Herb Edelman
Herb Edelman is an actor, born 1933.
The Neil Simon pipeline made Herb Edelman. Born in Brooklyn in 1933, he turned up as Harry Pepper, the telephone man, in the 1967 film of Barefoot in the Park, then as Murray the cop in The Odd Couple a year later, then as Harry Michaels in California Suite in 1978. Three Simon adaptations across eleven years is not coincidence; it is shorthand for a specific thing Edelman could do, which was walk into somebody else's argument, deliver two flat lines, and leave having taken the scene with him.
He worked constantly and rarely near the top of the bill. The Way We Were used him in 1973, The Front Page and The Yakuza both in 1974, and, more strangely, the 1984 martial-arts comedy Wheels on Meals, which is the sort of credit that only happens to a character actor whose agent says yes. Television was steadier. He was Joel Steiger across Cagney and Lacey, Artie Gelber on Murder, She Wrote, and Richard Clarendon on St. Elsewhere, all recurring parts, all built on the same trick of arriving with the plot in his pocket.
The role that outlived the rest was Stanley Zbornak, Dorothy's ex-husband on The Golden Girls: a man written to be resented, played with just enough hurt underneath that the audience kept wanting him back. He was twice nominated for an Emmy for his television work. He died in 1996.
Movies (12)
TV (18)
- Murder, She Wrote (1984)
- Charlie's Angels (1976)
- The Golden Girls (1985)
- Love, American Style (1969)
- St. Elsewhere (1982)
- Cagney & Lacey (1982)
- thirtysomething (1987)
- Matt Houston (1982)
- Ellery Queen (1975)
- The Bill Cosby Show (1969)
- 9 to 5 (1982)
- Good Morning World (1967)
- The Good Guys (1968)
- The Second Half (1993)
- The Bradys (1990)
- Rafferty (1977)
- It's About Time (1966)
- Ladies' Man (1980)
Where to start with Herb Edelman
Begin with the Stanley Zbornak episodes of The Golden Girls, where he shows up, ruins Dorothy's week and earns exactly enough sympathy to complicate it. For the film work, The Odd Couple preserves what he did with a supporting part better than anything else here, a poker-night cop with the timing of a man who knows the joke is not his. Barefoot in the Park hands him one good running gag as the telephone man who has to climb all those stairs. California Suite and The Way We Were are the prestige credits, both small. For the oddity, Wheels on Meals drops him into a martial-arts comedy a very long way from any Simon living room, and St. Elsewhere shows the late television work that kept him busy.