The great character actor Henry Jones (1912-1999) was born on this day. Jones’ laconic manner made him perfect for rural types, though he was from Philadelphia and the grandson of a Congressman. Yet he was also enough of an obvious WASP to play satirical corporate characters. His bemused nature and unusual voice (both high pitched and gravelly) meant he was usually used for comic purposes. Jones’ characters often seemed angry and impatient or insinuating, but also ineffectual. He knew how to use his huge eyes for maximum effect, but he’d never lift a finger to harm you — not because he was angelic, but because he was lazy or too comfortable. Though he started out as an actor in his 20s, he was definitely one of those actors who made the most sense in middle age.
Jones played supernumerary parts in Maurice Evans’ Broadway productions of Hamlet and Henry IV, Part One in 1938, 1939 and 40, and was a replacement in the original production of William Saroryan’s The Time of Your Life in 1940. He continued to work on Broadway and also broke into film and television in the 1940s, but didn’t really make his mark until the mid 50s, with George S . Kaufman’s The Solid Gold Cadillac (1953-1955) on Broadway and both the stage and screen versions of The Bad Seed (1954-55 and 1956 respectively). Frank Tashlin loved him, using him in The Girl Can’t Help It (1956) and (one of his best roles), as Tony Randall’s boss in Will Success Spoil Rock Hunter? (1957) (“Eh, Rocky Boy?”). He’s the callous coroner in Alfred Hitchcock’s Vertigo (1958). He returned to Broadway for two more major plays, the original productions of Sunrise at Campobello (1958-1959) and Advise and Consent (1960-1961). The rest is all movies and lots of tv (over 150 credits). He was especially useful in westerns, especially comical ones: 3:10 to Yuma (1956), Support Your Local Sheriff (1969), Butch Cassidy and the Sundance Kid (1969), Dirty Dingus McGee (1970), Cockeyed Cowboys of Calico County (1970) and Support Your Local Gunfighter (1961). And, one of his most highly visible gigs, as Cloris Leachman’s father-in-law in the tv series Phyllis (1975-77). As a kid I watched him with keen interest and enjoyment in this role. He was also a regular on the short-lived Mrs. Columbo (1979-1980), and several other high profile shows. Late in his career he was still appearing in big movies like The Grifters (1990), Dick Tracy (1990), and Arachnophobia (1990). His last credit was in 1995.
I always hoped he could have returned as Father Clement on ‘Barney Miller’. His easy-going nature played well in his scenes with Hal Linden.
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