American actress (1900?1991)
Jean Arthur
|
---|
Publicity photo, mid-1930s
|
Born
| Gladys Georgianna Greene
(
1900-10-17
)
October 17, 1900
|
---|
Died
| June 19, 1991
(1991-06-19)
(aged 90)
|
---|
Occupation
| Actress
|
---|
Years active
| 1923?1975
|
---|
Known for
| |
---|
Political party
| Democratic
|
---|
Spouses
|
Julian Anker
(
m.
1928;
annul.
1928)
(
m.
1932;
div.
1949)
|
---|
Jean Arthur
(born
Gladys Georgianna Greene
; October 17, 1900 ? June 19, 1991)
[1]
was an American Broadway and film actress whose career began in
silent films
in the early 1920s and lasted until the early 1950s.
Arthur had feature roles in three
Frank Capra
films:
Mr. Deeds Goes to Town
(1936) with
Gary Cooper
,
You Can't Take It with You
(1938) co-starring
James Stewart
, and
Mr. Smith Goes to Washington
(1939), also starring Stewart. These three films all championed the "everyday heroine", personified by Arthur. She also co-starred with
Cary Grant
in the adventure-drama
Only Angels Have Wings
(1939) and in the comedy-drama
The Talk of the Town
(1942). She starred as the lead in the acclaimed and highly successful comedy films
The Devil and Miss Jones
(1941) and
A Foreign Affair
(1948), the latter of which she starred alongside
Marlene Dietrich
. Arthur was nominated for an
Academy Award for Best Actress
in 1944 for her performance in
The More the Merrier
(1943), a comedy which also starred
Joel McCrea
.
[2]
James Harvey wrote in his history of the romantic comedy: "No one was more closely identified with the
screwball comedy
than Jean Arthur. So much was she part of it, so much was her star personality defined by it, that the screwball style itself seems almost unimaginable without her."
[3]
She has been called "the quintessential comedic leading lady".
[4]
Her last film performance was non-comedic, playing the homesteader's wife in
George Stevens
's
Shane
in 1953.
Like
Greta Garbo
, Arthur was well known in Hollywood for her aversion to publicity; she rarely signed autographs or granted interviews.
Life
observed in a 1940 article: "Next to Garbo, Jean Arthur is Hollywood's reigning mystery woman."
[5]
As well as recoiling from interviews, after a certain age, she avoided photographers and refused to become a part of any kind of publicity.
[6]
Early life
[
edit
]
Arthur was born Gladys Georgianna Greene in
Plattsburgh, New York
, to
Protestant
parents, Johanna Augusta Nelson and Hubert Sidney Greene.
[7]
Gladys'
Lutheran
maternal grandparents immigrated from
Norway
to the
American West
after the
Civil War
. Her
Congregationalist
paternal ancestors immigrated from England to
Rhode Island
in the second half of the 1600s. During the 1790s, Nathaniel Greene helped found the town of
St. Albans, Vermont
, where his great-grandson, Hubert Greene, was born.
Johanna and Hubert were married in
Billings, Montana
, on July 7, 1890. Gladys's three older brothers?Donald Hubert Greene, Robert Brazier Greene, and Albert Sidney Greene
[8]
?were born in the West. Around 1897, Hubert moved his wife and three sons from Billings to Plattsburgh, so he could work as a photographer at the Woodward Studios on Clinton Street. Johanna gave birth to stillborn twins on April 1, 1898.
Two and a half years later, Johanna gave birth to Gladys. The product of a nomadic childhood, the future Jean Arthur lived at times in
Saranac Lake, New York
;
Jacksonville, Florida
, where George Woodward, Hubert's Plattsburgh employer, opened a second studio; and
Schenectady, New York
, where Hubert had grown up and where several members of his family still lived. The Greenes lived on and off in
Westbrook, Maine
, from 1908 to 1915, while Gladys's father worked at Lamson Studios in
Portland
. Relocating in 1915 to New York City, the family settled in the
Washington Heights
neighborhood ? at 573 West 159th Street ? of upper
Manhattan
, and Hubert worked at Ira L. Hill's photographic studio on Fifth Avenue.
[
citation needed
]
Gladys dropped out of high school in her junior year due to a "change in family circumstances".
