Full Name: Ruth Elizebeth Davis

Description: Actress, USA

Known For: Film – “All about Eve” – 1950

Location: MA, United States of America

Date Born: 5th April 1908
Location Born: Lowell, Massachusets, United States of America

Date Died: 16th October 1989
Location Died: Neuilly, France
Cause Of Death: Breast cancer

Memorial: She was interred in Forest Lawn – Hollywood Hills Cemetery in Los Angeles, California, alongside her mother, Ruthie, and sister, Bobby.

Web Site: Official website operated by the Estate of Bette Davis

Other Links: See below:



Bette Davis

An American actress of film, television and theater. Noted for her willingness to play unsympathetic characters, she was highly regarded for her performances in a range of film genres, from contemporary crime melodramas to historical and period films and occasional comedies, although her greatest successes were her roles in romantic dramas.

After appearing in Broadway plays, Davis moved to Hollywood in 1930, but her early films for Universal Studios (and as loanout to other studios) were unsuccessful.

She joined Warner Bros. in 1932 and established her career with several critically acclaimed performances. In 1937, she attempted to free herself from her contract and although she lost a well-publicized legal case, it marked the beginning of the most successful period of her career. Until the late 1940s, she was one of American cinema’s most celebrated leading ladies, known for her forceful and intense style.

Davis gained a reputation as a perfectionist who could be highly combative, and confrontations with studio executives, film directors and costars were often reported. Her forthright manner, clipped vocal style and ubiquitous cigarette contributed to a public persona which has often been imitated and satirized.

Davis was the co-founder of the Hollywood Canteen, and was the first female president of the Academy of Motion Picture Arts and Sciences. She won the Academy Award for Best Actress twice, was the first person to accrue 10 Academy Award nominations for acting, and was the first woman to receive a Lifetime Achievement Award from the American Film Institute.

Her career went through several periods of eclipse, and she admitted that her success had often been at the expense of her personal relationships. Married four times, she was once widowed and thrice divorced, and raised her children as a single parent. Her final years were marred by a long period of ill health, but she continued acting until shortly before her death from breast cancer, with more than 100 films, television and theater roles to her credit. In 1999, Davis was placed second, after Katharine Hepburn, on the American Film Institute’s list of the greatest female stars of all time.

Ruth Elizabeth Davis, known from early childhood as “Betty”, was born in Lowell, Massachusetts, the daughter of Ruth Augusta “Ruthie” (née Favor) and Harlow Morrell Davis, a patent attorney; her sister, Barbara “Bobby”, was born October 25, 1909.

The family was Protestant, of English, French, and Welsh ancestry. In 1915, Davis’s parents separated and Betty and Bobby attended a Spartan boarding school called Crestalban in Lanesborough, which is located in the Berkshires. In 1921, Ruth Davis moved to New York City with her daughters, where she worked as a portrait photographer. Betty was inspired to become an actress after seeing Rudolph Valentino in The Four Horsemen of the Apocalypse (1921) and Mary Pickford in Little Lord Fauntleroy (1921), and changed the spelling of her name to “Bette” after Honoré de Balzac’s La Cousine Bette. She received encouragement from her mother, who had aspired to become an actress.

She attended Cushing Academy, a boarding school in Ashburnham, Massachusetts, where she met her future husband, Harmon O. Nelson, known as “Ham”. In 1926, she saw a production of Henrik Ibsen’s The Wild Duck with Blanche Yurka and Peg Entwistle. Davis later recalled that it inspired her full commitment to her chosen career, and said, “Before that performance I wanted to be an actress. When it ended, I had to be an actress … exactly like Peg Entwistle.”

She auditioned for admission to Eva LeGallienne’s Manhattan Civic Repertory, but was rejected by LeGallienne who described her attitude as “insincere” and “frivolous”. She was accepted by the John Murray Anderson School of Theatre, and studied dance with Martha Graham.

She auditioned for George Cukor’s stock theater company, and although he was not very impressed, he gave Davis her first paid acting assignment anyway—a one-week stint playing the part of a chorus girl in the play Broadway. She was later chosen to play Hedwig, the character she had seen Entwistle play, in The Wild Duck. After performing in Philadelphia, Washington and Boston, she made her Broadway debut in 1929 in Broken Dishes, and followed it with Solid South. A Universal Studios talent scout saw her perform and invited her to Hollywood for a screen test.

Accompanied by her mother, Davis traveled by train to Hollywood, arriving on December 13, 1930. She later recounted her surprise that nobody from the studio was there to meet her; a studio employee had waited for her, but left because he saw nobody who “looked like an actress”.

