Age, Biography and Wiki

Robert Florey was born on 14 September, 1900 in Paris, France, is a Director, Writer, Assistant Director. Discover Robert Florey's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of Robert Florey networth?

Popular As N/A
Occupation director,writer,assistant_director
Age 79 years old
Zodiac Sign Virgo
Born 14 September 1900
Birthday 14 September
Birthplace Paris, France
Date of death 16 May, 1979
Died Place Santa Monica, California, USA
Nationality France

We recommend you to check the complete list of Famous People born on 14 September. He is a member of famous Director with the age 79 years old group.

Robert Florey Height, Weight & Measurements

At 79 years old, Robert Florey height is 6' 4" (1.93 m) .

Physical Status
Height 6' 4" (1.93 m)
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Who Is Robert Florey's Wife?

His wife is Virginia Dabney (25 October 1939 - 16 May 1979) ( his death)

Parents Not Available
Wife Virginia Dabney (25 October 1939 - 16 May 1979) ( his death)
Sibling Not Available
Children Not Available

Robert Florey Net Worth

His net worth has been growing significantly in 2021-2022. So, how much is Robert Florey worth at the age of 79 years old? Robert Florey’s income source is mostly from being a successful Director. He is from France. We have estimated Robert Florey's net worth , money, salary, income, and assets.

Net Worth in 2022 $1 Million - $5 Million
Salary in 2022 Under Review
Net Worth in 2021 Pending
Salary in 2021 Under Review
House Not Available
Cars Not Available
Source of Income Director

Robert Florey Social Network




In 1951, Florey stopped making features and became prodigiously active as a director of television episodes.


In 1950, the French made him a knight of the Legion d'Honneur for his contributions to film


The Beast with Five Fingers (1946) has become something of a cult classic and is notable for some clever montage and animation effects, as well as an effectively eerie atmosphere. Unfortunately, the anti-climactic downbeat ending (a result of studio interference) rather lessened the picture's overall impact.


As early as 1934, Florey was writing in a French film magazine about the Japanese movie industry and predicted a future vogue for the cinema of that country in Europe, something that would not happen until the 1950s.


Florey, from then on, was set on a career of helming second features for Warner Brothers (1933-35), Paramount (1935-40), Columbia (1941), Warner Brothers again (1942-46) and United Artists (1948-50). As a result of his affinity with horror and science-fiction, he did his best work in these genres.


As consolation for missing out on the prestigious assignment (which went to James Whale), Florey was given a lesser project, Murders in the Rue Morgue (1932), with Lugosi as Dr. Mirakle, a demented Darwinian scientist who crossbreeds humans with apes. The stylized, distorted buildings of Florey's Parisian sets were once again reminiscent of German expressionism, notably The Cabinet of Dr.


His request to write and direct Frankenstein (1931) with Bela Lugosi was initially accepted. However, producer Carl Laemmle Jr. ultimately disliked Lugosi 's make-up for the monster, and Lugosi himself resented not having a speaking part. Much of Florey's script also ended up on the cutting room floor, except for several key ingredients, such as the ending in the windmill.


Florey was also tasked with co-directing (alongside Joseph Santley) the first wacky comedy with The Marx Brothers, The Cocoanuts (1929), shot at Paramount's Astoria studio, near Broadway (Groucho Marx was not impressed with either director; he once said about them that "one of them didn't understand Harpo [Harpo Marx] and the other one didn't understand English").

After a spell at the German studio UFA in 1929, Florey joined Universal in 1931.


In 1924 he was signed by MGM as assistant director on a two-year contract, moving on to Paramount as full director in 1928. During this period of apprenticeship he learned the tricks of his trade under such experienced craftsmen as King Vidor and Josef von Sternberg. His first claim to directing fame were two highly acclaimed avant-garde short films, The Life and Death of 9413, a Hollywood Extra (1928), and Skyscraper Symphony (1929) -- both heavily influenced by German expressionist cinema.


Robert Florey became infatuated with Hollywood while in his teens. By the time he set off for America in the early 1920s he had written articles on film for Cinemagazine, La Cinematographie Francaise and Le Technicien du Film, acted and directed one-reel shorts in Switzerland and worked as an assistant for Louis Feuillade at his studio in Nice. Sent to Hollywood as a correspondent for one of his French publications, he decided to settle down and learn the film business "from the bottom up", first as a gag writer, then as director of foreign publicity for Douglas Fairbanks, Mary Pickford and Rudolph Valentino.

Caligari Full Sound (1920).