[9]
Presaging many of her later film roles, she worked as a stenographer on Bond Street in lower Manhattan during and after
World War I
. Both her father (at age 55, claiming to be 45) and siblings registered for the draft. Her brother Albert died in 1926 as a result of respiratory injuries suffered during a mustard gas attack during World War I.
Career
[
edit
]
Silent film
[
edit
]
Discovered by
Fox Film Studios
while she was doing commercial modeling in New York City in the early 1920s, the newly named Jean Arthur landed a one-year contract and debuted in the
silent film
Cameo Kirby
(1923), directed by
John Ford
. She reputedly took her stage name from two of her greatest heroes,
Joan of Arc
(Jeanne d'Arc) and
King Arthur
.
[10]
The studio was at the time looking for new American sweethearts with sufficient sex appeal to interest the
Jazz Age
audiences. Arthur was remodeled as such a personality, a
flapper
.
[11]
Following the small role in
Cameo Kirby
, she received her first female lead role in
The Temple of Venus
(1923), a plotless tale about a group of dancing nymphs. Dissatisfied with her lack of acting talent, the film's director,
Henry Otto
, replaced Arthur with actress
Mary Philbin
during the third day of shooting. Arthur agreed with the director: "There wasn't a spark from within. I was acting like a mechanical doll personality. I thought I was disgraced for life."
[12]
Arthur was planning on leaving the California film industry for good, but reluctantly stayed due to her contract, and appeared in comedy shorts, instead. Despite lacking the required talent, Arthur liked acting, which she perceived as an "outlet". To acquire some fame, she registered herself in the Los Angeles city directory as a photo player operator, as well as appearing in a promotional film for a new Encino nightclub, but to no avail.
[13]
It would have been better business if I cried in front of the producers. It isn't a bad idea to get angry and chew up the scenery. I've had to learn to be a different person since I've been out here. Anybody that sticks it out in Hollywood for four years is bound to change in self-defense... Oh, I'm hard-boiled now. I don't expect anything. But it took me a long time to get over hoping, and believing, people's promises. That's the worst of this business, everyone is such a good promisor.
[14]
?Arthur commenting on her unsuccessful film career in 1928.
Change came when one day she showed up at the lot of Action Pictures, which produced
B Westerns
, and impressed its owner, Lester F. Scott, Jr., with her presence. He decided to take a chance on a complete unknown, and she was cast in over 20 Westerns in a two-year period. Only receiving $25 a picture, Arthur suffered from difficult working conditions: "The films were generally shot on location, often in the desert near Los Angeles, under a scorching sun that caused throats to parch and make-up to run. Running water was nowhere to be found, and even outhouses were a luxury not always present. The extras on these films were often real cowboys, tough men who were used to roughing it and who had little use for those who were not."
[15]
The films were moderately successful in second-rate Midwestern theaters, though Arthur received no official attention. Aside from appearing in films for Action Pictures between 1924 and 1926, she worked in some independent Westerns, including
The Drug Store Cowboy
(1925), and Westerns for
Poverty Row
, as well as having an uncredited bit part in
Buster Keaton
's
Seven Chances
(1925) as the receptionist.
[16]
In 1927, Arthur attracted more attention when she appeared opposite
Mae Busch
and
Charles Delaney
as a gold-digging chorus girl in
Husband Hunters
. Subsequently, she was romanced by actor
Monty Banks
in
Horse Shoes
(1927), both a commercial and critical success. She was cast on Banks's insistence, and received a salary of $700.
[17]
Next, director
Richard Wallace
ignored Fox's wishes to cast a more experienced actress by assigning Arthur to the female lead in
The Poor Nut
(1927), a college comedy, which gave her wide exposure to audiences. A reviewer for
Variety
did not spare the actress in his review:
With everyone in Hollywood bragging about the tremendous overflow of charming young women all battering upon the directorial doors leading to an appearance in pictures, it seems strange that from all these should have been selected two flat specimens such as Jean Arthur and
Jane Winton
. Neither of the girls has screen presence. Even under the kindliest treatment from the camera, they are far from attractive and in one or two side shots almost impossible.
[18]
Fed up with the direction that her career was taking, Arthur expressed her desire for a big break in an interview at the time. She was skeptical when signed to a small role in
Warming Up
(1928), a film produced for a big studio,
Famous Players?Lasky
, and featuring major star
Richard Dix
. Promoted as the studio's first
sound film
, it received wide media attention, and Arthur earned praise for her portrayal of a baseball club owner's daughter.