She failed her first screen test but was used in several screen tests for other actors. In a 1971 interview with Dick Cavett, she related the experience with the observation, “I was the most Yankee-est, most modest virgin who ever walked the earth. They laid me on a couch, and I tested fifteen men … They all had to lie on top of me and give me a passionate kiss. Oh, I thought I would die. Just thought I would die.”

A second test was arranged for Davis, for the film A House Divided (1931). Hastily dressed in an ill-fitting costume with a low neckline, she was rebuffed by the director William Wyler, who loudly commented to the assembled crew, “What do you think of these dames who show their chests and think they can get jobs?” Carl Laemmle, the head of Universal Studios, considered terminating Davis’s employment, but cinematographer Karl Freund told him she had “lovely eyes” and would be suitable for The Bad Sister (1931), in which she subsequently made her film debut.

Her nervousness was compounded when she overheard the Chief of Production, Carl Laemmle, Jr., comment to another executive that she had “about as much sex appeal as Slim Summerville”, one of the film’s co-stars. The film was not a success, and her next role in Seed (1931) was too brief to attract attention.

Universal Studios renewed her contract for three months, and she appeared in a small role in Waterloo Bridge (1931) before being lent to Columbia Pictures for The Menace and to Capital Films for Hell’s House (all 1932). After nine months, and six unsuccessful films, Laemmle elected not to renew her contract. George Arliss chose Davis for the lead female role in The Man Who Played God (1932), and for the rest of her life, Davis credited him with helping her achieve her “break” in Hollywood. The Saturday Evening Post wrote, “she is not only beautiful, but she bubbles with charm”, and compared her to Constance Bennett and Olive Borden. Warner Bros. signed her to a five-year contract.

In 1932, she married Harmon “Ham” Nelson, who was scrutinized by the press; his $100 a week earnings compared unfavorably with Davis’s reported $1,000 a week income. Davis addressed the issue in an interview, pointing out that many Hollywood wives earned more than their husbands, but the situation proved difficult for Nelson, who refused to allow Davis to purchase a house until he could afford to pay for it himself. Davis had several abortions during the marriage.

After more than 20 film roles, the role of the vicious and slatternly Mildred Rogers in the RKO Radio production of Of Human Bondage (1934), a film adaptation of W. Somerset Maugham’s novel, earned Davis her first major critical acclaim. Many actresses feared playing unsympathetic characters and several had refused the role, but Davis viewed it as an opportunity to show the range of her acting skills.

Her costar, Leslie Howard, was initially dismissive of her, but as filming progressed his attitude changed and he subsequently spoke highly of her abilities. The director, John Cromwell, allowed her relative freedom, and commented, “I let Bette have her head. I trusted her instincts.” She insisted that she be portrayed realistically in her death scene, and said, “the last stages of consumption, poverty and neglect are not pretty and I intended to be convincing-looking”.

The film was a success, and Davis’s confronting characterization won praise from critics, with Life magazine writing that she gave “probably the best performance ever recorded on the screen by a U.S. actress”. Davis anticipated that her reception would encourage Warner Bros. to cast her in more important roles, and was disappointed when Jack Warner refused to lend her to Columbia Studios to appear in It Happened One Night, and instead cast her in the melodrama Housewife.

When Davis was not nominated for an Academy Award for Of Human Bondage, The Hollywood Citizen News questioned the omission and Norma Shearer, herself a nominee, joined a campaign to have Davis nominated.

This prompted an announcement from the Academy president, Howard Estabrook, who said that under the circumstances “any voter … may write on the ballot his or her personal choice for the winners”, thus allowing, for the only time in the Academy’s history, the consideration of a candidate not officially nominated for an award. Claudette Colbert won the award for It Happened One Night but the uproar led to a change in Academy voting procedures the following year, whereby nominations were determined by votes from all eligible members of a particular branch, rather than by a smaller committee, with results independently tabulated by the accounting firm Price Waterhouse.

Davis appeared in Dangerous (1935) as a troubled actress and received very good reviews. E. Arnot Robertson wrote in Picture Post, “I think Bette Davis would probably have been burned as a witch if she had lived two or three hundred years ago. She gives the curious feeling of being charged with power which can find no ordinary outlet.” The New York Times hailed her as “becoming one of the most interesting of our screen actresses”.[20] She won the Academy Award for Best Actress for the role, but commented it was belated recognition for Of Human Bondage, calling the award a “consolation prize”.

For the rest of her life, Davis maintained that she gave the statue its familiar name of “Oscar” because its posterior resembled that of her husband, whose middle name was Oscar, although her claim has been disputed by the Academy of Motion Picture Arts and Sciences, among others.

