AUGUST 9, 2019
WHAT WE CAN SAY now about Robert G. Haines is that he used to be born on September 16, 1894, in England, that his mother’s maiden title used to be Sleight, and that he died April 18, 1961, in Los Angeles, 66 within the tip. That’s where the documented poke bet ends, pulled fully from his Social Safety Dying Index describe. Robert G. Haines appears to be like to occupy led a easy lifestyles, loads fancy the roles he conducted, the roughly lifestyles that doesn’t get the papers. There are no obituaries for Robert G. Haines within the principal L.A. papers, however there were moments, transient and unintended, when Robert G. Haines used to be a further at the center of the screen, at the center of the arena.
Now we occupy snapshots from yearly within the latter a part of his lifestyles. Doubtlessly most of us occupy seen a few of them. His image is engraved within the canon as a reputedly limitless parade: Citizen Kane, Yankee Doodle Dandy, Holiday Inn, Gilda, The Killers, The Postman Always Rings Twice, Strangers on a Order, The Day the Earth Stood Mute, Singin’ within the Rain, The Detestable and the Lovely, the 1954 A Star Is Born, The Seven twelve months Itch, Beyond a Cheap Doubt, Across the World in eighty Days, Gunfight at the O.Ok. Corral, Man of a Thousand Faces, Vertigo, and North by Northwest. He rounded out his occupation with runs in Alfred Hitchcock Gifts and The Twilight Zone. It’s a mighty collection of big films to were enthusiastic with. He appears to be like in no much less than six entries within the Criterion Collection, bigger than either Michael Curtiz, director of Casablanca, or Fritz Lang, director of Beyond a Cheap Doubt and such successfully-identified nightmares as Metropolis and M.
After all, Haines didn’t shape films to the same extent as Curtiz or Lang. He used to be seemingly on these sets for no bigger than a day or two. We are in a position to rule out Haines having conducted any principal, unforgotten, feature in early Hollywood. After noting the presence of a inclined comic well-known particular person as a further in Singin’ within the Rain, Anthony Disappear, really appropriate one of many few historians of extras, wrote, “[The film] doesn’t boast any numerous prominent avid gamers of the restful technology.” Despite the smallness of his contribution, the movies Robert Haines appears to be like in wouldn’t occupy worked with out the labor of of us fancy him. Regular-working extras were expert, no much less than, at disappearing within the background, forming the fabric of the universe. Extras fancy Haines went extra. The characters he conducted created the mood of the arena wherein the stars walked. They implied a zeitgeist. Extra than we’d perceive while looking out at the movies for the first time, they modified our trip. Cecil B. DeMille, who used to be notoriously brutal alongside with his crowds, confirmed this when he educated an interviewer, in 1934, “That you would possibly perchance now not possess it, and most audiences never ogle it, however a few of my most tasty actors are extras.”
I first observed Haines as the fidgety, worried bus driver in Hitchcock’s Strangers on a Order. He’s on screen for no bigger than Forty five seconds. He would possibly perchance even be seen in barely three photos, however he’s at the center of the first. His bus pulls appropriate into the scheme at which Bruno Antony, really appropriate one of many titular strangers, has been staring. His anxious scrutinize has compelled the viewer to dwell up for the advent of the bus. The bus driver is heart-inclined, in a sweater and a cap. There’s one thing surprising referring to the manner he stares again at Antony, via the passenger door, ignoring the commotion on the more than a few side of his bus.
Antony waits for the precise object of his attention, the more than a few titular stranger, Guy Haines, to board the bus. The driver now not ceaselessly appears to be like at him and his loud chums, though really appropriate one of them shouts, “Driver! Driver!” But when Antony gets on the bus, the bus driver’s head moves to alter to him. He fidgets rather when he accepts Antony’s fare and raises his fingers to the huge wheel to head on alongside with his work. There’s one thing referring to the manner his shoulders scurry that’s placing. Perchance it’s a feeling of frustration with the job, or perchance it’s resignation to the drudgery. By the next shot, when the bus pulls into physique in entrance of a carnival, the bus driver has lost our attention. A crowd pours out, and we are in a position to now not ceaselessly see him. He’s change into edifying one other extra again.