Variety
opined, "Dix and Arthur are splendid in spite of the wretched material", while
Screenland
wrote that Arthur "is one of the most charming young kissees who ever officiated in a Dix film. Jean is winsome; she neither looks nor acts like the regular movie heroine. She's a nice girl ? but she has her moments."
[19]
The success of
Warming Up
resulted in Arthur being signed to a three-year contract with the studio, soon to be known as
Paramount Pictures
, at $150 a week.
Transition to sound film
[
edit
]
With the rise of the
talkies
in the late 1920s, Arthur was among the many silent-screen actors of Paramount Pictures initially unwilling to adapt to sound films.
[20]
Upon realizing that the craze for sound films was not a phase, she met with sound coach Roy Pomeroy. Her distinctive, throaty voice ? in addition to some stage training on
Broadway
in the early 1930s ? eventually helped make her a star in the talkies, but it initially prevented directors from casting her in films.
[21]
In her early talkies, this "throaty" voice is still missing, and whether it had not yet emerged or whether she hid it remains unclear.
[22]
Her all-talking film debut was
The Canary Murder Case
(1929), in which she co-starred opposite
William Powell
and
Louise Brooks
. Arthur impressed only a few with the film, and later claimed that at the time she was a "very poor actress ... awfully anxious to improve, but ... inexperienced so far as genuine training was concerned."
[23]
In the early years of talking pictures, Paramount was known for contracting Broadway actors with experienced vocals and impressive background references. Arthur was not among these actors, and she struggled for recognition in the film industry. Her personal involvement with rising Paramount executive
David O. Selznick
? despite his relationship with
Irene Mayer Selznick
? proved substantial; she was put on the map and became selected as one of the
WAMPAS Baby Stars
in 1929. Following a silent B Western called
Stairs of Sand
(1929), she received some positive notices when she played the female lead in the lavish production of
The Mysterious Dr. Fu Manchu
(1929).
[21]
Arthur was given more publicity assignments, which she carried out, though she immensely disliked posing for photographers and giving interviews.
[21]
Through Selznick, Arthur received her "best role to date" opposite famous sex symbol
Clara Bow
in the early sound film
The Saturday Night Kid
(1929).
[24]
Of the two female leads, Arthur was thought to have "the better part", and director Edward Sutherland claimed, "Arthur was so good that we had to cut and cut to keep her from stealing the picture" from Bow.
[25]
While some argued that Bow resented Arthur for having the "better part,"
[26]
Bow encouraged Arthur to make the most of the production.
[25]
Arthur later praised her working experience with Bow: "[Bow] was so generous, no snootiness or anything. She was wonderful to me."
[27]
The film was a moderate success, and
The New York Times
wrote that the film would have been "merely commonplace, were it not for Jean Arthur, who plays the catty sister with a great deal of skill."
[26]
Following a role in
Halfway to Heaven
(1929) opposite popular actor
Charles "Buddy" Rogers
(of which
Variety
opined that her career could be heading somewhere if she acquired more sex appeal),
[26]
Selznick assigned her to play William Powell's wife in
Street of Chance
(1930). She did not impress the film's director,
John Cromwell
, who advised the actress to move back to New York because she would not make it in Hollywood.
[26]
By 1930, her relationship with Selznick had ended, causing her career at Paramount to slip.
[28]
Following a string of "lifeless ingenue roles" in mediocre films, she debuted on stage in December 1930 with a supporting role in
Pasadena Playhouse
's 10-day production run of
Spring Song
. Back in Hollywood, Arthur saw her career deteriorating, and she dyed her hair blonde in an attempt to boost her image and avoid comparison with more successful actress
Mary Brian
.
[29]
Her effort did not pay off; when her three-year contract at Paramount expired in mid-1931, she was given her release with an announcement from Paramount that the decision was due to financial setbacks caused by the
Great Depression
.
[29]
Broadway
[
edit
]
In late 1931, Arthur returned to New York City, where a Broadway agent cast Arthur in an adaptation of
Lysistrata
, which opened at the Riviera Theater on January 24, 1932. A few months later, she made her Broadway debut in
Foreign Affairs
opposite
Dorothy Gish
and
Osgood Perkins
. Though the play did not fare well and closed after 23 performances, critics were impressed by her work on stage.
