lundi 27 octobre 2008

Mary Astor

The Bashful Suitor (1921)
Réalisé par
Herbert Blaché

Ensemble (in credits order)
Mary Brandon ... Gretel
Pierre Gendron ... Paul
Mary Astor

Hope (1922)

Herbert Blaché
(Interprètes principaux)
Mary Astor ... Hope

The Beggar Maid (1921)
Réalisé par
Herbert Blaché

(in alphabetical order)
Reginald Denny writer
Reginald Denny ... The Earl / King Cophetua
Mary Astor ... Peasant Girl / Beggar Maid (uncredited)

The Young Painter (1922)
Herbert Blaché
Release Date:
22 janvier 1922 (USA) suite
(Interprètes principaux)
Mary Astor
Pierre Gendron

Mary Astor (May 3, 1906 – September 25, 1987) was an Academy Award-winning American actress. Most famous for her role as Brigid O'Shaughnessy in The Maltese Falcon (1941) opposite Humphrey Bogart, Astor began her long motion picture career as a teenager in the silent movies of the early 1920s.

She eventually made a successful transition to talkies, but almost saw her career destroyed due to public scandal in the mid-1930s. She was sued for support by her parents and was later branded an adulterous wife by her ex-husband during a custody fight over her daughter. Overcoming these stumbling blocks in her private life, Astor went on to even greater success on the screen, eventually winning the Academy Award for Best Supporting Actress for her portrayal of Sandra Kovak in The Great Lie (1941). Director Lindsay Anderson said of her: "...that when two or three who love the cinema are gathered together, the name of Mary Astor always comes up, and everybody agrees that she was an actress of special attraction, whose qualities of depth and reality always seemed to illuminate the parts she played." She continued to act in movies, on television and on stage into the 1960s. She retired from the screen in 1964.

Astor was also the author of five novels. Her autobiography became a bestseller, as did her later book, A Life on Film, which was specifically about her career.

She was born Lucile de Vasconcellos Langhanke in Quincy, Illinois in May 3, 1906. Mary was the only child of Otto Ludwig Langhanke (October 2, 1871-February 3, 1943) and Helen Marie de Vasconcellos (April 19, 1881-January 18, 1947).

Her father, who was born in Berlin, immigrated to the United States from Germany in 1891 and became a naturalized citizen; her mother was born in Jacksonville, Illinois, of Portuguese and Irish extraction.[1] They married on August 3, 1904 in Lyons, Kansas. Otto was a German teacher at Quincy High School until the U.S. entered World War I. He then began doing light farming. Helen, who had always wanted to be an actress, began teaching drama and elocution.

Lucile was homeschooled in academics and taught to play the piano by her father, who insisted she practice daily. In 1919, she sent a photograph of herself to a beauty contest in Motion Picture Magazine and became a semifinalist. Her father then moved the family to Chicago, where he took a position teaching German in public schools. Lucile took drama lessons and appeared in various amateur stage plays.

The following year, she sent another photograph to the magazine and this time became a finalist, this time being named runner-up in the national contest. Her father then moved the family to New York, in order for his pretty daughter to become an actress in motion pictures. He managed all her affairs from September 1920 to June 1930.

A Manhattan photographer, Charles Albin, saw a photograph and asked the young girl with haunting eyes and long auburn hair, whose nickname was "Rusty," to pose for him. The Albin photographs were seen by Harry Durant of Famous Players-Lasky and Lucile was signed to a six-month contract with Paramount Pictures. Her name was changed to Mary Astor during a conference between Paramount chief Jesse Lasky, gossip columnist Louella Parsons, and producer Walter Wanger.

Silent movie career

At age 14, she debuted with her new stage name in the 1921 film Sentimental Tommy, but her small part in a dream sequence wound up on the cutting room floor. Paramount let her contract lapse. She then appeared in some movie shorts with sequences based on famous paintings. She received critical recognition for the 1921 two-reeler The Beggar Maid. Her first feature-length movie was John Smith (1922), which was followed that same year by The Man Who Played God. In 1923, she and her parents moved to Hollywood.

