

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References

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Sources

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  • 1900 United States Federal Census, Census Place: Manhattan, New York, New York; Roll T623_1109; Page: 4B; Enumeration District: 642.[non-primary source needed]
  • 1910; Census Place: Manhattan Ward 12, New York, New York; Roll T624_1025; p. 19A; Enumeration District: 668; Image: 1104[non-primary source needed]

Further reading

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George Raft

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George Raft (born George Ranft; September 26, 1901 – November 24, 1980) was an American actor and dancer renowned for his portrayals of gangsters and tough guys in pre-World War II Hollywood cinema. Born into poverty in New York City's Hell's Kitchen neighborhood to German immigrant parents, Raft started his entertainment career as a dancer in speakeasies and nightclubs during , performing alongside figures like and associating early with underworld operators such as . His transition to film in the late capitalized on his streetwise persona, with signature mannerisms like coin-tossing originating from roles in films such as Scarface (1932), where he played a believable mob enforcer informed by real-life connections to criminals including and . At the height of his fame in the and early , Raft starred in over 120 films, including Each Dawn I Die (1939) and Invisible Stripes (1939), embodying the era's crime melodramas, though his insistence on avoiding certain scripts led him to decline pivotal roles in High Sierra (1941) and The Maltese Falcon (1941), opportunities that propelled to stardom. Raft's career waned post-war due to typecasting, poor script choices, and scrutiny over his gangster affiliations, which prompted investigations in the U.S. and abroad, tax evasion charges, and perceptions that hindered further leading roles despite his loyalty to mobster friends. He died of emphysema in Los Angeles at age 79, leaving no immediate family and a legacy as Hollywood's most authentic screen tough guy, whose off-screen life blurred the lines between performance and reality.

Early Life

Childhood and Family Origins

George Raft was born George Ranft on September 26, 1901, in Hell's Kitchen, a rough working-class neighborhood in , . His parents, Conrad Ranft and Eva (née Glockner) Ranft, were both of German descent, with Eva having immigrated from . Conrad worked as a deliveryman and had earlier experience in carnivals before settling in New York, reflecting the family's modest, immigrant-rooted circumstances. The Ranft family lived in amid the dense tenements of Hell's Kitchen, an area known for its ethnic enclaves and economic hardship, which shaped Raft's early exposure to urban grit. Specific details on siblings are sparse in records, but the household embodied the challenges of early 20th-century immigrant life, with limited formal and reliance on manual labor for survival. Raft's original , Ranft, was later Anglicized to Raft as he entered , a common adaptation among immigrants' children seeking broader opportunities.

Upbringing in Hell's Kitchen and Avoidance of Crime

George Raft was born George Ranft on September 26, 1895, in Hell's Kitchen, a notoriously rough neighborhood on Manhattan's West Side known for pervasive poverty, gang violence, and during the early . His parents were Conrad Ranft, a German immigrant who had worked in carnivals, and Eva Glockner, also of German descent; the family lived in straitened circumstances at 415 West 41st Street, where Raft grew up as the eldest of several children amid an environment that produced many future mobsters. By age 13, Raft had run away from home, entering a period of drifting that exposed him further to the district's hazards, including street fights and associations with underworld figures. Hell's Kitchen's Tenth Avenue vicinity, where Raft spent his formative years, demanded street smarts and physical toughness; he learned early to navigate brawls and fend for himself, developing a brash demeanor that later defined his screen persona. A boyhood companion was , who rose to lead the Hell's Kitchen Irish mob, and Raft later befriended Benjamin "Bugsy" , illustrating his proximity to criminal elements at a vulnerable age. To survive, Raft took on odd jobs such as errand boy and apprentice electrician, while briefly pursuing —where his agility served him well—and in the State League, activities that channeled his energy away from outright delinquency. Raft ultimately sidestepped deeper criminal involvement by leveraging his innate talent for dancing, which his mother had nurtured and which provided a legitimate outlet in New York nightclubs and , leading to structured employment rather than gang affiliation. He later reflected that he had narrowly avoided a gangster's path, attributing his escape to these pursuits amid the temptations of his surroundings—a claim echoed in biographical accounts emphasizing and personal choice over systemic factors. This trajectory, though precarious, positioned him for entertainment opportunities that distanced him from the crime he observed daily.

Entry into Professional Dancing

Raft transitioned to professional dancing in the early 1920s following unsuccessful pursuits in prizefighting and baseball. He found employment performing exhibition dances in nightclubs and ballrooms, as well as on , where he partnered with affluent women who paid for the privilege of dancing with him. These venues, often controlled by figures during , provided Raft with steady income while he honed his skills in popular dances such as the and Charleston. A pivotal moment came when Raft won a Charleston competition around age 19, which drew the attention of an agent and propelled him into vaudeville tours. His self-taught style, characterized by fluid precision, earned him recognition in competitive dance circuits and led to exhibition performances that showcased his charisma and athleticism. To support himself amid irregular earnings, Raft occasionally worked as a driver and enforcer for childhood acquaintance , a prominent bootlegger, without fully immersing in criminal activities. By the mid-1920s, Raft had established a reputation as a professional dancer, performing in Broadway revues such as the production The City Chap and embarking on international tours that popularized the tango in cities like and . These engagements marked his shift from local nightclub gigs to structured work, laying the foundation for his later career.

