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Appeared in EQ movieEddie Quillan (Mar 31. 1907  -  Jul 19. 1990)
Height: 5' 6"
Weight: 140 pounds
Eyes: Brown
Hair: Black
The young man on the right is Eddie Quillan at the age of seven when he was appearing with two of his brothers, John and Buster, in a well-known vaudeville act.
Above right: The young man on the right is Eddie Quillan at the age of seven when he was appearing with two of his brothers, John and Buster, in a well-known vaudeville act.

Edward "Eddie" Francis Quillan was born in Philadelphia, Pennsylvania on March 31, 1907 (Easter Sunday). Born on Hollywood Street somewhere in Philadelphia Eddie seems destined for the movies from the start. His Catholic parents, Joseph Francis Quillan (1884-1952) and Sarah Owens (1885-1969) had a theatrical career as troupers in their native Scotland. As old-time vaudeville headliner (had been on stage since he was 18 years old), Joe married Sarah and broke up the successful sister act in which she starred. A motto of theirs was that "all happens for the best". One might wonder if that was the case when Eddie's father, a wealthy man, manufacturer, and producer of plays in Scotland, lost his money. After marrying and going to the U.S., they continued to be actively involved on the stage.  Mr. and Mrs. Quillan were highly regarded performers and were contracted players in the most prestigious of the "big time" vaudeville franchises.

Eddie made his debut at the age of seven and by 1917, he was heading up a troupe under the name "Buster Quillan and (His) Pals," with his brothers Thomas (aka Buster), John and Joe and sister Marie (later joined by four more sisters Helen, Margaret "Peggy", Isabell(a) and Roseanne "Rosebud" for a total of nine Quillan children).

Note: The name of the ensemble changed as more and more siblings came into the act or became more successful, varying from The Four Quillans to Eddie Quillan and Family

Brothers:
   
Joseph Edward (Sep 21. 1903 - May 31. 1913)
    John Joseph "Johnny" (Jun 25. 1905 or 1906 - Aug 27. 1985)
    Thomas James "Buster" (Jul 13. 1911 - Feb 8. 1989)
    Joseph Francis "Joe" (Aug 31. 1916 - Apr 6. 1961)

Sisters
    Mary Ann , "Marie" (Mar 17. 1909 - April 16. 1998)
    Margaret , "Peggy" (1916  - alive in 1990)
    Helen (Feb 1918 or 1919 - )
    Isabella (1921 - )
    Roseanne A. , "Rose Ann", "Rosebud", "Rose" (May 18. 1924 -  Oct 15. 2019)
Eddie did a juvenile impersonation of Harry Lauder that almost headlined the act and would probably have brought the "Big Time" if the law had not interfered, with compulsory schooling.
Eddie (pictured right) did a very good juvenile impersonation of Harry Lauder that almost headlined the act and would probably have brought the "Big Time" if the law had not interfered, with compulsory schooling. The folks returned to Philadelphia and Eddie received his education at Saint Gabriel's School in South Philadelphia, later finishing at Mount Carmel. With his school completed Eddie joined the road act again.
During World War I, in 1917, Joseph wrote a vaudeville skit called The Rising Generation with the Quillans as part of this act, singing, dancing, telling jokes, and playing musical instruments. Their father travelled with the boys, usually during the summer months, and managed the act, their mother served as guide.

When the Quillan children were in American vaudeville working hard, they adhered to their watchword that "work was play." They never "went to work," said Eddie. It was always "We're playing tonight."
Rare photo of a Quillan clan gathering. Eddie can be seen standing left in the picture.
Above: Rare photo of a Quillan clan gathering. Eddie can be seen standing left in the picture.

Edward toured together with his eight siblings throughout the U.S. In an interview with Michael Ankerich in 1988, Eddie described his early life on the road: "We played most of the places we were allowed to play as children. Because of the authorities, we couldn't play everywhere. We could never get into New York because the Gerry Society, founded to protect minors from exploitation, was so strict."

 

Eddie also described a typical vaudeville day: "I would get up around 11:00 a.m., and we would do the show at 2:00 p.m. The we had another evening show, usually two, so that made three performances a day. We would finish about 11:00 p.m., and then, after we got our makeup off, would go to a restaurant to eat. So it was 1:00 a.m. or so before we went to bed."

 

Occasionally the family was on the road while school was in session. During this times the Quillan children received their education through the New York Professional Children's School, which was by correspondence. 