After appearing in several larger roles at various studios, she was signed by Paramount again, this time to a one-year contract at $500 a week. She had appeared in several more movies when John Barrymore saw a photograph of her in a magazine and wanted her cast in his upcoming movie. On loan-out to Warner Bros., she starred with him in Beau Brummel (1924). The older actor wooed the young actress, but their engagement ended when he became involved with Dolores Costello.

In 1925, Astor's parents bought a Moorish style mansion with one acre of land known as "Moorcrest" in the hills above Hollywood. They lived lavishly on her earnings. Moorcrest is notable not only for its ornate style but its place as the most lavish residence associated with the Krotona Colony, a utopian society founded by the Theosophical Society in 1912. Built by Marie Russak Hotchener, a Theosophist with no formal architectural training, the house combines Moorish and Mission Revival styles and contains such Arts and Crafts features as art glass windows and Batchelder tiles. Astor's parents were Theosophists, and Astor was undoubtably schooled in the philosophy, which combines elements of all the major religions with a particular emphasis on esoteric Buddhism from India. Moorcrest, which recently has undergone a multi-million-dollar renovation, is still standing. Before the Langhankes bought it, it was rented by Charlie Chaplin, whose tenure is memorialized by an art glass window featuring the Little Tramp. It was from this mansion that Astor, fed up with her father's constant badgering to practice the piano, climbed from her second floor bedroom window and walked down to Hollywood Boulevard, as recounted in her memoirs.

Astor went on appearing in movies at various studios. When her Paramount contract ended in 1925, she was signed at Warner Bros. Among her assignments was another role with John Barrymore, this time in Don Juan (1926). She was named one of the WAMPAS Baby Stars in 1926, along with Mary Brian, Dolores Costello, Joan Crawford, Dolores Del Rio, Janet Gaynor, and Fay Wray.

On loan-out to Fox Film Corporation, Astor starred in Dressed To Kill (1928), which received good reviews. That same year, she starred in the sophisticated comedy Dry Martini at Fox. She later said that, while working on the latter, she "absorbed and assumed something of the atmosphere and emotional climate of the picture." She said it offered "a new and exciting point of view; with its specious doctrine of self-indulgence, it rushed into the vacuum of my moral sense and captivated me completely." When her Warner Bros. contract ended, she signed a contract with Fox for $3,750 a week.

In 1928, she and director Kenneth Hawks were married at her family home, Moorcrest. He gave her a Packard automobile for a wedding gift and they moved into a home high up on Lookout Mountain in Los Angeles above Beverly Hills.

As the movie industry made the transition to talkies, Fox gave her a sound test, which she failed because the studio found her voice to be too deep. Though this was probably due to early sound equipment and the inexperience of technicians, the studio released her from her contract and she found herself out of work for eight months in 1929.

New beginnings

Astor took voice training and singing lessons during her time off, but no roles were offered. Her acting career was then given a boost by her friend, Florence Eldridge (wife of Fredric March), whom she confided in. Eldridge, who was to star in the stage play Among the Married at the Majestic Theatre in Downtown Los Angeles, recommended Astor for the second female lead. The play was a success and her voice was deemed suitable, being described as low and vibrant.

She was happy to be back at work, but her happiness soon ended. On January 2, 1930, while filming sequences for the Fox movie Such Men Are Dangerous, Kenneth Hawks was killed in a mid-air plane crash over the Pacific. Astor had just finished a matinee performance at the Majestic when Florence Eldridge came to her with the news. She was rushed from the theatre and taken to Eldridge's apartment; a replacement, Doris Lloyd, stepped in for the next show. Astor remained with her friend, Eldridge, at her apartment for some time, but she soon went back to work. Shortly after her husband's death, she debuted in her first "talkie", Ladies Love Brutes (1930) at Paramount, which co-starred friend Fredric March.

While her career picked up, her private life remained troubled. After working on several more movies, she suffered delayed shock over her husband's death and had a nervous breakdown. During the months of her illness, she was attended to by Dr. Franklyn Thorpe, whom she later married.

