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Leon Errol
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Leon Errol (born Leonce Errol Sims, July 3, 1881 – October 12, 1951) was an Australian-American comedian and actor in the United States, popular in the first half of the 20th century for his appearances in vaudeville, on Broadway, and in films.

Key Information

Early years

[edit]

Errol was born in Sydney to Joseph and Elizabeth Sims,[citation needed] and studied medicine at the University of Sydney. After he wrote material for, directed, and acted in the university's annual play, his interests changed to entertaining.[1]

Career

[edit]

Errol toured Australia, New Zealand and Great Britain and Ireland in a variety of theatrical settings, including circuses, operettas, and Shakespeare. According to his petition for naturalization (1914), he first came to the United States in 1898, having arrived at the Port of San Francisco. By 1905, he managed a touring vaudeville company troupe in Portland, Oregon, giving an early boost to the career of a young comedian named Roscoe Arbuckle.[citation needed] In 1908, he settled permanently in the United States.

By 1911, Errol had made it to Broadway in the Ziegfeld Follies, notably in two skits with the legendary Bert Williams. Errol's sister,[2][3][4] Leda Errol (née Sims) was a personal friend of Ziegfeld Follies star Fanny Brice, and she appeared with him in the Ziegfeld Follies doing one- and two-act plays. He appeared every year in the Follies through 1915, when he is also credited as director of the show[5] that included W.C. Fields, Ed Wynn, as well as Marion Davies as one of the Ziegfeld Girls.

While balancing vaudeville appearances and a dozen Broadway shows, like the original 1920 production of Jerome Kern's Sally, Errol achieved the pinnacle of vaudeville success: headlining at the Palace.[6][unreliable source?]

Films

[edit]
In a short silent comedy, Buggins (1920)

In 1916, Errol made his first film, a comic short subject titled Nearly Spliced, though it was not released until 1921, for pioneering east-coast producer George Kleine.[citation needed] Errol left Broadway and went to Hollywood, appearing in Sally and Clothes Make the Pirate alongside Dorothy Gish (both 1925).[7] He was third-billed for Samuel Goldwyn's One Heavenly Night in 1931. The box-office for that film was disappointing, but overall Errol made a smooth transition to films in a variety of comedy roles. His comic trademark was a wobbly, unsteady walk, moving as though on rubber legs; this bit served him well in drunk routines.

In 1933, Errol starred in a series of comedy short subjects for Columbia Pictures; the following year, at Warner Bros., he starred in two pioneering three-strip Technicolor shorts, Service with a Smile (released July 28, 1934) and Good Morning, Eve! (September 22, 1934), the former beating the RKO Radio Pictures release La Cucaracha by five weeks as the first live action, all-Technicolor release.

In 1934, Errol moved to RKO Radio Pictures where he would star in six shorts per year until his death in 1951. Most of these were marital farces in which Leon would get mixed up with a pretty girl or an involved business proposition, and face the wrath of his wife (usually Dorothy Granger); the theme song to the series was the nursery rhyme London Bridge Is Falling Down.

Errol is well remembered for his energetic performances in the Mexican Spitfire movie series (1939–43) starring Lupe Vélez; Errol appeared in the recurring dual role of affable Uncle Matt and foggy British nobleman Lord Epping. After Vélez's suicide in 1944, RKO kept the Spitfire unit intact to produce domestic farces starring Errol.

Universal Pictures cast Leon Errol often from 1941 to 1945. He was featured in 14 musical-comedy films, as well as in the W. C. Fields comedy Never Give a Sucker an Even Break (1941) and the thriller The Invisible Man's Revenge (1944).

Monogram Pictures signed Errol to appear as fight manager Knobby Walsh in eight of its "Joe Palooka" sports comedies (1946–1950), one of which cast Errol as Lord Poole, a thinly disguised version of Lord Epping.

On February 4, 1950, Errol appeared on television as a guest on The Ed Wynn Show, broadcast live to the West Coast and seen on kinescope film to the East and Midwest on February 18, 1950.

Lord Epping Returns (1951), Errol's next-to-last film, reprised his famous characterization (and some of the gags) introduced in the 1939 feature Mexican Spitfire.

Footage from Errol's short subjects was incorporated into RKO's compilation features Variety Time, Make Mine Laughs, Footlight Varieties, and Merry Mirthquakes. RKO kept Errol in the public eye by reissuing his older comedies throughout the 1950s. His RKO shorts soon became a staple of television syndication.