 Joseph Quillan (1884-1952) and Sarah (1885-1969) with their nine children (Eddie on the steps)
 Joseph Quillan (1884-1952) and Sarah (1885-1969) with their nine children (Eddie is the fourth from the left)
Above:  Joseph Quillan (1884-1952) and Sarah (1885-1969) with their nine children (Eddie is the fourth from the left)

By the time he was in his teens, Quillan was a consummate performer, adept at singing, dancing, and acting. In addition he played saxophone and appeared as a stand-up comic.

 

Growing up Eddie was a fan of motion pictures but nothing more. His mother is actually credited with planting the idea in his head. When performing in Chicago the children had their individual portraits taken. When his mother, Sarah, looked at the publicity photos, she expressed the idea that he ought to be in pictures, which made him consider the possibility.


After ten years in theatre the Quillans settled on the West Coast and
seeing the opportunity silent films provided Joseph was ready to take advantage where his talented children were concerned. He made round of many studios at first with no apparent success.

 

Some versions vary. But when Eddie was doing a solo tap dance, at the same time holding a mirror in front of his face. Brother John came out and asked: "What's the idea of the mirror, Eddie?" And then the serious reply: "Dad told me to be careful and watch myself during this number." Among those in the audience who laughed was Mack Sennett. He made arrangements for a screen test of the three boys, John, Buster, and Eddie.

In another version Mack Sennett's Keystone Studio just accepted and gave his four (?) siblings an audition.

 

While watching the film tests, Eddie and his brothers were horrified and thinking the result terrible walked out. However, when Sennett watched the screen test, he was so impressed with Eddie that he went so far as hiring a private detective to find him. At the time the family was touring throughout California as part of the Orpheum Circuit.

 

Note: According to several sources, Eddie received his first (small) role in the film, Up and At 'Em, in 1922, but this could not be confirmed. While the anecdote surrounding Sennett's discovery does suggest that Eddie did not make his film debut until 1926.

The vibrant scene of the Charleston, jazz, knee-high skirts, and Oxford bag trousers became widely recognized in feature films of the mid to late 1920s. These films typically showcased the lively atmosphere on college campuses or within glamorous Art Deco mansions. However, this cultural phenomenon also found expression on a smaller scale, featuring fashionable "vamps" and lively dance contests in comedy shorts. An example worth noting is the 1926-27 series produced by Mack Sennett, starring the energetic duo of Alice Day and Eddie Quillan. Unfortunately, this set of films has largely faded into obscurity. (8)

Mack Sennett on the set with Eddie Quillan (1926)
Above: Mack Sennett on the set with Eddie Quillan (1926) reportedly during the shooting of his first movie.

In the early twenties, Sennett reverted to the familiar slapstick two-reeler format. Recognizing the growing fascination with the "flaming youth" (with flapper culture gaining prominence around 1922), Sennett decided to venture into youth-oriented shorts. Playing a pivotal role in this venture was the lively Alice Day. As the series unfolded, the narrative shifted its focus, often centering on Day's character harboring affections for a wealthy man, oblivious to the humble admirer hoping to win her affection. This admirer role was later assumed by the newly signed Eddie Quillan, whose bashful youthfulness proved to be the perfect fit for the series. (8)

Despite his petite stature and delicate features, which almost seemed ethereal under the white screen makeup and black liner, Quillan took on the exaggerated role of a teenage "sheik" of the era in Sennett's films. He was consistently attired in Oxford bags, loud-patterned vests, and jaunty straw hats with striped hat bands. Media coverage celebrated Sennett's discovery, describing Eddie as someone who played the saxophone, excelled at the Charleston, had a weakness for ice cream sodas, wore suspenders, and occasionally sported his socks in a collegiate fashion. Meanwhile, in the series, Alice Day typically portrayed a small-town girl enamored with the sophisticated O'Shea, while Quillan, often referred to as "Buddy Jones," played the role of her shy and genuine admirer. (8)