Astor had four husbands, director Kenneth Hawks (married February 26, 1928-his death on January 2, 1930); physician and surgeon Franklyn Thorpe (married June 29, 1931-divorced 1936); insurance salesman Manuel del Campo (married February 1936-divorced 1941); and stockbroker Thomas Wheelock (married December 25, 1945-divorced 1955). She and Thorpe had one daughter, Marylyn Hauoli Thorpe (born June 16, 1932); she and del Campo had one son, Anthony Paul "Tono" del Campo (born June 5, 1939).

In May 1932, the Thorpes purchased a yacht and sailed to Hawaii. Astor was pregnant, but the birth was scheduled for August. Her daughter was born in June in Honolulu, her name being a combination of the names of her parents. Her middle name, Hauoli, means "To sing with joy."

When they returned to Southern California, Astor began freelancing and accepted the pivotal role of Barbara Willis in Red Dust (1932) at MGM with Clark Gable and Jean Harlow. In late 1932, Astor signed a featured player contract with Warner Bros. Besides spending lavishly, her parents invested in the stock market, which turned out in many instances to be unprofitable. They still lived in Moorcrest, which Astor dubbed a "white elephant" and refused to maintain. She had to turn to the Motion Picture Relief Fund in 1933 to pay her bills.

In 1933, she appeared as the female lead, Hilda Lake, the niece of the murder victims, in The Kennel Murder Case, co-starring with William Powell playing detective Philo Vance. Film critic William K. Everson pronounced it a "masterpiece" in the August 1984 issue of Films in Review. Unhappy with her marriage, she took a break from movie making in 1933 and went to New York by herself. While there, enjoying a whirlwind social life, she met the playwright George Kaufman and had an affair, which she documented in her diary. Rumors circulated that the diary contained lurid details of affairs with male actors. She denied it contained any such details, an out-of-court settlement was made, and the court ordered the diary destroyed in 1952[2]..


In March 1934, Astor was sued by her parents for support and a public family feud burst out violently. The Langhankes said they did not have enough money for the necessities of life; the only money they had received from their daughter in the last six months was $60 in grocery coupons, and they had to sell some of their furniture to survive. They also cited a foreclosure notice on their home, saying their daughter would not help them pay the mortgage.

However, despite the Depression, Otto had continued to improve their estate. He then took out an $18,000 loan and had a swimming pool installed, which Astor said neither of them ever used and was a waste of money, and he could not afford to pay on the remaining $15,000 incumbrance. Astor said that all of her earnings went to her parents until 1930, being deposited by the studio directly into their bank account, and she received a small allowance. She then decided it was necessary for her to look out for her own future. She gave them the house in June of that year, and for a year thereafter gave them $1,000 per month. In addition, in March 1931, she loaned them $2,515.19, which they did not repay and she never asked for.

She said that she told them in March 1933 that she could not afford to support them in their expensive home, which cost more than the one she and her husband and daughter were living in. She offered them an allowance of $100 per month if they moved from the mansion; she also offered to set them up in a suitable house in San Mateo County, together with food and utilities, but they did not accept either offer. Their lawyer responded that a daughter could not dictate to her parents where they could or could not live.

The judge ruled that she should give her parents $100 per month. Moorcrest, now valued at $200,000, went on the auction block and sold for only $21,500. Otto was outraged and did not want to accept the bid, but the auctioneer said they had a signed contract, the buyer had deposited the proper deposit, and the sale was final.

In the meantime, Astor's marriage to Franklyn Thorpe continued to deteriorate. She learned from Kaufman that Thorpe had talked to him about their affair. When the inevitable confrontation came, Thorpe told her he would name Kaufman in a divorce suit. He said that if she would let him take their daughter, Marylyn, she could have her back after six months to keep for six months. She believed that later on she could get custody of Marylyn and avoid bad publicity.

In April 1935, Thorpe divorced her in an uncontested suit and gained sole custody of their daughter. In July 1936, while working on Dodsworth with Walter Huston and Ruth Chatterton, Astor sued to gain sole custody, as well as for the recovery of stocks and property paid for by her movie earnings, or the monetary equivalent, and a vicious battle broke out that was also well documented by the press.

Thorpe cited her adultery with Kaufman and introduced excerpts of her diary as evidence of the affair. Astor said he had stolen her diary and that most of the passages submitted were forgeries. She said that she was intimidated into not contesting custody when he threatened to ruin her career. She said he assertedly threatened to deprive her of her daughter's companionship unless she transferred the securities to him, which she did shortly before the divorce. She further asserted that he was busy with his practice and unable to properly rear the child.