Personal life

[edit]

Errol married Stella Chatelaine in 1906[8] in Denver, Colorado. She died on November 7, 1946, in Los Angeles. They had no children.

Death

[edit]

On October 12, 1951, Errol died from a heart attack at Good Samaritan Hospital in Hollywood. He was 70.[9] He was interred at Forest Lawn Memorial Park in Glendale.

Recognition

[edit]

Errol has a star at 6801 Hollywood Boulevard on the Hollywood Walk of Fame. It was dedicated on February 8, 1960.[10]

Leonard Maltin stated, "Errol convulsed stage and screen audiences".[11] Leslie Halliwell praised the little actor "For bringing a breath of inspired vaudeville to some pretty tired Hollywood formats, and for inventing Lord Epping."[12]

Partial filmography

[edit]

References

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

Leon Errol

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Leon Errol (July 3, 1881 – October 12, 1951) was an Australian-born American comedian and actor, renowned for his signature rubber-legged drunken stagger that defined his comedic persona in , Broadway productions, and over 150 films during the early to mid-20th century. Born Leonce Errol Sims in , , Errol grew up in the Balmain , began performing on at age 18, and emigrated to the around 1903, where he managed troupes starting in 1904. He quickly rose to prominence as a chief comedian, composer, and manager in musical troupes from 1904 to 1910, before starring in high-profile acts. His breakthrough came on Broadway with appearances in 21 shows between 1911 and 1929, including the from 1911 to 1915, where he collaborated with on memorable sketches and later directed revues. Errol's stage work often featured his befuddled, lecherous character, blending with dance. Transitioning to film in the late 1920s, Errol relocated to Hollywood around 1930 and became a staple in comedy shorts for , starring in 98 two-reelers over three decades while appearing in 56 feature films. Notable roles included his dual portrayal of Uncle Matt and Lord Epping in the Mexican Spitfire series opposite , the trainer Knobby Walsh in the Joe Palooka comedies, and a supporting part in ' Never Give a Sucker an Even Break (1941). He also featured in the Dr. Christian series and other B-movies, amassing credits in 165 films total by the time of his death from a heart attack in Hollywood at age 70. In 1960, Errol received a posthumous star on the for his motion picture contributions.

Early life

Birth and family

Leonce Errol Sims, known professionally as Leon Errol, was born on July 3, 1881, in the Balmain suburb of , , . He was the firstborn child of Joseph Sims, an accountant who worked for the Post Office, and Elizabeth Adams (née Rhoeder), both of whom had emigrated from . The family resided in Balmain, a working-class industrial suburb known for its strong labor movement ties and proximity to Sydney Harbour, where they lived at 74 Glassop Street for more than two decades. Errol had several siblings, including sisters Othelia (born 1885) and Leda (born 1891), and brother (born 1889), though multiple siblings died in infancy, contributing to a household of ten children in total. Growing up in this modest environment, Errol faced family expectations aligned with his father's professional stability, emphasizing conventional careers such as or .

Education and early performances

Errol attended Birchgrove Road Superior Public School in Balmain, where he performed as "Master L. Sims" in a school event in 1895. He became drawn to the through involvement in amateur theatricals, including smoke nights and benefit concerts in from 1899 to 1900, as well as circus performances, Shakespearean plays, and light operas, ultimately pursuing entertainment professionally. After his early endeavors, Errol embarked on his initial professional tours of Australia and New Zealand from approximately 1899 to 1903 as both a performer in vaudeville acts and a manager of small troupes. He arrived in the United States around 1903, settling initially in San Francisco, where he faced early challenges in the vaudeville circuits, including a failed attempt to manage a touring burlesque company out of Portland, Oregon.

