This website uses cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information you’ve provided to them or they’ve collected from your use of their services. By continuing to browse this site, you are agreeing to our use of cookies.

Accept cookies

Barton MacLane

Barton MacLane graduated from Wesleyan University, where he displayed a notable aptitude for sports, in particular football and basketball. Not surprisingly, his physical prowess led to an early role in The Quarterback (1926) with Richard Dix. MacLane once commented that, as an actor, he needed to have the physical strength to tear the bad guys "from limb to limb", if necessary. Ironically, it was usually Barton himself who was destined to be at the end of a hiding (when not getting shot, instead), typically as snarling henchmen, outlaws and other assorted dubious or abrasive types throughout most of his 40-year acting career. In fact, Barton became so typecast, that his name was for a time used proverbially, to generally describe a shouting, hard-nosed ruffian.After training at the American Academy of Dramatic Arts, MacLane joined a stock company in Brooklyn. In 1927 he had his first part on Broadway, a brief moment as an assistant district attorney, in the melodrama "The Trial of Mary Dugan". He then played a small featured role as a police officer in "Subway Express" (1929-30), a drama enacted in the interior of a subway car. In mid-1932 MacLane tried his hand at writing his own starring vehicle for the stage, entitled "Rendezvous". While the play closed after just 21 performances, it led to a contract with Warner Brothers.Barton had already appeared in bit roles for Paramount at their Astoria Studios, including The Marx Brothers' debut film The Cocoanuts (1929). He portrayed mobster Brad Collins in 'G' Men (1935) (with James Cagney), which set the tone for most of his future assignments. Brawny, with squinty eyes and a rasping voice, MacLane was the ideal surly tough guy, particularly suitable for westerns and the type of films noir Warner Brothers excelled at. He was often cast as cops, be they bent or honest. Some of his most representative performances include gangster Al Kruger in Bullets or Ballots (1936), which won him some of the best critical notices of his career; outlaw Jack Slade in Western Union (1941); crooked construction boss Pat McCormick, who gets beaten up by Humphrey Bogart and Tim Holt over past-due wages in The Treasure of the Sierra Madre (1948); hard-nosed cops Detective Dundy in The Maltese Falcon (1941) and Lt. Reece in Kiss Tomorrow Goodbye (1950). MacLane, on loan to Universal, also had a starring role in Prison Break (1938) as an innocent tuna fisherman who is framed for murder. He was prominent as a tough but sympathetic cop, foil to sleuthing girl reporter Glenda Farrell in the "Torchy Blaine" series of the mid- to late 1930s. In the 1960s Barton began to cultivate a good-guy image as Marshal Frank Caine in the NBC western series Outlaws (1960) as well as showing up in a small recurring role as Air Force Gen. Martin Peterson in I Dream of Jeannie (1965).Barton was married to the actress Charlotte Wynters, who appeared with him in six of his films. When not on the set, the couple spent time on their 2000-acre cattle ranch in Madera County, California. For his work in television, Barton has a star on the Hollywood Walk of Fame.

The database contains 21 images with Barton MacLane, divided over 6 titles.

Popular images

Publicity still with Johnny Weissmuller, Johnny Sheffield, Brenda Joyce & Tom Conway

2489 * 1966 Tarzan and the Amazons 1945

Publicity still with Johnny Weissmuller & Tom Conway

2503 * 1994 Tarzan and the Amazons 1945

Publicity still with Humphrey Bogart, Mary Astor, Peter Lorre & Ward Bond

1600 * 1173 The Maltese Falcon 1941

Publicity still with Humphrey Bogart & Ward Bond

1600 * 1131 The Maltese Falcon 1941

Publicity still with Mary Astor & Peter Lorre

1600 * 1209 The Maltese Falcon 1941

Lobby card with Barbara Britton, Willard Parker & Philip Reed

2859 * 2235 Bandit Queen 1950

Publicity still with Johnny Weissmuller

1378 * 1086 Tarzan and the Amazons 1945

Lobby card with Henry Stephenson

1592 * 1201 Tarzan and the Amazons 1945

Publicity still with Johnny Weissmuller & Henry Stephenson

1746 * 1353 Tarzan and the Amazons 1945

Publicity still with Jerry Lewis

2740 * 2032 The Geisha Boy 1958

Publicity still with Suzanne Pleshette & Jerry Lewis

2116 * 2667 The Geisha Boy 1958

Lobby card with Humphrey Bogart, Pat O’Brien & Ann Sheridan

1831 * 1443 San Quentin 1937

Lobby card with Ann Sheridan

2438 * 1911 San Quentin 1937

Lobby card with Humphrey Bogart

1241 * 971 High Sierra 1941

Lobby card with Humphrey Bogart & Ida Lupino

935 * 723 High Sierra 1941

Lobby card with Humphrey Bogart

1115 * 881 High Sierra 1941

Sitemap