Elisha Cook Jr.
Elisha Cook Jr. (December 26, 1903 – May 18, 1995) was an American character actor best known for his memorable supporting roles in classic Hollywood films, particularly as the shifty-eyed gunman Wilmer in The Maltese Falcon (1941). Over a career spanning more than five decades, he appeared in over 200 movies and television episodes, often portraying nervous villains, hapless sidekicks, or eccentric figures in genres including film noir, westerns, and horror. Born in San Francisco to a theatrical family, Cook transitioned from stage work to screen acting in the early 1930s and became a familiar face in Hollywood, contributing to landmark productions with his distinctive bug-eyed intensity and diminutive stature.[1][2][3] Cook's early career included innocent college-boy parts in light comedies, but he gained prominence in the 1940s through gritty noir roles, such as the ill-fated informant Harry Jones in The Big Sleep (1946) opposite Humphrey Bogart. He continued with standout performances like the cuckolded George Peatty in Stanley Kubrick's The Killing (1956), the doomed homesteader Stonewall Torrey in Shane (1953), and the anxious Watson Pritchard in House on Haunted Hill (1959). Later highlights encompassed the nosy neighbor Mr. Nicklas in Roman Polanski's Rosemary's Baby (1968) and the vampire Gordon "Weasel" Phillips in the 1979 miniseries Salem's Lot.[2][4][5] On television, Cook brought his quirky energy to guest spots and recurring characters, including the book-loving lawyer Samuel T. Cogley in the Star Trek episode "Court Martial" (1966), the mobster Icepick in Magnum, P.I. (1980s), and Uncle Albert in ALF (1987). Affable and humorous off-screen, he followed career advice to embrace small roles rather than seek stardom, amassing a prolific body of work until health issues curtailed his appearances in the late 1980s. He had no immediate survivors at the time of his death from failing health in Big Pine, California, after suffering a stroke five years earlier.[2][4]Early life and stage career
Birth and family background
Elisha Vanslyck Cook Jr. was born on December 26, 1903, in San Francisco, California.[5] He was the son of Elisha Vanslyck Cook Sr., a pharmacist, and Helen Roslyn Henry, with the family maintaining ties to the performing arts through his mother's background as a former stage actress.[6][7] The family relocated to Chicago during his early years, where they lived a modest middle-class life, and Cook grew up as part of a household exposed to theatrical influences despite his father's primary profession.[2] As a child in Chicago, Cook developed an early fascination with the stage, often accompanying family outings to local theaters and vaudeville shows, which sparked his interest in performing.[8] Physically slight and distinctive, he stood at 5 feet 5 inches tall, weighed around 123 pounds, and had a freckled complexion that lent him a youthful, boyish appearance even into adulthood, traits that would later shape his on-screen persona.[5] He had at least one sibling, Theodore Hoff Cook, and possibly a half-sibling, Taylor Cook.[8] Cook's formal education was brief and locally focused; he attended St. Albans School for Boys in Sycamore, Illinois, completing three years of high school before departing to chase opportunities in the arts.[9] He briefly studied at the Chicago Academy of Dramatic Art to hone his skills, marking the transition from childhood curiosity to professional aspirations in theater.[8]Entry into theater
Cook's entry into theater began during his teenage years in Chicago, where he initially worked selling programs in local theaters, fostering his passion for the stage. Supported by his family, who encouraged his interest in performing, he transitioned to acting at age 14, debuting in the vaudeville production of Lightnin' after being cast by playwright Frank Bacon in the touring company.[7] Following his debut, Cook joined various stock companies across the Midwest and East Coast, gaining foundational training in acting, voice projection, and stage movement through intensive repertory performances that required versatility in multiple roles.[10] His slight build and boyish features led to frequent typecasting in youthful or juvenile parts, a challenge that persisted early in his career and earned him the affectionate nickname "Cookie" among fellow performers.[8]Notable stage performances