Career

Vaudeville and international tours

Upon arriving in the United States around 1903, Leon Errol quickly established himself in by managing a touring company based in , where he provided an early career opportunity to the young comedian Roscoe "Fatty" Arbuckle around 1904-1905. Errol's troupe performed at venues like the Orpheum Theater, blending elements with comedic sketches that showcased his emerging physical humor. This period from 1904 to 1910 marked his transition from overseas performer to a key figure in American circuits, building a reputation for organizing dynamic touring acts. Prior to his U.S. entry, Errol had performed in , including with circuses, where he began refining his signature "rubber legs" routine and unsteady drunk persona. These pre-1903 experiences in allowed him to experiment with exaggerated physicality, drawing from his earlier circus background that influenced the wobbly, leg-shaking walk central to his comedy. The drunk act, characterized by tottering instability and falls, evolved during these tours as a staple of his solo and ensemble bits, emphasizing visual gags over dialogue. By 1919, Errol reached the height of vaudeville success, headlining at the prestigious Palace Theatre in New York, where his routines drew large crowds with their polished . Earlier, in the editions from 1911 to 1912, he collaborated with on notable sketches, including one where Errol portrayed a drunken passenger hailing Williams's cab driver, blending humor with subtle socio-political commentary on race and class. These partnerships highlighted Errol's versatility in ensemble work, solidifying his persona as a master of rubbery-legged antics rooted in circus traditions.

Broadway and stage prominence

Leon Errol made his Broadway debut in the Ziegfeld Follies of 1911, where he quickly established himself as a principal comedian through eccentric sketches and his signature "rubber-legged" gait that mimicked inebriation. He continued appearing in subsequent editions of the Follies from 1912 to 1915, often collaborating with in comedic duos that highlighted racial and social contrasts, such as a "white and black race" act where Errol played the bumbling authority figure. These performances, under Florenz Ziegfeld's direction, showcased Errol's versatility in dialect comedy and physical humor, contributing to the revue's reputation for lavish entertainment. Beyond the Follies, Errol expanded his stage presence by directing and staging several productions while maintaining his comedic roles, including The Century Girl (1916) and Hitchy-Koo of 1917. His breakthrough in a starring role came in the original production of Jerome Kern's musical Sally (1920), where he portrayed the Duke of Czechogovinio, a hapless nobleman whose antics drove much of the show's humor during its 561-performance run. This role marked Errol's shift from supporting ensemble work to lead status, solidifying his standing as a top Broadway comedian known for blending verbal wit with . Throughout the 1910s and 1920s, Errol balanced his Broadway commitments—appearing in over a dozen shows—with ongoing engagements, demonstrating his adaptability across theatrical formats. His Ziegfeld association and starring turns, such as in Louie the 14th (1925) as the uncouth Louie Ketchup, further cemented his peak prominence in legitimate theater, where he was celebrated for elevating comedic sketches into memorable highlights.

Film career

Silent era and transition to sound

Leon Errol entered the film industry during the silent era with a debut in the two-reel comedy short Nearly Spliced, filmed in 1916 but not released until 1921 by George Kleine Productions. In this early effort, Errol portrayed a befuddled struggling to reach the church on time, showcasing his vaudeville-honed in a narrative of mishaps and chases. Throughout the 1920s, Errol took on supporting roles in several silent features, typically embodying comedic innkeepers, aristocrats, or eccentric figures that highlighted his rubber-legged gait and expressive facial contortions. In Yolanda (1924), directed by Harry Beaumont, he appeared as the jovial innkeeper, providing comic relief amid the romantic intrigue of a medieval tale starring . In Sally (1925), a First National adaptation of the Broadway musical, Errol reprised his stage role as the pompous Duke of Checkergovinia, injecting into the story of a chorus girl's rise to stardom alongside . His most prominent silent role came in Clothes Make the Pirate (1925), where he led as Tremble-at-Evil Tidd, a timid tailor who fantasizes about piracy and assumes a swashbuckling , co-starring with in Maurice Tourneur's whimsical . As the film industry shifted to sound in the late 1920s, Errol adapted his timing—rooted in physical gags and humor—to the demands of synchronized , making a successful leap without the era's common pitfalls for stage performers. His first talking picture was the Paramount feature Only Saps Work (), in which he starred as Lawrence Payne, a slick con man entangled in theft and romance with and ; the film marked his starring bow in sound, blending verbal patter with his signature unsteady walk. This transition capitalized on Errol's established drunk routine from , where his wobbly, rubber-legged stagger often portrayed a tipsy rogue, allowing seamless integration of spoken lines into visual comedy. By the mid-1930s, Errol's screen presence gained momentum through key supporting roles that cemented his persona as a charming, inebriated . In We're Not Dressing (1934), a Paramount musical comedy loosely based on J.M. Barrie's and directed by , he played Uncle Hubert, the perpetually soused relative of Carole Lombard's spoiled heiress, whose bumbling antics propel the yacht-wreck survival farce alongside and . Similarly, in The Captain Hates the Sea (1944), a Columbia ensemble piece helmed by , Errol portrayed Layton, the gossipy ship's steward who plies passengers with drinks and secrets, contributing to the film's blend of comedy and drama with and amid a booze-soaked cruise. These performances refined his vaudeville-derived drunk character for cinema, emphasizing exaggerated stumbles and sly asides that endeared him to audiences during Hollywood's pre-Code era.

