Although he was stereotyped as one of the best “villains” of American cinema, taking on the roles of hardened criminals, gunslingers, murderers, perverts and generally “obnoxious” characters, the Richard Widmarkthis great Hollywood actor, was in his personal life just the opposite.

Having the good fortune to make his debut, in 1947, in the famous film noir “Kiss of Death” of Henry Hathaway, playing the role of a psychopathic gangster, who in an unforgettable scene sadistically kills a disabled old woman in a wheelchair by pushing her down the stairs, will immediately become one of the most ideal “villains” of the big screen for Hollywood. In fact, for his interpretation of this, he will be nominated for an Oscar, while he also won the Golden Globe.

But Widmark was the exact opposite, abhorring violence and weapons, while those who knew him described him as one of the most sensitive, kind and loving people. In fact, he will participate in several initiatives for effective arms control, while in 1976 he will declare: “It seems incredible to me that the United States is the only civilized nation that does not have effective gun control.”

However, Widmark would also play a number of positive or heroic roles in his more than 50-year film career, although his presentation was suited to villainous characters. Blond hair, husky but dry, with hard facial features, piercing gaze and with a sardonic smile, which could well hide the sensitive good-hearted man. Acting mainly in action films, from film noir and westerns, to adventures and wars and collaborating with the most important directors of American cinema, with their main John Ford, Joseph Mankiewicz, Edward Dmytryk, Stanley Kramer and “our” Gilles Dassinto whom he owes much for his development, will leave his own mark on cinema. Of course, it will also stand worthy of legendary stars, such as John Wayne, Jimmy Stewart, Henry Fonda, Spencer Tracy, Sidney Poitier, Kirk Douglas, Gregory Peck, Gary Cooper, Robert Mitchum, Marilyn Monroe, Anne Baxter, Gene Tierney, Doris Day, Susan Hayward, Lorraine Bacall…

On the occasion of the 110th anniversary of his birth (December 26, 1914), a time when the Hollywood legend was still in its infancy, we will remember his first steps and the most important moments of his cinematic history, through unforgettable films, many of which became classics, gems of the filmography, in which Widmark’s role was decisive.

The Village Boy Who Gave “The Kiss of Death”

Widmark was born in Sunrise Townshipa village in Minnesota and was the son of Ethel Mae (of Scottish descent) and Carl Henry Widmark, who was of Swedish descent.

He grew up in Illinoisdue to his father’s job as a sales representative, while he studied acting in college Forest Lakein which he also worked as a spelling teacher. As an actor he worked in the theater, in small roles in Broadway and on the radio until the age of 32, when he seized – belatedly, the truth – the big break given to him by Henry Hathaway with the infamous role of Tommy Odo in the classic film noir “The Kiss of Death,” making him the big screen’s most famously hideous figure.

His success would earn him a seven-year contract at 20th Century Fox and leading roles alongside huge names and major films such as Westerns. “Yellow Sky” (1948) by William Wellman and the same year in the film noir “Street Without a Name» by William Kingley.

The happy meeting with Gilles Dassin

The 50s will be even luckier, since the time will come to work with him Dashen in the famous film noir “The Night and the City“, as the undisputed protagonist, with Jean Tierney by his side. Dassin, wanting to avoid McCarthyism, will set up, with a natural setting in London, an apparently gangster film, wanting to emphasize on the one hand greed and on the other hand chauvinism. Its protagonist is Fabian (Widmark), an opportunistic conman who wants to catch the girl, but will find in front of him organized crime, of which he is also a part. A masterful character film, it has everything: relentless chase, spirals, bets, clubs, night shots, smoke and even a femme fatale against the kind and romantic Tierney. Above all, however, it has an excellent protagonist, an anti-hero who will be defeated in the race of greed.

Widmark

From Westerns to “The Nuremberg Trials”

The continuation, for Widmark, will be equally successful, as he will act in films such as “The Garden of Evil” (1954) by Henry Hathaway, “Joan of Arc” (1957) by Otto Preminger and co-starring in great films alongside huge names. In the 60s and 70s he will find himself at the peak of his career, participating in blockbusters such as Westerns “Alamo Fort”directed by John Wayne himself, “Conquest of the West” and “The Two Knights of Hell” by John Ford, co-starring alongside Stewart, and will have a key role in the legendary film “The Nuremberg Trials” of Kramer, in which he will excel as the accuser, alongside holy monsters such as Spencer Tracy, Bart Lancaster, Montgomery Clift, Marlene Diedrich and Judy Garland.

From Ford to Liumet

With essentially the end of the classic western – around the end of the 60s – in which he starred in dozens of films, the outstanding “The Eagles of the Cursed Valley” of Dmytryk, “Cheyenne Autumn” (a sincere cinematic apology to Indians) by Ford and “The Sixth Escaped” of Starzes, will also pass on to other film genres, with the main one, of course, remaining that of action films. Featured films are Agatha Christie’s mystery classic “Crime on the Orian Express” by Sidney Lumet and the sci-fi thriller “Twilight’s Last Gleaming” by Robert Aldrich.

One step forward

Widmark will marry the screenwriter Gene Hallwood with whom they will have a daughter and will remain a couple, until her death, for 55 years, while in 1999 he will have his second marriage with the lyricist and well-known socialist Susan Blanchard – ex-wife of Henry Fonda. He will die of old age on March 24, 2008, having been away from acting for over ten years, leaving behind great performances and proof that sometimes behind a “bad” movie character can be a wonderful person. An artist who didn’t hesitate to push himself artistically, in order to move cinema one step forward.