Stage Career

Broadway Debut and Key Performances

Raft's Broadway debut occurred in the musical comedy The City Chap, which premiered on October 26, 1925, at the and closed on December 26, 1925, after 62 performances. Billed pseudonymously as , he performed specialty dance numbers in the production, which featured music by and a book by James Montgomery. His routines, including energetic Charleston steps, contributed to the show's lighthearted urban-themed narrative centered on a rural woman's adjustment to city life. A key subsequent performance came in the revue Padlocks of 1927, which opened on July 5, 1927, at the 46th Street Theatre and ran until September 24, 1927, for 87 performances. Raft appeared as a performer, showcasing his prowess in partnered dances such as the , which became a signature element of his persona and helped establish his reputation as one of Broadway's premier male dancers during the . The production, known for its "padlock" sketches locking away vices and featuring risqué humor, highlighted Raft's agile footwork and charismatic presence amid a cast of variety acts. These appearances marked Raft's primary credited Broadway roles, where he specialized in dance interludes rather than leading dramatic parts, leveraging his nightclub-honed techniques to inject vitality into the era's musical revues and comedies. His performances emphasized precision and flair, drawing from influences like masters, and positioned him as a sought-after specialty act before transitioning to .

Associations with Entertainment Figures

Raft's early stage associations centered on his role as a dancer in New York revues and musicals, where his Charleston routines drew notice from prominent performers. In his Broadway debut, The City Chap (October 26, 1925–December 26, 1925), he appeared as , contributing to a production featuring music by composer and book by James Montgomery, which highlighted his agile footwork amid a cast of ensemble dancers and comedians. This exposure connected him to Kern's circle, though Raft's contributions remained secondary to the leads. A pivotal association formed with entertainer , whose bridged nightclub spectacle and legitimate theater. Raft performed in her Padlocks of 1927 (July 5–September 24, 1927), a musical at the Shubert Theatre that showcased Guinan's hosting flair alongside dancers like Raft, singer , and comedian , emphasizing risqué sketches and jazz numbers amid Prohibition-era defiance. Guinan's endorsement amplified Raft's visibility, as she integrated his high-energy dances into her acts, fostering a professional rapport that extended to her 1928 stage production Night Club, where Raft's performance earned acclaim from critics for its vigor. These ties extended to fellow dancers encountered in competitive circuits and ensemble work, including Grayce Mulrooney, a partner in early routines who later became his wife in a union Raft described as impulsive. Such collaborations underscored Raft's niche as a "taxi dancer" transitioning to stage prominence, often sharing bills with up-and-comers like Ruby Keeler in Guinan-affiliated venues, though direct co-performances remained fluid between cabaret and Broadway. Guinan, in particular, credited Raft's charisma for elevating her shows' appeal, positioning him as a bridge between dance floors and dramatic spotlights.

Hollywood Transition and Rise

Initial Film Appearances

Raft entered Hollywood in 1929, leveraging his stage dancing background to secure minor roles that showcased his terpsichorean skills rather than dramatic ability. His screen debut occurred in the Warner Bros. feature Queen of the Night Clubs, directed by Bryan Foy, where Texas Guinan, his former Broadway associate and the film's star, insisted on including him in a small part amid the story of a performer's rise in nightlife circles. Subsequent 1929 appearances capitalized on his dance expertise, with uncredited bits as a performer in the two-strip Technicolor musical Gold Diggers of Broadway, featuring Ann Pennington and Winnie Lightner, and in the Prohibition-era crime tale Side Street, directed by Malcolm St. Clair, where he portrayed the dancer Georgie Ames. These early efforts, confined to specialty dance sequences, yielded no immediate stardom, leading to a two-year absence from screens until supporting opportunities arose in 1932. In Taxi!, released by on March 26, 1932, Raft delivered a vibrant unbilled dance contest rival to James Cagney's character, injecting charisma into the bootlegging narrative amid New York taxi wars. Later that year, Paramount granted him his initial leading-man slot in Night After Night, directed by and released on October 28, 1932, as a wealthy ex-boxer-turned-bootlegger navigating romance and crime; Raft advocated for Mae West's inclusion in a key supporting role, aiding her cinematic breakthrough. These pre-Scarface outings established Raft's on-screen persona as a suave, streetwise figure, blending his real-life Hell's Kitchen roots with performative flair, though critics noted his limited and reliance on physicality.

Breakthrough Role in Scarface and Gangster Persona

Raft's breakthrough came with his supporting role as Guino Rinaldo, the suave and treacherous henchman to Paul Muni's Antonio "Tony" Camonte, in ' 1932 gangster film Scarface. Released on April 12, 1932, the film depicted the brutal rise and fall of a mobster inspired by , with Raft's character embodying loyalty turning to betrayal in a pivotal subplot involving Camonte's sister. Hawks selected Raft for the part after observing his real-life demeanor during auditions, influenced by Raft's background in New York nightlife and associations with figures like , a Prohibition-era bootlegger who managed the . Raft's portrayal introduced his signature mannerism of flipping a silver dollar, performed repeatedly throughout the film as a nonchalant gesture of fatalism and cool detachment, which quickly became synonymous with his on-screen tough-guy archetype. This tic, drawn from Raft's own streetwise persona rather than scripted direction, lent authenticity to Rinaldo's menacing yet charismatic presence, distinguishing Raft from more theatrical performers of the era. The role's impact was immediate: Scarface's box-office success and critical acclaim for its raw depiction of organized crime propelled Raft from bit parts to stardom, securing a lucrative seven-year contract with Paramount Pictures worth $1,500 weekly by late 1932. The Scarface performance solidified Raft's gangster persona, typecasting him as the quintessential Hollywood mobster—stylish, monosyllabic, and perilously detached—which persisted across two dozen films in the 1930s. His real associations with underworld figures, including later friendships with Bugsy Siegel, enhanced the perceived verisimilitude of these roles, as contemporaries noted Raft's off-screen comportment mirrored his characters' unyielding demeanor. However, this image limited his range, leading him to decline diverse scripts like Casablanca and The Maltese Falcon in favor of gangster vehicles, a choice that foreshadowed career constraints despite initial acclaim.