RKO shorts and comedy specialization

In 1934, Leon Errol signed a with RKO Radio Pictures, launching a prolific series of two-reel comedy shorts that spanned nearly two decades until his death in 1951, during which he starred in approximately six such films annually. These shorts established Errol as a specialist in domestic , where he typically played the husband entangled in everyday chaos, often exacerbated by his character's inebriated state or general ineptitude. The format emphasized quick-witted misunderstandings and escalating absurdities, with Errol's rubber-legged stagger serving as a visual punchline that underscored his prowess. Recurring motifs in the series included marital discord and bungled schemes, as seen in titles like Should Wives Work? (1937), in which Errol's character objects to his wife's return to employment, leading to a cascade of workplace and home blunders. Another example, A Rented Riot (1937), showcased his efforts to sublet his while evading his spouse's suspicions, culminating in a frenzy of uninvited guests and mishaps. Errol collaborated closely with RKO's team of writers and directors, such as Leslie Goodwins and Hal Yates, who tailored the scripts to exploit two-reel constraints for tight, gag-driven narratives. The shorts received acclaim for Errol's precise timing and expressive mime, elements that rooted his work in vaudeville traditions while advancing sound-era slapstick through exaggerated physicality and verbal patter. Notably, Should Wives Work? earned an Academy Award nomination for Best Short Subject (Two-Reel) in 1937, highlighting the series' impact on the genre. This body of work solidified Errol's legacy as a master of flustered comedy, influencing subsequent portrayals of the beleaguered everyman in short-form humor.

Feature films and series roles

Leon Errol gained prominence in the late through his recurring dual role as the bumbling Uncle Matt Lindsay and his aristocratic , Lord Basil Epping, in RKO's Mexican Spitfire comedy series starring . The series began with Errol's debut as Uncle Matt in The Girl from Mexico (1939), where he portrayed the sympathetic, tipple-loving relative of Vélez's character, Carmelita Lindsey, often impersonating the haughty Lord Epping to aid family schemes. Errol reprised the roles across all 8 films, including Mexican Spitfire (1940), Mexican Spitfire Out West (1940), The Mexican Spitfire's Baby (1941), Mexican Spitfire at Sea (1942), Mexican Spitfire's Elephant (1942), Mexican Spitfire Sees a Ghost (1942), and Mexican Spitfire's Blessed Event (1943), contributing his signature rubber-legged stagger and flustered timing to the fast-paced domestic farces. In the 1940s, Errol took on the supporting role of the scheming fight manager Knobby Walsh in Monogram Pictures' Joe Palooka series, based on the comic strip about the naive boxer Joe Palooka. He appeared in eight films as Knobby, starting with Joe Palooka, Champ (1946), where he recruits and mentors the titular champ played by Joe Kirkwood Jr., often entangled in boxing rackets and romantic mix-ups. Notable entries include Gentleman Joe Palooka (1946), Joe Palooka in the Big Fight (1949), and Joe Palooka in Humphrey Takes a Chance (1950), in which Errol occasionally doubled as Lord Cecil Poole, echoing his earlier persona. Beyond series work, Errol delivered standout supporting performances in standalone features that highlighted his vaudeville-honed . In the all-star Paramount adaptation Alice in Wonderland (1933), he played the eccentric Uncle Gilbert, delivering a whimsical turn in the pre-credits framing sequence. He reunited with comedy legend in Universal's Never Give a Sucker an Even Break (1941), portraying Fields' rival in a chaotic script-pitching sequence aboard an airplane. Errol brought to Universal's horror entry The Invisible Man's Revenge (1944) as the hapless butler Herbert Higgins, whose drunken antics provide levity amid the sci-fi tension. Errol's feature film career concluded in 1951 with appearances in two low-budget comedies: the revue-style Footlight Varieties, where he performed sketches drawing on his stage background, and the RKO short-derived Lord Epping Returns, reprising his Lord Epping character in a final nod to his signature routine—though the latter blurred lines with his short-form work. These roles underscored Errol's enduring appeal as a reliable purveyor of flustered, tipsy humor in B-movies and programmers.

