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The Thirteenth Hour |
(1947) |
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The Secret of the Whistler |
(1946) |
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Mysterious Intruder |
(1946) |
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Voice of the Whistler |
(1945) |
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The Power of the Whistler |
(1945) |
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The Mark of the Whistler |
(1944) |
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The Whistler |
(1944) |
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The Ghost Ship |
(1943) | | [ Lawrence Tierney ] |
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Top Man |
(1943) |
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The Kansan |
(1943) | | [ George Reeves ] |
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Buckskin Frontier |
(1943) | | [ George Reeves ][ Lee J. Cobb ] |
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Eyes of the Underworld |
(1943) | | [ Lon Chaney Jr. ] |
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American Empire |
(1942) |
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Tombstone: The Town Too Tough to Die |
(1942) |
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The Roundup |
(1941) |
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Badlands of Dakota |
(1941) | | [ Robert Stack ][ Lon Chaney Jr. ] |
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Cherokee Strip |
(1940) |
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Men Against the Sky |
(1940) |
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The Marines Fly High |
(1940) |
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Reno |
(1939) |
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Here I Am a Stranger |
(1939) |
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Man of Conquest |
(1939) |
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Twelve Crowded Hours |
(1939) |
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Sky Giant |
(1938) |
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Blind Alibi |
(1938) |
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It Happened in Hollywood |
(1937) |
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The Devil Is Driving |
(1937) |
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The Devil's Playground |
(1937) | | [ Robert Urich ][ Ward Bond ] |
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Devil's Squadron |
(1936) |
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Special Investigator |
(1936) |
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Yellow Dust |
(1936) |
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The Tunnel |
(1935) |
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The Arizonian |
(1935) |
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West of the Pecos |
(1934) |
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His Greatest Gamble |
(1934) |
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Stingaree |
(1934) |
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Day of Reckoning |
(1933) |
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Ace of Aces |
(1933) | | [ Ralph Bellamy ] |
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No Marriage Ties |
(1933) |
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The Great Jasper |
(1933) |
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The Conquerors |
(1932) |
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Hell's Highway |
(1932) |
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Roar of the Dragon |
(1932) | | [ Irving Berlin ] |
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The Lost Squadron |
(1932) | | [ Joel McCrea ] |
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Cimarron |
(1931) |
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Secret Service |
(1931) |
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The Public Defender |
(1931) | | [ Boris Karloff ] |
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Young Donovan's Kid |
(1931) | | [ Jackie Cooper ][ Boris Karloff ] |
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Shooting Straight |
(1930) |
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Lovin' the Ladies |
(1930) |
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Seven Keys to Baldpate |
(1929) |
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The Wheel of Life |
(1929) |
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Nothing But the Truth |
(1929) |
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Redskin |
(1929) |
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The Love Doctor |
(1929) |
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Moran of the Marines |
(1928) |
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Warming Up |
(1928) |
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Easy Come, Easy Go |
(1928) |
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Sporting Goods |
(1928) |
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Paradise for Two |
(1927) |
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The Gay Defender |
(1927) |
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Shanghai Bound |
(1927) |
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Man Power |
(1927) |
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Knockout Reilly |
(1927) |
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The Quarterback |
(1926) |
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Say It Again |
(1926) |
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Fascinating Youth |
(1926) |
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Let's Get Married |
(1926) |
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Womanhandled |
(1925) |
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The Vanishing American |
(1925) | | [ Gary Cooper ] |
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The Lucky Devil |
(1925) |
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Men and Women |
(1925) |
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The Shock Punch |
(1925) |
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A Man Must Live |
(1925) |
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Too Many Kisses |
(1925) | | [ William Powell ] |
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The Stranger |
(1924) |
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Manhattan |
(1924) |
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Sinners in Heaven |
(1924) |
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Unguarded Women |
(1924) |
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Icebound |
(1924) |
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The Call of the Canyon |
(1923) |
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The Ten Commandments |
(1923) |
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To the Last Man |
(1923) |
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Racing Hearts |
(1923) |
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The Woman with Four Faces |
(1923) |
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Souls for Sale |
(1923) |
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Quicksands |
(1923) |
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The Christian |
(1923) |
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The Sin Flood |
(1922) |
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The Bonded Woman |
(1922) |
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The Wall Flower |
(1922) |
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Fools First |
(1922) |
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Yellow Men and Gold |
(1922) |
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The Glorious Fool |
(1922) |
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Dangerous Curve Ahead |
(1921) |
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All's Fair in Love |
(1921) |
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Not Guilty |
(1921) |
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The Poverty of Riches |
(1921) |
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One of Many |
(1917) |
Actor Richard Dix originally intended to be a surgeon, but dropped out of the University of Minnesota to take a job at a bank. He then accepted an office job in an architecture firm, attending a dramatics course at a local high school in his spare time. Deciding to become a professional performer, Dix secured work with a stock company, eventually graduating to leading-man parts with the celebrated Morosco stock troupe. Following World War I service and a brief stint on Broadway, Dix made his first film, 1920's Not Guilty. This led to a long-term contract with Paramount Pictures, where Dix starred in a string of rugged adventure films which defined his standard screen characterization: the modest, dependable, strong and silent man of action who was moved to violence only when there was no other recourse. Switching from Paramount to RKO Radio in the early talkie period, Dix starred as empire-building Yancey Cravat in RKO's only Oscar-winning film, Cimarron (1931). This film, for which Dix was himself Oscar-nominated, would remain the high water mark of his talkie career, which gradually diminished into inexpensive programmers and westerns. During the 1940s, Dix altered his long-established screen image, allowing himself to play neurotics and psychopaths. He was particularly effective as the obsessive-compulsive captain in Val Lewton's The Ghost Ship (1943) and was equally convincing in "not what he seems" leading roles in Columbia's Whistler "B"-picture series. Illness forced Richard Dix to retire after his last Whistler effort, 1947's The Thirteenth Hour; two years later, he died of heart failure. |
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