Excerpts of what she wrote about her marriage and affair with Kaufman were then released by Thorpe's lawyers to the press, who dubbed it the "purple diary," although it was actually penned in Aztec brown ink and not purple, and it became headline news. Although the excerpts in the papers were fairly harmless, with romantic and sentimental chatter and no intimate details, lurid tales of sexually explicit contents began to circulate. No one ever actually read the authentic diary, however, and such reports of its contents were purely speculative.

When Thorpe surrendered the diary to the court it was impounded and the full contents never revealed. The judge was only concerned with the welfare of the child. Astor wanted her diary back, while Thorpe asserted it should be returned to him. The judge ordered that the diary be stored in a safe deposit box, sealed against prying eyes. In April 1952, with no objection from Astor or Thorpe, the diary was destroyed, unread, by order of the court.

Astor received joint custody of her daughter. Marylyn lived with her mother during the school year and with her father during summer vacation. She spent Christmas with both parents.

[edit] Career continues

Fortunately, the scandals caused no harm to Astor's career, which was actually revitalized because of the custody fight and the huge amount of publicity it generated; Dodsworth was released to rave revues, and the public's acceptance assured the studios that she was still a viable commercial property.

In 1937, she returned to the stage in well-received productions of Noel Coward's Tonight at 8:30, The Astonished Heart, and Still Life. She also began doing regular performances on radio. Some of her best movies were still to come, including The Prisoner of Zenda (1937), John Ford's The Hurricane (1937), and Brigham Young (1940).

Astor is probably most famous for her role as Brigid O'Shaughnessy, the scheming temptress who murders Sam Spade's partner, Miles Archer, in John Huston's The Maltese Falcon (1941) opposite Humphrey Bogart, with Peter Lorre and Sydney Greenstreet.

Another noteworthy performance was her Oscar-winning role as Sandra Kovak, the selfish, self-centered concert pianist, who willingly gives up her child, in The Great Lie (1941) starring Bette Davis and George Brent.

Davis wanted Astor cast in the role after watching her screen test and seeing her play Tchaikovsky's Piano Concerto No. 1. She then recruited Astor to collaborate with her on rewriting the script, which Davis felt was mediocre and needed work to make it more interesting. Astor further followed Davis's advice and sported a brazen bobbed hairdo for the role. The soundtrack of the movie during the scenes where she plays the concerto, with violent hand movements on the piano keys, was actually recorded with Max Rabinovitch playing. Astor let Davis run the show, with no objection, and they became good friends. Davis deliberately stepped back to allow Astor to shine in her key scenes. As a result of her performance, Astor won the Academy Award for Best Supporting Actress, thanking Bette Davis and Tchaikovsky in her acceptance speech.

Astor was not propelled into the upper echelon of movie stars by these successes, however. She always declined offers of starring in her own right. Not wanting the responsibility of top billing and having to "carry the picture," she preferred the security of being a featured player.

In 1942 she was reunited with Humphrey Bogart and Sydney Greenstreet in John Huston's Across the Pacific. She also played the Princess Centimillia in The Palm Beach Story.

In February 1943, Otto Langhanke died in Cedars of Lebanon Hospital as a result of a heart attack complicated by influenza. His wife and daughter were both at his bedside.
in Meet Me in St. Louis (1944)
in Meet Me in St. Louis (1944)

That same year, Astor signed a seven-year contract with MGM, which turned out to be a regrettable mistake. She was kept busy playing what she considered mediocre mother roles. After Meet Me In St. Louis (1944), the studio allowed her to make her Broadway debut in Many Happy Returns (1945). The play was a miserable failure, but Astor received good reviews.

On loan-out to 20th Century Fox, she played a wealthy widow in Claudia and David (1946). She was also loaned to Paramount to play Fritzi Haller in Desert Fury (1947) in which she played the tough owner of a saloon and casino in a small mining town.