Personal life

Marriage and partnerships

Leon Errol married the American dancer Stella Chatelaine, born Bertha Nelson, in 1906. The couple had met earlier as dance partners, moving together to the around 1904, where they frequently collaborated in and acts, including performances in during the 1906 earthquake and subsequent tours along the West and East Coasts. Their partnership exemplified a long-term devotion, marked by joint travels during Errol's early American tours and shared residences in key cities such as and New York. Beyond his marriage, Errol formed informal professional ties with other performers, notably providing mentorship to the young Roscoe "Fatty" Arbuckle by including him in his traveling troupe around 1905. Stella continued to support Errol through his career shifts from stage to film, accompanying him as the couple relocated to Hollywood around 1930 to pursue opportunities in the burgeoning movie industry. The couple had no children.

Lifestyle and residences

Errol spent his early years in Balmain, a working-class suburb of , Australia, where he was born Leonce Errol Sims on July 3, 1881. After initial performances in , he established a base in around 1904 following his arrival in the United States. By 1910, he relocated to to advance his stage career. In the , Errol settled permanently in Hollywood, , aligning with the expansion of his work. He and his wife, Stella Chatelaine, commissioned a Colonial Revival-style residence at 4701 Sancola Avenue in the Toluca Lake neighborhood of , designed by pioneering architect and completed in 1940. This home remained their primary residence until Stella's death in 1946, after which Errol continued living in the area. Errol led a notably private lifestyle, characterized by a professional off-stage demeanor and unwavering devotion to his wife. Unlike the befuddled, often inebriated characters he portrayed, no accounts document personal excesses such as heavy drinking or gambling in his daily life. His social circle appears limited to professional contacts, including close ties with comedian Bert Williams from their time in the Ziegfeld Follies and other industry figures associated with producer Florenz Ziegfeld. To sustain his signature "rubber legs" routine—a physically demanding stagger that required agility and balance—Errol maintained a disciplined approach to his physical condition, though specific routines beyond performance preparation are sparsely recorded.

Death and legacy

Final years and death

Following the death of his wife Stella on November 8, 1946, from a cerebral hemorrhage at the Hospital of the Good Samaritan in Hollywood, Leon Errol became a widower at age 65. The couple, married since 1906, had no children, leaving Errol without immediate family to support him in his later years. Despite this personal loss, Errol persisted in his professional commitments, starring in RKO comedy shorts throughout the late 1940s, including titles released as late as 1951, such as Deal Me In and Too Many Wives. Errol's health began to deteriorate in the late 1940s. His ongoing work in demonstrated resilience amid mounting physical challenges. On October 12, 1951, Errol suffered a fatal heart attack in Hollywood, , following a three-week illness; he had entered Good Samaritan Hospital the previous night for a check-up after experiencing chest discomfort. He was interred at Forest Lawn Memorial Park in , with no public details reported on funeral services.

Recognition and cultural impact

Leon Errol received a star on the at 6801 , dedicated on February 8, 1960, recognizing his contributions to motion pictures. Errol's archival legacy is preserved through the Leon Errol Collection at the American Vaudeville Museum at the , which includes scrapbooks, photographs, programs, and ephemera documenting his career from 1904 to the 1940s. His RKO short films, such as A Panic in the Parlor (1945), have been maintained in archives and reissued on collections, ensuring their availability for study in film history. Errol's cultural impact stems from his pioneering , particularly his rubber-legged drunk routines that emphasized unsteady gait and exaggerated falls, influencing the archetype of the bumbling inebriate in . His collaboration with African American comedian in the 1911 marked one of the earliest interracial comedy teams on Broadway, breaking racial barriers in and earning recognition in histories of the era. In modern times, Errol's work enjoys revivals through DVD compilations like The Flustered Comedy of Leon Errol series and online platforms, with his films screened in retrospectives. Recent biographical accounts, such as those highlighting Australian expatriate performers, have spotlighted his origins and trans-Pacific career in 2023 publications.

