James Finlayson failed to make it as a lead man in Holywood but become one of the most memorable comic foils ever to grace the silver screen.

The Scottish actor performed in more than 100 films but was best known for being the “third man” to Laurel and Hardy.

With his distinctive fake moustache, he starred with the iconic duo in 33 of their films and later became the inspiration for Homer Simpson’s “D’oh!” catchphrase.

Now Finlayson has been memorialised with a new portrait in the Scottish theatre where he first tread the boards more than a century ago.

Dobbie Hall in his hometown of Larbert, Stirling, commissioned the oil painting to celebrate the actor’s career and rise to international fame in the early days of cinema.

The portrait by young artist Connor Draycott was unveiled by Finlayson’s family, some of whom had travelled from the US for the occasion.

They were joined by fans of the black and white movies and “talkies” from the UK chapters of Sons of the Desert, named after the fictional lodge that Laurel and Hardy belonged to in the 1933 film of the same name.

Finlayson, known as Fin to his fans and as Jimmy to his good friend Stan Laurel, was born in Larbert in 1887.

He worked for a while as a tinsmith in his father’s foundry before moving to Edinburgh to study and then pursue an acting career.

At the age of 23 he was performing at the Theatre Royal, but his ambitions were not satisfied.

After the death of his parents he moved to New York with his brother.

Within the year he had landed a role on Broadway in The Great Game, for which reviews offered “nothing but praise“.

In May 1912, the New York Dramatic Mirror said Finlayson had “an excellent opportunity, which he did not miss, for developing two characters in his one role – the simple, naive Scotsman and the artful, determined detective”.

It added: “The remarkable thing is that he managed to do them both at the same time.”

He took on another Scottish character in the Broadway production of Bunty Pulls the Strings, but pulled out of the national tour in 1916 when Holywood beckoned.

By 1919 he was signed with the “King of Comedy” Mack Sennet, appearing as a Keystone Cop and lauded as a “legitimate and screen player of international celebrity”.

After a move to Hal Roach at Culver City in 1923, Finlayson was tested in different billings, sometimes in a lead role or as one of a comic trio with up-and-coming comics Stan Laurel and Oliver Hardy.

He eventually found his niche as their established comic support or antagonist.

By the time he died aged 66 in 1953, he had more than 100 film credits to his name and his eccentric mannerisms were internationally recognised.

The double-take, the squint then a one-eyed stare and raised eyebrow – Finlayson’s madcap facial expressions became his trademark, along with the drawn-out “dohhhh”.

It inspired Dan Castellaneta when he voiced Homer in The Simpsons, which first aired in 1989.

It is also said Finlayson’s fake walrus moustache allowed him a degree of anonymity even in his heyday in Holywood.

The artist who created his new portrait said he toyed with the idea of picturing the actor without his famous facial hair.

Draycott, who is studying fine art at Glasgow School of Art, was commissioned to produce the artwork by the Dobbie Hall Trust.

It wanted to commemorate the Larbert man’s global success and inspire young performers who appear in shows at the theatre.

Draycott, 20, said it was an honour to be asked to create the portrait for the theatre.

And he revealed he spent hours watching Finlayson’s films to “recreate his trademark facial expression”.

Draycott said: “James is such a well-known face among fans of black and white movies and I wanted to capture the distinctive look that made him a real superstar of his day.”

The award-winning artist said he was fascinated by Finlayson’s look and story.

He added: “There was initially some debate as to whether I should include his moustache in the portrait, as it was actually a false moustache that he wore specially for filming, but we decided that his moustache was such an integral part of his unique look that it should feature in the painting.”

“I like the fact that despite his face being so well-known during the 19040s and 50’s he could apparently remove the moustache and walk around Hollywood without being recognised by members of the public.”

But now, thanks to his portrait, new generations in his hometown will recognise the young man from Larbert who followed his dream all the way to Holywood.