Before Helen Langhanke died of a heart ailment in January 1947, Astor said she sat in the hospital room with her mother, who was delirious and did not know her, and listened quietly as Helen told her all about terrible, selfish Lucile. After her death, Astor said she spent countless hours copying her mother's diary so she could read it and was surprised to learn how much she was hated.

Back at MGM, Astor went on being cast in undistinguished, colorless mother roles. One exception was when she played a prostitute in the film noir Act of Violence (1948). The last straw came when she was cast as Marmee March in Little Women (1949). Astor found no redemption in playing what she considered another humdrum mother and became despondent. The studio wanted to renew her contract, promising to give her better roles, but she declined the offer.

Middle years

At the same time, Astor's drinking was getting much worse. She admitted to having a problem with alcohol as far back as the 1930s, but it had never interfered with her work schedule or performance. She hit bottom in 1949 and went into a sanitarium for alcoholics.

In 1951, she made a frantic call to her doctor and told him she had taken too many sleeping pills. She was taken to a hospital and the police reported that she had attempted suicide, this being her third overdose in two years, and the story made headline news. She maintained it had been an accident.

That same year, she joined Alcoholics Anonymous and converted to Roman Catholicism. She credited her recovery to a priest, Peter Ciklic, also a practicing psychologist, who encouraged her to write about her experiences as part of therapy. She also separated from her husband, Thomas Wheelock, but did not actually divorce him until 1955.

In 1952, she was cast in the leading role of the stage play Time of the Cuckoo, which was later made into the movie Summertime (1955), and subsequently toured with it. After the tour, Astor lived in New York for four years and worked in the theatre and on television.

Her TV debut was in The Missing Years (1954) for Kraft Television Theatre. She acted frequently in TV during the ensuing years and appeared on most of the big shows of the time, including The United States Steel Hour, Alfred Hitchcock Presents, Rawhide, Dr. Kildare, Burke's Law, and Ben Casey. She also starred on Broadway in The Starcross Story (1954), which was another failure.

She returned to Southern California in 1956. She then went on a successful theatre tour of Don Juan in Hell directed by Agnes Moorehead and co-starring Ricardo Montalban.

Astor's memoir, My Story: An Autobiography, was published in 1959, becoming a sensation for its day and a bestseller. It was the result of Father Ciklic urging her to write. Though she spoke of her troubled personal life, her parents, her marriages, the scandals, her battle with alcoholism, and other things about her life, she did not mention the movie industry or her career in any detail. In 1971, another book was published, A Life on Film, where she discussed her career. It too became a bestseller. Astor also tried her hand at fiction, writing the novels The Incredible Charley Carewe (1960), The Image of Kate (1962), The O'Conners (1964), Jahre und Tage (1964) (a German translation of The Image of Kate), Goodbye, Darling, be Happy (1965), and A Place Called Saturday (1968).

She appeared in several movies during this time, including A Stranger in My Arms (1959). She made a comeback in Return to Peyton Place (1961) playing Roberta Carter, the domineering mother who insists the "shocking" novel written by Allison Mackenzie should be banned from the school library, and received good reviews for her performance.

Later life

After taking a trip around the world in 1964, Astor was lured away from her Malibu home, where she was spending time gardening and working on her third novel, to make what she decided would be her final movie appearance.

When she was offered the small role as a key figure in the murder mystery Hush... Hush, Sweet Charlotte, starring her friend, Bette Davis, Astor decided it would serve as her swan song in the movie business. After 109 movies during a career spanning 45 years, she turned in her Screen Actors Guild card and retired.

She later moved to Fountain Valley, California, where she lived near her son, Tono del Campo, and his family until 1971. That same year, suffering from a chronic heart condition, she then moved to a small cottage on the grounds of the Motion Picture & Television Country House, the industry's retirement facility in Woodland Hills, where she had her own private table when she chose to eat in the resident dining room [2].

In 1980, she appeared in the television documentary series 'Hollywood: A Celebration of the American Silent Film.'[3] where she discussed her roles during the end of the silent cinema period.

Astor died on September 25, 1987, at age 81, of respiratory failure due to pulmonary emphysema while a patient in the hospital in the Motion Picture House complex, exactly one week before Prisoner of Zenda co-star Madeleine Carroll. She is interred in Holy Cross Cemetery, Culver City [2].