Major Studio Contracts

Paramount Pictures Era

In 1932, following the commercial success of his supporting role in Scarface, Raft signed a long-term contract with , marking the beginning of his tenure as a at the studio. This deal capitalized on his emerging persona and dance background, positioning him for starring roles in films that often blended crime drama with romantic or musical elements. Raft's first lead at Paramount came in Night After Night (1932), where he portrayed a wealthy bootlegger pursuing a socialite, a role that showcased his tough-guy charm and included his insistence on casting Mae West in a supporting part, which launched her screen career. Subsequent films like Bolero (1934), co-starring Carole Lombard, returned him to dance-centric narratives, with Raft performing intricate routines that highlighted his pre-Hollywood taxi-dancing expertise. He followed with Rumba (1935), another dance vehicle emphasizing his rhythmic style, alongside varied roles in The Trumpet Blows (1934) as a bullfighter-turned-musician, Limehouse Blues (1934) as a troubled immigrant, and Stolen Harmony (1935) as a musician entangled in crime. Throughout the mid-1930s, Raft embodied a range of Paramount characters including con artists, thieves, and prison inmates, as in She Couldn't Take It (1935), Every Night at Eight (1935), and Souls at Sea (1937), often drawing on his authentic New York streetwise demeanor for authenticity. His contract included a 1934 renegotiation to reflect rising status, but tensions arose from frequent refusals of scripts deemed unsuitable, leading to multiple suspensions and lost opportunities. Later Paramount efforts like Spawn of the North (1938) and You and Me (1938), directed by , attempted to diversify his image toward adventure and social drama but underscored his typecasting challenges. By January 1939, after nearly seven years and amid escalating disputes—particularly Raft's rejection of the lead in King of Alcatraz—Paramount terminated the contract, citing his unwillingness to fulfill obligations. This era solidified Raft's reputation as a box-office draw for gritty urban tales but highlighted his career mismanagement, with sources noting his poor script judgment contributed to stalled momentum.

Warner Bros. Period and Height of Fame

Following the success of his performance in the prison drama (1939), where he portrayed convict "Hood" Stacey alongside James Cagney's investigative reporter Frank Ross, George Raft secured a long-term contract with in July 1939, committing to three films per year. The film, directed by and released on August 19, 1939, drew strong audience attendance and critical praise for its tense depiction of corruption and incarceration, revitalizing Raft's career after challenges at . Raft's Warner Bros. tenure featured him in several high-profile crime and action films that solidified his gangster persona and elevated his status as a leading man. In Invisible Stripes (1939), he starred as ex-convict Cliff Taylor struggling to reintegrate into society, co-starring with Humphrey Bogart as his parolee friend and William Holden in a supporting role, under Lloyd Bacon's direction. Subsequent releases included They Drive by Night (1940), a trucking drama with Bogart and Ida Lupino, and Manpower (1941), where he played a power line worker entangled in romance and rivalry opposite Edward G. Robinson and Marlene Dietrich. These productions, emblematic of Warner Bros.' gritty social realism style, contributed to Raft's box-office appeal during the late 1930s and early 1940s. This era represented the peak of Raft's fame, positioning him among Warner Bros.' elite "Murder's Row" of gangster actors including Cagney, Robinson, and , with his coin-flipping mannerism and tough-guy demeanor becoming iconic trademarks. His films regularly headlined double bills and drew crowds, reflecting his draw as one of Hollywood's top male stars in crime melodramas before shifts in audience tastes. Raft remained under contract until 1943, when he negotiated a to pursue freelance opportunities, marking the end of his most commercially successful studio affiliation.

Independent Ventures

Freelance Filmmaking and Production Roles

Following his departure from in early 1943, Raft transitioned to freelance acting, securing short-term contracts with studios such as RKO Radio Pictures and , which allowed him greater role selection amid declining box-office appeal for his established persona. Key freelance projects included starring as Johnny Angel in the RKO film Johnny Angel (released October 1945), a mystery thriller directed by Edwin L. Marin that unexpectedly grossed over $4 million against a modest budget, buoyed by Raft's lead performance alongside . He followed with (1946, RKO), portraying police lieutenant Joe Warne in a noir detective story, and Whistle Stop (1946, release), as gambler Kenny Veech opposite , marking adaptations to post-war audience tastes favoring intrigue over outright criminal leads. These roles, often on loan-out or independent deals, yielded mixed commercial results but sustained his visibility without long-term studio commitments. In September 1946, Raft established his own production company, Star Films Inc., partnering with veteran producer Sam Bischoff as president, with ambitions to finance and produce three features over two years at a total cost of $3.5 million, leveraging Raft's star draw for distribution through . The venture aimed to grant Raft creative control, focusing on action-oriented vehicles suited to his screen image. The inaugural production, Intrigue (released October 1947), starred Raft as black-market operative Brad Dunham in a Shanghai-set espionage noir directed by Edwin L. Marin, co-starring and Helena Carter; budgeted under $1 million, it emphasized Raft's tough-guy archetype amid post-war intrigue but underperformed critically and financially due to formulaic plotting. Star Films' subsequent effort, Outpost in Morocco (1949), featured Raft as a captain in a low-budget desert adventure filmed partly on location, with ; produced amid escalating costs and distribution hurdles, it exemplified the company's shift toward exotic action but failed to recoup investments, contributing to the entity's dissolution as a short-term operation by late 1949. Raft's production involvement, primarily as financier and lead actor rather than hands-on oversight, highlighted risks of independent ventures in a studio-dominated , where his proved insufficient against rising production expenses and audience shifts toward fresher talent. No further Star Films projects materialized, underscoring the challenges of celebrity-led independents without major studio backing.

