Edward "Eddie" Francis Quillan was born in Philadelphia, Pennsylvania on March 31, 1907 (Easter Sunday). Born on Hollywood Street somewhere in Philadelphia Eddie seems destined for the movies from the start. His Catholic parents, Joseph Francis Quillan (1884-1952) and Sarah Owens (1885-1969) had a theatrical career as troupers in their native Scotland. As old-time vaudeville headliner (had been on stage since he was 18 years old), Joe married Sarah and broke up the successful sister act in which she starred. A motto of theirs was that "all happens for the best". One might wonder if that was the case when Eddie's father, a wealthy man, manufacturer, and producer of plays in Scotland, lost his money. After marrying and going to the U.S., they continued to be actively involved on the stage.  Mr. and Mrs. Quillan were highly regarded performers and were contracted players in the most prestigious of the "big time" vaudeville franchises.

Eddie made his debut at the age of seven and by 1917, he was heading up a troupe under the name "Buster Quillan and (His) Pals," with his brothers Thomas (aka Buster), John and Joe and sister Marie (later joined by four more sisters Helen, Margaret "Peggy", Isabell(a) and Roseanne "Rosebud" for a total of nine Quillan children).

Note: The name of the ensemble changed as more and more siblings came into the act or became more successful, varying from The Four Quillans to Eddie Quillan and Family

Edward toured together with his eight siblings throughout the U.S. In an interview with Michael Ankerich in 1988, Eddie described his early life on the road: "We played most of the places we were allowed to play as children. Because of the authorities, we couldn't play everywhere. We could never get into New York because the Gerry Society, founded to protect minors from exploitation, was so strict."

Eddie also described a typical vaudeville day: "I would get up around 11:00 a.m., and we would do the show at 2:00 p.m. The we had another evening show, usually two, so that made three performances a day. We would finish about 11:00 p.m., and then, after we got our makeup off, would go to a restaurant to eat. So it was 1:00 a.m. or so before we went to bed."

Occasionally the family was on the road while school was in session. During this times the Quillan children received their education through the New York Professional Children's School, which was by correspondence. 

By the time he was in his teens, Quillan was a consummate performer, adept at singing, dancing, and acting. In addition he played saxophone and appeared as a stand-up comic.

Growing up Eddie was a fan of motion pictures but nothing more. His mother is actually credited with planting the idea in his head. When performing in Chicago the children had their individual portraits taken. When his mother, Sarah, looked at the publicity photos, she expressed the idea that he ought to be in pictures, which made him consider the possibility.

After ten years in theatre the Quillans settled on the West Coast and seeing the opportunity silent films provided Joseph was ready to take advantage where his talented children were concerned. He made round of many studios at first with no apparent success.

Some versions vary. But when Eddie was doing a solo tap dance, at the same time holding a mirror in front of his face. Brother John came out and asked: "What's the idea of the mirror, Eddie?" And then the serious reply: "Dad told me to be careful and watch myself during this number." Among those in the audience who laughed was Mack Sennett. He made arrangements for a screen test of the three boys, John, Buster, and Eddie.

In another version Mack Sennett's Keystone Studio just accepted and gave his four (?) siblings an audition.

While watching the film tests, Eddie and his brothers were horrified and thinking the result terrible walked out. However, when Sennett watched the screen test, he was so impressed with Eddie that he went so far as hiring a private detective to find him. At the time the family was touring throughout California as part of the Orpheum Circuit.

Note: According to several sources, Eddie received his first (small) role in the film, Up and At 'Em, in 1922, but this could not be confirmed. While the anecdote surrounding Sennett's discovery does suggest that Eddie did not make his film debut until 1926.

The vibrant scene of the Charleston, jazz, knee-high skirts, and Oxford bag trousers became widely recognized in feature films of the mid to late 1920s. These films typically showcased the lively atmosphere on college campuses or within glamorous Art Deco mansions. However, this cultural phenomenon also found expression on a smaller scale, featuring fashionable "vamps" and lively dance contests in comedy shorts. An example worth noting is the 1926-27 series produced by Mack Sennett, starring the energetic duo of Alice Day and Eddie Quillan. Unfortunately, this set of films has largely faded into obscurity. (8)

In the early twenties, Sennett reverted to the familiar slapstick two-reeler format. Recognizing the growing fascination with the "flaming youth" (with flapper culture gaining prominence around 1922), Sennett decided to venture into youth-oriented shorts. Playing a pivotal role in this venture was the lively Alice Day. As the series unfolded, the narrative shifted its focus, often centering on Day's character harboring affections for a wealthy man, oblivious to the humble admirer hoping to win her affection. This admirer role was later assumed by the newly signed Eddie Quillan, whose bashful youthfulness proved to be the perfect fit for the series. (8)

Despite his petite stature and delicate features, which almost seemed ethereal under the white screen makeup and black liner, Quillan took on the exaggerated role of a teenage "sheik" of the era in Sennett's films. He was consistently attired in Oxford bags, loud-patterned vests, and jaunty straw hats with striped hat bands. Media coverage celebrated Sennett's discovery, describing Eddie as someone who played the saxophone, excelled at the Charleston, had a weakness for ice cream sodas, wore suspenders, and occasionally sported his socks in a collegiate fashion. Meanwhile, in the series, Alice Day typically portrayed a small-town girl enamored with the sophisticated O'Shea, while Quillan, often referred to as "Buddy Jones," played the role of her shy and genuine admirer. (8)

Eventually the slight, pop-eyed, ever-grinning Quillan established himself in breezy "collegiate" roles.

The next conflict led to Eddie breaking his contract with Sennett. The situation involved the script for one of Eddie's two-reel comedies, Pass the Dumplings (Pathé, Jan 16. 1927). When Eddie received the outline of the story, there was something he thought was a bit risqué and out of character for his comedic role. Eddie told Sennett he refused to play the scene the way it was written. Sennett wouldn't budge and ordered Eddie to do the scene. Eddie did but it would be the last picture with Sennett.

Quillan's absence from Sennett was brief, as he made a return only a few months later, suggesting no lingering animosity. By this time, the Day series had concluded, and Sennett, seeking someone to step into the slapstick shoes recently vacated by Harry Langdon, saw potential in Quillan. In shorts like Catalina, Here I Come (Pathé, April 17. 1927), and The College Kiddo (Pathé, Aug 7. 1927), Quillan appears to be emulating Langdon's prolonged gazes and peculiar, fluttery movements. Fortunately, this Langdon-esque role was short-lived, as Quillan also took on roles in classics like Love in a Police Station (Pathé, Dec 25. 1927), a Sennett satire featuring his iconic Keystone Kops. (8) The new Kops were Andy Clyde, Barney Hollum, William Armstrong and Tiny Ward, with Eddie Quillan as traffic Kop.