On camera, George E. Stone was often a loyal friend to the main character—no matter which side of the law they were on. He was Otero, the right hand man to Edward G. Robinson in Little Caesar (1931); Andy Lee, the stage manager, who gives a break to his girlfriend Una Merkel and her friends Ginger Rogers and Ruby Keeler in 42nd Street (1933); and The Runt, former criminal turned valet and detective’s assistant to Chester Morris in the Boston Blackie movies of the 1940s. Off camera, friendship gave him strength during a hardship in his life.

Pageboy Turned PerformerGeorge E. Stone as Andy Lee in 42nd Street (1933). Source: IMdB

George E. Stone’s early life didn’t always make him feel safe. Born in Lodz, Poland, according to a profile in New Movie Magazine from February 1934, as a child Stone was coming home from work at a silk mill when he was caught in the middle of pogrom. The magazine wrote that Stone continued to have “painful memories” of that day. Later Jewish Post on July 9, 1937 noted that Stone had scars from the wounds he suffered. Plans to join his father in America took multiple attempts, since his four sisters and mother were turned away twice from Ellis Island due to illness. His mother died before the successful trip to America. It was said that Stone’s stepmother abused him, prompting him to run away.

The path to acting was by friendship. News Adelaide on May 17, 1934 wrote that Stone was working as a pageboy at the Lamb’s Club, when he met and got to know the actor William Farnum, well known on Broadway and in silent movies of the day. This led to Stone becoming an extra in movies at Fox and opportunities in the theatre. One his earliest film roles was in 7th Heaven (1927), starring Charles Farrell and Janet Gaynor, as Farrell’s friend.

An Artful VersatilityA candid photo of actress Mae Clarke with George E. Stone at the Santa Anita Racetrack from the April 1935 issue of Modern Screen magazine. Source: Archive.org

Once talkies came along, Stone’s light build and charismatic performances established him as a reliable character actor alongside A-list actors and in B-movies in between. He portrayed an escaped convict shielded by reporters writing his story in The Front Page (1931), Skeets the cab driver helping end a racket with his colleague James Cagney in Taxi (1931), a gangster known as Wires working with Humphrey Bogart in Bullets or Ballots (1936) and a kind housekeeper to a cruel Peter Lorre in Island of Doomed Men (1940). Stone moved seamlessly from fast-talking tough gangsters to compassionate soft spoken people. He also had the ability to learn new skills in a short amount of time. For his role in Viva Villa! (1934), Campus Chat later reported in February 1940 that he spent a month learning Spanish.

Northern Star on February 23, 1933 noticed his aptitude early and wrote, “George E. Stone’s amazing emotional acting has made him an outstanding film favourite [sic] with screen audiences.” Well-liked by audiences, he remained in important supporting roles. His only starring film was The Big Brain (1933) co-starring Fay Wray, about a gambler whose life spirals as he accumulates wealth and commits fraud. Morning Bulletin on March 31, 1934 noted Stone’s abilities in the film to be “another sterling creative characterization to his memorable portrayals. He convincingly renders a sympathetic version of a difficult role.”

Life as a Character ActorChester Morris as Boston Blackie and George E. Stone as the Runt for Columbia Pictures Boston Blackie mystery/comedy series. Source: Pinterest

By the 1940s, George E. Stone was known for his unmatched talent. Santa Cruz Evening News on March 16, 1941 referred to him as a “pint sized character actor, [who] is a versatile performer and linguist. He has portrayed all sorts of nationalities, spoken in as many dialects.” He was also active in the war effort, including both organizing and serving as master of ceremonies of a show at Torney General Hospital, according to Desert Sun in June 1943. His most popular role of the decade is The Runt in the Boston Blackie mystery series starring Chester Morris. As the Runt, he was the more timid of the duo, yet trustworthy and eager to help. Stone demonstrated his comedic talent by going undercover ranging from a school boy to an elderly delivery man.

Being a character actor in Hollywood was a more private life than a lead actor’s. Although committed to a good performance, there wasn’t pressure to maintain the audience’s impression or facing blame if a movie failed at the box office. Additionally, character actors didn’t receive as much fan mail and weren’t recognized in public as often. This is one reason why memorabilia of Stone and certain character actors isn’t common. As World’s News explained on March 15, 1941, “Neither [George E. Stone or Adolph Menjou are] ever denuded by souvenir hunters or torn apart by autograph fiends. Their popularity is registered where it does the most good—in their bank accounts. [They] save more money than the most glamorous female star or the most virile hero.” However, at the end of the decade, offers for roles decreased. As his career waned, so did his health.

A New OutlookGeorge E. Stone as The Runt in Alias Boston Blackie (1942), the 3rd of 14 in the series by Columbia Pictures starring Chester Morris. This is the 2nd of 11 movies with Stone as The Runt. Screenshot by me. Source: Youtube

Santa Cruz Sentinel on November 25, 1958 wrote of this challenge of his life, “[The] bright lights he knew once faded along with his modest savings-and his career.” This led to two illnesses, including failing eyesight, and a heart attack. Stone revealed his initial fear and how his faith helped him, “. . . I suppose blindness means something different to each individual. To me it meant the end of everything I’d taken for granted. Never again would I see a flower, a woman, even a pastrami sandwich. I asked myself, ‘How can you support yourself?’—and I wanted to die. . . I started to pray and I prayed some more. . . [After 2 operations I could see again] not well, but enough . . And I thank God, every time I look at anything. At ANYTHING! [sic] Only He alone could do it.” His friends visited to rotate taking care of him and found a doctor for his vision, which kept his spirits up.

By 1958, Stone had resumed supporting roles in movies, as well as TV, such as a reoccurring role as the court clerk in Perry Mason. He also had a different perspective on life. As he further told the Santa Cruz Sentinel, “I once thought a lot of money was the proof of success. I know different now. If people could only realize the importance of good health. . . All I want today is a place to sleep and food to eat and the ability to earn my own way. . ” Several months after a stroke, he passed away at the age of 64 in 1967. George E. Stone may not have been at the forefront of a movie, yet his characters were enduring because he portrayed depth of the human condition. His roles made him the ideal friend to have alongside in any circumstance, whether it was comedy or drama.