Haines shares a surname with the protagonist. His heart initial would possibly perchance even conceivably stand for “Guy.” Robert Guy Haines — it will work. Used to be he chosen as a comment on Antony’s point of interest of attention? Used to be his casting a non-public joke on the a part of a casting director? Or on the a part of Hitchcock, who would divulge this extra repeatedly afterward, in Vertigo, North by Northwest, and a style of episodes of Alfred Hitchcock Gifts? Or used to be it a twist of destiny? Haines’s transient look raises dozens of questions fancy these, and others too. What used to be his lifestyles beyond the physique? We handiest know what befell on screen.
Haines made his first, tentative entrance in 1932, in Mack Sennett’s Hypnotized. He conducted a trapeze artist, which would possibly perchance perhaps give us a piquant label of the shape of his lifestyles sooner than his first look. It wasn’t peculiar for casting brokers to head to the circus procuring for strongmen, for his or her tricky man extras. Why shouldn’t they occupy got long gone to the circus for his or her trapeze artists? He didn’t seem in a movie again for one other three years. Perchance the circus carried him away.
In 1935, he made his first recorded, however uncredited, look as a non-expert extra, having fun with a bystander in a nightclub. The next twelve months he conducted a court reporter. In 1937, his occupation after all took off. From that time on, it used to be rare that he’d get now not as a lot as three or four recorded screen appearances a twelve months, which is to recount nothing of the appearances that went unrecorded by the casting sorts. His roles tended toward occasion company, reporters, clerks, and an unheard of collection of trial spectators. He perchance possessed the petty bourgeois costume wanted to be an attractive increased paid costume extra. The gathering of cases he seemed in Cagney movies would possibly perchance perhaps point out that he sided with the Cloak Actors Guild within the dispute over who would signify the extras. It appears to be like now not really that Cagney, president of the Guild, would occupy allowed really appropriate one of many “troublemaker” extras on his role. As a rule Haines went uncredited.
You would possibly perchance perhaps presumably scheme him at the Inquirer occasion in Citizen Kane. He sits subsequent to Bernstein, and he’s bigger than a decade youthful than he used to be in Strangers on a Order. His hair is unambiguously dim. He appears to be like a tiny fancy Joseph Cotten, then having fun with Mr. Leland, and he appears to be like even extra fancy the older Joseph Cotten in make-up, later within the movie. They’re symmetrically mirrored on either side of Bernstein. Esteem Cotten, he sits, twirling a cigar. When Bernstein proclaims, “There’s a style of statues in Europe you haven’t bought yet,” they smile at the same instant and their heads swivel toward Kane in unison.
There’s a tiny continuity error within the shot after Kane whistles for the music to delivery out. Haines has shifted down a particular person. When the line stands up from the table, for a moment he disappears. But handiest for a moment. He’s the first to plant a foot on the table and stand above the more than a few extras, with the cigar easy jutting out from his mouth. Leland, in fresh distinction, stays seated. When Kane walks as a lot as Leland and says, “Are we going to teach war on Spain, or are we now not?” Leland stays seated, while his inclined symmetrical accomplice leans in from on high of the table. The damaged symmetry emphasizes Leland’s shift of mood.
When Charlie Kane gets as a lot as dance, the extras are lost in a singing crowd. Haines used to be a particular person that knew strategies to fade when wanted. While the music goes on, the digital camera focuses in on Leland and Bernstein. Within the scheme where Haines as soon as sat, fancy a jolly reflection of Leland, there’s now handiest an empty hat, and your whole happiness and poke bet has drained from Leland. Bernstein has achieve on a hat that’s now not his have and doesn’t pretty suit him, perchance having absorbed a lopsided shadow. Leland refuses to. Even in Haines’s absence, there’s an efficient residue of his presence.