Filmography

Short films

Leon Errol's work spanned the transition from silent cinema to , with his most prolific output coming from a long-running series of two-reel comedies produced by RKO Radio Pictures between 1934 and 1951. These 98 shorts established Errol as a lead comedian, typically portraying flustered, scheming husbands entangled in domestic mishaps, often alongside recurring co-stars like as his wife. The series was helmed by a rotating team of RKO directors, including Ben Holmes, Charles Barton, and Leslie Goodwins, emphasizing and verbal timing suited to Errol's vaudeville-honed drunk act. Prior to his RKO tenure, Errol appeared in a handful of early shorts, beginning with the silent comedy Nearly Spliced (1921), a George Kleine production directed by J.C. Miller, in which he starred as a befuddled bridegroom on his wedding day. Additional early works include other silent and transitional shorts from the 1920s and early 1930s, such as Vitaphone productions. Another notable early effort was The Mashie Niblick (1931), a golf-themed short where Errol appeared as himself demonstrating comedic mishaps on the course. These independent and transitional shorts showcased his physical comedy style before sound films amplified his verbal delivery. The RKO series proper launched in 1934 and ran consistently through the 1940s, with Errol as the central figure in scenarios involving jealousy, mix-ups, and marital strife. Below is a chronological selection of key titles from the series, highlighting his starring role as the lead comedian (often credited simply as "Leon Errol"):
YearTitleDirectorNotes
1934Fixing a StewAl BoasbergEarly RKO entry; Errol as a hapless host.
1934Good Morning, Eve!Roy MackMusical comedy short.
1934Service with a SmileRoy MackVitaphone production released by RKO.
1934One Too ManyDel LordColumbia short predating full RKO commitment.
1935Pirate Party on Catalina IsleRoy MackAll-star short with Errol in a comedic cameo role.
1936One Live GhostCharles LamontErrol in a haunted house farce.
1936Down the RibberRoy MackRiverboat-themed comedy.
1936Merry MirthquakesCharles BartonEarthquake gag-driven short.
1937A Rented RiotCharles BartonErrol schemes to avoid trouble with a rented suit.
1937Should Wives Work?Leslie GoodwinsOscar-nominated for Best Short Subject.
1938The JittersBen HolmesErrol as a nervous dance instructor.
1938Stage FrightLeslie GoodwinsBackstage comedy antics.
1939Moving VanitiesLeslie GoodwinsRelocation mix-up plot.
1939The Wrong RoomBen HolmesHotel room farce.
1940Bested by a BeardBen HolmesErrol competes in a beard contest.
1941Man-I-CuredBen HolmesManicure salon chaos.
1941A Panic in the ParlorBen HolmesDomestic panic scenario.
1942Framing FatherBen HolmesFamily frame-up comedy.
1942Pretty DollyBen HolmesDoll-related misunderstanding.
1943Radio RunaroundBen HolmesRadio broadcast gone awry.
1943Gem-JamsJules WhiteJewelry heist spoof.
1944He Forgot to RememberBen HolmesFishing trip deception.
1944Girls! Girls! Girls!Ben HolmesNightclub jealousy plot.
1945What a BlondeBen HolmesBlonde bombshell confusion.
1945Beware of RedheadsBen HolmesRedhead rivalry.
1946Twin HusbandsBen HolmesTwin identity mix-up.
1946Maid TroubleBen HolmesMaid service farce.
1948Bet Your LifeBen HolmesGambling woes.
1948Don't Fool Your WifeBen HolmesMarital deception theme.
1950Texas Tough GuyBen HolmesWestern parody elements.
1950High and DizzyBen HolmesDizzy heights comedy.
1951Too Many WivesBen HolmesPolygamy mix-up.
1951One Wild NightBen HolmesNight out gone wrong.
1951Deal Me InBen HolmesPoker game chaos.
1951Lord Epping ReturnsBen HolmesAristocratic pretense.
These RKO shorts were reissued throughout the 1950s and became staples of television syndication, preserving Errol's legacy as a comic everyman.