The first Day-Quillan collaboration was A Love Sundae (1926), where country girl Day finds her sweetheart O’Shea has fallen for an alluring city girl. She attempts to get him back by eloping with Quillan, a bashful soda jerk. Lost today, tantalizing stills show that the centerpiece of the short was a Halloween-themed barn dance with streamers and strings of papier-maché jack-o’-lanterns hanging from the ceiling. Day appears in a frilly “little girl” outfit while surrounded by fashionable fellow teens, suggesting there’s a gag where she’s the only one who shows up to the dance in a costume.
Above: The first Day-Quillan collaboration was A Love Sundae (Pathé, April 11. 1926), where country girl Day finds her sweetheart O’Shea has fallen for an alluring city girl. She attempts to get him back by eloping with Quillan, a bashful soda jerk. Lost today, tantalizing stills show that the centerpiece of the short was a Halloween-themed barn dance with streamers and strings of papier-maché jack-o’-lanterns hanging from the ceiling. Day appears in a frilly “little girl” outfit while surrounded by fashionable fellow teens, suggesting there’s a gag where she’s the only one who shows up to the dance in a costume. (8)
At first, Sennett tried to turn Quillan into a new Harry Langdon, so in Love Sundae (Pathé, April 11. 1926) Quillan played a rail-thin, pasty-faced comedian who looked every bit his age, played Buddy Jones, a soda jerk infatuated with Alice (Alice Day with whom Eddie played many of his first shorts). Quillan's father, who handled his son's business affairs played hardball with Sennett and got Eddie raised from a $65 tot a $ 175/week contract. Quillan would use the character name Buddy Jones several more times.

Day and Quillan’s comedy series has largely been lost to the mists of time — only three survive as partial prints. (Strangely, many shorts directed by other Sennett units around the same time do survive.) (8)
  Eddie Quillan, unknown, Danny O'Shea in "Kitty from Killarney" (1926) The final Cline-directed Day film harks back to her earlier immigrant roles. Portraying an Irish girl, she disguises herself as the daughter of a Jewish couple to navigate Ellis Island and eventually becomes part of their family. Encountering Quillan, a former flame from Ireland, she learns he is dating an Italian girl who performs with him on stage, showcasing Quillan's vaudeville skills. Overcome with jealousy, Day goes to the theater, hurling vegetables at Quillan during his act. In turn, he retaliates, causing chaos in the entire theater.From left to right Eddie Quillan seen with director Larry Semon, Alice Day and Danny O'Shea. They were seen in 'Pass The Dumplings' and 'The Plumber's Daughter' (1927)
Above left: Eddie Quillan, unknown, Danny O'Shea in Kitty from Killarney (Pathé, Dec 19. 1926) The final Cline-directed Day film harks back to her earlier immigrant roles. Portraying an Irish girl, she disguises herself as the daughter of a Jewish couple to navigate Ellis Island and eventually becomes part of their family. Encountering Quillan, a former flame from Ireland, she learns he is dating an Italian girl who performs with him on stage, showcasing Quillan's vaudeville skills. Overcome with jealousy, Day goes to the theater, hurling vegetables at Quillan during his act. In turn, he retaliates, causing chaos in the entire theater. (8)
Above right: From left to right Eddie Quillan seen with director Larry Semon, Alice Day and Danny O'Shea. They were seen in
Pass The Dumplings  (Pathé, Jan 16. 1927) and The Plumber's Daughter (Pathé, Feb 13. 1927).

Eventually the slight, pop-eyed, ever-grinning Quillan established himself in breezy "collegiate" roles.

The next conflict led to Eddie breaking his contract with Sennett. The situation involved the script for one of Eddie's two-reel comedies, Pass the Dumplings (Pathé, Jan 16. 1927). When Eddie received the outline of the story, there was something he thought was a bit risqué and out of character for his comedic role. Eddie told Sennett he refused to play the scene the way it was written. Sennett wouldn't budge and ordered Eddie to do the scene. Eddie did but it would be the last picture with Sennett.

 

Quillan's absence from Sennett was brief, as he made a return only a few months later, suggesting no lingering animosity. By this time, the Day series had concluded, and Sennett, seeking someone to step into the slapstick shoes recently vacated by Harry Langdon, saw potential in Quillan. In shorts like Catalina, Here I Come (Pathé, April 17. 1927), and The College Kiddo (Pathé, Aug 7. 1927), Quillan appears to be emulating Langdon's prolonged gazes and peculiar, fluttery movements. Fortunately, this Langdon-esque role was short-lived, as Quillan also took on roles in classics like Love in a Police Station (Pathé, Dec 25. 1927), a Sennett satire featuring his iconic Keystone Kops. (8) The new Kops were Andy Clyde, Barney Hollum, William Armstrong and Tiny Ward, with Eddie Quillan as traffic Kop.

