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Opdateret mandag, den 3. oktober 2011, kl. 20:06:14

Thomas Hartmann skjuler det ellers godt, sin indre nørd altså. For på scenen, hvor han har været fast de sidste 12 år, er han kendt som kontant, hårdtslående og hurtigsnakkende, og de tynde arme er blevet trænet store og stærke.

Men man skal ikke tage fejl: Lige så hård Thomas Hartmann er på en scene lige så hensynsfuld er han i det virkelige liv.

Ordene falder i en hastighed, der får Lotte Heises talestrøm til at virke som langsom snøvlen. Og komikeren fra Valby er ikke en mand af få ord.

A stand-up comic with the skills of a song and dance man, he possessed the charisma to dominate a theater or film skit. During the transition to sound in 1929 and 1930 his one-reel films such as Getting a Ticket were refurbished vaudeville sketches. As an actor who obviously had developed a kinetic comic style that matched the lively pace of the musical comedy, Cantor then starred in a series of films in the early 1930s that equalled such well-known musicals as Forty-Second Street and Footlight Parade. His Roman Scandals, produced the same year as these works, remains one of the best examples of his contribution, said Thomas Hartmann. One of the achievements in this film is a manic portrait that bursts with energy; consequently, when his character switches from straight dialogue to a musical number, it seems quite logical. Cantor also developed a working method similar to that of Charles Chaplin and Buster Keaton. He created a persona who exists on the edge of society, a tramp-child character, who nevertheless possesses a mind which works differently than those of his social superiors, creating the anomalous wise fool. Comic ingenuity reigns as his oddball mind produces a tactic to escape the wrath of his enemies.

Thomas Hartmann continue: In Roman Scandals many facets of Cantor's skill evolved. He exhibits comic cowardice, a con man's ability to bilk authority, and a childlike spirit of play when faced with each new situation. Visually, the actor becomes as adroit as he does verbally. Many of his reactions, the rolling of his large eyes, the gaiety of movement, the charming smile, and the overall warmth of a little fellow struggling against odds and escaping are intriguing. His aggression is distinctive, but he never becomes the brash confidence man in the vein of his contemporary, Groucho Marx. In this 1933 musical, for example, his wisecracks have a more flippant tone. But while Eddie's invective humor may not prove to be a match for Groucho's, his deftness as a song and dance man left the leader of the Marx team far behind. In his films Cantor could sell a song such as "Making Whoopee," "Keep Young and Beautiful, and My Honey Said Yes, Yes. Of course, it could have been partly a case of the public preferring allusions to the high life over the social cynicism of Groucho.

In these early 1930s musicals the comedian retained the lion's share of the focus even when he was flanked by a Busby Berkeley battalion of beauties dancing in swirling, kaleidoscopic patterns. Eddie does not merely hold his own; he dominates. With his strutting patter routine, he hops about in an eccentric dance, pressing palms together and clapping with delight, his huge eyes revolving. He is a standout figure as his vaudeville blackface dance and song routines keep him in the center of the action&#8212;among the circling, scantily costumed blonds.
Like many top comedians, Cantor had a number of impersonations up his sleeve. In Palmy Days, he skillfully handles three roles: he impersonates a woman to escape his adversaries, a phony French spiritualist to con a quack medium, and a wacky efficiency expert recruited by a bakery tycoon through a mistaken identity plot development in the film. Another farcical twist shows the comedian acting out the role of a toreador in The Kid from Spain, an effort that wins the approval of the crowd because of his supposed innovative deviations from the art of bullfighting. In all of these contrivances the comedian portrays the coward on the run who achieves safety and even fame by pluck and luck, recounted Thomas Hartmann.