In her next film, The Petrified Forest (1936), Davis co-starred with Leslie Howard and Humphrey Bogart, but Bogart, in his first important role, received most of the critics’ praise. Davis appeared in several films over the next two years but most were poorly received.

Davis began work on Marked Woman (1937), as a prostitute in a contemporary gangster drama inspired by the case of Lucky Luciano. For her performance in the film she was awarded the Volpi Cup at the 1937 Venice Film Festival. Her next picture was Jezebel (1938), and during production Davis entered a relationship with director William Wyler. She later described him as the “love of my life”, and said that making the film with him was “the time in my life of my most perfect happiness”.

The film was a success, and Davis’s performance as a spoiled Southern belle earned her a second Academy Award, which led to speculation in the press that she would be chosen to play a similar character, Scarlett O’Hara, in Gone with the Wind. Davis expressed her desire to play Scarlett, and while David O. Selznick was conducting a search for the actress to play the role, a radio poll named her as the audience favorite. Warner offered her services to Selznick as part of a deal that also included Errol Flynn and Olivia de Havilland, but Selznick did not consider Davis as suitable, and rejected the offer,while Davis did not want Flynn cast as Rhett Butler.

Jezebel marked the beginning of the most successful phase of Davis’s career, and over the next few years she was listed in the annual “Quigley Poll of the Top Ten Money Making Stars”, which was compiled from the votes of movie exhibitors throughout the U.S. for the stars that had generated the most revenue in their theaters over the previous year.

In contrast to Davis’s success, her husband, Ham Nelson, had failed to establish a career for himself, and their relationship faltered. In 1938, Nelson obtained evidence that Davis was engaged in a sexual relationship with Howard Hughes and subsequently filed for divorce citing Davis’s “cruel and inhuman manner”.

She was emotional during the making of her next film, Dark Victory (1939), and considered abandoning it until the producer Hal B. Wallis convinced her to channel her despair into her acting. The film became one of the highest grossing films of the year, and the role of Judith Traherne brought her an Academy Award nomination. In later years, Davis cited this performance as her personal favorite.

She appeared in three other box office hits in 1939, The Old Maid with Miriam Hopkins, Juarez with Paul Muni and The Private Lives of Elizabeth and Essex with Errol Flynn. The latter was her first color film and her only color film made during the height of her career. To play the elderly Elizabeth I of England, Davis shaved her hairline and eyebrows. During filming she was visited on the set by the actor Charles Laughton. She commented that she had a “nerve” playing a woman in her sixties, to which Laughton replied, “Never not dare to hang yourself. That’s the only way you grow in your profession. You must continually attempt things that you think are beyond you, or you get into a complete rut.” Recalling the episode many years later, Davis remarked that Laughton’s advice had influenced her throughout her career.

By this time, Davis was Warner Bros.’ most profitable star, and she was given the most important of their female leading roles. Her image was considered with more care; although she continued to play character roles, she was often filmed in close-ups that emphasized her distinctive eyes. All This and Heaven Too (1940) was the most financially successful film of Davis’s career to that point, while The Letter (1940) was considered “one of the best pictures of the year” by The Hollywood Reporter, and Davis won admiration for her portrayal of an adulterous killer, a role originated by famed actress Katharine Cornell.[35] During this time, she was in a relationship with her former costar George Brent, who proposed marriage. Davis refused, as she had met Arthur Farnsworth, a New England innkeeper. Davis and Farnsworth were married at Home Ranch, in Lake Montezuma, Arizona, in December 1940.

In January 1941, Davis became the first female president of the Academy of Motion Picture Arts and Sciences but antagonized the committee members with her brash manner and radical proposals. Faced with the disapproval and resistance of the committee, Davis resigned, and was succeeded by Jean Hersholt, who implemented the changes she had suggested. Davis starred in three movies in 1941, the first being The Great Lie, opposite George Brent.

It was a refreshingly different role for Davis, as she played a kind, sympathetic character. Brent tickled Davis during many of the film’s scenes, which allowed the audience, used to Davis’ strong-willed character, a rare glimpse of her succumbing to giggles and squirms. William Wyler directed Davis for the third time in Lillian Hellman’s The Little Foxes (RKO, 1941), but they clashed over the character of Regina Giddens. Taking a role originally played on stage by Tallulah Bankhead, Davis felt Bankhead’s original interpretation was appropriate and followed Hellman’s intent, but Wyler wanted her to soften the character. Davis refused to compromise. She received another Academy Award nomination for her performance, and never worked with Wyler again.

