Robert H. Harris

Robert H. Harris (born Robert H. Hurwitz, July 15, 1911 – November 30, 1981) was a prolific American character actor whose career spanned nearly three decades of stage, television, and film work. A product of the vibrant Yiddish Art Theater in his teenage years, Harris transitioned to Broadway in 1937 with a role in Schoolhouse on the Lot and later appeared in notable productions such as Brooklyn, U.S.A. (1941) and Look, Ma, I'm Dancin'! (1947). His theatrical talents extended behind the scenes: by 1952 he was managing director of the Woodstock Playhouse in New York and had previously directed repertory theater in both Boston and Hollywood, showcasing a keen eye for production as well as performance. Throughout the 1950s and 1960s, Harris became a familiar face on television, excelling in portrayals of morally ambiguous or outright sinister characters—a niche that earned him frequent guest spots on Alfred Hitchcock Presents and Perry Mason, where he impressively played a murderer, a victim, and a defendant across seven appearances. Among his more sympathetic roles was Jake Goldberg on the popular series The Goldbergs (1953‑1954), a departure from his usual typecasting that highlighted his versatile acting range.

Beyond the small screen, Harris left an indelible mark on cinema with memorable performances in genre and prestige pictures alike. He starred in the 1958 B‑movie horror How to Make a Monster and delivered a striking turn as a wealthy cuckold in Elia Kazan’s America, America (1963). His portrayal of an obsessive‑compulsive psychiatrist in Edward Dmytryk’s Mirage (1965) further cemented his reputation for nuanced, character‑driven work. Additional film credits include The Invisible Boy (1957), Peyton Place (1957), Valley of the Dolls (1967), and The Man in the Glass Booth (1975). Harris’s personal life was anchored by his marriage to actress Viola Harris, with whom he had a son, Steven Lee. He passed away in Los Angeles on November 30, 1981, leaving behind a rich legacy of diverse performances that continue to be celebrated by film and television historians.