Mary Astor has a star on the Hollywood Walk of Fame at 6701 Hollywood Boulevard in Hollywood.

Mary Astor Filmography


* Paradise For Three Photo Still (1938)
* My Story: An Autobiography (1959)
* The Incredible Charlie Carewe (1963)
* The O'Conners (1964)
* Goodbye Darling, Be Happy (1965)
* The Image of Kate (1966)
* A Place Called Saturday (1968)
* Life On Film (1969)

Mary Astor (née Lucille Lange-Hanke ou Lucille Langhange[1]) est une actrice américaine née le 3 mai 1906 à Quincy, Illinois (États-Unis), décédée le 25 septembre 1987 à Woodland Hills (Los Angeles).


* 1921 : Bullets or Ballots : Bit Part
* 1921 : The Bashful Suitor : Bit Part
* 1921 : Brother of the Bear : Bit Part
* 1921 : My Lady o' the Pines : Bit Part
* 1921 : The Beggar Maid : Peasant Girl / Beggar Maid
* 1921 : Wings of the Border
* 1922 : The Angelus : Bit Part
* 1922 : The Young Painter : Bit Part
* 1922 : John Smith : Irene Mason
* 1922 : Hope : Bit Part
* 1922 : The Man Who Played God : Young Woman
* 1922 : The Rapids : Elsie Worden
* 1923 : Second Fiddle : Polly Crawford
* 1923 : Success : Rose Randolph
* 1923 : The Bright Shawl : Narcissa Escobar
* 1923 : Puritan Passions : Rachel
* 1923 : The Marriage Maker : Vivian Hope-Clarke
* 1923 : Woman-Proof : Violet Lynwood
* 1923 : To the Ladies : Bit Part
* 1924 : The Fighting Coward : Lucy
* 1924 : Beau Brummel : Lady Margery Alvanley
* 1924 : The Fighting American : Mary O'Mallory
* 1924 : Unguarded Women : Helen Castle
* 1924 : The Price of a Party : Alice Barrows
* 1924 : Inez from Hollywood : Fay Bartholdi
* 1925 : Oh, Doctor! : Dolores Hicks
* 1925 : Enticement : Leonore Bewlay
* 1925 : Playing with Souls : Margo
* 1925 : Don Q Son of Zorro : Dolores de Muro
* 1925 : The Pace That Thrills : Doris
* 1925 : Scarlet Saint : Fidele Tridon
* 1926 : High Steppers : Audrey Nye
* 1926 : The Wise Guy : Mary
* 1926 : Don Juan : Adriana della Varnese
* 1926 : Forever After : Jennie Clayton
* 1927 : The Sea Tiger : Amy Cortissos
* 1927 : The Sunset Derby : Molly Gibson
* 1927 : Two Arabian Knights : Mirza
* 1927 : Rose of the Golden West : Elena
* 1927 : The Rough Riders : Dolly
* 1927 : No Place to Go : Sally Montgomery
* 1928 : Sailors' Wives : Carol Trent
* 1928 : Dressed to Kill : Jeanne
* 1928 : Three-Ring Marriage : Anna
* 1928 : Heart to Heart : Princess Delatorre / Ellen Guthrie
* 1928 : Dry Martini : Elizabeth Quimby
* 1928 : Romance of the Underworld : Judith Andrews
* 1929 : New YearMs Eve : Marjorie Ware
* 1929 : The Woman from Hell : Dee Renaud
* 1930 : The Runaway Bride : Mary Gray, AKA Sally Fairchild
* 1930 : Ladies Love Brutes : Mimi Howell
* 1930 : Holiday : Julia Seton
* 1930 : The Lash : Rosita Garcia
* 1931 : The Royal Bed : Princess Anne
* 1931 : Other Men's Women : Lily Kulper
* 1931 : Behind Office Doors : Mary Linden
* 1931 : The Sin Ship : Frisco Kitty
* 1931 : White Shoulders : Norma Selbee
* 1931 : Smart Woman : Mrs. Nancy Gibson
* 1931 : Men of Chance : Martha Silk
* 1932 : 4 de l'aviation (The Lost Squadron) : Follette Marsh