Madeline as the waitress and Eddie as the cook in "Catalina, Here I Come" (April 1927)In "Love in a Police Station" (Dec 1927), Sennett revived his iconic Keystone Kops. Eddie, seen here with Madeline Hurlock, played a traffic Kop a job which didn't exist when the previous Keystone Kops were around!
Above left: Madeline as the waitress and Eddie as the cook in Catalina, Here I Come (Pathé, April 17. 1927).
Above right:
In Love in a Police Station (Pathé, Dec 25. 1927), Sennett revived his iconic Keystone Kops. Eddie, seen here with Madeline Hurlock, played a traffic Kop a job which didn't exist when the previous Keystone Kops were around!
The Bull Fighter (Pathé, Nov 27. 1927) would be the last film Quillan would make for Mack Sennett. In June Quillan filed suit against Sennett to enjoin Sennett from preventing him from working for other producers, claiming that his contract of November 7. 1925, was invalid because he was a minor at the time he signed it (though Quillan was over 18 at the time of signing). The dispute was settled out of court and the two reportedly parted as friends. Quillan went off to make shorts for Educational, then starring features. (4)
Eddie Quillan and family in "A Little Bit of Everything" (1928), Vitaphone Variety
Boven: Eddie Quillan and family in A Little Bit of Everything (Warner Bros Vitaphone Variety, July 1. 1928)
Quillan began to freelance. He starred in the A Little Bit of Everything (Warner Bros Vitaphone Variety, July 1. 1928), notable because it featured his siblings Marie, Thomas ("Buster"), Joseph, and John in starring roles. This 8 minutes long karaoke version of the hit song "Little Bit of Everything"' contained karaoke backing track with on-screen scrolling lyrics. Basically it recreated an earlier vaudeville act by the family (2 songs).

Quillan made his first major feature-film appearance when he co-starred in Cecil B. DeMille's The Godless Girl (Pathé, Mar 31. 1928 for the version with sound).  One of DeMille's best works - it betrays itself only in a couple of weak romantic interludes, and in the overwrought playing, particularly of Noah Beery as the sadistic head guard. It opens at a high school, where Judy (Lina Basquette) addresses a meeting of the Godless Society. Judy's love for Bob Hathaway (George Duryea), doesn't protect her when he leads a storm troop to break up the meeting. Her pal "Goat" (Eddie Quillan) is beaten up, and a girl is killed when she falls from the top floor. Sent to reform school the youngsters discover how swift brutal punishment can be. When stepping out of line in the washroom the head guard turns a very painful fire hose on them. Quillan remonstrating with Beery and being knocked down, he bounced straight off the water-soaked floor. It transpired that electric cables for the lights were lying in the water, and he had received a violent shock.
Eddie Quillan & Lina Basquette in "The Godless Girl" (1928)Quillan (right) with Carole Lombard (left) and Bessie Barriscale (middle) in "Show Folks" (1928)
Above left: Eddie Quillan & Lina Basquette in The Godless Girl (Pathé, Mar 31. 1928 for the version with sound).
Above right: Quillan (right) with Carole Lombard (left) and Bessie Barriscale (middle) in Show Folks (Pathé, Oct 31. 1928).
Marion Nixon and Eddie dance the charleston in (jan) 1929's Geraldine
Above: Marion Nixon and Eddie dance the charleston in Geraldine (Pathé, Jan 20. 1929)
   
The Godless Girl (Pathé, Mar 31. 1928) led to a contract at Pathé studios, where Quillan starred in a series of such ebullient vehicles.

