Editing Dan Duryea (section)

=== Film ===
[[File:Dan Duryea in Along Came Jones trailer.jpg|thumb|right|upright|[[Trailer (promotion)|Trailer]] for ''[[Along Came Jones (film)|Along Came Jones]]'' (1945)]]
[[File:Dan Duryea Jane Wyman John McIntire Wagon Train 1962.JPG|thumb|right|upright|With [[Jane Wyman]] and [[John McIntire]] in television series ''[[Wagon Train]]'' (1962)]]
In 1940, Duryea moved to Hollywood to appear in the film version of ''The Little Foxes''.<ref name="Maltin p. 252">Maltin 1994, p. 252.</ref> He continued to establish himself with supporting and secondary roles in films such as ''[[The Pride of the Yankees]]'' (1942) and ''[[None but the Lonely Heart (film)|None But the Lonely Heart]]'' (1944). As the 1940s progressed, he found his niche as the "sniveling, deliberately taunting" antagonist in a number of [[films noir]] (''[[Scarlet Street]]'', ''[[The Woman in the Window (1944 film)|The Woman in the Window]]'', ''[[The Great Flamarion]]'', ''[[Criss Cross (1949 movie)|Criss Cross]]'', ''[[Too Late for Tears]]'', ''[[Johnny Stool Pigeon]]''), and [[Western (genre)|Westerns]] such as ''[[Along Came Jones (film)|Along Came Jones]]'' and ''[[Black Bart (film)|Black Bart]]'', although he was sometimes cast in more sympathetic roles (''[[Black Angel (1946 film)|Black Angel]]'', ''[[One Way Street]]'').<ref name="Maltin p. 252" /> In 1946, exhibitors voted him the eighth most promising "star of tomorrow".<ref>[http://nla.gov.au/nla.news-article17994035 "The Stars of To-morrow."] ''Sydney Morning Herald'', September 10, 1946, p. 17. Retrieved: April 24, 2012.</ref>

Duryea co-starred opposite [[Gary Cooper]] three times in the 1940s: ''[[Ball of Fire]]'', ''[[Pride of the Yankees]]'' and ''[[Along Came Jones (film)|Along Came Jones]]''. In the 1950s, Duryea co-starred with [[James Stewart]] in three films, ''[[Winchester '73]]'' (as the dastardly "Waco Johnny" Dean), ''[[Thunder Bay (film)|Thunder Bay]]'', and ''[[Night Passage (film)|Night Passage]]''. He was featured in several other westerns, including ''[[Silver Lode (film)|Silver Lode]]'', ''[[Ride Clear of Diablo]]'', and ''[[The Marauders (1955 film)|The Marauders]]'', and in more film-noir productions like ''[[36 Hours (1953 film)|36 Hours]]'', ''[[Chicago Calling]]'', ''[[Storm Fear]]'', and ''[[The Burglar (1957 film)|The Burglar]]''.

When interviewed by [[Hedda Hopper]] in the early 1950s, Duryea spoke of career goals and his preparation for roles:
<blockquote>Well, first of all, let's set the stage or goal I set for myself when I decided to become an actor ... not just 'an actor', but a successful one. I looked in the mirror and knew with my "puss" and 155-pound weakling body, I couldn't pass for a leading man, and I had to be different. And I sure had to be courageous, so I chose to be the meanest s.o.b. in the movies ... strictly against my mild nature, as I'm an ordinary, peace-loving husband and father. Inasmuch, as I admired fine actors like [[Richard Widmark]], [[Victor Mature]], [[Robert Mitchum]], and others who had made their early marks in the dark, sordid, and guilt-ridden world of [[film noir]]; here, indeed, was a market for my talents. I thought the meaner I presented myself, the tougher I was with women, slapping them around in well-produced films where evil and death seem to lurk in every nightmare alley and behind every venetian blind in every seedy apartment, I could find a market for my screen characters.... At first it was very hard as I am a very even-tempered guy, but I used my past life experiences to motivate me as I thought about some of the people I hated in my early, as well as later, life ... like the school bully who used to try and beat the hell out of me at least once a week ... a sadistic family doctor that believed feeling pain when he treated you was the birthright of every man inasmuch as women suffered giving birth ... little incidents with trade-people who enjoyed acting superior because they owned their business, overcharging you. Then the one I used when I had to slap a woman around was easy! I was slapping the over-bearing teacher who would fail you in their 'holier-than-thou' class and enjoy it! And especially the experiences I had dealing with the unbelievable pompous 'know-it-all-experts' that I dealt with during my advertising agency days ... almost going 'nuts' trying to please these 'corporate heads' until I finally got out of that racket!"<ref>[http://www.cinematasmoviemadness.com/dan-duryea-nails-noir.html CineMata]</ref></blockquote>

In his last years, Duryea reteamed with Stewart for the adventure film ''[[The Flight of the Phoenix (1965 film)|The Flight of the Phoenix]]'', about men stranded in the Sahara desert by a downed airplane, appearing as a mild-mannered accountant, closer to his real-life persona. He worked in overseas film productions including the British neo-noir thriller ''[[Do You Know This Voice?]]'' (1964), the Italian Western ''[[The Hills Run Red (1966 film)|The Hills Run Red]]'', aka ''Un Fiume di dollari'', (1966) and the spy thriller ''[[Five Golden Dragons]]'' (1967) in West Germany, while continuing to find roles on American television. He also appeared twice on the big screen with his son, character actor Peter Duryea, in the low-budget Westerns ''[[Taggart (film)|Taggart]]'' (1964) and ''[[The Bounty Killer (film)|The Bounty Killer]]'' (1965).<ref name="TCM"/>