He was the younger actor who moved the viewers as Cinna the poet in Orson Welles’s 1937 theatrical manufacturing of “Julius Caesar.”
He was the chilly fascist sympathizer who saved audiences on the sting of their seats as he dangled from the Statue of Liberty in Alfred Hitchcock’s 1942 movie “Saboteur.”
And he was the kindly Dr. Auschlander on the favored 1980s hospital drama “St. Elsewhere.”
His face was recognizable to generations of individuals. But his title? Well, simply take into account this: When a filmmaker determined to make a documentary about him, he ended up titling it “Who Is Norman Lloyd?”
Mr. Lloyd, who died on Tuesday at his residence in Los Angeles at 106, carved out a profitable profession over seven a long time as an actor, producer and director, working with a number of the best-known names within the enterprise — even when his personal was barely acknowledged.
His loss of life was confirmed by the producer Dean Hargrove, a longtime good friend.
In addition to performing underneath Welles and Hitchcock, Mr. Lloyd labored with Charlie Chaplin, Bertolt Brecht, John Houseman and Jean Renoir. He turned good mates with Hitchcock and a frequent tennis accomplice of Chaplin’s. And he had tales to inform about all of them.
“He is a fount of stage and movie lore, full of juice at the age of 93,” The New Yorker wrote when “Who Is Norman Lloyd?” was launched in 2007.
When Mr. Lloyd spoke, he did so with the form of supply that prompt an upper-crust upbringing and impeccable education. As it occurred, he was born in Jersey City, N.J., on Nov. 8, 1914, and the one social climbing his household did was to maneuver to Brooklyn. The aristocratic voice got here later, when it was prompt that he take elocution classes to erase his accent.
“He sounds like he was born in London,” a good friend, Peter Bart, the editorial director at Variety, as soon as stated. “It’s not an affectation. It’s just the way he sounds.”
Mr. Lloyd started performing when he was very younger, showing earlier than girls’ golf equipment, he told The Star-Ledger of Newark in 2007. “‘Father, Get the Hammer. There’s a Fly on Baby’s Head’ — that was my big number,” he recalled dryly. “So you can imagine what that act was like.”
But the younger man was set on an actor’s path, and finally he started working underneath Welles on the Mercury Theater in New York. The pay was poor, but it surely was the Depression, and he was higher off than lots of the individuals who crammed the theater seeking an affordable diversion. Mr. Lloyd’s efficiency as Cinna, in a model of “Julius Caesar” that Welles set in Mussolini’s Italy, introduced him acclaim.
“By many accounts, the most electrifying moment in ‘Caesar’ was the brief scene in which Cinna the Poet is mistaken for one of the conspirators and is set upon by the mob,” Alex Ross wrote in The New Yorker in 2015 in an article about Welles.
When Welles moved to Los Angeles in 1940 to make movies, the younger Mr. Lloyd went with him.
Welles’s first film mission fell by means of, nevertheless, and Mr. Lloyd, who was anticipating a child along with his spouse, Peggy, a fellow performer, determined to search for work elsewhere. Welles’s subsequent mission went higher: It was “Citizen Kane.”
But whereas Mr. Lloyd missed an opportunity to have a job in that traditional movie, he did handle to get forged by Hitchcock in “Saboteur.” His position was an enormous one: Fry, a fifth columnist bent on attacking American targets throughout World War II.
At the movie’s climax, he topples over the sting of the Statue of Liberty’s torch and dangles because the movie’s hero (Robert Cummings) tries to tug him to security by his sleeve. (If a spoiler might be forgiven in spite of everything these years, Fry’s destiny is much less like that of Cary Grant and Eva Marie Saint as they perch on Mount Rushmore in one other Hitchcock movie, “North by Northwest,” than that of King Kong on the Empire State Building.)
Other roles adopted, together with in Hitchcock’s “Spellbound” (1945), Chaplin’s “Limelight” (1952) and Jean Renoir’s Hollywood film “The Southerner” (1945). But Mr. Lloyd regularly started to show to producing and directing.
During the Hollywood blacklist interval, his work dried up due to his previous associations with leftist performers. He credited Hitchcock with reviving his profession by insisting that he be allowed to rent Mr. Lloyd to provide and direct episodes of his tv exhibits, “Alfred Hitchcock Presents” and “The Alfred Hitchcock Hour.”
Mr. Lloyd took no matter work he might get till virtually the top of his life. He had roles in an episode of “Modern Family” in 2010 and within the 2015 Judd Apatow film “Trainwreck.” He additionally continued to spend so much of time on the tennis courtroom.
Mr. Lloyd “still plays tennis and still follows the serve to the net, which is daunting,” Mr. Bart stated in an interview when his good friend was properly into his 90s.
In 2014, the yr he turned 100, the Los Angeles City Council proclaimed Nov. 8, his birthday, “Norman Lloyd Day.”
Peggy Lloyd, who was born Margaret Hirsdansky and who was married to Mr. Lloyd for 75 years, died in 2011. She and Mr. Lloyd had met after they co-starred in a play referred to as “Crime,” directed by Elia Kazan.
Complete data on survivors was not instantly out there.
Matthew Sussman, who directed the documentary about Mr. Lloyd, stated its title got here late within the recreation, as he was telling acquaintances what he was engaged on.
“That would be the question,” he stated, “almost every time: ‘Who is Norman Lloyd?’”
Neil Vigdor contributed reporting.