Following the attack on Pearl Harbor, Davis spent the early months of 1942 selling war bonds. After Jack Warner criticized her tendency to cajole crowds into buying, she reminded him that her audiences responded most strongly to her “bitch” performances. She sold two million dollars worth of bonds in two days, as well as a picture of herself in Jezebel for $250,000. She also performed for black regiments as the only white member of an acting troupe formed by Hattie McDaniel, which included Lena Horne and Ethel Waters.

In 1945, Davis married artist William Grant Sherry, who also, when necessary, worked as a masseur. She had been drawn to him because he claimed he had never heard of her and was, therefore, not intimidated by her.[42] The same year, Davis refused the title role in Mildred Pierce (1945), a role for which Joan Crawford won an Academy Award, and instead made The Corn Is Green (1945) based on a play by Emlyn Williams. Davis played Miss Moffat, an English teacher who saves a young Welsh miner (John Dall) from a life in the coal pits, by offering him education.

The part had been played in the theatre by Ethel Barrymore, but Warner Bros. felt that the film version should depict the character as a younger woman. Davis disagreed and insisted on playing the part as written and wore a gray wig and padding under her clothes, to create a dowdy appearance. The film was well received by critics and made a profit of $2.2 million. The critic E. Arnot Robertson observed that “only Bette Davis . . . could have combated so successfully the obvious intention of the adaptors of the play to make frustrated sex the mainspring of the chief character’s interest in the young miner.” He concluded that “the subtle interpretation she insisted on giving” kept the focus on the teacher’s “sheer joy in imparting knowledge”.

Her next film, A Stolen Life (1946), was the first and only film that Davis made with her own production company, BD Productions. Davis played dual roles, as twins. The film received poor reviews and was described by Bosley Crowther as “a distressingly empty piece”; but, with a profit of $2.5 million, it was one of her biggest box-office successes. In 1947, the U.S. Treasury named Davis as the highest paid woman in the country,[50] with her share of the film’s profit accounting for most of her earnings. Her next film was Deception (1946), the first of her films to lose money.

Possessed (1947) had been tailor-made for Davis[52] and was to have been her next project after Deception. However, she was pregnant and went on maternity leave. Joan Crawford played her role in Possessed and was nominated for an Academy Award as Best Actress. In 1947, at the age of 39, Davis gave birth to a daughter, Barbara Davis Sherry (known as B.D.) and later wrote in her memoir that she became absorbed in motherhood and considered ending her career. However, her relationship with Sherry began to deteriorate and she continued making films, but her popularity with audiences was steadily declining.

Among the film roles offered to Davis following her return to film making was Rose Sayer in The African Queen (1951). When informed that the film was to be made in Africa, Davis refused the part, telling Jack Warner, “If you can’t shoot the picture in a boat on the back lot, then I’m not interested.” Katharine Hepburn played the role.[54] Davis was also offered a role in a film version of the Virginia Kellogg prison drama Women Without Men. Originally intended to pair Davis with Joan Crawford, Davis made it clear that she would not appear in any “dyke movie”. It was filmed as Caged (1950), and the lead roles were played by Eleanor Parker and Agnes Moorehead.[55] She lobbied Jack Warner to make two films, Ethan Frome and a biography of Mary Todd Lincoln; however, Warner vetoed each proposal.

By 1949, Davis and Sherry were estranged and Hollywood columnists were writing that Davis’s career was at an end. She filmed The Story of a Divorce (released by RKO Radio Pictures in 1951 as Payment on Demand) but had received no other offers. Shortly before filming was completed, the producer Darryl F. Zanuck offered her the role of the aging theatrical actress Margo Channing in All About Eve (1950).

Claudette Colbert, for whom the part had been written, had severely injured her back, and she was unable to continue. Davis read the script, described it as the best she had ever read, and accepted the role. Within days she joined the cast in San Francisco to begin filming. During production, she established what would become a lifelong friendship with her costar, Anne Baxter, and a romantic relationship with her leading man, Gary Merrill, which led to marriage. The film’s director Joseph L. Mankiewicz later remarked, “Bette was letter perfect. She was syllable-perfect. The director’s dream: the prepared actress.”

Critics responded positively to Davis’s performance and several of her lines became well-known, particularly, “Fasten your seatbelts, it’s going to be a bumpy night.” She was again nominated for an Academy Award and critics such as Gene Ringgold described her Margo as her “all-time best performance”.