Elisha Cook Jr. made his Broadway debut in 1926 as Joe Bullitt in the musical comedy Hello, Lola, a production that marked his entry into professional theater as a chorus member and supporting performer.[11] Following this, he took on supporting roles in plays such as Gertie (1926) as Jimmie and Henry, Behave! (1926), showcasing his emerging versatility in comedic and light dramatic parts.[12] His most prominent stage role came in 1933 when he portrayed the idealistic teenager Richard Miller in Eugene O'Neill's Ah, Wilderness!, a Theatre Guild production directed by Philip Moeller that starred George M. Cohan as the family patriarch; critics praised Cook's sensitive and nuanced performance, noting his ability to capture the character's youthful angst and romantic fervor.[13][14] By the early 1930s, Cook had amassed credits in more than a dozen Broadway shows, including The Kingdom of God (1928) and Her Unborn Child (1928), solidifying his reputation for portraying neurotic, quick-witted characters in both dramatic and comedic contexts.[12][11] Cook's stage work extended beyond New York through extensive touring productions with the Theatre Guild, where he reprised roles like Richard Miller in the national tour of Ah, Wilderness! following its 1933 Broadway run of 289 performances.[2] These tours highlighted his comedic timing and skill in embodying anxious, villainous supporting figures, earning favorable notices for his energetic delivery in ensemble settings.[15] By the late 1920s, Cook had established himself as a reliable character actor on Broadway and in regional theater, frequently cast in light dramatic and antagonistic supporting roles that leveraged his boyish features and expressive mannerisms.[7]Military service
Enlistment and World War II involvement
Elisha Cook Jr. enlisted in the United States Army on August 15, 1942, in Los Angeles, California, at the age of 38.[16] His enlistment records describe him as 5 feet 5 inches tall, weighing 123 pounds, with three years of high school education, divorced with dependents. He served for approximately four years during World War II, though details of his specific duties are limited; he remained stateside and continued appearing in films during this period, suggesting a non-combat role. Cook was discharged in 1946.[17]Post-service transition to acting
Following his discharge from the U.S. Army in 1946, Elisha Cook Jr. continued his acting career with prominent roles that highlighted his versatility as a character actor. His post-war work included the informant Harry Jones in The Big Sleep (1946) opposite Humphrey Bogart, marking a continuation and evolution of his pre-war supporting parts into more complex noir characters.[3] Cook maintained momentum through stage and film opportunities amid the post-war entertainment shifts. He took roles in touring theater and vaudeville, leveraging his prior experience.[17] By the late 1940s, he explored radio and early television while focusing on Hollywood films. The discipline from his military service supported his prolific output in subsequent years.[3] Cook's career advanced with better representation, cementing his status in film by the decade's end.[3]Film career
Early film roles (1930s–1940s)
Elisha Cook Jr. entered the film industry in 1930, making his feature debut as Stewart Kennedy in Her Unborn Child, a drama in which he reprised a role from the original stage production.