[30]
She next won the female lead in
The Man Who Reclaimed His Head
, which opened on September 8, 1932, at the Broadhurst Theatre to mostly mixed notices for Arthur; negative reviews for the play caused the production to be halted quickly.
[31]
Arthur returned to California for the holidays, and appeared in the
RKO
film
The Past of Mary Holmes
(1933), her first film in two years.
Back on Broadway, Arthur continued to appear in small plays that received little attention. Critics, however, continued to praise her in their reviews. In this period, Arthur arguably developed confidence in her acting craft for the first time.
[32]
On the contrast between films in Hollywood and plays in New York, Arthur commented:
I don't think Hollywood is the place to be yourself. The individual ought to find herself before coming to Hollywood. On the stage I found myself to be in a different world. The individual counted. The director encouraged me and I learned how to be myself.... I learned to face audiences and to forget them. To see the footlights and not to see them; to gauge the reactions of hundreds of people, and yet to throw myself so completely into a role that I was oblivious to their reaction.
[32]
The Curtain Rises
, which ran from October to December 1933, was Arthur's first Broadway play in which she was the center of attention.
[33]
With an improved resume, she returned to Hollywood in late 1933, and turned down several contract offers until she was asked to meet with an executive from
Columbia Pictures
.
[34]
Columbia hired her.
Columbia Pictures
[
edit
]
During production of her first Columbia feature, she was offered a long-term contract that promised financial stability for herself and both of her parents.
[34]
Though hesitant to give up her stage career, Arthur signed the five-year contract on February 14, 1934.
[9]
Jean Arthur's first two features for Columbia starred the studio's number-one boxoffice draw, the action star
Jack Holt
. Holt had a loyal following among fans and exhibitors, and Columbia's president
Harry Cohn
knew that Arthur would benefit from the exposure, and from working with screen veteran Holt.
Whirlpool
cast tough-guy Holt as a once-convicted gambler reunited with the daughter he has never seen. Arthur played the daughter with sincerity and sympathy, while Holt displayed a tenderness and compassion never before seen in his two-fisted melodramas.
The Hollywood Reporter
observed, "Particularly touching and well done are [Holt's] scenes with his daughter. He is given splendid assistance by Jean Arthur, and by the director,
Roy William Neill
. Without overplaying or mawkish sentimentality, these scenes have a natural, human quality that counts."
[35]
Holt and Arthur were teamed a few months later for a follow-up,
The Defense Rests
(1934); Arthur, fresh out of law school, wants to work for celebrated criminal lawyer Holt, and soon learns the inside story of Holt's success.
Arthur's success in the Holt pictures had a salutary effect on the actress's outlook, according to
Picture Play
:
"Her entire personality has changed, and from a somewhat immature actress of nice but no startling ability she has blossomed into a distinctive artist, and only the future can tell how high she will soar... [She] now receives, from
Whirlpool
alone, approval that any far more experienced actress might spend years in building up."
[36]
In 1935, at age 34, Arthur starred opposite
Edward G. Robinson
in the gangster farce
The Whole Town's Talking
, also directed by Ford, and her popularity began to rise. It was the first time Arthur portrayed a hard-boiled working girl with a heart of gold, the type of role with which she would be associated for the rest of her career.
[37]
She enjoyed the acting experience and working opposite Robinson, who remarked in his biography that it was a "delight to work with and know" Arthur.
[38]
By the time of the film's release, her hair, naturally brunette throughout the silent-film portion of her career, was bleached blonde and mostly stayed that way. She was known for maneuvering to be photographed and filmed almost exclusively from the left; Arthur felt that her left was her better side, and worked hard to keep it in the fore. Director
Frank Capra
recalled producer
Harry Cohn
's description of Jean Arthur's imbalanced profile: "half of it's angel, and the other half horse."
[39]
Her next few films,
Party Wire
(1935),
Public Hero No. 1
(1935), and
If You Could Only Cook
(1935), did not match the success of
The Whole Town's Talking
, but they all brought the actress positive reviews.
[38]
In his review for
The New York Times
, critic Andre Sennwald praised Arthur's performance in
Public Hero No. 1
, writing that she "is as refreshing a change from the routine it-girl as
Joseph Calleia
is in his own department."
[40]
Another critic wrote of her performance in
If You Could Only Cook
that "[she is] outstanding as she effortlessly slips from charming comedienne to beautiful romantic."