* 1932 : Those We Love : May Ballard
* 1932 : A Successful Calamity : Emmy 'Sweetie' Wilton
* 1932 : La Belle de Saïgon (Red Dust) : Barbara Willis
* 1933 : The Little Giant : Ruth Wayburn
* 1933 : Jennie Gerhardt : Letty Pace
* 1933 : Meurtre au chenil (The Kennel Murder Case) : Hilda Lake
* 1933 : The World Changes : Virginia 'Ginny' Clafflin Nordholm
* 1933 : Convention City : Arlene Dale
* 1934 : Easy to Love : Charlotte Hopkins
* 1934 : Upperworld : Mrs. Hettie Stream
* 1934 : Return of the Terror : Olga Morgan
* 1934 : The Man with Two Faces : Jessica Wells
* 1934 : The Case of the Howling Dog : Bessie Foley
* 1934 : I Am a Thief : Odette Mauclair
* 1935 : Straight from the Heart : Marian Henshaw
* 1935 : Dinky : Mrs. Martha Daniels
* 1935 : Page Miss Glory : Gladys Russell
* 1935 : Red Hot Tires : Patricia Sanford
* 1935 : Man of Iron : Vida
* 1936 : The Murder of Dr. Harrigan : Lillian Cooper
* 1936 : And So They Were Married : Edith Farnham
* 1936 : Trapped by Television : Barbara 'Bobby' Blake
* 1936 : Dodsworth : Mrs. Edith Cortright
* 1936 : Lady from Nowhere : Polly
* 1937 : Le Prisonnier de Zenda (The Prisoner of Zenda) : Antoinette de Mauban
* 1937 : The Hurricane : Madame Germaine De Laage
* 1938 : No Time to Marry : Kay McGowan
* 1938 : Paradise for Three : Mrs. Irene Mallebre
* 1938 : There's Always a Woman : Lola Fraser
* 1938 : Woman Against Woman : Cynthia Holland
* 1938 : Listen, Darling : Mrs. Dorothy 'Dottie' Wingate
* 1939 : La Baronne de minuit (Midnight) : Helene Flammarion
* 1940 : Turnabout : Marion Manning
* 1940 : L'Odyssée des Mormons (Brigham Young) : Mary Ann Young
* 1941 : Le Grand Mensonge (The Great Lie) : Sandra Kovak
* 1941 : Le Faucon maltais (The Maltese Falcon) : Brigid O'Shaughnessy
* 1942 : Griffes jaunes (Across the Pacific) : Alberta Marlow
* 1942 : Madame et ses flirts (The Palm Beach Story) : The Princess Centimillia
* 1943 : Young Ideas : Josephine 'Jo' Evans
* 1943 : Parade aux étoiles (Thousands cherr) : Hyllary Jones
* 1944 : Le Chant du Missouri (Meet Me in St. Louis) : Mrs. Anna Smith
* 1944 : Blonde Fever : Delilah Donay
* 1946 : Claudia and David : Elizabeth Van Doren
* 1947 : Sénorita Toréador (Fiesta) : Señora Morales
* 1947 : Desert Fury : Fritzi Haller
* 1947 : Cynthia : Louise Bishop
* 1947 : Éternel tourment (Cass Timberlane) : Queenie Havock
* 1948 : Acte de violence (Act of Violence) : Pat
* 1949 : Les Quatre Filles du docteur March (Little Women) : Marmee March
* 1949 : Any Number Can Play : Ada
* 1956 : A Kiss Before Dying : Mrs. Corliss
* 1956 : The Power and the Prize : Mrs. George Salt
* 1957 : Le Virage du diable (The Devil's Hairpin) : Mrs. Jargin
* 1958 : Le Démon de midi (This Happy Feeling) : Mrs. Tremaine
* 1959 : Un étranger sur les bras (A Stranger in My Arms) : Virgily Beasley
* 1959 : The Philadelphia Story (TV) : Margaret Lord
* 1961 : Les Lauriers sont coupés (Return to Peyton Place) : Mrs. Roberta Carter
* 1964 : Youngblood Hawke : Irene Perry
* 1964 : Chut... Chut, chère Charlotte (Hush... Hush, Sweet Charlotte) : Mrs. Jewel Mayhew