Onest Conley (1906-1989)

Alias:
Ernest A. Conley
Onest Conly

Birthplace:
Evanston, Illinois, USA

Born:
December 25, 1906

Died:
October 8, 1989

From Wikipedia, the free encyclopedia.  Born in Evanston, Illinois, his mother was the pioneering African-American film actress Madame Sul-Te-Wan (née Nellie Crawford) and his father was Robert Reed Conley. He had two brothers; Odel and Otto. His father abandoned the family shortly after Conley's birth, leaving his actress mother to raise the three boys. Like his mother, Onest Conley gravitated toward the acting profession and began taking bit parts in films. His first film appearance was a minor role in the 1926 Frank Borzage-directed The Dixie Merchant, a film adaptation of the Barry Benefield novel The Chicken-Wagon Family. The film starred Jack Mulhall and Madge Bellamy.  Despite limitations for African-American actors within the film industry during the 1920s and 1930s, Onest Conley appeared in films during the era, often typecast in stereotypical roles as "natives" and "shoeshine boys". Conley appeared alongside his brother Odel as "warriors" in the 1933 box-office hit King Kong, in which their mother also appeared in an uncredited role as a "native handmaiden". Conley also appeared alongside his mother in the 1930 Richard Thorpe-directed film The Thoroughbred as the character Ham Tolliver.  His most recognizable roles include George Harris in the 1933 Cecil B. DeMille-directed crime-drama This Day and Age, Neptune in the 1935 John S. Robertson-directed romantic drama Grand Old Girl and Mose in the 1935 Sam Newfield-directed adventure film Racing Luck.  By the early 1940s, however, Conley's career faltered and he received fewer and fewer roles. His last appearance as an actor was on an episode of the 1950s television series Soldiers of Fortune as a "voodoo drummer".

Additional information:

The Search Form


About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.