[41]
With her now apparent rise to fame, Arthur was able to extract several contractual concessions from Harry Cohn, such as script and director approval and the right to make films for other studios.
[42]
The turning point in Arthur's career came when she was chosen by Frank Capra to star in
Mr. Deeds Goes to Town
(1936). Capra had spotted her in a daily rush
[39]
from the film
Whirlpool
in 1934
[43]
and convinced Cohn to have
Columbia Studios
sign her for his next film, as a tough newspaperwoman who falls in love with a country bumpkin millionaire. Though several colleagues later recalled that Arthur was troubled by extreme stage fright during production,
Mr. Deeds
was critically acclaimed and propelled her to international stardom.
[44]
In 1936 alone, she earned $119,000, more than the President of the United States and baseball star
Lou Gehrig
combined
.
[45]
[46]
[47]
With fame also came media attention, something Arthur greatly disliked. She did not attend any social gatherings, such as formal parties in Hollywood, and acted difficult when having to work with an interviewer. She was named the American Greta Garbo ? who was also known for her reclusive life ? and magazine
Movie Classic
wrote of her in 1937: "With Garbo talking right out loud in interviews, receiving the press and even welcoming an occasional chance to say her say in the public prints, the palm for elusiveness among screen stars now goes to Jean Arthur."
[48]
Arthur's next film was
The Ex-Mrs. Bradford
(1936), on loan to
RKO Pictures
, in which she starred opposite William Powell on his insistence,
[49]
and hoped to take a long vacation afterwards. Cohn, however, rushed her into two more productions,
Adventure in Manhattan
(1936) and
More Than a Secretary
(1936). Neither film attracted much attention.
[50]
Next, again without pause, she was reteamed with Cooper, playing
Calamity Jane
in
Cecil B. DeMille
's
The Plainsman
(1936) on another loan, this time for Paramount Pictures. Arthur, who was De Mille's second choice after
Mae West
, described Calamity Jane as her favorite role thus far.
[50]
In 1937, she appeared as a working girl, her typical role, in
Mitchell Leisen
's screwball comedy,
Easy Living
(1937), with
Ray Milland
. She followed this with another screwball comedy, Capra's
You Can't Take It with You
(1938), which teamed her with
James Stewart
. The film won an
Academy Award for Best Picture
, with Arthur getting top billing.
So strong was her box-office appeal by now that she was one of four finalists for the role of
Scarlett O'Hara
in
Gone with the Wind
(1939). The film's producer, David O. Selznick, had briefly romanced Arthur in the late 1920s when they both were with Paramount. Arthur reunited with director Frank Capra and Stewart for
Mr. Smith Goes to Washington
(1939), with Arthur cast once again as a working woman, this time one who teaches the naive Mr. Smith the ways of Washington, DC. Arthur was offered a third reunion with Capra and Stewart in
It's a Wonderful Life
(1946), playing the role of Stewart's wife Mary (which eventually went to
Donna Reed
), but she refused to attend
Stephens College
.
[51]
Arthur continued to star in films such as
Howard Hawks
'
Only Angels Have Wings
(also 1939), with
Cary Grant
,
The Talk of the Town
(1942), directed by
George Stevens
(with Cary Grant and
Ronald Colman
, working together for the only time, as Arthur's two leading men), and again for Stevens as a government clerk in
The More the Merrier
(1943), for which Arthur was nominated for the
Academy Award for Best Actress
(losing to
Jennifer Jones
for
The Song of Bernadette
). As a result of being in dispute with studio boss Harry Cohn, her fee for
The Talk of the Town
(1942) was only $50,000, while her male co-stars Grant and Colman received upwards of $100,000 each.
Arthur remained Columbia's top star until the mid-1940s, when she left the studio;
Rita Hayworth
took over as the studio's biggest name. Stevens famously called her "one of the greatest comediennes the screen has ever seen," while Capra credited her as "my favorite actress."
[52]
Later career and retirements
[
edit
]
Arthur retired when her contract with Columbia Pictures expired in 1944. She reportedly ran through the studio's streets, shouting "I'm free, I'm free!"
[53]
For the next several years, she turned down virtually all film offers, the two exceptions being
Billy Wilder
's
A Foreign Affair
(1948), in which she played a congresswoman and rival of Marlene Dietrich's , and as a homesteader's wife in the classic Western
Shane
(1953), which turned out to be the biggest box-office hit of her career. The latter was her final film, and the only color film in which she appeared.
