Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#211153
of 909177 performers
Top 25%
Pat Gleason works on quiet performance rather than volume, and the catalogue keeps proving that the quieter choice was the correct one.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Pat Gleason appears in 4 films in the Nutevio catalogue, and none of them would work the same way without Pat. Gun Crazy is the clearest case: a film rated 7.0 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, transformation, versatility. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for romance, crime, drama. It is a style built on what is withheld as much as what is played.
Working with Joseph H. Lewis, Edgar G. Ulmer, Howard Hawks and others, Pat Gleason helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Gun Crazy (1950) as Carnival Barker (uncredited) · Detour (1945) as Joe · Topper (1937) as Taxicab Driver (uncredited)
Career snapshot
Ranked #211153 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
4
1937–1950
Career length
13 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.0
Gun Crazy
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.4
Gun Crazy
Most frequent director
Joseph H. Lewis
1 film together
Longest collaboration
1×
With Joseph H. Lewis
Most common genre
Drama
3 titles
Average runtime
1h 34m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.4
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1950s
7.0 average MV
The 1950s are where the work and the material meet. Gun Crazy — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1950s
7.0
Across 1 catalogue film in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1950s
7.4
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1930s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Topper.
Most productive era
1940s
2 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1930s | 1940s | 1950s |
|---|---|---|---|
| Drama | — | 6.72 films | 7.01 film |
| Action | — | 6.41 film | — |
| Thriller | — | 6.91 film | — |
| Comedy | 6.51 film | — | — |
| Crime | — | — | 7.01 film |
| Romance | 6.51 film | — | 7.01 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
1937Topper
Where our catalogue meets this career, as Taxicab Driver (uncredited).
Highest rated performance · Career peak · Most recent film
1950Gun Crazy
7.0 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once. The current state of the argument, as Carnival Barker (uncredited).
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
4 of 4 films
as Carnival Barker (uncredited)
Directed by Joseph H. Lewis
as Joe
Directed by Edgar G. Ulmer
as Marine (uncredited)
Directed by Howard Hawks
as Taxicab Driver (uncredited)
Directed by Norman Z. McLeod
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Carnival Barker (uncredited)
Gun Crazy (1950)
Performance score6.9
The performance the rest of the career is read through. Carnival Barker (uncredited) gives Pat Gleason a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Joe
Detour (1945)
Performance score6.8
Detour asks for something the previous films did not, and gets it. Joe is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Marine (uncredited)
Air Force (1943)
Performance score6.5
Air Force asks for something the previous films did not, and gets it. Marine (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Taxicab Driver (uncredited)
Topper (1937)
Performance score6.5
Topper asks for something the previous films did not, and gets it. Taxicab Driver (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Carnival Barker (uncredited)
Start here. Gun Crazy is the clearest statement of what Pat Gleason does — accessible, 87 minutes, and rated 7.0 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Pat at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Topper (1937)
Keeps the romance register of Gun Crazy but asks for a colder reading of it.
Air Force (1943)
A deliberate change of key after Topper — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Detour (1945)
Keeps the drama register of Air Force but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Joseph H. Lewis
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Gun CrazyEdgar G. Ulmer
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
DetourNorman Z. McLeod
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
TopperHoward Hawks
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Air ForceSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
Gun Crazy
as Carnival Barker (uncredited)
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Gun Crazy
as Carnival Barker (uncredited)
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Gun Crazy
as Carnival Barker (uncredited)
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Air Force
as Marine (uncredited)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Gun Crazy
as Carnival Barker (uncredited)
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Pat Gleason has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Drama Legend
Awarded
3 catalogue titles in drama, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
Gun Crazy
as Carnival Barker (uncredited)
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Detour
as Joe
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Gun Crazy
as Carnival Barker (uncredited)
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Detour
as Joe
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Air Force
as Marine (uncredited)
Images that would survive with the sound switched off.
Best action sequence
Air Force
as Marine (uncredited)
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Gun Crazy
as Carnival Barker (uncredited)
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Air Force
as Marine (uncredited)
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Have your say
Community
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Reference
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