The first Noisy Neighbors (Pathé, Jan 27. 1929), was notable because it featured most of he Quillan clan as unwilling participants in a hillbilly feud. It gave them the opportunities to display their musical (vaudeville) talent in the Photophoned version of the Pathé production. Eddie gave his impressions of a saxophone virtuoso, while Miss Vaughn and Marie Quillan demonstrated their abilities at the piano. Eddie and his Dad also did a dance. This was the last time Eddie would work professionally with his mother and father.
Eddie opposite his father in "Noisy Neighbors". As was common in those days, the Quillans also earned an extra penny from the songs featured in these shorts. For example, Alberta Vaughn and Eddie Quillan sang the theme song for Noisy Neighbors "a waltz ballad" called "Waiting Through The Night." Revenues were generated by sales of records and (mostly)sheet music.
 Eddie Quillan, Alberta Vaughn, Marie Quillan and other players (including other Quillans: Joseph, Isabelle, John, Buster) als "The Marvelous Monarchs" in "Noisy Neighbors" (Jan 1929).
Top left: Eddie opposite his father in Noisy Neighbors (Pathé, Jan 27. 1929).
Top right: As was common in those days, the Quillans also earned an extra penny from the songs featured in these shorts. For example, Alberta Vaughn and Eddie Quillan sang the theme song for Noisy Neighbors "a waltz ballad" called "Waiting Through The Night." Revenues were generated by sales of records and (mostly)sheet music.
Above: Eddie Quillan, Alberta Vaughn, Marie Quillan and other players (including other Quillans: Joseph, Isabelle, John, Buster) als "The Marvelous Monarchs" in
Noisy Neighbors (Pathé, Jan 27. 1929).
The following ebullient vehicles after Noisy Neighbors (Pathé, Jan 27. 1929) included: The Sophomore (Pathé, Aug 24. 1929), his all-talkie debut with "Little by Little" the hit song to the music of Earl Burnett's Biltmore L.A. orchestra); Night Work (Pathé, Aug 3. 1930);  Big Money (Pathé, Oct 28. 1930); and The Tip-Off (RKO-Pathé, Oct 16. 1931).
Sally O'Neil and Eddie Quillan, "The Sophomore" (1929). In the movie Eddie Quillan gives a real impersonation of the modern American college boy, the Pathé all dialog feature was adapted from Corey Ford's "College Humor" Magazine serial "Joe College".Eddie Quillan in "The Sophomore" (Aug 1929)
Eddie (and his family) did everything to make "The Sophomore" a success. Eddie Quillan hopped aboard the "ballyhoo" wagon used by the management of the RKO theatre during the showing of "The Sophomore". Everybody worked, including father - the Quillan family revived their vaudeville act for the "Sophomore" run. There was Dad, Mrs.Quillan, Eddie, John, Marie, Buster, Joe, Helen, Margaret, Isabelle and Rosebud. "I have sure been up ,in the air and seeing New York via airplane is a heightening sensation," said Eddie Quillan. Eddie made this appearance in conjunction with the showing of "The Sophomore" in the New York and Brooklyn Paramount theatres. He is shown making a Pathex "movie" of his "Dad" from a TAT plane.
Top left: Sally O'Neil and Eddie Quillan, The Sophomore (Pathé, Aug 24. 1929). In the movie Eddie Quillan gives a real impersonation of the modern American college boy, the Pathé all dialog feature was adapted from Corey Ford's College Humor Magazine serial Joe College.
Top right: Eddie Quillan in The Sophomore (Pathé, Aug 24. 1929).
Above left: Eddie (and his family) did everything to make The Sophomore a success. Eddie Quillan hopped aboard the "ballyhoo" wagon used by the management of the RKO theatre during the showing of The Sophomore. Everybody worked, including father - the Quillan family revived their vaudeville act for the "Sophomore" run. There was Dad, Mrs.Quillan, Eddie, John, Marie, Buster, Joe, Helen, Margaret, Isabelle and Rosebud.
Above right: "I have sure been up ,in the air and seeing New York via airplane is a heightening sensation," said Eddie Quillan. Eddie made this appearance in conjunction with the showing of The Sophomore in the New York and Brooklyn Paramount theatres. He is shown making a Pathex "movie" of his "Dad" from a TAT plane.
Night Work (1930) a scene with Eddie Quillan (Source: http://barbara-stanwyck.tumblr.com/post/142149898412/eddie-quillan-in-night-work-1930)"Night Work" (1930) a scene with Eddie Quillan (Source: http://barbara-stanwyck.tumblr.com/post/142149898412/eddie-quillan-in-night-work-1930)"The Tip-Off" (1931) Eddie Quillan under the bed with Robert Armstrong and Ginger Rogers.
Above left: Two gifs with Eddie Quillan in Night Work (Pathé, Aug 3. 1930).
Above right: The Tip-Off  (RKO-Pathé, Oct 16. 1931) Eddie Quillan under the bed, Robert Armstrong and Ginger Rogers.

On January 29. 1931, RKO Pictures took control of the Pathé Exchange, acquiring Pathé’s Culver City studio and all of its contracted players. In 1932, David O. Selznick, the production chief, merged RKO Radio and RKO Pathé into a unified unit in an attempt to address financial challenges. Despite widespread layoffs and salary reductions during Selznick's tenure, Eddie Quillan remained on the payroll and continued to appear in some of the studio's early thirties productions that proved financially successful. (5)

Eddie Quillan maintained his popularity as both a leading and supporting actor throughout the era of sound films, earning acclaim in supporting roles during the 1930s and 1940s. He showcased his talent in notable films such as Girl Crazy (RKO-Radio Pictures, Mar 24. 1932), where he assumed the role of the hero and performed the well-received Gershwin ballad "But Not For Me." However, Quillan frequently alternated between starring in cost-effective features and taking on supporting roles, often through loan-out arrangements with major studios, particularly Paramount and MGM. (5)

