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Edgar Dearing

Edgar Dearing (May 4, 1893 – August 17, 1974) was an American actor renowned for his frequent portrayals of motorcycle policemen in films during and . Born in , to a large family that included two brothers and four sisters, Dearing worked as a cement worker and later as a for an oil company before enlisting in the U.S. Army in 1911 at age 17. He transitioned to acting in the mid-1920s, initially with , and became a prolific , appearing in over 240 films from 1924 to 1961. His typecasting as figures stemmed from early roles in silent films like On (1926) and carried into comedies and dramas, including notable appearances in (1940), (1941), (1946), and (1960). Dearing also ventured into television, guest-starring in 28 series such as The Lone Ranger, Perry Mason, Bonanza, and The Untouchables during the 1950s and early 1960s. Personally, he married Nelvina in the 1920s but divorced between 1930 and 1937, then wed Lila S. Mayre on August 8, 1937, remaining with her until his death. Dearing passed away from lung cancer in Woodland Hills, Los Angeles, at age 81 and was cremated at Chapel of the Pines Crematory.

Early life

Birth and family

Herman Edgar Dearing, known professionally as Edgar Dearing, was born on May 4, 1893, in the small town of , located in . As a native Californian, he entered the world during the late , a time when the state's Central Valley was transitioning from frontier settlement to established rural communities. Dearing was born into a large family as one of seven children of Dearing, a resident of Yolo County originally, and his wife Ella Spaulding. His siblings included two brothers, Charles Grover Dearing (born 1890) and Lester Ward Dearing, along with sisters Nettie Leona Dearing, Nellie Geneva Dearing (1898–1918), Joy Dearing, and Grace Dearing, reflecting the expansive family structures common in agrarian households of the era. His upbringing occurred in the rural expanse of Stanislaus County, an area characterized by vast farmlands and a burgeoning agricultural economy in the early . The region experienced rapid growth during this period, with land values surging by 549 percent between 1900 and 1920, driven by advancements and the expansion of crops like , almonds, and peaches that solidified California's role as an agricultural powerhouse. This of farming and ties shaped the early years of Dearing's before his eventual move toward opportunities in entertainment in the .

Pre-acting career

Dearing began his working life as a cement worker before enlisting in the on March 16, 1911, at age 17 (listed as 18) at Fort McDowell, . In the , Edgar Dearing, then aged 27 and single, was employed as a for an oil company in Kern County, . He resided there as a boarder in the household of Robert and Walter Myers, reflecting his independent living arrangements in an oil-rich region of the state. By the early 1920s, Dearing had relocated to the area, a burgeoning hub for the film industry that would soon draw him into . This move aligned with the rapid growth of , providing proximity to emerging opportunities in motion pictures. Contemporary records show no evidence of formal or specialized training for Dearing; the notes he completed only eight years of schooling, underscoring his self-made trajectory into professional life without institutional advantages. Hailing from a family background in , he navigated early adulthood through manual labor roles typical of the era's working-class Californians.

Acting career

Silent film beginnings

Edgar Dearing entered the film industry in the mid-1920s after working as a for an oil company in , a stark contrast to the comedic roles he would soon take on in . His screen debut came in 1924 with the Hot Water, produced by and starring , where Dearing appeared uncredited as a motorcycle cop in this episodic tale of marital mishaps and in-law troubles. The film, directed by Fred C. Newmeyer and Sam Taylor, marked the beginning of Dearing's presence in the burgeoning genre, leveraging his imposing physical stature for authoritative bit parts. Throughout the mid-1920s, Dearing became a familiar face in shorts produced by , appearing in numerous two-reelers that defined the era's humor. His roles often involved law enforcement figures or burly supporting characters, contributing to the chaotic ensemble dynamics typical of Roach's output, which emphasized and sight gags over . This steady work at the studio helped establish Dearing as a reliable utility player in the fast-paced world of short-form silent films, where he honed his timing in over two dozen productions during this period. One of Dearing's early highlights was his collaboration with the comedy duo in the 1928 short Two Tars, another production that showcased his talents in a memorable ensemble role. In this classic silent comedy, directed by , Dearing appeared alongside the stars as part of a traffic jam sequence involving sailors causing vehicular mayhem, earning praise for the film's innovative use of escalating absurdity and group interplay. The short remains a seminal example of late silent-era comedy, highlighting Dearing's ability to enhance the duo's antics without overshadowing them. Dearing remained active in silent films through the late , contributing to shorts as the industry began transitioning to synchronized around 1927–1929, a shift that would soon influence his career trajectory. His consistent output during this transitional phase solidified his foothold in comedy, paving the way for continued work amid technological changes.