In The Killers, Haines is at the Inexperienced Cat Cafe for the time being when Kitty leaves Reardon, pondering he’ll be killed. Haines stands up edifying as she walks past his table. His hair is slicked again, easy dim. He grabs his hat, and as the females who were sitting with him stand as a lot as head, he pushes in their chairs. It’s a further action that would possibly perchance perhaps endanger his lifestyles. He walks toward the exit, edifying as the killers lag in. He graciously moves apart for the larger man to cross. The score plays the killers’ theme from the origin, edifying as Haines slips out the door.
Why the snappily exit when Kitty walks out? In no intention because Haines’s personality knew what used to be going to happen. If that used to be the case, he wouldn’t occupy taken the time to push these chairs in. But his movements are moderately timed and choreographed. He’s now not fancy the more than a few café patrons, faking chatting, ordering a drink. And he’s now not fancy the particular person that hobbles via the background with a cane. He’s now not edifying providing some atmospheric unease — his actions stand out in their abruptness and quickness. He passes appropriate past the featured avid gamers and has half an interaction with one. Haines’s exit, strolling out within the nick of time, is a gesture toward the realistic consequences of public violence. His lucky damage out edifying sooner than the score triggers a fear is a reminder of where a stray bullet can land.
In Vertigo, Haines plays a stenographer. His suit is an even blue, deeper and in lots of ways much less distinctive than these of the males to the suitable of him within the physique. It’s the true same blue and has the true same refined visible texture as Jimmy Stewart’s suit. His hair has lastly turned white. He now not ceaselessly appears to be like within the scene, and yet he’s at all times fresh. The noise of his typewriter underlays your whole thing. Every so most ceaselessly, it interferes with the instant comprehension of what’s acknowledged, and, your whole time, it plays on the nerves of every the target market and Jimmy Stewart’s Scottie.
On the tip of the rigidity, Hitchcock cuts to a shot that foregrounds the typewriter, as if to emphasise the clatter and distraction. One of many jurors in that shot turns toward Haines’s offscreen head with a furrowed forehead edifying sooner than the lower. When, a minute and a half later, Hitchcock cuts again from the exhaust to a same shot with a foregrounded typewriter, the same juror is looking out at Haines’s typewriter. The whole numerous jurors occupy their eyes closed.
The typewriter sound handiest cuts out when really appropriate one of many jurors steps ahead and says, “We’ve reached a verdict.” The exhaust’s phrases, which, sooner than, had fashioned a semi-incomprehensible drone, lower via clearly now. “The jury finds that Madeleine Elster dedicated suicide while of unsound mind,” the exhaust says as the digital camera blinks to Scottie’s worried face. Scottie hears it clear.
In North by Northwest, Haines’s feature is much less showy. He plays really appropriate one of many more than a few eminent gentlemen standing around chatting within the background at the United Countries. He’s wearing a dishevelled gray suit, and his hair is, as it would possibly perchance perchance be repeatedly any extra, easy white. He stands talking in a tiny crew and most ceaselessly turns around and, with a ingesting bird toy trot, dips down toward a girl sitting on a sofa. He repeats this trot — talk, turn, dip, turn, talk, turn, dip, turn, talk, turn, dip, turn — except issues delivery to head unsuitable. The regularity of this trot implies that despite the scattered blueprint of of us, Cary Grant’s Roger Thornhill walked right into a functioning space. Haines blurs out of point of interest when the precise Townsend, the particular person he’d intention to price, though now not the particular person that claimed to be Townsend sooner than, approaches Thornhill, upsetting Thornhill’s sense of reality. Haines stands there, talking on, between the two of them, as if nothing out of the long-established has befell. When the scene shifts all around the room, Haines disappears. His tidy, long-established movements don’t occupy any role in what occurs subsequent. The extra that sets the tone for that sequence, as a substitute, is the particular person with the flashbulb digital camera, who didn’t appear to be fresh when Thornhill walked in.
It’d be unsurprising if Hitchcock, of all directors, developed a particular affinity for and paid special attention to his extras. He famously acted as one in a single and all of his films and used to be successfully attentive to the carry out he would possibly perchance possess on these within the know. As a fellow Englishman, and handiest a pair years older, perchance Hitchcock observed Haines as an extension of that precept — if the extras in Hitchcock’s films shared a few of his characteristics, perchance Hitchcock himself would possibly perchance blend in rather better.