Charles Laughton, Donald Crisp & Eddie QuillanThe role for which Eddie is probably best known is Tommy Elison, the most endearing and tragic character of the ill-fated crew, in the movie, "Mutiny on the Bounty" (1935). The film starred Clark Gable (seen here with Eddie), Charles Laughton, and Franchot Tone.
Above: two stills from Mutiny on the Bounty (MGM, Nov 8. 1935) Charles Laughton, Donald Crisp & Eddie Quillan (left) and Eddie Quillan and Clark Gable (right).
The role for which Eddie is probably best known is Tommy Elison, the most endearing and tragic character of the ill-fated crew, in the movie, Mutiny on the Bounty (MGM, Nov 8. 1935). The film starred Clark Gable, Charles Laughton, and Franchot Tone (above).
There have been a lot of idols,” said Eddie, “but to me, Clark Gable was the greatest. Not only did the women like him, but the men liked him also. He had a great following with men. He was down-to-earth and was all man. Working with him was a lot of fun. I liked him tremendously.”
His most treasured trophy came when he received the Box Office Blue Ribbon Award and the Screen Actors Guild Award
(1936). It was the first time that SAG had given the award to an actor in a supporting role. (5)
Charlotte Henry and Eddie Quillan have to do some explaining in "The Mandarin Mystery".Charlotte Henry and Eddie Quillan
Above left: Charlotte Henry and Eddie Quillan have to do some explaining in The Mandarin Mystery (Republic, Dec 7. 1936).
Above right: Charlotte Henry and Eddie Quillan
He remained a favorite in large and small roles throughout the 1930s and 1940s; he faltered only when he was miscast as master sleuth Ellery Queen in The Mandarin Mystery (Republic, Dec 7. 1936)Eddie was panned by critics who felt casting him was a fatal mistake. Although the film contained the original structure of the book, The Chinese Orange Mystery, the general consensus of film reviewers was that the script played for laughs, and childish acting by Quillan and ineffective direction by Ralph Staub bought the first series of Ellery Queen films to a halt. A heavily edited version for television was subsequently developed but experienced no more success than the film.

Among Quillan's other more memorable credits as a supporting actor were: with Spencer Tracy in Big City
(MGM, Sep 3. 1937);  with Carole Lombard and Jimmy Stewart in Made For Each Other (United Artists, Feb 10. 1939); with John Wayne in Allegheny Uprising (RKO-Radio Pictures,  Nov 3.1939); with Henry Fonda both in Young Mr. Lincoln (20th Century-Fox, May 30. 1939) and in The Grapes of Wrath (20th Century-Fox, Jan 24. 1940): with Marlene Dietrich in The Flame of New Orleans (Universal, April 24. 1941);  and with Abbott and Costello in It Ain't Hay (Universal, Mar 10. 1943).
Eddie Quillan in 'Young Mr. Lincoln' (1939)Promotional photo for "Grapes of Wrath" (1940)  (L to R) Eddie Quillan, Dorris Bowden, John Carridine and Henry Fonda.
Above left: Eddie Quillan in Young Mr. Lincoln (20th Century-Fox, May 30. 1939).
Above right: Promotional photo for Grapes of Wrath (20th Century-Fox, Jan 24. 1940) (L to R) Eddie Quillan, Dorris Bowden, John Carridine and Henry Fonda.
Eddie (middle) with Abbott and Costello in It Ain't Hay (1943).Robert Mitchum (left) and Anne Rooney with Eddie (right) in "Follow The Band" (1943)
Above left: Eddie (middle) with Abbott and Costello in It Ain't Hay  (Universal, Mar 10. 1943).
Above right: Robert Mitchum (left) and Anne Rooney with Eddie (right) in Follow The Band (Universal, April 29. 1943).
Discouraged with playing simple roles such as bellhops, soda jerks, et al., he continued on in "B" pictures until Sensation Hunters (Monogram, Oct 13. 1945) and A Guy Could Change (Republic, Jan 27. 1946) when his film career finally fell away.

From 1948 through 1956, Quillan was paired with screen veteran Wally Vernon by Columbia as yet another attempt to create an original comedy team. Wally Vernon was a veteran of the Columbia shorts department and together they appeared in a series of 16 two-reel comedies, which showed to excellent advantage the physical dexterity of both men
(below left).