[54]
Arthur's postretirement work in theater was intermittent, somewhat curtailed by her unease and discomfort about working in public.
[55]
Capra claimed she vomited in her dressing room between scenes, yet emerged each time to perform a flawless take. According to John Oller's biography,
Jean Arthur: The Actress Nobody Knew
(1997), Arthur developed a kind of
stage fright
punctuated with bouts of
psychosomatic illnesses
. A prime example was in 1945, when she was cast in the lead of the
Garson Kanin
play
Born Yesterday
. Her nerves and insecurity got the better of her and she left the production before it reached Broadway, opening the door for a then-unknown
Judy Holliday
to take the part.
[56]
[57]
She did score a major triumph on Broadway in 1950, starring in
Leonard Bernstein
's
adaptation of
Peter Pan
, playing the title character, when she was almost 50. She tackled the role of her eponym, Joan of Arc, in a 1954 stage production of
George Bernard Shaw
's
Saint Joan
, but she left the play after a
nervous breakdown
and battles with director
Harold Clurman
.
[
citation needed
]
After
Shane
and
Saint Joan
, Arthur went into retirement for 11 years. In 1965, she returned to show business in an episode of
Gunsmoke
. In 1966, the extremely reclusive Arthur took on the role of Patricia Marshall, an
attorney
, on her own television sitcom,
The Jean Arthur Show
, which was cancelled midseason by
CBS
after only 12 episodes.
Ron Harper
played her son, attorney Paul Marshall.
[
citation needed
]
In 1967, Arthur was coaxed back to Broadway to appear as a Midwestern
spinster
who falls in with a group of
hippies
in the play
The Freaking Out of Stephanie Blake
. In his book
The Season,
William Goldman
reconstructed the disastrous production, which eventually closed during previews when Arthur refused to go on.
[
citation needed
]
Arthur next decided to teach drama, first at
Vassar College
and then the
North Carolina School of the Arts
.
While living in North Carolina, in 1973, Arthur made front-page news by being arrested and jailed for
trespassing
on a neighbor's property to console a dog she felt was being mistreated.
[58]
An animal lover her entire life, Arthur said she trusted them more than people.
[59]
She was convicted, fined $75, and given three years' probation.
[58]
After 11 performances of
First Monday in October
in Cleveland, Ohio, in 1975, Arthur then retired for good, retreating to
Driftwood Cottage
, her oceanside home on
Carmel Point
at the southern city limits of
Carmel-by-the-Sea, California
,
[60]
steadfastly refusing interviews until her resistance was broken down by the author of a book about Capra. Arthur once famously said that she would rather have her throat slit than give an interview.
[61]
Arthur was a
Democrat
and supported the campaigns of
Adlai Stevenson
during the
1952 presidential election
and
John F. Kennedy
in 1960.
[62]
Personal life
[
edit
]
Arthur's first marriage, to photographer Julian Anker in 1928, was
annulled
after one day.
[63]
She married producer
Frank Ross, Jr.
in 1932. They divorced in 1949.
[64]
She had no children by either union.
In 1979,
Patsy Kelly
told
Boze Hadleigh
that Arthur was a lesbian.
[65]
Arthur lived in
Carmel-by-the-Sea, California
, for 30 years,
[66]
and died from
heart failure
June 19, 1991,
[67]
at the age of 90.
[64]
No funeral service was held.
[67]
She was cremated, and her remains were scattered off the coast of
Point Lobos
, California.
[68]
Legacy
[
edit
]
Upon her death, film reviewer
Charles Champlin
wrote the following in the
Los Angeles Times
:
To at least one teenager in a small town (though I'm sure we were a multitude), Jean Arthur suggested strongly that the ideal woman could be ? ought to be ? judged by her spirit as well as her beauty … The notion of the woman as a friend and confidante, as well as someone you courted and were nuts about, someone whose true beauty was internal rather than external, became a full-blown possibility as we watched Jean Arthur.
[69]
For her contribution to the motion-picture industry, Jean Arthur has a star on the
Hollywood Walk of Fame
at 6333 Hollywood Blvd.
[70]
The Jean Arthur Atrium was her gift to the
Monterey Institute of International Studies
in
Monterey, California
.