Sound films and typecasting

Dearing transitioned to sound films with a supporting role as the antagonist Armstrong in D.W. Griffith's biographical Abraham Lincoln (1930), marking one of his early appearances in the new medium. In this production, he portrayed a local bruiser challenging the young , showcasing his physical presence in a historical context. By the , Dearing became heavily typecast as a motorcycle , a role that defined much of his output and appeared in dozens of features during the decade. Notable examples include his portrayal of a motorcycle cop in The Night Ride (1930), a crime drama directed by John S. Robertson, and as a cop confronting dancers in RKO's musical Swing Time (1936) starring Fred Astaire and Ginger Rogers. This typecasting leveraged his burly build and authoritative demeanor, making him a staple in comedic and dramatic scenes involving law enforcement pursuits. In the 1940s, Dearing frequently appeared in 20th Century Fox productions, often embodying characters that reinforced his established persona, including The Grapes of Wrath (1940) as a gazette man. He played a man in Manhattan Heartbeat (1940), a domestic drama about a struggling couple, a desk sergeant in RKO's Lucky Partners (1940) featuring and , and a man in The Big Store (1941) and saloon man in (1946). These roles, typically uncredited or minor, highlighted his reliability in supporting authority figures across genres like and . Dearing's career evolved in the toward B-westerns, where he shifted to and similar authority roles amid the genre's popularity. In Columbia's Raiders of Tomahawk Creek (1950), part of the Durango Kid series, he appeared as rancher Randolph Dike, contributing to the 's of and investigations. He also portrayed Captain Dan Saunders, a lawman, in the western Lightning Guns (1950), directed by Fred F. Sears. This period solidified his in rugged, authoritative parts suited to low-budget oaters. Dearing remained active in films until the early , accumulating over 225 credits and numerous television appearances across his career.

Television appearances

Dearing began appearing on television in the early 1950s, transitioning from his film career to guest roles in anthology and western series that capitalized on his established screen persona as a lawman. One of his earliest and most prominent television engagements was in the syndicated western The Range Rider (1951–1953), where he had recurring roles as authority figures, including Sheriff McGraw in the episode "False Trail" (1951), Sheriff Clark, Prison Guard Joe, and other sheriffs across multiple episodes. Throughout the decade, Dearing accumulated credits in approximately 28 television series and shows, frequently cast in procedural dramas, adventures, and westerns as police officers, sheriffs, or similar authoritative characters that echoed his film typecasting. Notable guest appearances included roles in Tales of Wells Fargo (1957), The Rifleman (1958), Thriller (1960–1962) as a police sergeant, and The Tall Man (1961) as a farmer. His television work tapered off by the mid-1960s, with his final known role in the Twilight Zone episode "Mr. Garrity and the Graves" (1964), again as the First Resurrected Man, aligning with his gradual retirement from acting.

Personal life and death

Marriages and family

Edgar Dearing was first married to Nelvina Hyink around 1920. The couple resided together in Los Angeles at 2907 12th Avenue, as documented in the 1930 United States Census, where Dearing was listed under his birth name, Herman. They divorced sometime between 1930 and 1937. Dearing's second marriage was to Lila Susanna Stones (also recorded as Lila S. Mayre) on August 8, 1937, in ; he was 44 and she was 30 at the time. This marriage lasted until Dearing's death in 1974. No children are mentioned in available records from either marriage, with Dearing's centered on his spousal relationships alongside his demanding schedule. During his career, he maintained residences primarily in the area from the 1930s onward, including 7773 in 1940 and 8764 Burton Way in 1942, conveniently near major studios.

Illness and death

After a prolific career spanning four decades in film and television, Dearing's final acting role was as the First Resurrected Man in the The Twilight Zone episode "Mr. Garrity and the Graves," which aired in 1964, after which he ceased performing. In his later years, Dearing was diagnosed with lung cancer, succumbing to the disease on August 17, 1974, at the age of 81 in Woodland Hills, Los Angeles, California. He was cremated at the in , with his ashes placed in a niche there.

Filmography

Notable films

Edgar Dearing appeared in over 240 films across a career spanning four decades, most often in uncredited or supporting roles that leveraged his burly frame for portrayals of authority figures like policemen and sheriffs. A standout role came in the comedy Two Tars (1928), where Dearing played the motorcycle policeman who arrives to quell a escalating road rage incident sparked by the duo's driving mishaps. Transitioning to sound pictures, Dearing had a memorable part in D.W. Griffith's biographical drama (1930), depicting Armstrong as the who challenges the young in a physical confrontation. Dearing's as was evident in numerous cop films, including his portrayal of a motorcycle officer pursuing suspects in Kentucky Kernels (1934) and a similar traffic enforcer in The Awful Truth (1937). In the western genre, Dearing embodied the sheriff figure as the duplicitous ex-Indian agent Randolph Dike in Raiders of Tomahawk Creek (1950), a Columbia Pictures B-western involving land disputes and framed murders.

Television roles

Dearing transitioned to television in the early 1950s, where his film typecasting as stern lawmen and officials persisted in guest roles across Westerns and anthology series. He featured prominently in the syndicated Western The Range Rider (1951–1953), appearing in multiple episodes as lawman characters, including Sheriff McGraw in "False Trail" (1951) and Sheriff Clark in "Bad Medicine" (1951). Other notable guest spots included procedural and adventure dramas such as The Ford Television Theatre in "Birth of a Hero" (1952), in "Portrait of Murder" (1957), as the storekeeper in "A Man Called Horse" (1958), in "The Killer" (1958), and Trackdown as a in "The Samaritan" (1959). Dearing also appeared in episodes of as a police sergeant, as a , Ada, and concluded his television work with the role of the First Resurrected Man in episode "" (1964). Over his television career, he amassed credits in 28 series or shows, typically in uncredited or minor capacities as authority figures.

References

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