Feature films

Leon Errol's career began in the silent era and continued into the sound period, where he often portrayed comedic supporting characters such as bumbling uncles, managers, and eccentrics. He gained prominence in series like the Mexican Spitfire films (1939–1943), where he played the of Uncle Matt Lindsay and Lord Basil Epping, and the Joe Palooka boxing comedies (1946–1950), as the trainer Knobby Walsh. His appearances spanned diverse genres, from musicals and westerns to horror-tinged adventures like The Invisible Man's Revenge (1944). The following is a complete chronological list of his credited roles.
YearTitleRole
1924YolandaInnkeeper
1925SallyDuke of Checkergovinia
1925Clothes Make the PirateTremble-at-Evil Tidd
1927The Lunatic at LargeSam Smith
1930Only Saps WorkJames Wilson
1930Paramount on Parade(uncredited)
1931Her Majesty, LoveBaron von Schwarzdorf
1931One Heavenly NightOtto
1931Finn and HattieFinn [Finley P.] Haddock
1933Alice in WonderlandUncle Gilbert
1934The Notorious Sophie LangStubbs
1934We're Not DressingHubert
1934The Captain Hates the SeaLayton
1935Princess O'Hara"Last Card" Schulz
1935CoronadoOtto Wray
1937Make a WishBrennan
1939CareerMudcat
1939Dancing Co-Ed"Pops" Marlow
1939The Girl from MexicoUncle Matt
1940Pop Always PaysHenry Brewster
1940The Golden FleecingUncle Waldo
1940Mexican Spitfire Out WestUncle Matt Lindsay / Lord Basil Epping
1940Mexican SpitfireUncle Matt Lindsey / Lord Basil Epping
1941Where Did You Get That Girl?Alex MacDevin
1941Moonlight in HawaiiWalter [Spencer]
1941Never Give a Sucker an Even BreakHis rival [Leon Errol]
1941Hurry, Charlie, HurryDaniel Boone Jennings
1941Six Lessons from Madame La ZongaSeñor Alvarez [also known as Mike Clancy]
1941The Mexican Spitfire's BabyUncle Matt Lindsey / Lord Basil Epping
1941Melody LaneMcKenzie
1942Strictly in the GrooveCarter B. "Turkey-Trot" Durham
1942Mexican Spitfire's ElephantUncle Matt Lindsey / Lord Basil Epping
1942Mexican Spitfire at SeaUncle Matt Lindsey / Lord Basil Epping
1942Mexican Spitfire Sees a GhostUncle Matt Lindsey / Lord Basil Epping
1943Higher and HigherCyrus Drake
1943Follow the BandBig Mike O'Brien
1943Cowboy in ManhattanHank [Baker]
1943Gals, IncorporatedCornelius [V. Rensington III]
1943Mexican Spitfire's Blessed EventUncle Matt Lindsey / Lord Basil Epping
1944Babes on Swing StreetMalcolm Curtis
1944Twilight on the PrairieCactus [Barton]
1944Hat Check HoneyHappy Dan Briggs
1944Slightly TerrificJames P. Tuttle / John P. Tuttle
1944The Invisible Man's RevengeHerbert [Higgins]
1945Under Western SkiesWillie [Wells]
1945She Gets Her ManMulligan
1945Mama Loves PapaWilbur Todd
1946Gentleman Joe PalookaKnobby Walsh
1946Riverboat RhythmMatt Lindsey
1946Joe Palooka, ChampKnobby Walsh
1947Joe Palooka in the KnockoutKnobby Walsh
1948The Noose Hangs HighJ. C. McBride
1948Joe Palooka in Fighting MadKnobby Walsh
1948Variety TimeLeon Errol
1949Joe Palooka in the Big FightKnobby Walsh
1949Joe Palooka in the CounterpunchKnobby Walsh
1949Make Mine LaughsLeon Errol
1950Joe Palooka Meets Humphrey"Knobby" [Walsh / Lord Cecil Poole]
1950Joe Palooka in Humphrey Takes a ChanceKnobby [Walsh]
1951Footlight VarietiesLeon Errol

