Joe E. Brown

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Joseph Evans Brown (July 28, 1891 – July 6, 1973) was an American actor and comedian best known for his amiable screen persona, comedic timing, and his adoring elastic-mouth smile.

He was one of the most popular American comedians of the 1930s and 1940s, with films including A Midsummer Night's Dream (1935), Earthworm Tractors (1936), and Alibi Ike (1935).

Brown appeared in Some Like It Hot (1959), as Osgood Fielding III, in which he says, "Well, nobody's perfect."

Early life

Brown was born in Holgate, Ohio, near Toledo, on July 28, 1891, to a large family of Welsh descent. He spent the bulk of his childhood in Toledo. He joined the Five Marvelous Ashtons, a troupe of circus tumblers who toured the country on both the circus and vaudeville circuits in 1902, at the age of ten. He later became a professional baseball player. Despite his talent, he turned down a chance to join the New York Yankees to pursue his career as an entertainer. He returned to the circus, then went into vaudeville, and then appeared on Broadway for three seasons. He gradually added comedic relief to his act and turned himself into a comedian. In the 1920s, he came to Broadway, first appearing in Jim Jam Jems' musical comedy.

Later life and family

In 1915, Brown married Kathryn Francis McGraw. The marriage lasted until his death in 1973. Don Evan Brown, both sons (December 25, 1916 – October 8, 1942; Capt. in the United States Army Air Force, who was killed in the crash of an A-20B Havoc bomber while serving as a ferry pilot) and Joe LeRoe Brown (September 1, 1918 – August 15, 2010), and two daughters, Mary Katherine Ann (b. ). Kathryn Francis, 1930) and Edward Francis (b. 1934: A.K.A. (Ordinary) a.s. Both daughters were born as infants and were adopted as infants.

Joe Brown recalled his father's passion for baseball, helping the Pittsburgh Pirates from 1955 to 1976 and 1986, as well as building the 1960 and 1971 World Series champions. The '71 Pirates featured baseball's first all-black starting nine.'

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Film career

Brown began filmmaking in late 1928, with Warner Brothers launching Brown in the next year. After appearing in the first all-color all-talking musical comedy On with the Show (1929), he quickly became a favorite with kid audiences and a shot at fame. He appeared in a number of lavish Technicolor musical comedies, including Sally (1929), Hold Everything (1930), and Going Wild (1930). Brown had become so popular that his name was billed above the title in the films in which he appeared by 1931.

He appeared in Fireman Save My Child (1932), a comedy in which he played a member of the St. Louis Cardinals, and in Elmer, the Great (1933) with Patricia Ellis and Claire Dodd and Alibi Ike (1935), in both of which he portrayed ballplayers with the Chicago Cubs.

He appeared in Son of a Sailor with Jean Muir and Thelma Todd in 1933. In 1934, Brown appeared in A Very Respectable Guy with Alice White and Robert Barrat in The Circus Clown, and in The Circus Clown with Patricia Ellis and Dorothy Burgess, as well as Maxine Doyle in 6 Days Bike Rider.

Brown was one of the few vaudeville comedians to appear in a Shakespearean film; he played Francis Flute in the Max Reinhardt/William Dieterle film version of Shakespeare's A Midsummer Night's Dream (1935) and was praised for his appearance.

He was ranked as one of the top ten earners in films in 1933 and 1936. He appeared in Polo Joe (1936) with Carol Hughes and Richard "Skeets" Gallagher, as well as in Sons o' Guns.

Joe E. Brown's films were established as reliable moneymakers by the mid-1930s, and the studio had begun to economize on their production. Brown did not renew his Warner contract when it came to an end. He left Warner Bros. to work for independent producer David L. Loew, who appeared in a string of comedies titled When's Your Birthday? (1937) and The Gladiator (1938), a loose adaptation of Philip Gordon Wylie's 1930 novel Gladiator that inspired the creation of Superman.

In 1939, Joe E. Brown left Loew. Though his brand of broad comedy was still popular, it was somewhat old-fashioned, much like Laurel and Hardy's slapstick attempts. As a result, Brown was now receiving "B" photos for Paramount (one film), Columbia (three films), and eventually Republic (four films). The Republics were his last starring vehicles. Brown performed in films from this point forward, but in guest appearances and character roles.

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