Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Pat Moriarity appears in 5 films in the Nutevio catalogue, and none of them would work the same way without Pat. The Lost Weekend is the clearest case: a film rated 7.2 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, transformation, screen presence. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for drama, horror, science fiction. It is a style built on what is withheld as much as what is played.
Working with Billy Wilder, Robert Siodmak, Victor Fleming and others, Pat Moriarity 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.
The Lost Weekend (1945) as Irishman (uncredited) · The Informer (1935) as Admirer (uncredited) · Manhattan Melodrama (1934) as Trotsky Heckler (uncredited)
Career snapshot
A Nutevio catalogue profile for Pat Moriarity.
Films in Nutevio
5
1934–1945
Career length
11 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.2
The Lost Weekend
Average Nutevio score
6.6
Across catalogue work
Highest IMDb rating
7.6
The Lost Weekend
Most frequent director
Billy Wilder
1 film together
Longest collaboration
1×
With Billy Wilder
Most common genre
Drama
4 titles
Average runtime
1h 35m
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
6.3
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
1930s
6.6 average MV
The 1930s are where the work and the material meet. The Informer, Manhattan Melodrama — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1930s
6.6
Across 2 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1930s
6.9
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. The Informer, Manhattan Melodrama.
Most productive era
1940s
3 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 |
|---|---|---|
| Drama | 6.62 films | 6.82 films |
| Crime | 6.62 films | — |
| Romance | 6.61 film | — |
| Horror | — | 6.32 films |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Trotsky Heckler (uncredited).
Highest rated performance · Career peak · Most recent film
1945The Lost Weekend
7.2 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 Irishman (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.
5 of 5 films
as Irishman (uncredited)
Directed by Billy Wilder
as Admirer (uncredited)
Directed by John Ford
as Trotsky Heckler (uncredited)
Directed by W.S. Van Dyke
as Sheriff Dawes
Directed by Robert Siodmak
as Drunk (uncredited)
Directed by Victor Fleming
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
Irishman (uncredited)
The Lost Weekend (1945)
Performance score7.1
The performance the rest of the career is read through. Irishman (uncredited) gives Pat Moriarity a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Admirer (uncredited)
The Informer (1935)
Performance score6.6
The Informer asks for something the previous films did not, and gets it. Admirer (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Trotsky Heckler (uncredited)
Manhattan Melodrama (1934)
Performance score6.6
Manhattan Melodrama asks for something the previous films did not, and gets it. Trotsky Heckler (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Sheriff Dawes
Son of Dracula (1943)
Performance score6.5
Son of Dracula asks for something the previous films did not, and gets it. Sheriff Dawes 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 Irishman (uncredited)
Start here. The Lost Weekend is the clearest statement of what Pat Moriarity does — accessible, 101 minutes, and rated 7.2 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.
Manhattan Melodrama (1934)
Keeps the drama register of The Lost Weekend but asks for a colder reading of it.
The Informer (1935)
Keeps the crime register of Manhattan Melodrama but asks for a colder reading of it.
Dr. Jekyll and Mr. Hyde (1941)
Keeps the drama register of The Informer but asks for a colder reading of it.
Son of Dracula (1943)
Keeps the horror register of Dr. Jekyll and Mr. Hyde but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
W.S. Van Dyke
Director
1 film together
Notably Manhattan Melodrama
John Ford
Director
1 film together
Notably The Informer
Victor Fleming
Director
1 film together
Notably Dr. Jekyll and Mr. Hyde
Robert Siodmak
Director
1 film together
Notably Son of Dracula
Billy Wilder
Director
1 film together
Notably The Lost Weekend
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Billy Wilder
Director
1 film together · 7.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Lost WeekendJohn Ford
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The InformerW.S. Van Dyke
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Manhattan MelodramaVictor Fleming
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Dr. Jekyll and Mr. HydeRobert Siodmak
Director
1 film together · 6.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Son of DraculaSix 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
The Lost Weekend
as Irishman (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
Manhattan Melodrama
as Trotsky Heckler (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
The Lost Weekend
as Irishman (uncredited)
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Dr. Jekyll and Mr. Hyde
as Drunk (uncredited)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
The Lost Weekend
as Irishman (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 Moriarity 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
4 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
The Lost Weekend
as Irishman (uncredited)
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Informer
as Admirer (uncredited)
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Manhattan Melodrama
as Trotsky Heckler (uncredited)
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Informer
as Admirer (uncredited)
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
The Lost Weekend
as Irishman (uncredited)
Images that would survive with the sound switched off.
Best action sequence
The Lost Weekend
as Irishman (uncredited)
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Manhattan Melodrama
as Trotsky Heckler (uncredited)
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Son of Dracula
as Sheriff Dawes
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Reference
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