[18] This early appearance marked his transition from theater to cinema, leveraging his Broadway experience to secure supporting parts in an era when sound films were still evolving. His initial roles were typically unassuming, portraying young collegiates or minor functionaries in a variety of genres, including comedies and dramas, as Hollywood studios sought versatile character actors to fill ensemble casts. Throughout the 1930s, Cook appeared in more than 20 films, steadily building his screen presence through small but memorable supporting roles. Notable among these was his portrayal of a bespectacled college freshman in Pigskin Parade (1936), where he contributed to the film's lighthearted campus comedy atmosphere. He often embodied wisecracking sidekicks or everyman figures, as seen in pictures like Honor Among Lovers (1931) and Life Begins in College (1937), reflecting the era's demand for relatable, quick-witted characters in B-movies and programmers. By the late 1930s, his output included musicals and comedies, such as his role as a songwriter in Tin Pan Alley (1940). These assignments helped establish Cook as a reliable utility player in Hollywood's burgeoning assembly-line production system. The 1940s brought Cook's first significant breakthroughs in major studio releases, elevating his status amid the industry's wartime expansion. His pivotal role as the jittery gunman Wilmer Cook in John Huston's The Maltese Falcon (1941), opposite Humphrey Bogart, showcased his ability to convey neurotic intensity, earning praise for adding layers to the film's shadowy ensemble.[19] This performance, followed by his turn as the doomed informant Harry Jones in Howard Hawks's The Big Sleep (1946), solidified his reputation for portraying vulnerable yet volatile underlings. By the decade's close, Cook had amassed over 50 film credits, with typecasting emerging as "light heavies" or twitchy antagonists, a niche that capitalized on his distinctive, baby-faced vulnerability during Hollywood's noir-inflected postwar phase.Peak in film noir and character parts
During the 1940s and early 1950s, Elisha Cook Jr. reached the height of his influence in film noir, embodying the genre's archetypal weaklings, desperate underlings, and neurotic criminals in numerous productions that highlighted human frailty amid moral decay. His portrayals often featured characters driven by misplaced loyalty or petty ambition, only to unravel under pressure, contributing to noir's fatalistic tone. By this period, Cook had amassed over 100 film credits overall, with a significant portion in B-movies and supporting parts in major A-features, where his distinctive presence as a freckled, diminutive figure (standing at 5 feet 5 inches) amplified the vulnerability of his roles.[3][4] A hallmark of Cook's noir work was his role as Marty Waterman in Born to Kill (1947), directed by Robert Wise, where he played the devoted, hot-tempered sidekick to a ruthless killer (Lawrence Tierney), showcasing a mix of fierce protectiveness and inevitable doom that underscored the film's themes of unchecked violence and betrayal. In Phantom Lady (1944), under Robert Siodmak's direction, Cook delivered a memorable performance as a leering bartender whose frenzied drum solo devolves into a bizarre sexual parody, a sequence celebrated for its intense mood and contribution to the film's shadowy suspense. These roles helped define his "hapless crook" persona, appearing in over 20 noir titles during the era, including The Big Sleep (1946) and The Maltese Falcon (1941).[20][21][22] Cook's collaborations with prominent directors further elevated his contributions, such as his work with Howard Hawks in The Big Sleep, where he portrayed the jittery informant Harry Jones, and with John Huston in The Maltese Falcon, as the sycophantic gunman Wilmer Cook, a frustrated killer whose baby-faced menace became iconic. His most poignant noir turn came as George Peatty in Stanley Kubrick's The Killing (1956), a henpecked racetrack cashier whose emotional desperation and betrayal by his unfaithful wife (Marie Windsor) precipitate the heist's collapse, exemplifying Cook's skill in conveying quiet pathos amid escalating tension.[4][23] Critics and historians have lauded Cook for infusing his characters with raw vulnerability, often turning potential stereotypes into sympathetic figures whose physical slightness and expressive features—bug-eyed intensity and raspy delivery—perfectly suited neurotic types prone to self-destruction. This typecasting, while limiting him to character parts and barring leading-man opportunities, cemented his status as a noir staple, with his performances praised for adding emotional depth to the genre's underbelly of losers and schemers.[23][2]Later films and character evolution (1950s–1980s)