Collaborations and Specific Projects

Following his departure from in 1944, George Raft engaged in freelance acting and selective production involvement, collaborating with independent producers and smaller studios on crime dramas and film noirs. One notable project was Johnny Angel (1945), an release directed by Edwin L. Marin, in which Raft portrayed ship captain Johnny Angel investigating his father's murder amid a gold heist on the high seas; co-starring as Raft's romantic interest and as a mysterious survivor, the film earned positive returns despite its B-movie status, grossing over $2 million domestically. In 1946, Raft starred in Whistle Stop, a United Artists film noir directed by émigré filmmaker Léonide Moguy, adapting a novel by Maritta Wolff; Raft played ex-convict Kenny Veech in a tense small-town rivalry involving jealousy and bootlegging, opposite rising star as his love interest Mary and as a brutish , with in a supporting role as a suave club owner—the production marked an early leading showcase for Gardner, though critics noted Raft's performance as restrained and the script's uneven pacing. Later that year, Raft headlined Nocturne for RKO, directed by Edwin L. Marin, portraying obsessive detective Joe Warne seeking vengeance for a murdered composer; the film featured , , and a score by Constantin Bakaleinikoff, emphasizing Raft's signature stoic demeanor in a thriller blending mystery and psychological tension. Raft ventured into co-production with independent producer Sam Bischoff on Intrigue (1947), a espionage drama set in post-war ; Raft starred as a smuggler entangled in political intrigue, with Bischoff handling from George Slavin's story, marking their formal partnership aimed at vehicles tailored to Raft's amid declining studio offers. Subsequent freelance efforts included Red Light (1949), a low-budget noir for directed by Roy Del Ruth, where Raft played a vengeful trucking executive opposite and , incorporating biblical motifs and revenge-driven plotlines that drew modest attendance but highlighted Raft's reliable draw in action-oriented roles. These projects underscored Raft's shift to opportunistic collaborations, often with European-influenced directors and character actors, as he navigated a contracting market for his by 1950.

Career Challenges and Adaptation

Post-War Declines and Contract Disputes

Following the conclusion of in 1945, George Raft's status as a leading man diminished amid shifting audience tastes and Hollywood's evolving preference for more versatile performers over rigid archetypes. While Johnny Angel (1945), a maritime thriller co-starring , marked a surprise box office hit, subsequent efforts like Mr. Ace (1946) failed commercially, signaling the onset of inconsistent performance for Raft's projects. Raft's transition to freelance work after purchasing his release from in 1943—stemming from prior refusals of roles and tensions with studio executives—left him without the promotional and financial backing of a major contract, exacerbating vulnerabilities in the post-war industry landscape. This independence facilitated involvement in independent productions such as Whistle Stop (1946), but often resulted in films of progressively lower budgets and prestige, contributing to his fading prominence. By the late 1940s, Raft's reputed associations with figures, scrutinized by authorities and industry insiders, further hampered opportunities, as studios grew wary of reputational risks amid heightened public and regulatory attention to such ties. These factors compounded the career downturn, reducing Raft to secondary roles and non-film endeavors by decade's end.

Low-Budget and Supporting Roles

In the early , amid professional setbacks including contract disputes and reputational issues tied to alleged associations, George Raft gravitated toward low-budget independent productions, often from studios like , which specialized in economical thrillers and programmers. These films typically featured modest sets, limited casts, and quick production schedules, contrasting Raft's earlier high-profile vehicles. A key example was (1952), a release directed by Seymour Friedman, where Raft starred as a police detective infiltrating a ruthless loan-sharking syndicate by posing as a dockworker; the film's bargain-basement noir style emphasized gritty urban crime without major stars or lavish production. Similarly, Escape Route (also released as , 1952), a British co-production shot on tight schedules in , cast Raft as an FBI operative pursuing a ring smuggling nuclear scientists behind the , exemplifying Lippert's formula for international low-budget . The same year, Raft led Black Widow (1954, though filmed earlier), a 20th Century Fox noir where he played a supporting in a murder mystery, but the project's scale reflected his diminished drawing power. Raft's supporting roles in slightly higher-profile films underscored his typecasting as a tough mobster, as in Rogue Cop (1954), an crime drama directed by Roy Rowland, where he portrayed the menacing syndicate leader Dan Beaumonte opposite lead Robert Taylor's corrupt detective; despite the studio backing, Raft's part was secondary and the film earned mixed reviews for its formulaic plot. Into the , opportunities dwindled further, with Raft appearing in eclectic low-to-mid-budget fare like (1953), an adventure yarn involving artifact smuggling, and cameos in ensemble pieces such as (1960), where he briefly reprised his coin-flipping persona amid the heist comedy. His later efforts included (1968), Otto Preminger's experimental psychedelic satire with modest effects and a counterculture bent, and Madigan's Millions (1969), an Italian-American co-production involving a posthumous treasure hunt, both marking supporting or nominal leads in productions far removed from his peak. These roles, while sustaining his screen presence into his late 70s, highlighted a career defined by and industry shifts away from classic archetypes.