Since the 40s he owned and operated a bowling alley in El Monte for a time but eventually returned to the film industry, with middling results and infrequent appearances, among them Brigadoon (MGM, Sep 8. 1954) opposite Gene Kelly.
From 1948 through 1956, Quillan was paired with screen veteran Wally Vernon by Columbia as yet another attempt to create an original comedy team. Wally Vernon was a veteran of the Columbia shorts department and together they appeared in a series of 16 two-reel comedies, which showed to excellent advantage the physical dexterity of both men. Eddie Quillan introduces Van Johnson to Dodie Heath in "Brigadoon" (1954)
Above left: From 1948 through 1956, Quillan was paired with screen veteran Wally Vernon. Seen here in the short A-Hunting They Did Go (Columbia, Jan 15. 1948 en 1953). The plot revolves around the men embarking on a hunting weekend, closely trailed by their wives. Notably, this film is a remake, incorporating stock footage from their own movie "Crabbin' in the Cabin" (Columbia, May 13. 1948).
Above right: Eddie Quillan introduces Van Johnson to Dodie Heath in Brigadoon (MGM, Sep 8. 1954).
In addition to his film work in the fifties, Eddie began to work in television when he was offered the chance to work with Jackie Cooper in The People’s Choice (NBC). Once beginning his television career, Eddie would appear in over two hundred (200) television programs. He had roles in a multitude of TV series: The Lucy Show (CBS, Oct 29. 1962 & Oct 18. 1965, min 2x), The Jack Benny Show  (CBS, Mar 19. 1961 & Jan 1 . 1963, min 2x), Perry Mason (CBS, Apr 8. 1961 - Apr 24. 1966, min 3x), Daniel Boone  (NBC, Mar 24. 1966 - Mar 26. 1970, min 4x), The Man from U.N.C.L.E. (NBC, Jan 20. 1967), The Addams Family (ABC, Oct 9. 1961 - Mar 25. 1966, min. 5x), The Wild, Wild West  (CBS, Nov 17. 1967 - Feb 7. 1969, min. 2x), The Andy Griffith Show (CBS, Nov 1. 1965), and Petticoat Junction (CBS, Sep 24. 1963 - Jun 9. 1964, min. 2x).(5)
On October 29, 1962 he appeared a first time with Lucille Ball on an episode of "The Lucy Show" titled "Lucy Buys Sheep". He shared a scene with veteran actor Charles Lane.Between 1964 and 1966 he appeared 5 times in "The Addams Family". He is shown here in the episode "Morticia The Decorator" aired February 18. 1966.
Above left: He appeared a first time with Lucille Ball on an episode of The Lucy Show (CBS, October 29. 1962) titled "Lucy Buys Sheep". He shared a scene with veteran actor Charles Lane.
Above right: Between 1964 and 1966 he appeared 5 times in The Addams Family. He is shown here in the episode "Morticia The Decorator" (ABC, February 18. 1966).
His brother, Joe, was a well-known comedy writer in radio and television, Known for his contributions to the Our Miss Brooks radio and TV show. It was through Joe that Eddie met Hal Kanter who would cast him years later in his first recurring role in a network series, Valentine’s Day (ABC, Sep 18. 1964 - Apr 9. 1965, min. 24x), starring Tony Franciosa.  From 1968 through 1971, Kanter made Eddie a series regular on the Diahann Carroll sitcom Julia. (5)

Light-hearted fluff also came his way in the next decade with The Ghost and Mr. Chicken (Universal, Jan 20. 1966), Angel in My Pocket (Universal, Apr 2. 1969) and How to Frame a Figg (Universal, Feb 1971), but his contributions to these movies were relatively minor.
From 1968 to 1971, Quillan had a recurring role on TV's groundbreaking series "Julia". He played Eddie Edson for 24 of their 86 episode run.A close friendship with actor Michael Landon led to work for Eddie in several of Landon's TV vehicles, including "Little House on the Prairie" (1977-1983) (7 episodes). Eddie is seen here in the episode "To Run and Hide" aired on  Oct 31, 1977.
Above left: From 1968 to 1971, Quillan had a recurring role on TV's groundbreaking (the first weekly series to star an African-American woman in a non-stereotypical role) series Julia (NBC, Sep 24. 1968 - Mar 2. 1971, min 24x). He played Eddie Edson for 24 of their 86 episode run.
Above right: A close friendship with actor Michael Landon led to work for Eddie in several of Landon's TV vehicles, including Little House on the Prairie (NBC, Oct 31. 1977 - Mar 7. 1983, min 7x). Eddie is seen here in the episode "To Run and Hide" aired on  October 31, 1977.
 