In the 1950s, Elisha Cook Jr. diversified his film roles beyond noir into westerns and early horror, demonstrating his adaptability as a character actor. He portrayed Stonewall Torrey, a feisty homesteader, in the acclaimed western Shane (1953), a role that emphasized his skill in depicting ordinary men caught in frontier conflicts.[24] Later that decade, Cook delivered a memorable performance as the jittery Watson Pritchard in the cult horror film House on Haunted Hill (1959), where his portrayal of a haunted estate caretaker amplified the movie's eerie tension and black humor. During the 1960s, Cook increasingly appeared in genre films, particularly horror, often playing eccentric or timid figures that built on his earlier neurotic personas. In Roger Corman's The Haunted Palace (1963), he took on the dual roles of Peter Smith and Micah Smith, contributing to the film's Lovecraftian atmosphere through his wide-eyed vulnerability. These parts marked an evolution from intense antagonists to quirky supporting characters, allowing him to thrive in low-budget productions amid Hollywood's shifting focus toward spectacle-driven genres. By the 1970s and 1980s, advancing age led to reduced output, with Cook taking on smaller, cameo-like roles as eccentric elders in a mix of westerns, thrillers, and comedies, reflecting the era's emphasis on television and his selective approach to avoid typecasting. Notable among these was his depiction of Willie, a pathetic drunk, in the motorcycle drama Electra Glide in Blue (1973), which highlighted his ability to infuse pathos into brief appearances. He also appeared as Cody in Sam Peckinpah's Pat Garrett and Billy the Kid (1973) and reprised a satirical take on his iconic Wilmer in the noir parody The Black Bird (1975). Cook's final film role came in the biographical drama Hammett (1982), capping a career with 211 film credits that underscored his longevity in B-movies and cult favorites as television competition diminished theatrical opportunities for veteran character actors.[25]Television career
Transition to television
As television emerged as a major entertainment medium in the late 1940s, amid a post-war slowdown in Hollywood film production due to economic shifts and the rise of independent studios, Elisha Cook Jr. made his debut on the small screen in 1949 with an appearance on the anthology series The Chevrolet Tele-Theatre.[5] This initial foray was part of a broader industry trend where character actors like Cook sought new opportunities as feature film roles became less steady following World War II.[3] In the early 1950s, Cook adapted quickly to the demands of live television dramas, appearing in series such as Lights Out in 1950, where his background in stage acting from vaudeville and Broadway proved advantageous for the fast-paced, one-off broadcasts that required precise timing and emotional intensity.[5] By 1960, he had accumulated numerous television appearances, leveraging his experience in live performances to navigate the technical challenges of early TV production.[26] Cook's physical presence—his small stature and expressive features—suited the intimate close-up shots that defined television, allowing him to convey vulnerability and menace effectively in confined sets.[7] He reprised elements of his film noir persona in episodic formats, bringing a shadowy, neurotic edge to roles that echoed his cinematic tough guys and hapless villains.[27] Professionally, Cook viewed television as a reliable source of income to supplement his ongoing film pursuits, aligning himself with agencies focused on broadcast opportunities to secure consistent work during this transitional period.[8] His film background provided a distinctive noir sensibility that enhanced his TV performances, marking a strategic pivot rather than an abandonment of the big screen.[28]Key guest and recurring roles
