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called—somewhat to his embarrassment at the time—“the love story boy” on the Collier Love Story Hour.
Although Pawley had received consistently good reviews, he needed a special role to establish him as a major actor. Hmer Gantry was that role, perfect for Pawley with his rugged looks and resonant voice. Evidently Pawley was a bit too perfect in the Gantry part because he was denounced from the pulpits of Cleveland in the summer of 1928 and protesters heckled from the audience.
In retrospect, Pawley thinks that the criticism of the churches might have helped the play. In any event, it was a sensation.
Pawley’s success in Gantry came at a time when sound was introduced into movies. Hollywood was discovering that many of the handsome leading men of the silent pictures had high squeaky voices or could not act convincingly in the less exaggerated manner called , for by “talkie*.” , H !
Scouts scoured Broadway looking for “real” actors, and ' Ed Pawley got offers from all the major studios. He took off for Hollywood in J930 and there appeared in more than 60 pictures, sharing the bill with stars like James Cagney, Bing Crosby, W. C. Fields, Irene Dunne, Humphrey Bogart, and Myrna Loy. Pawley’s role was still usually th^t of a villain and he played several types of villains: a pirate in the Wallace Beery version of Treasure Island; John Dillinger in G-Man; the evil hillbilly in Mountain Justice. In real life, though, Pawley at last won the part of a romantic leading man. He
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