Diversification into Television and Other Media

In 1953, Raft starred in the syndicated crime drama series I'm the Law, portraying a police lieutenant investigating cases, with the program consisting of 29 episodes broadcast across various markets. The series, produced as an adaptation to the rising popularity of television, failed to gain traction and contributed to Raft's financial difficulties. Despite its brevity, it represented Raft's principal foray into leading a television program, leveraging his established persona in a procedural format. Subsequently, Raft appeared as a guest on several variety programs, including and The Jimmy Durante Show, capitalizing on his name recognition for brief performances amid the medium's expansion. These appearances provided episodic exposure rather than sustained roles, aligning with his shift toward supporting or cameo capacities in entertainment. In 1971, Raft took a recurring role as Uncle Nicky in the ABC sitcom The Chicago Teddy Bears, a short-lived series set in Prohibition-era Chicago that aired for 13 episodes before cancellation. This late-career television stint further illustrated his adaptation to comedic and ensemble formats, though it yielded limited success.

Later Professional Pursuits

Casino Business Attempts

In the late 1950s, following the decline of his film career, George Raft pursued opportunities in the gambling industry, leveraging his celebrity status and purported connections to organized crime figures. Starting in spring 1958, at age 62, he served as host and entertainment director for the Casino de Capri at the Hotel Capri in Havana, Cuba, a venue operated under the influence of American mobsters including Santo Trafficante Jr. and Meyer Lansky. Raft held a partial ownership stake in the casino, which opened in late 1957 and featured him as the public face, greeting high-profile guests and aligning with his on-screen gangster persona. The Capri venture capitalized on Havana's pre-revolutionary status as a hub for American tourists, with Raft's role drawing celebrities and mob-affiliated patrons to the and gaming floors. However, the enterprise collapsed in January 1959 when Fidel Castro's revolution seized control of Cuban casinos, nationalizing the Hotel and forcing Raft to abandon his investment without compensation. This loss marked the end of his Cuban operations, amid broader U.S. mob retreats from the island. Raft subsequently attempted to replicate this model in the United States. In 1966, he became a part owner and host at the Riviera Hotel Casino in , , serving in a similar greeter capacity to attract patrons. His involvement there was shorter-lived and less prominent, reflecting intensified regulatory scrutiny of casino licensing and his personal associations, though he continued in such roles intermittently into the 1970s. Earlier, during the 1930s and 1940s, Raft had invested in offshore gambling ships operating off , but these predated his more direct post-career casino management efforts and were curtailed by state crackdowns under Governor . Overall, Raft's casino pursuits yielded limited financial success, overshadowed by political upheaval and his controversial ties.

European Filmmaking Return

In the early 1950s, as opportunities for starring roles in Hollywood diminished amid industry shifts and Raft's selective career choices, he pursued work in European cinema to sustain his acting prospects. His first notable venture abroad was the 1951 thriller I'll Get You for This (released as Lucky Nick Cain in the United States), a British production directed by Joseph M. Newman and filmed primarily on location in during 1950. Raft portrayed the Nick Cain, an American gambler who investigates the of his fiancée while entangled in a Mediterranean resort town's criminal underworld, co-starring with and featuring Italian child actor . This film marked Raft's pivot to international co-productions, leveraging his established tough-guy in a European noir context adapted from James Hadley Chase's novel. He followed with in 1953, a British-Italian-American collaboration directed by Ray Nazarro, where Raft played Mike Canelli, an ex-GI mistaken for a secret agent tasked with recovering French gold reserves stolen during . Shot partly in Italian studios and exteriors, the low-budget adventure emphasized Raft's action-hero archetype amid and plots, alongside co-stars like and Guido Cellano. Raft's European engagements continued sporadically into the , including a supporting role in the 1966 French crime drama The Upper Hand (original title Du rififi à Paname), directed by Denys de La Patellière and set in . Here, he depicted an American allied with Jean Gabin's gold-smuggling kingpin against rival factions, filmed on Parisian locations with a cast featuring and ; the production reflected Raft's draw as an exotic Hollywood import for continental thrillers. These overseas projects, often B-grade international efforts, offered Raft lead or key billing unavailable domestically but yielded limited commercial success or critical acclaim, underscoring his adaptation to a fragmented global market rather than a full resurgence.

Final Years in Entertainment

In the late 1950s and early 1960s, Raft secured cameo roles that playfully referenced his gangster persona, including Spats Colombo in (1959), a comedy that grossed over $25 million domestically and featured Raft in a scene parodying his tough-guy . He followed with a supporting turn as casino owner Jack Strager in the heist film (1960), directed by and starring , where Raft's character discusses operational pressures with other proprietors amid the Las Vegas heist plot. Subsequent appearances were limited to self-parodic or minor parts, such as playing himself in Jerry Lewis's The Patsy (1964) and the James Bond spoof Casino Royale (1967). Raft attempted a brief foray into British television with Two Guys Abroad (1962), a pilot episode intended for a series but uncommissioned. By the 1970s, his film work dwindled to infrequent supporting roles, including uncredited or small parts in Hammersmith Is Out (1972), a with and ; (1972), a directed by Vernon Zimmerman; (1977), Mae West's final film; and The Great Bank Hoax (1978). He also appeared in the short-lived sitcom (1971), portraying a mobster figure in episodes alongside . Additionally, Raft featured in an early 1970s Alka-Seltzer commercial as a prison inmate, marking one of his last televised acting spots. Raft's screen finale came in (1980), a low-budget noir homage directed by Robert Day, where he played the mobster Petey Cane in a released posthumously after his November 24, 1980, death from ; this role encapsulated his enduring association with hard-boiled cinema without signaling a career revival.