Cook frequently appeared in anthology series during the golden age of television, bringing his signature nervous intensity to roles that echoed his film noir characters. In Alfred Hitchcock Presents, he guest-starred in the episode "Salvage" (1955), portraying Shorty, a hapless accomplice in a revenge plot.[29] His performance highlighted his ability to convey scheming desperation in compact narratives, a trait that suited the show's suspenseful format. In The Twilight Zone revival, Cook delivered a poignant guest role as Weldon in the segment "Welcome to Winfield" (1986), playing a ghostly figure reflecting on lost opportunities in a surreal small-town afterlife.[30] This late-career turn showcased his enduring vulnerability, earning praise for its emotional depth amid the series' supernatural elements.[31] Cook's work in western series emphasized his versatility as a character actor, often cast as shady opportunists or comic sidekicks. On Gunsmoke, he appeared in four episodes from the 1950s to the 1960s, typically as desperate outlaws or quirky townsfolk, such as Cyrus Tucker in "Odd Man Out" (1959) and Jocko Beal in "Breckinridge" (1965).[32] These roles solidified his reputation for injecting neurotic energy into the genre's rugged landscapes.[33] In later television, Cook guest-starred on Perry Mason twice, notably as the nervous witness Art Crowley in "The Case of the Pint-Sized Client" (1958).[34] Notable science fiction roles included the book-loving lawyer Samuel T. Cogley in the Star Trek episode "Court Martial" (1966) and Uncle Albert in ALF (1987). Over his career, Cook amassed dozens of television credits, predominantly in villainous or eccentric supporting parts that capitalized on his distinctive, high-strung delivery.[26] Though he received no Emmy nominations, Cook became a fan favorite for his reliable character work, seamlessly translating his noir-rooted anxiety to television's diverse formats.[7] His recurring role as the grizzled crime lord "Ice Pick" Hofstetler on Magnum, P.I. (1981–1988, 13 episodes) exemplified this adaptability, offering a tougher edge to his usual neuroticism while cementing his legacy in prime-time drama.Personal life
Marriages and family
Elisha Cook Jr. married singer and actress Mary Gertrude Dunckley, professionally known as Mary Lou Cook, on February 6, 1928, in Manhattan, New York.[35][36] The couple, both involved in stage performances, met through their shared work in theater circles during the 1920s.[37] Their marriage lasted until their divorce on November 4, 1941.[38] No children were born from this union.[8] Cook's second marriage was to stage actress Elvira Ann "Peggy" McKenna on March 7, 1943.[8] The couple divorced in February 1968 but remarried on December 30, 1971, remaining together until McKenna's death on December 23, 1990.[38] This marriage, spanning over four decades in total despite the interim separation, provided Cook with personal companionship amid his extensive acting career, though no children resulted from it either.[8][28] Born into a theatrical family in San Francisco on December 26, 1903, Cook was the son of Elisha Vanslyck Cook Sr. (1868–1922) and Helen Roslyn Henry (1877–1959), maintaining close yet somewhat distant relations with his parents due to their early deaths relative to his professional rise.[1][35] He had two older brothers: Theodore Hoff Cook (1898–1938) and Scott Seaton Cook (1901–1980), with whom he shared limited documented interactions as he pursued an independent path in entertainment.[1] Lacking a large immediate family, Cook often formed ad hoc familial bonds with fellow actors and colleagues in the industry, which offered emotional support during his nomadic career.[10]Residences and personal interests
Elisha Cook Jr. was born on December 26, 1903, in San Francisco, California, where he spent his early childhood before the family relocated to Chicago, where he was raised.[8][39] In the 1920s, as a young man pursuing acting, he left high school to tour with vaudeville troupes and repertory companies along the East Coast and Midwest, eventually settling in New York City to perform on Broadway stages.[10][27] By 1936, Cook had moved to Hollywood to transition into film work, establishing his professional base there for decades.[40] In his later years, Cook adopted a reclusive lifestyle, residing alone in a modest cabin by a lake in the High Sierra mountains near Big Pine, California, a home he maintained until his death in 1995.