![]() Chips) to the sublimely ridiculous (A Night at the Opera, A Day at the Races). Gladys George stars in the 1937 version, directed by Sam Wood, whose resume? extends from the sublime (Goodbye, Mr. The 1929 version, starring Ruth Chatterton, is directed by Lionel Barrymore (both earned Academy Award(r) nominations* for their work). Double the heartache is yours in these two versions of the classic story of a woman's virtue lost and a mother's devotion found. and is defended by a young lawyer she does not know is her own son. Years later she murders a brute who plans to reveal her past. Betrayed by love and scorned by her husband, she descends into a life of depravity. (Beautiful Jacqueline Floriot deserts her family for an il.)īeautiful Jacqueline Floriot deserts her family for an illicit affair. Her career declined during her last years, and she died of a cerebral hemorrhage in Hollywood, California. Her roles, as tragic heroines in costume dramas, romantic leads, tough blondes, and sodden old women, afforded her little opportunity to play the type of social comedy that she did best. Between 19, George appeared in thirty-two motion pictures, including Valiant Is the Word for Carrie (1936), They Gave Him a Gun (1937), Madame X (1937), Marie Antoinette (1938), The Roaring Twenties (1939), The House Across the Bay (1940), The Way of All Flesh (1940), Lullaby of Broadway (1951), and It Happens Every Thursday (1953). After the play closed, she returned to the Hollywood she had so brilliantly parodied, and thereafter appeared on the legitimate stage only in Lady in Waiting (1940) in The Distant City (1941) and in The Skin of Our Teeth (1943), succeeding Miriam Hopkins as Sabrina. The blonde hair and husky voice that George used as Carole Arden persisted throughout her career, but nothing else she did rivaled that portrayal. Personal Appearance ran for sixty-two weeks on Broadway and for twenty-three weeks on tour. The critics praised her sense of satire, her droll facial expressions, and her uproarious parody of a vacuous but warmblooded stereotyped movie star. As the tempestuous blonde movie star Carole Arden, George created a vivid portrait that both satirized and gently admired its object. ![]() A few months later producer Brock Pemberton saw her in The Milky Way and recognized her suitability for the comic lead in Personal Appearance. In 1934 George returned to Broadway in Queer People. After recovering, she returned to stock theater and appeared as a leading lady in Pittsburgh with the George Sharp Players in Strange Interlude, with the Wilkes Players in Salt Lake City (1927-1928), at the Alcazar Theater in San Francisco, and with the National Dramatic Players in Boston. She appeared in seven mediocre films (1919-1921), until she burned her face severely in a cooking accident. George appeared in The Better 'Ole (1919) in Los Angeles, and her performance drew the small, slight, hazel-eyed actress a film offer from producer Thomas Ince. Expecting to receive a legacy from England, her father took the family to New York, where George made her debut in Winthrop Ames's production of Maeterlinck's The Betrothal (1918). George's rootless childhood in a second-rate stage family left memories of stints with medicine shows and stopgap jobs as maid and waitress. In the title role, Gladys emoted, sang, and danced so successfully that her father renamed the act Little Gladys George and Company. Written by her father, it concerned a child who appeared in the sleep of a troubled couple to bring them happiness. The family's theatrical staple was a mixture of melodrama and vaudeville entitled The Dream Doll. By the age of eighteen she had reputedly appeared in over 200 plays. Her limited formal education was supplemented by touring the United States and Canada with her parents, playing in theaters, halls, and barns - and even on railway platforms. ![]() Gladys made her debut at the age of three in Waterbury, Connecticut, in her parents' stock company.
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