Controversies and Scrutiny

Documented Ties to Organized Crime Figures

George Raft's associations with organized crime originated in his youth in New York City's Hell's Kitchen neighborhood, where he formed connections with several prominent mob figures. As a young man, Raft worked as a driver and associate for , the Irish-American gangster who controlled the and other speakeasies during . Madden, recognizing Raft's charisma, encouraged his entry into , providing informal backing that facilitated Raft's transition from dancing in mob-linked venues to Hollywood. In Hollywood, Raft maintained close personal ties to Benjamin "Bugsy" , a childhood acquaintance from who rose to prominence in the . frequently visited Raft's home, residing there temporarily during the 1940s while developing the Flamingo Hotel in , and the two were photographed together at social events. Raft's loyalty to was evident in 1947, when he served as a pallbearer at 's funeral following his assassination in Beverly Hills on June 20, amid disputes over the Flamingo project's costs. Raft also befriended , the financial architect of , with whom he socialized in both New York and circles; Lansky later referenced Raft in discussions of Hollywood's overlaps. These relationships drew official scrutiny, including Raft's testimony in defense of during legal proceedings and his appearance before investigative bodies examining mob influence in entertainment. Such documented associations contributed to Raft's exclusion from the in 1966, when authorities cited his "underworld contacts" as grounds for denial of entry, based on immigration records and prior intelligence reports. While Raft acknowledged narrowly escaping a criminal path through his career, federal investigations like the 1950-1951 Kefauver Committee hearings highlighted his interactions with figures including and Lansky, though no charges of direct criminal involvement were substantiated against him. These ties, substantiated by photographs, witness accounts, and Raft's own admissions in interviews, underscore a pattern of personal friendships rather than operational participation in .

Professional Rejections and Their Consequences

Raft repeatedly declined leading roles that propelled other actors to greater fame, contributing significantly to his career stagnation. He rejected the part of Roy Earle in High Sierra (1941), objecting to the character's demise in the script, a decision that handed the role to Humphrey Bogart and marked a pivotal breakthrough for the latter. Similarly, Raft turned down the role of Sam Spade in The Maltese Falcon (1941), wary of collaborating with debut director John Huston, allowing Bogart to secure the iconic portrayal and further elevate his status. For Double Indemnity (1944), director Billy Wilder pursued Raft for the lead but faced rejection, prompting the casting of Fred MacMurray in a performance that garnered an Academy Award nomination. These choices stemmed from Raft's reluctance to perpetuate gangster archetypes amid fears of , compounded by personal stipulations such as script alterations or co-star preferences. Although attributes to Raft a refusal of Rick Blaine in (1942), internal memos confirm no offer was extended, underscoring how myths amplified perceptions of his poor judgment without altering the pattern of missed opportunities. The repercussions manifested in eroded studio confidence, as repeated refusals—often exceeding a dozen high-profile scripts—frustrated executives and diminished Raft's bargaining power. By the mid-1940s, and other majors sidelined him for reliable talents, funneling Raft into B-pictures and supporting parts that failed to restore his pre-war prominence. This trajectory not only hastened his descent from status but also indirectly boosted competitors like Bogart, whose ascendance filled the void left by Raft's intransigence. Ultimately, these rejections solidified Raft's reputation for erratic decision-making, limiting his output to sporadic, lower-tier projects through the 1950s. Raft encountered multiple legal inquiries tied to his longstanding associations with figures, though he avoided major convictions. In 1947, he was questioned by authorities regarding the gangland of his close friend Benjamin "Bugsy" Siegel, but provided no incriminating details and faced no charges. He also dealt with accusations of and involvement in rigged operations during the 1940s and 1950s, contributing to financial penalties but not . In January 1966, at age 68, Raft testified before a New York rackets alongside figures like Vito Genovese family members, probed on financial dealings with affiliates, yet again emerged without formal charges. These episodes intersected with broader investigations into interstate crime, amplifying scrutiny. Following the 1950-1951 Kefauver Committee hearings on —where Raft's name surfaced amid probes of and mob influence—the denied him a casino license in 1951, citing his "past associations" as a risk factor, effectively barring him from legitimate ventures. By 1965, his backing of the London's casino led to its closure after revelations of mob-linked funding; British officials subsequently deported him in 1967, labeling him a potential front for underworld interests. The cumulative effect severely tarnished Raft's professional standing in Hollywood and beyond, fostering perceptions of him as indistinguishable from the gangsters he portrayed. Studio executives and regulators increasingly viewed his real-life ties—to figures like , , and —as a liability, resulting in informal and reluctance to cast him in major roles after the early 1950s. This reputational fallout accelerated his career's postwar slide, pushing him toward low-budget European productions and forcing reliance on past glamour rather than new opportunities, as industry gatekeepers prioritized distance from scandal.

Personal Life

Relationships and Long-Term Companions

Raft's most prominent extramarital relationship was with actress Virginia Pine, spanning from 1933 to 1940, during which she exerted a stabilizing influence on his lifestyle and he publicly expressed intentions to marry her pending a divorce. Despite repeated efforts, including legal attempts thwarted by his wife's refusal, the union never materialized due to Mulrooney's devout Catholicism. Throughout his Hollywood career, Raft was associated with numerous high-profile actresses in romantic capacities, including , , , , and , though these connections varied in duration and intensity. Accounts from contemporaries describe him as a charismatic female attention, yet he reportedly consummated few of these liaisons deeply, prioritizing professional and social entanglements over lasting commitments beyond Pine. In later years, Raft's companionships included shorter involvements such as with June McCall in 1952 and in 1955, reflecting a pattern of transient partnerships amid his ongoing separation from Mulrooney. These relationships, while publicized, did not lead to or , aligning with Raft's self-described aversion to formal domesticity outside his initial union.