[41][42] Without a telephone, he distanced himself from Hollywood's bustling social scene, opting instead for solitary pursuits that reflected his preference for tranquility.[41] An avid outdoorsman, Cook devoted much of his free time to fishing, particularly tying flies and catching golden trout in the Sierra streams, activities that provided a stark contrast to his on-screen intensity. His frugal habits extended to everyday life, underscoring a personal philosophy of simplicity amid a steady acting career.[43] Cook's social circle remained small, centered on close friendships with fellow character actors like Peter Lorre from shared film projects, though he showed no notable involvement in political or public activism.[5] His second marriage to Peggy McKenna, which spanned over four decades with a brief interruption, influenced his stable but private home life in the mountains.[8]Death and legacy
Final years and death
In the 1980s, following more than 70 years in the entertainment industry, Elisha Cook Jr.'s acting workload diminished significantly, culminating in his final role as the elderly Uncle Albert in the television episode "We're So Sorry, Uncle Albert" from the series ALF, which aired on January 25, 1988. He retired thereafter, having appeared in over 200 film and television projects spanning six decades. Cook suffered a debilitating stroke in 1990, which severely limited his mobility and marked the onset of his disability, though he remained mentally alert.[3] His health continued to decline over the ensuing years, with reports of failing condition in the months prior to his passing; despite this, he made a public appearance in San Francisco just three weeks before his death.[2] No major illnesses had been publicly disclosed earlier in his career. On May 18, 1995, Cook died from a stroke at the age of 91 in a nursing home in Big Pine, California.[3][2] His second wife, Peggy McKenna Cook, had predeceased him in 1990 after 19 years of remarriage, leaving him without immediate family survivors.[44] A private funeral followed, with no public memorial service held, and he was cremated, with his ashes scattered.[1]Cultural impact and recognition
Elisha Cook Jr. epitomized the film noir archetype of the "little guy" villain, his slight build, wide-eyed intensity, and raspy voice defining a string of memorable henchmen, dupes, and neurotics across more than 200 film and television roles spanning six decades.[28][5] This typecasting, rooted in standout performances like the twitchy gunsel Wilmer in The Maltese Falcon (1941) and the henpecked racetrack teller George Peatty in The Killing (1956), earned him the enduring nickname "Hollywood's Lightest Heavy" for embodying threats that were more bluster than brawn.[7] His portrayals influenced subsequent generations of character actors, with Steve Buscemi often cited as a spiritual successor, channeling a similar twitchy vulnerability in roles that echo Cook's noir fall-guys.[45] Cook received limited formal recognition during his lifetime, highlighted by the shared Silver Medallion Award at the 1981 Telluride Film Festival for his contributions as a character actor.[46] Posthumously, his work has garnered acclaim in noir retrospectives, particularly through 2010s releases like the Criterion Collection edition of The Killing, which underscores his pivotal role in Stanley Kubrick's early heist thriller.[47] These restorations have illuminated his skill in conveying quiet desperation and moral frailty, cementing his status as a noir icon. In recent years, Cook's legacy has seen renewed appreciation via modern media, including discussions in podcasts like Talk Classic to Me and books celebrating unsung performers, alongside tributes on TCM's Noir Alley where host Eddie Muller frequently spotlights his films such as Born to Kill (1947) and Phantom Lady (1944).[48] The 2020s streaming boom, with titles like The Killing and I Wake Up Screaming (1941) available on the Criterion Channel, has introduced his performances to younger viewers, enhancing his cult following.[49][50] In 2025, on the 30th anniversary of his death, tributes highlighted his enduring impact in film noir, including social media honors.[51] Beyond specific honors, Cook's career exemplifies the resilience of the journeyman actor, his prolific output inspiring indie filmmakers to explore everyman characters marked by vulnerability and grit rather than heroism.[39]Filmography and credits