His career experienced a minor resurgence during the 1960s and 1970s on TV when he guested on such series as Mannix (CBS, Feb 25. 1973 - Apr 6. 1975, min. 3x), Lucas Tanner (NBC, Jan 15. - Apr 9. 1975, min. 3x as Mr. Krebs), Police Story (NBC, Dec 4. 1973 - Mar 24. 1977, min . 3x), and Baretta (ABC, Jan 11. 1978).

During this decade he was seen rarely in the movies. His last movies were Walt Disney's The Strongest Man in the World (Buena Vista, Feb 6. 1975) and Mr. Too Little
(Cinema Epoch, Dec 14. 1979).

A close friendship with actor Michael Landon led to work for Eddie in several of Landon's TV vehicles, including Little House on the Prairie
(NBC, Oct 31. 1977 - Mar 7. 1983, min 7x), Father Murphy (NBC, Dec 7. 1982) and Highway to Heaven (NBC, Sep 19. 1984 - Dec 17. 1986, min. 3x).
 
Eddie as he appeared in the 1985 series "Hell Town".Quillan as Abbie Cadabra in the "Moonlighting" episode "In God We Strongly Suspect'"(1986).Eddie's last screen appearance came in "The Author" an episode of "Matlock", aired Aug 6, 1987
Above left: Eddie as he appeared in the 1985 series Hell Town (Mar 6. - Dec 25. 1985, min. 9x as Poco Loco).
Above middle: Quillan as Abbie Cadabra in the Moonlighting episode "In God We Strongly Suspect" (ABC,Feb 11. 1986).
Above right: Eddie's last screen appearance came in "The Author" an episode of Matlock (NBC, Aug 6, 1987).
  
In his retirement years, Eddie continued to lead an active life enjoying golf, bowling and swimming. A lifelong bachelor, he lived in North Hollywood (San Fernando Valley) with his two sisters, Peggy and Roseanne.
Eddie Quillan became a favorite interview subject for film historians thanks to his ingratiating personality and uncanny total recall.

Eddie died in Burbank, California of cancer in 1990 at age 83, on July 19. 1990 and was interred at the San Fernando Mission Cemetery in Mission Hills. 

Eddie prided himself in being a comedian and as he once told one producer, who was trying to insert an off-color joke, he obviously didn't need him because he could get anyone to get a laugh with a dirty joke, no talent is needed.
 
Notes:

All dates for movies are for the first US release.
All dates for TV programs are original first airdates.
All dates for (radio) plays are for the time span the actor was involved.

Facts in red still need confirmation.

 
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Other references
(1) Wikipedia

(2) IMDb
(3) The Columbia Shorts Departement
(4) Mack Sennett's Fun Factory: A History and Filmography of His Studio
     and His Keystone and Mack Sennett Comedies, with Biographies
     of Players and Personnel
by Brent E. Walker (2013)
(5) Playbills to Photoplays: Stage Performers Who Pioneered the Talkies
     by Brenda Loew (2010)
(5) Radiogoldindex

(6) Rotten Tomatoes
(7) The Eddie Quillan Film Festival: "Sweepstakes" and "Gridiron Flash"
     at "The Incredible Inman"
(8) Day and Quillan, "The Flaming Youth" Comedies by Lea Stans
    (Comique - The Classic Comedy Magazine, Issue no. 2, Spring 2022)
(9) The Godless Girl a Silent Movie Review  


Additional video & audio sources
(1) Sweepstakes 1 - 2 -3 (Clips, 1931) YouTube, David Inman
(2) Gridiron Flash 1 - 2 - 3 (Clips, 1934) YouTube, David Inman
(3) Nobody's Home 1 - 2 (Short, Two reel, 1955) YouTube, David Inman
(4) The Sophomore Jeanette Loff Eddie Quillan (Clip from the 1929 Silent) YouTube Annie Carol
(5) Night work (full movie, 1930) YouTube, Lost n Found Films
(6) Club Paradise (aka Sensation Hunters,full movie, 1945) YouTube, Hollywood Classics.
 
This actor profile is a part of Ellery Queen a website on deduction. The actor above played Ellery Queen in an Ellery Queen movie. Click Uncle Sam if you think you can help out...!
Many of the profiles on this site have been compiled after very careful research of various sources. Please quote and cite ethically!


Page first published on May 27. 2017
Last updated May 31. 2023

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