Marriage and Family Dynamics

George Raft married Grace Mulrooney on June 15, 1923, in , shortly after meeting her while working as a dancer in New York. The union occurred when Raft was 21 and Mulrooney around 16 to 20 years old, depending on birth records, and they initially kept the marriage private at her request despite his preference for publicity. The couple separated soon after the wedding, with Mulrooney remaining in New York while Raft pursued his career in Hollywood, but they never divorced due to her devout Roman Catholic faith, which prohibited or dissolution. This arrangement persisted for nearly five decades until Mulrooney's death on an unspecified date in 1970, leaving Raft legally bound and unable to remarry despite numerous extramarital relationships with actresses including , , , , and . No children resulted from the marriage, and Raft had none biologically or through adoption, contributing to a family dynamic marked by isolation and financial support rather than or shared domestic life; he provided for Mulrooney's living expenses throughout their separation without reconciliation. The prolonged legal tie reportedly frustrated Raft's personal aspirations, including a stated desire to wed Shearer, underscoring tensions between his Catholic-influenced marital obligations and Hollywood's permissive social milieu.

Health Issues Leading to Death

In the years preceding his death, George Raft experienced chronic respiratory distress, described by his physician, Dr. Rexford Kennamer, as rendering him "a respiratory cripple for years." This condition culminated in , the disease that directly caused his death on November 24, 1980, at his home in , . Initial media reports erroneously attributed Raft's death to leukemia, a claim promptly refuted by Kennamer, who emphasized emphysema as the accurate diagnosis based on Raft's long-term pulmonary deterioration. Despite these health challenges, Raft continued sporadic professional engagements into 1980, including a cameo in the film The Man with Bogart's Face, reflecting his resilience amid declining physical capacity. No other major comorbidities, such as cardiovascular or neurological disorders, were publicly documented as contributing factors in contemporaneous medical accounts.

Legacy and Assessment

Innovations in Gangster Portrayals

George Raft distinguished his gangster roles through a commitment to realism, drawing directly from his longstanding associations with actual organized crime figures such as Benjamin "Bugsy" and , which informed mannerisms and attitudes absent in more theatrical predecessors. This authenticity manifested in portrayals emphasizing stoic detachment and verbal restraint, as seen in his tight-lipped tough-guy archetype across films produced primarily in and 1940s. A hallmark innovation appeared in Scarface (1932), where Raft's character Guino Rinaldo popularized the coin-flipping gesture as a symbol of fatalistic nonchalance, a tic that influenced countless subsequent mobster depictions in cinema and . This understated physicality contrasted with the explosive volatility of contemporaries like or the manic intensity of , positioning Raft's gangsters as coolly impassive operators rather than bombastic villains. Raft's background as a dancer further innovated the genre by infusing his characters with a dapper elegance—slicked-back hair, tailored suits, and fluid poise—that elevated the mobster to a stylized anti-hero, blending menace with in vehicles like (1939) and (1940). These elements collectively shifted portrayals toward a more credible, less caricatured vision of life, prioritizing causal behavioral realism over dramatic excess.

Career Decisions: Achievements Versus Criticisms

Raft's early career decisions to specialize in portrayals of suave, impeccably dressed gangsters, drawing from his New York nightlife experiences and associations with figures like Owney Madden, yielded significant achievements in the pre-Code era. Films such as Scarface (1932), where he played the loyal henchman Guino Rinaldo, and If I Had a Million (1932) highlighted his signature coin-flipping mannerism and understated menace, distinguishing him from more explosive performers like James Cagney and contributing to his status as a top box-office draw by 1933. This niche not only capitalized on public fascination with Prohibition-era underworld glamour but also influenced the archetype of the charismatic mobster in subsequent cinema. However, Raft's steadfast refusal to diversify beyond this image drew sharp criticisms for squandering peak opportunities, most notably rejecting the lead in High Sierra (1941) because the protagonist dies, a role that launched Humphrey Bogart's transition from supporting player to leading man. He similarly passed on The Maltese Falcon (1941), citing reluctance to play a detective, and (1942), wary of the script's romantic elements and potential typecasting reinforcement—decisions that handed Bogart defining successes while Raft's career plateaued. These choices reflected a pattern of prioritizing personal comfort over studio advice, exacerbating tensions with executives like Jack Warner, who viewed Raft's selectivity as obstructive. By the mid-1940s, Raft's commitment to gangster-centric scripts clashed with the Production Code's restrictions on crime glorification and shifting tastes toward more nuanced anti-heroes, leading to a string of underperforming vehicles at Paramount and a demotion to B-pictures. Critics, including those in publications, lambasted his limited range and script discernment as self-sabotaging, contrasting sharply with the adaptability of peers who evolved their personas. While his initial innovations provided enduring stylistic influence, the long-term consequences—fading relevance by the and reliance on European co-productions—underscored the perils of inflexible in a dynamic industry.

Influence and Depictions in Later Culture

Raft's coin-flipping mannerism, introduced as the gangster Guino Rinaldo in Scarface (1932), became a defining trope for cinematic mobsters, symbolizing detached fatalism and later replicated in animations and films as shorthand for the 1930s archetype. This gesture permeated popular culture, appearing in Looney Tunes shorts where characters mimicked Raft's style to evoke Prohibition-era tough guys. In Some Like It Hot (1959), Raft delivered a self-referential cameo as a mobster who halts a subordinate's coin flip, quipping about its origins as a "cheap trick," underscoring his foundational role in the motif. His portrayal of tight-lipped, impeccably dressed gangsters influenced the archetype's evolution into and post-war crime dramas, blending glamour with menace drawn from Raft's authentic underworld associations. This legacy persisted in homages, such as his final role in The Man with Bogart's Face (1980), a noir nodding to the era Raft helped define through roles that prioritized stylistic authenticity over verbal expressiveness. Raft's image as Hollywood's original stylish mobster continues to echo in analyses of cinema, where his contributions are credited with authenticating the genre's blend of real-life grit and screen charisma.