Feature films
Elisha Cook Jr. appeared in over 100 feature films from 1930 to 1982, often in supporting or character roles that highlighted his distinctive wiry frame and nervous energy. The following is a chronological list of selected feature film credits, organized by decade, including his role and the director where applicable. This filmography draws from production records.[5]1930s
- 1930: Chills and Fever, Member of the Glee Club, dir. Roy Mack[5]
- 1930: Her Unborn Child, Stewart Kennedy, dir. Lambert Hillyer[5]
- 1931: Rogue of the Rio Grande, Dancer in Saloon (uncredited), dir. Harry Fraser[5]
- 1931: The Public Enemy, Student (uncredited), dir. William A. Wellman[5]
- 1931: Safe in Hell, Leonie (uncredited), dir. William A. Wellman[5]
- 1932: Week-End Marriage, "Sharkey" (uncredited), dir. Thornton Freeland[5]
- 1932: Life Begins, Jock (uncredited), dir. James Flood[5]
- 1933: Baby Face, Boy Friend in Montage (uncredited), dir. Alfred E. Green[5]
- 1933: Corruption, Terry (uncredited), dir. John P. McCarthy[5]
- 1933: Elmer and Elsie, Hodge, dir. Gilbert Pratt[5]
- 1933: I Love That Man, Bookie (uncredited), dir. David Burton[5]
- 1933: The Circus Queen Murder, Toby (uncredited), dir. Roy William Neill[5]
- 1934: Viva Villa!, Johnny (uncredited), dir. Jack Conway[5]
- 1934: The Mighty Barnum, Man with Monocle (uncredited), dir. Walter Lang[5]
- 1934: The House of Rothschild, Cashier (uncredited), dir. Alfred Werker[5]
- 1935: Call of the Wild, Spitz (uncredited), dir. William Wellman[5]
- 1935: Murder in the Fleet, Airplane mechanic (uncredited), dir. Edward Sedgwick[5]
- 1936: The Girl on the Front Page, Interne (uncredited), dir. Harry Beaumont[5]
- 1936: Pigskin Parade, The Band Member (uncredited), dir. David Butler[5]
- 1936: To Mary - with Love, Buddy (uncredited), dir. John Cromwell[5]
- 1937: Danger – Love at Work, Hap Holden, dir. Otto Preminger[5]
- 1937: They Won't Forget, Joe Turner, dir. Mervyn LeRoy[5]
- 1937: Love Is News, Harry (uncredited), dir. Tay Garnett[5]
- 1938: Submarine Patrol, Mugsy, dir. John Ford[5]
- 1938: My Lucky Star, Script boy (uncredited), dir. Roy Del Ruth[5]
- 1938: Three Blind Mice, Spencer, dir. William A. Seiter[5]
- 1939: Honolulu, Dufrene, dir. Edward Buzzell[5]
- 1939: Wife, Husband and Friend, Hugo (uncredited), dir. Gregory Ratoff[5]
- 1939: The Story of Vernon and Irene Castle, Student pilot (uncredited), dir. Henry C. Potter[5]
1940s
- 1940: Stranger on the Third Floor, Angel, dir. Boris Ingster[5]
- 1940: Tin Pan Alley, Joe Cooper (uncredited), dir. Walter Lang[5]
- 1941: The Maltese Falcon, Wilmer Cook, dir. John Huston[5]
- 1941: Sergeant York, "Pinky", dir. Howard Hawks[5]
- 1941: Ball of Fire, 'Asthma' Anderson, dir. Howard Hawks[5]
- 1942: Hellzapoppin', Waiter (uncredited), dir. H.C. Potter[5]
- 1943: The Gang's All Here, Rounder (uncredited), dir. Busby Berkeley[5]
- 1944: Phantom Lady, Cliff March, dir. Robert Siodmak[5]
- 1944: The Falcon in Hollywood, Spotter (uncredited), dir. Gordon Douglas[5]
- 1945: Dillinger, Specs Green, dir. Max Nosseck[5]
- 1946: The Big Sleep, Harry Jones, dir. Howard Hawks[5]
- 1946: Two Smart People, "Happy" Daniels, dir. Jules Dassin[5]
- 1947: Born to Kill, Marty, dir. Robert Wise[5]
- 1947: The Long Night, Chesty (uncredited), dir. Anatole Litvak[5]
- 1948: I Walk Alone, Tippy Compton, dir. Byron Haskin[5]
- 1948: The Iron Curtain, Papineau, dir. William A. Wellman[5]
- 1949: Flaxy Martin, Hymie, dir. Richard Bare[5]
- 1949: The Great Gatsby, Klipspringer, dir. Elliott Nugent[5]
1950s
- 1950: Riding High, Prof. Pettigrew (uncredited), dir. Frank Capra[5]
- 1950: The Showdown, Cutie, dir. Louis King[5]
- 1951: The Great Missouri Raid, Quantrell (uncredited), dir. Gordon Douglas[5]
- 1951: Donovan's Brain, Mr. Jones, dir. Felix Feist[5]
- 1952: Nightmare Alley, 'The Geek', dir. Edmund Goulding[5]