[
citation needed
]
In 2014, Arthur was inducted into the
Hall of Great Western Performers
at the
National Cowboy & Western Heritage Museum
in
Oklahoma City
.
[71]
Filmography
[
edit
]
Radio performances
[
edit
]
See also
[
edit
]
References
[
edit
]
- ^
"Jean Arthur | American actress"
.
Encyclopedia Britannica
. Retrieved
2017-10-22
.
- ^
"The 16th Academy Awards"
. Academy of Motion Picture Arts and Sciences. Archived from
the original
on 15 July 2015
. Retrieved
15 July
2015
.
- ^
Harvey 1987, p. 351.
- ^
Osborne, Robert
. "Dedication at 17-film salute to Jean Arthur".
Turner Classic Movies
(broadcast), January 2007.
- ^
Oller 1997, p. 1.
- ^
Oller 1997, p. 2.
- ^
"Genealogy: Jean Arthur"
Archived
2008-01-04 at the
Wayback Machine
. Freepages.genealogy.rootsweb.com, August 14, 2010.
- ^
1900 US Census, Plattsburgh, New York; and 1910 US Census, Cumberland, Maine.
- ^
a
b
Oller 1997, p. 34.
- ^
Collins, Thomas W. Jr (2000). "Arthur, Jean (17 October 1900?19 June 1991)".
American National Biography
. New York: Oxford University Press.
doi
:
10.1093/anb/9780198606697.article.1803494
.
(subscription required)
- ^
Oller 1997, p. 40.
- ^
Oller 1997, p. 41.
- ^
Oller 1997, p. 42.
- ^
Oller 1997, p. 46.
- ^
Oller 1997, p. 43.
- ^
"Seven Chances - Full Cast & Crew"
.
TV Guide
.
- ^
Oller 1997, p. 45.
- ^
Oller 1997, pp. 45?46.
- ^
Oller 1997, p. 47.
- ^
Oller 1997, p. 51.
- ^
a
b
c
Oller 1997, p. 58.
- ^
Oller 1997, p. 52.
- ^
Oller 1997, p. 53.
- ^
Oller 1997, p. 60.
- ^
a
b
Stenn 1988, p. 178.
- ^
a
b
c
d
Oller 1997, p. 61.
- ^
Stenn 1988, p. 179.
- ^
Oller 1997, p. 62.
- ^
a
b
Oller 1997, p. 64.
- ^
Oller 1997, p. 69.
- ^
Oller 1997, p. 70.
- ^
a
b
Oller 1997, p. 71.
- ^
Oller 1997, p. 72.
- ^
a
b
Oller 1997, p. 73.
- ^
The Hollywood Reporter
, Apr. 3, 1934, p. 3.
- ^
Whitney Williams in
Picture Play
, Sept. 1934, p. 55.
- ^
Oller 1997, p. 81.
- ^
a
b
Oller 1997, p. 82.
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a
b
Capra 1971, p. 184.
- ^
"Read TCM's article on Public Hero No. 1"
.
Turner Classic Movies
. Retrieved
2012-11-16
.
- ^
"Read TCM's article on If You Could Only Cook"
.
Turner Classic Movies
. Retrieved
2012-11-16
.
- ^
Oller 1997, p. 83.
- ^
Oller 1997, p. 84.
- ^
Oller 1997, p. 85-86.
- ^
Oller 1997, p. 89.
- ^
[1]
Salary History of the United States President, $75,000 in 1936.
- ^
[2]
Lou Gehrig salaries at baseball-reference.com. $36,000 in 1936.
- ^
Oller 1997, p. 92.
- ^
"Notes for The Ex-Mrs. Bradford"
.
Turner Classic Movies
. Retrieved
2012-11-19
.
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a
b
Oller 1997, p. 93.
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Oller, John (2004).
Jean Arthur: The Actress Nobody Knew
. Limelight Editions. p. 132.
ISBN
0-87910-278-0
.
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Capra 1971, pp. 184?185.
- ^
Morgan, Kim (2020-05-05).
"Jean Arthur, the Nonconformist"
.
The Criterion Collection
. Retrieved
2020-05-16
.
- ^
Anthony, Elizabeth.
"Jean Arthur at Screen Classics."
Reelclassics.com,
July 21, 2010. Retrieved: August 14, 2010.
- ^
"TCM Movie Database: Jean Arthur."