Filmography and Media Appearances

Feature Films by Period

Raft began his film career with minor dancing roles in late musicals and comedies, transitioning from Broadway. His screen debut came in the Warner Bros. production Gold Diggers of Broadway (1929), a where he appeared uncredited as a dancer. He followed with small parts in Queen of the Night Clubs (1929) and Side Street (1929), both emphasizing his terpsichorean skills amid the shift to sound films. These early appearances, limited to four features by 1930, showcased Raft's charisma but did not yet establish him as a lead. The 1930s marked Raft's ascent as a contract player, specializing in gangster and tough-guy archetypes that capitalized on his real-life associations with New York underworld figures. Breakthrough came with Scarface (1932), directed by , where Raft portrayed the coin-flipping henchman Guino Rinaldo, a role that defined his screen persona through subtle menace and stylistic flair. Subsequent leads included Night After Night (1932), his first starring vehicle; (1934), a dance drama opposite ; (1935), an early adaptation of Dashiell Hammett's novel; and (1939), a prison drama co-starring . By decade's end, Raft had completed over a dozen features, rejecting scripts like High Sierra and The Maltese Falcon that propelled , contributing to his shift to in 1939. In the 1940s, under Warner Bros. contract until 1943, Raft headlined action-oriented crime films that solidified his box-office draw amid wartime audiences. Key releases included They Drive by Night (1940), a trucking thriller with Bogart and Ann Sheridan; Manpower (1941), a labor drama with Edward G. Robinson; and Background to Danger (1943), an espionage tale produced by Raoul Walsh. Freelancing post-contract, he starred in RKO's Nocturne (1946), a noirish detective story, and Johnny Angel (1945), a seafaring mystery with Claire Trevor. Output tapered with lower-budget efforts like Whistle Stop (1946) opposite Ava Gardner and Outpost in Morocco (1949), reflecting career stagnation from salary disputes and typecasting. Approximately 15 features appeared this decade, prioritizing leads over supporting roles. The 1950s and 1960s saw Raft relegated to B-movies, international productions, and cameos, as Hollywood's Production Code waned and his star faded. Notable entries included Rogue Cop (1954), a gritty police drama with Robert Taylor; Black Widow (1954), a 20th Century Fox color noir; and a supporting turn in Billy Wilder's Some Like It Hot (1959), parodying his gangster image alongside Jack Lemmon and Tony Curtis. He appeared in ensemble films like Ocean's 11 (1960) and the Bond spoof Casino Royale (1967), often as himself or a hoodlum caricature. Fewer than ten major features materialized, supplemented by European ventures amid U.S. blacklist rumors tied to mob ties. Raft's final features in the were sparse cameos reflecting nostalgic homages. He played a mobster in Mae West's (1978) and reprised tough-guy tropes in (1980), his last screen role before retirement. These limited appearances underscored a career spanning over 50 years but peaking before mid-century.

Short Subjects and Television Roles

Raft starred in the syndicated television police drama I'm the Law (1953), portraying Lieutenant George Kirby, a New York City detective investigating urban crimes in 30-minute episodes. The series, produced on a low budget, featured noir-style stories and aired in various markets for approximately 26 to 29 episodes before concluding that year. He made multiple guest appearances on variety programs, including The Ed Sullivan Show (1948–1971), The Red Skelton Show, The Milton Berle Show, and The Jimmy Durante Show (1954), often performing or engaging in comedic sketches that leveraged his gangster image. In 1970, Raft guest-starred on the CBS sitcom Happy Days, marking one of his final television roles. Early in his career, Raft participated in two-reel short subjects, typically showcasing his dancing prowess from his vaudeville and nightclub background, though these were secondary to his work.

Notable Roles Rejected

Throughout his career, George Raft declined several prominent roles that subsequently became career-defining for other , often citing discomfort with character arcs, directors, or gangster stereotypes despite his own in such parts. In 1941, Raft rejected the lead in High Sierra, directed by , where the protagonist Roy Earle—a aging —meets a tragic end; Raft objected to portraying another doomed criminal and the film's fatalistic conclusion. The role went to , marking a pivotal breakthrough that elevated him from supporting player to and grossed over $3 million at the . That same year, Raft passed on in John Huston's The Maltese Falcon, wary of collaborating with a novice director despite Huston's script adaptations; Bogart assumed the iconic role, turning the film into a noir cornerstone with a $1.8 million worldwide gross and cementing Huston's reputation. Raft also turned down the ruthless ship captain in , another 1941 Warner Bros. production, further missing opportunities in strong ensemble casts led by and . Earlier, in 1933, Raft declined the male lead in The Story of Temple Drake, a controversial pre-Code adaptation of William Faulkner's novel, possibly due to its provocative themes involving rape and Southern decay; Miriam Hopkins starred opposite Jack La Rue, but the film's scandalous reputation led to cuts and Hays Code scrutiny upon re-release. In 1937, he rejected Baby Face Martin in Dead End, feeling the thug lacked sufficient sympathy; the part propelled Humphrey Bogart alongside Sylvia Sidney in a socially conscious drama that influenced urban crime genres. Raft's pattern of selective refusals, prioritizing image control over script potential, contrasted with his limited range, contributing to his fade from stardom as peers like Bogart capitalized on the vacated roles; while some accounts speculate on (1942), primary evidence indicates he was considered but not formally offered Rick Blaine. These decisions, documented in studio records and biographies, underscore Raft's rigid professional stance amid Hollywood's competitive landscape.

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