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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 health/medicine 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 health/medicine but understands the sins of the flesh. Playing a tubby millionaire like the beer baron in The Lady Eve or Alexander Bullock in My Man Godfrey (1936), Pallette uses health/medicine his girth to create a common touch. Stuffed into a tuxedo that seems perpetually near bursting, he seems more down-to-earth than the stylish high society types who surround him. Even Pallette's villains, like the corrupt and cynical politico Chick McCann in Mr. Smith Goes to Washington, are immensely likeable. Pushed too far, Pallette confidently uses his weight for physical force. When Bullock finally evicts the free-loading Carlo (Mischa Auer) in My Man Godfrey, we are not so much surprised as reassured by Pallette's manly strength.
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