Archived
2007-09-30 at the
Wayback Machine
Tcmdb.com,
August 14, 2010.
- ^
Bordman, Gerald Martin; Hischak, Thomas S. (2004).
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. Oxford University Press, US.
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. Retrieved
2023-05-19
.
- ^
Kennedy, Eugene (21 February 1988).
"
'Born Yesterday' Reborn in Chicago"
.
The New York Times
. p. 5 (Section 2)
. Retrieved
2023-05-19
.
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a
b
"Actress Jean Arthur arrested, convicted"
.
Greeley Daily Tribune
. Greeley Daily Tribune. April 14, 1973. p. 18
. Retrieved
June 30,
2015
– via
Newspapers.com
.
- ^
Oller, John (2004).
Jean Arthur: The Actress Nobody Knew
. Limelight Editions. p. 167.
ISBN
0-87910-278-0
.
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Russell Mac Masters (1976).
"Architectural Digest: Jean Arthur"
.
archive.architecturaldigest.com
. Retrieved
2022-11-08
.
- ^
Parish 2002, p. 92.
- ^
Motion Picture and Television Magazine
, November 1952, page 33, Ideal Publishers
- ^
Oliver, Myrna.
"Jean Arthur Dies; Comedy Film Star of the '30s and '40s."
Articles.latimes.com,
July 20, 1991. Retrieved: August 14, 2010.
- ^
a
b
Sarvady et al. 2006, p. 17.
- ^
Hollywood Lesbians
, by
Boze Hadleigh
; p. 62; published 1994 by
Barricade Books
; "PK: But it figures why certain actresses - the sisterhood? - want to be Peter Pan. Gals like Mary Martin and Jean Arthur. They want to be boys. BH: You mean because Martin and Arthur are lesbians. PK: In a nutshell."
- ^
King, Susan (21 April 2017).
"Here is what really happened to Joan Crawford, Bette Davis and others after 'Feud'
"
.
Hartford Courant
. Archived from
the original
on 22 April 2017
. Retrieved
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2022
.
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a
b
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.
Tyrone Daily Herald
. Tyrone Daily Herald. June 20, 1991. p. 3
. Retrieved
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2015
– via
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.
- ^
Brooks, Patricia; Brooks, Jonathan (2006).
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. Globe Pequot. pp. 313?314.
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0-762-74101-5
.
- ^
Champlin, Charles.
"An Appreciation ? Jean Arthur's Legacy of Indelible Performances ? Movies: The actress, who died Wednesday at 90, brought a striking beauty, a unique voice and spirit to the roles that established her fame."
Los Angeles Times
, June 20, 1991. Retrieved: September 3, 2009.
- ^
"Jean Arthur"
.
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. Retrieved
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.
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"Jean Arthur"
.
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"Those Were The Days".
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.
40
(1): 32?39. Winter 2014.
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Kirby, Walter (May 31, 1953).
"Better Radio Programs for the Week"
.
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. Retrieved
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2015
– via
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.
Further reading
[
edit
]
- Capra, Frank.
Frank Capra, The Name Above the Title: An Autobiography
. New York: The Macmillan Company, 1971.
ISBN
0-306-80771-8
.
- Harvey, James.
Romantic Comedy in Hollywood: From Lubitsch to Sturges
. New York: Knopf, 1987.
ISBN
0-394-50339-2
.
- Oller, John
.
Jean Arthur: The Actress Nobody Knew
. New York: Limelight Editions, 1997.
ISBN
0-87910-278-0
.
- Parish, James Robert.
The Hollywood Book of Death: The Bizarre, Often Sordid, Passings of More Than 125 American Movie and TV Idols
. New York: Contemporary Books, 2002.
ISBN
0-8092-2227-2
.
- Parish, James Robert.
The Hollywood Book of Extravagance: The Totally Infamous ...
Hoboken, New Jersey: John Wiley and Sons, 2007.
ISBN
978-0-470-05205-1
.
- Sarvady, Andrea, Molly Haskell and Frank Miller.
Leading Ladies: The 50 Most Unforgettable Actresses of the Studio Era
. San Francisco: Chronicle Books, 2006.
ISBN
0-8118-5248-2
.
- Stenn, David
.
Clara Bow: Runnin' Wild
. New York: Doubleday, 1988.
ISBN
0-385-24125-9
.
External links
[
edit
]
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