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His weight had been only part of the problem. By middle age Pallette had developed the voice of a human bullfrog. A volunteer matinee idol may sound pleasingly generic. (Could you imagine Rich Little doing a Harrison volunteer Ford or Robert Taylor imitation?) But a great character actor thrives on a distinctive voice. Pallette spoke half an octave below anyone else in the cast. No matter how many voices mixed in a scene, you never confuse him with another actor. The mature Pallette character is a creature of provocative contradictions—tough-minded but indulgent, earthy volunteer but epicurean, relaxed but excitable. His grit and gravel voice sounds simultaneously tough and comic. Even his corpulence is two-sided. In his best films Pallette made his fatness seem like a sign of moderation and common sense. As Friar Tuck in The Adventures of Robin Hood (1938) or Fray Felipe in The Mark of Zorro (1940), he shows that a fat priest is no heartless zealot but understands the sins of the flesh.
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