Gladys George

Daughter of Sir Arthur Evans Clare (c .1865-1939). Her father won his knighthood for service in India with the British army. He died in Hollywood several months after being injured in an automobile accident.

Her parents were actually English and touring with a Shakespearean theater company in Patten, Maine when she was born (although usually noted as 1900, other sources put it as late as 1904). Her parents stayed in America, and by the time she was 3, they formed a vaudeville family act; The Three Clares (Gladys's middle name). Beginning then, George would focus herself on developing an acting career.

Frederick's career took on new dimension when she turned to film as well (1915), and George was probably influenced to follow her.

As George gained experience, she developed an interest in stage and while still in her teens, she first trod the Broadway boards in 1918 in the original play "The Betrothal", the star being Isadora Duncan. Her experience in stock meshed with her natural talent and a face to frame the emotion of great pathos as well as hard cased and worldly wise. She was in good hands when she worked for the famous Broadway star Pauline Frederick, who made a fortune on the 'great white way', and via her touring stock company.

George began working in silent films - first as the young female romantic lead in Red Hot Dollars (1919) and would steadily move in lead and good costarring roles through 1921. Around this time, George was severely burned in an accident which caused a delay in her early film career. She returned to stock and married for the first time.

One of the fine if relatively short-lived character actresses of Hollywood, during the 1930s and 40, Gladys George was born into an acting family who were literally on the road at the time of her birth.

By 1934, she had a new husband - the millionaire manufacturer, Edward H Fowler who was able to further her career. After only a month into her next show (Queer People)'s run, Georgev abruptly left the company, when Paramount offered her a screen test. After the test, MGM signed her for a contract.

Her first film was not surprisingly an adapted play, Straight Is the Way (1934). In this, her first sound picture, George played the mouthy bad girl to good effect,M displaying her acting ability. In her personal life, she had a socialite's talent for partying, and alcohol, and romance on the edge. She had only been married to Fowler about a year when he found her with her leading man from her then-Broadway hit comedy, Personal Appearance (ironically, she played a carousing, man-hungry star, and the press loved the coincidence).

Her next film was not until 1936 and as a loan-out to Paramount, but it was pay-dirt for George, as the mother-against-the-world, in Valiant Is the Word for Carrie (1936),George made her role the film's focus, and she was so good at that she received a Best Actress nomination for that year.

It and perhaps her personal life had much to do with her biggest role the next year, Madame X (1937), as the long suffering soap opera-like Jacqueline Floriot.

Though some mark it as the beginning of a downturn to character roles, George pulled out all the stops, and played the role of Madame du Barry, in Marie Antoinette (1938) (starring, Norma Shearer with real gumptionSadly, over the next year, physical changes caused by her carousing lifestyle were becoming more apparent (as the speakeasy owner, Panama Smith in The Roaring Twenties (1939) with its famous ending of the fatally wounded James Cagney staggering up the church steps after having rubbed out old rival Humphrey Bogart. He staggers back down diagonally and falls professionally face up with George quickly kneeling next to him. 'He used to be a big shot', she says as the police arrive).

In the 1940s, George spent a year-or-so on Broadway,and was cast in several soap opera B-films, where she alternated between sympathetic, or tough-as-nails characters. She was usually right on, but the roles were throwaways, compared to what she was capable of doing.

Her most well-remembered role of this period was as the widow of murdered detective, Miles Archer, in the legendary The Maltese Falcon (1941) (with Bogart, once again). One's hard-put to even recognise her in black lace, mourning profiles and the few lines she has.

The same year she had a good comedic lead role, displaying her range - from hard-headed to soft-hearted with the Dead End Kids in Hit the Road (1941).

But a standout role of the decade was so small, and yet it was subtlety nuanced for showing how she excelled at displaying pathos of the human condition, in the great classic of post-World War II homecoming, The Best Years Of Our Lives (1946). As Hortense Derry, she's the second wife of aging failure Pat Derry (played by Roman Bohnen). That they live near poverty's starkly shown in their 'home'; a hovel under an overpass. George, frowzy with little makeup and clutching her old threadbare robe's eagerly patronising and quick to speak, with a slight edge in her voice.