References

  1. https://sites.arizona.edu/vaudeville/leon-errol-the-rubber-legged-scoundrel-of-vaudeville-by-frank-cullen/
  2. https://walkoffame.com/leon-errol/
  3. https://forgottenaustralianactresses.com/2023/10/01/leon-errol-1881-1951-vaudeville-star-from-balmain/
  4. https://www.findagrave.com/memorial/2203/leon-errol
  5. https://www.bdm.nsw.gov.au/
  6. https://trove.nla.gov.au/newspaper/article/151891448
  7. https://ancestors.familysearch.org/en/KCV5-WF3/leonce-errol-sims-1881-1951
  8. https://www.ancestry.com/genealogy/records/leonce-errol-sims-aka-leon-errol-24-976lmg
  9. https://vaudeville.library.arizona.edu/collection/leon-errol-collection/
  10. https://laughterlog.com/2023/03/22/performers-leon-errol/
  11. https://sites.arizona.edu/vaudeville/leon-errol-versatile-rubber-legged-comedian-by-david-soren/
  12. https://travsd.wordpress.com/2013/03/24/stars-of-slapstick-80-roscoe-fatty-arbuckle/
  13. https://carrieannebrownian.wordpress.com/2016/09/26/roscoe-arbuckle-week-part-i-life-before-the-storm/
  14. http://www.performingartsarchive.com/Performers/Performers-E/Leon-Errol/Leon-Errol.htm
  15. https://travsd.wordpress.com/2009/07/03/stars-of-vaudeville-27-leon-erroll/
  16. https://www.ibdb.com/broadway-production/ziegfeld-follies-of-1915-7045
  17. https://www.ibdb.com/broadway-production/sally-9011
  18. https://www.ibdb.com/broadway-cast-staff/leon-errol-14717
  19. https://www.imdb.com/title/tt1263758/
  20. https://www.themoviedb.org/movie/344309-nearly-spliced
  21. https://www.imdb.com/title/tt0015518/
  22. https://www.imdb.com/title/tt0016307/
  23. https://www.imdb.com/title/tt0015689/
  24. https://www.imdb.com/title/tt0021218/
  25. https://catalog.afi.com/Catalog/MovieDetails/11162
  26. https://www.imdb.com/title/tt0025965/
  27. https://www.imdb.com/title/tt0024951/
  28. https://projects.latimes.com/hollywood/star-walk/leon-errol/
  29. https://www.imdb.com/title/tt0174162/
  30. https://www.cinema-crazed.com/blog/2023/06/23/the-bootleg-files-should-wives-work/
  31. https://thirdbanana.blogspot.com/2008/07/rubberlegs.html
  32. https://www.tcm.com/tcmdb/title/83377/mexican-spitfire
  33. https://www.tcm.com/tcmdb/person/58101%7C97476/Leon-Errol#filmography
  34. https://www.tcm.com/tcmdb/title/492213/gentleman-joe-palooka
  35. https://www.tcm.com/tcmdb/title/67021/alice-in-wonderland
  36. https://www.tcm.com/tcmdb/title/79369/the-invisible-mans-revenge
  37. https://www.imdb.com/name/nm0259816/bio/
  38. https://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brenda-hampton-toluca-lake-20190510-story.html
  39. https://www.npr.org/sections/pictureshow/2020/09/15/904409494/regarding-paul-r-williams-honors-legacy-of-la-s-barrier-breaking-black-architect
  40. https://www.nytimes.com/1946/11/09/archives/mrs-leon-errol-wife-of-comedian-had-worked-with-him-on-the-stage.html
  41. https://www.nytimes.com/1951/10/13/archives/leon-errol-dies-film-comedian-70-rko-star-20-years-played-in.html
  42. https://archive.org/details/APANICINTHEPARLORLeonErrol
  43. https://www.youtube.com/watch?v=zUHoZE2Y3fA
  44. https://hornsection.blogspot.com/2017/02/leon-errol-series-jitters-1938.html
  45. https://www.youtube.com/watch?v=FnPPyOaXupM
  46. https://hornsection.blogspot.com/2022/03/leon-errol-series-one-too-many-1934.html
  47. https://www.youtube.com/playlist?list=PLEAKW4PcnvxmxZTEZHWYS-1dcoLkrkl45
  48. https://www.lovingtheclassics.com/leon-errol-comedy-collection-7-vintage-comedy-shorts-on-dvd.html
  49. https://www.youtube.com/watch?v=D--RWcivjQs
  50. https://hornsection.blogspot.com/2022/06/leon-errol-series-wrong-room-1939.html
  51. https://www.imdb.com/title/tt0236287/
  52. https://www.imdb.com/title/tt0236257/
  53. https://hornsection.blogspot.com/2020/04/leon-errol-series-what-blonde-1945.html
  54. https://hornsection.blogspot.com/2020/02/leon-errol-series-beware-of-redheads.html
  55. https://www.imdb.com/title/tt0236815/
  56. https://www.imdb.com/title/tt0236017/companycredits/
  57. https://hornsection.blogspot.com/2017/05/leon-errol-series-texas-tough-guy-1950.html
  58. https://hornsection.blogspot.com/2019/10/leon-errol-series-too-many-wives-1951.html
  59. https://hornsection.blogspot.com/2017/07/leon-errol-series-one-wild-night-1951.html
  60. https://hornsection.blogspot.com/2017/12/leon-errol-series-deal-me-in-1951.html
  61. https://www.tcm.com/tcmdb/person/58101%257C97476/Leon-Errol
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