Within the same twelve months as North by Northwest, Haines seemed in The Twilight Zone episode “Time Ample at Closing.” In his single shot, he appears to be like rather extra haggard than long-established. His suit is loose and edifying a color darker than Burgess Meredith’s, who plays Bemis, the episode’s uncontested protagonist. They’re every wearing glasses. Haines doesn’t sport that ridiculous moustache, though his better lip has at all times puffed out a tiny of.
Haines stands hunched over a counter at the center of the shot edifying after Rod Serling begins narrating. He’s filling out some possess of paperwork and is the very top one which stays easy, facing the digital camera. We’re looking out down on him. “Survey Mr. Henry Bemis,” Serling says, edifying a damage up 2d sooner than we see Haines, “a charter member within the fraternity of dreamers, a bookish tiny man whose ardour is the broadcast page, however who is conspired in opposition to by a bank president, and a partner, and a world beefy of tongue clackers, and the unrelenting fingers of a clock.” As this monologue unspools, the digital camera follows Haines boring lag over to the tellers. Everyone else in that moment walks a pair of half paddle sooner than he does. When he gets to the tellers, the digital camera drifts on, to get its precise object in Meredith. Haines is on screen for now not as a lot as 10 seconds, however his feature is clear. He is the visible echo of Meredith’s Bemis, a residing, breathing, boring-piquant brother in that fraternity of dreamers.
In his final movie, Palms of a Stranger, a low-rate-looking out awe flick with stripped-down sets released in 1962, there aren’t ceaselessly any scenes that demand extras, however he’s within the one which does. It’s a carnival. There are rides and games. He’s at the center of the action, rather inclined man alongside with his white hair looking out natty, in a tidy suit, with a tiny of sq.-folded fabric peeking out from his breast pocket. His partner, a substantial girl in what would possibly perchance successfully be a little leopard-print pattern, appears to be like to face a pair of foot taller than he. She’s conducted by Gertrude Astor, a restful well-known particular person that change into a prolific extra and bit participant and had at all times been illustrious for her high. Haines reels again and throws a ball at a tiny clown head, and he smiles an enormous, stunning smile. He never had that public historical past within the movie trade.
“A truly honest right throw, stunning throw,” the carnie tells him and reaches for a doll that’s the prize. Haines appears to be like to divulge one thing, however the microphones don’t gain it up. Perchance an English accent would occupy gave the impression out of role. He’s left with out traces, a further to the tip. But he swivels with impolite expressiveness, to fresh the prize to his glowering partner. “You grasp that thing dwelling,” she says, “and likewise you’re gonna be the one which has to dust it.” He says nothing. The smile drops from his face, he places his arm on her shoulder, and so that they lag away. It’s unclear who’s main whom. The stars lag as a lot as the carnie as Haines and Astor exit the screen.
Palms of a Stranger used to be released a twelve months after Haines’s loss of life. That appears to be like to be the final principal fact about his lifestyles. There are legends referring to the afterlives of numerous extras. In Hollywood Unknowns, as an instance, Anthony Disappear tells the myth of 1 aged girl who died for the length of the filming of a movie in 1916. “Her distraught husband would nightly talk to the theatre where the movie used to be being shown within the hope of seeing his partner on screen,” Disappear writes. “He had no photo of his loved one.” There are no such legends about Haines — no mourners haunting theaters, no obituaries positioned by mysterious household. We don’t know whether or now not Haines’s lifestyles used to be lonely or beefy of unrecorded encounters, whether or now not he used to be upset by how it turned out or proud within the tip, whether or now not he used to be mourned or straight forgotten. What we know is that his movies dwell ubiquitous. Everyone knows that at nearly any time — perchance now — he would possibly perchance successfully be inadvertently revived by some viewer. Haines and masses of of numerous extras flicker on the screen and are simultaneously lost in a bristling background. They switch with murmured intentions. They’re the final of the restful actors, every expressing, in some tiny manner, bigger than any target market will gain up in a lifetime.