- 1953: Shane, Stonewall Torrey, dir. George Stevens[5]
- 1954: The Phantom of the Rue Morgue, Henri Bonnadet, dir. Roy Del Ruth[5]
- 1955: The Indian Fighter, Crazy Bear, dir. Andre De Toth[5]
- 1956: The Killing, George Peatty, dir. Stanley Kubrick[5]
- 1957: Voodoo Island, Martin Schuyler, dir. Reginald Le Borg[5]
- 1958: Plunderers of Painted Flats, Ned East, dir. Harry Keller[5]
- 1959: House on Haunted Hill, Watson Pritchard, dir. William Castle[5]
- 1959: The Hangman, Pop Willis, dir. Michael Curtiz[5]
1960s
- 1960: The Music Box Kid, George 'Scar' Wheeler, dir. Irwin Berwick[5]
- 1961: One-Eyed Jacks, Carvey, dir. Marlon Brando[5]
- 1962: Papa's Delicate Condition, Mr. Harvey (uncredited), dir. George Marshall[5]
- 1963: Johnny Cool, Ole, dir. William Asher[5]
- 1964: The Carpetbaggers, Ed Ellis, dir. Edward Dmytryk[5]
- 1966: The Family Band, Charley Smith, dir. Jack Donohue[5]
- 1968: Rosemary's Baby, Mr. Nicklas, dir. Roman Polanski[5]
- 1969: The Ballad of Cable Hogue, Bowmaker, dir. Sam Peckinpah[5]
1970s
- 1970: El Condor, Running Man, dir. John Guillermin[5]
- 1971: The Resurrection of Zachary Wheeler, Dr. Norman, dir. Bob Wynn[5]
- 1972: The Great Northfield Minnesota Raid, Bunker, dir. Philip Kaufman[5]
- 1972: Blacula, Sam, dir. William Crain[5]
- 1973: Electra Glide in Blue, Willie, dir. James William Guercio[5]
- 1973: Pat Garrett and Billy the Kid, Lambert, dir. Sam Peckinpah[5]
- 1974: Messiah of Evil, Charlie, dir. Willard Huyck and Gloria Katz[52]
- 1974: Zandy's Bride, Pa Horgan, dir. Jan Troell[5]
- 1975: The Black Bird, Wilmer (uncredited), dir. David Giler[53]
- 1979: The Champ, Georgie, dir. Franco Zeffirelli[54]
- 1980: Tom Horn, Stablehand (uncredited), dir. William Ward[55]
- 1982: Hammett, Eli the Taxi Driver, dir. Wim Wenders[56]
- 1982: National Lampoon's Movie Madness, Mousy, dir. Bob Giraldi[57]
Television appearances
Elisha Cook Jr. transitioned to television in the late 1940s, accumulating over 150 credits across episodic series, anthologies, and recurring roles until his final appearance in 1988. His television work often featured him as nervous henchmen, quirky sidekicks, or shady characters in westerns, crime dramas, and sci-fi, leveraging his distinctive high-pitched voice and diminutive frame for memorable guest spots.[26][58] Cook's early television debut came in 1949 on The Chevrolet Tele-Theatre, where he portrayed Eddy in an episode, marking the start of his prolific small-screen career.[59] He appeared in an episode of Alfred Hitchcock Presents, beginning with "Salvage" (Season 1, Episode 6, aired December 12, 1955) as Shorty, a jittery associate in a tale of revenge.[29][27] In the western genre, Cook guested on classic oaters like Gunsmoke (1964 episode as George, a desperate outlaw) and Rawhide (1964 episode as Jim Gribble, a scheming ranch hand).[58] His 1970s work included spots on shows like Kung Fu, where he appeared as a grizzled prospector in a 1973 episode, blending his noir edge with martial arts drama.[60] Later in his career, Cook embraced recurring characters in popular 1980s series. On Magnum, P.I., he portrayed Francis "Ice Pick" Hofstetler in 13 episodes from 1981 to 1988, the loyal but tough informant to Tom Selleck's Thomas Magnum, earning praise for his gruff charm. Other late credits featured Uncle Albert on ALF (1988 episode) and a guest role on Matlock (1988 episode as a sly witness). Additional representative appearances span:| Year | Series | Episode/Role | Notes |
|---|---|---|---|
| 1954 | Adventures of Superman | Guest as Prouty (Episode: "The Superman Silver Mine") | Henchman in a mining scheme.[60] |
| 1964 | Perry Mason | "The Case of the Thirsty Thief" as Reelin' Pete | Drunken informant.[58] |
| 1967 | Star Trek | "Court Martial" as Samuel T. Cogley | Passionate defense attorney; a career highlight for its dramatic intensity.[61] |
| 1979 | Salem's Lot | Miniseries as Gordon 'Weasel' Phillips (2 episodes) | Vampire hunter sidekick.[58] |
| 1985 | The A-Team | Guest as Jim Beam (Episode: "The Road to Hope") | Bum mistaken for Hannibal.[62] |
| 1985 | Night Court | Season 3 guest as Wilbur Posten (Episode: "Married Alive") | Quirky carriage driver.[63] |