Pauline Kael wrote that much of Mankiewicz’s vision of “the theater” was “nonsense” but commended Davis, writing “[the film is] saved by one performance that is the real thing: Bette Davis is at her most instinctive and assured. Her actress–vain, scared, a woman who goes too far in her reactions and emotions–makes the whole thing come alive.” Davis won a “Best Actress” award from the Cannes Film Festival, and the New York Film Critics Circle Award. She also received the San Francisco Film Critics Circle Award as “Best Actress”, having been named by them as the “Worst Actress” of 1949 for Beyond the Forest. During this time she was invited to leave her handprints in the forecourt of Grauman’s Chinese Theatre.

On July 3, 1950 Davis’s divorce from William Sherry was finalized, and on July 28 she married Gary Merrill. With Sherry’s consent, Merrill adopted B.D., Davis’s daughter with Sherry, and in 1950, Davis and Merrill adopted a baby girl they named Margot. The family traveled to England, where Davis and Merrill starred in a murder-mystery film, Another Man’s Poison (1951). When it received lukewarm reviews and failed at the box office, Hollywood columnists wrote that Davis’s comeback had petered out, and an Academy Award nomination for The Star (1952) did not halt her decline.

Davis and Merrill adopted a baby boy, Michael, in 1952, and Davis appeared in a Broadway revue, Two’s Company directed by Jules Dassin. She was uncomfortable working outside of her area of expertise; she had never been a musical performer and her limited theater experience had been more than 20 years earlier. She was also severely ill and was operated on for osteomyelitis of the jaw. Margot was diagnosed as severely brain damaged due to an injury sustained during or shortly after her birth, and was eventually placed in an institution. Davis and Merrill began arguing frequently, with B.D. later recalling episodes of alcohol abuse and domestic violence.

Few of Davis’s films of the 1950s were successful and many of her performances were condemned by critics. The Hollywood Reporter wrote of mannerisms “that you’d expect to find in a nightclub impersonation of [Davis]”, while the London critic, Richard Winninger, wrote, “Miss Davis, with more say than most stars as to what films she makes, seems to have lapsed into egoism. The criterion for her choice of film would appear to be that nothing must compete with the full display of each facet of the Davis art. Only bad films are good enough for her.” Her films of this period included The Virgin Queen (1955), Storm Center (1956), and The Catered Affair (1956). As her career declined, her marriage continued to deteriorate until she filed for divorce in 1960.

The following year, her mother died. During the same time, she tried television, appearing in three episodes of the popular NBC western Wagon Train as three different characters in 1959 and 1961.

In 1961, Davis opened in the Broadway production The Night of the Iguana to mostly mediocre reviews, and left the production after four months due to “chronic illness”. She then joined Glenn Ford and Ann-Margret for the Frank Capra film A Pocketful of Miracles (1961) (a remake of Capra’s 1933 film, Lady for a Day), based on a story by Damon Runyon. She accepted her next role, in the Grand Guignol horror film What Ever Happened to Baby Jane? (1962) after reading the script and believing it could appeal to the same audience that had recently made Alfred Hitchcock’s Psycho (1960) a success. She negotiated a deal that would pay her 10 percent of the worldwide gross profits, in addition to her salary. The film became one of the year’s biggest successes.

Davis and Joan Crawford played two aging sisters, former actresses forced by circumstance to share a decaying Hollywood mansion. The director, Robert Aldrich, explained that Davis and Crawford were each aware of how important the film was to their respective careers and commented, “It’s proper to say that they really detested each other, but they behaved absolutely perfectly.”

After filming was completed, their public comments against each other allowed the tension to develop into a lifelong feud. When Davis was nominated for an Academy Award, Crawford contacted the other Best Actress nominees (who were unable to attend the ceremonies) and offered to accept the award on their behalf should they win. Davis also received her only BAFTA Award nomination for this performance. Daughter B.D. played a small role in the film and when she and Davis visited the Cannes Film Festival to promote it, she met Jeremy Hyman, an executive for Seven Arts Productions. After a short courtship, she married Hyman at the age of 16, with Davis’s permission.

In 1977, Davis became the first woman to receive the American Film Institute’s Lifetime Achievement Award. The televised event included comments from several of Davis’s colleagues including William Wyler who joked that given the chance Davis would still like to refilm a scene from The Letter to which Davis nodded. Jane Fonda, Henry Fonda, Natalie Wood and Olivia de Havilland were among the actors who paid tribute, with de Havilland commenting that Davis “got the roles I always wanted”.

Following the telecast she found herself in demand again, often having to choose between several offers. She accepted roles in the television miniseries The Dark Secret of Harvest Home (1978) and the theatrical film Death on the Nile (1978), an Agatha Christie murder mystery. The bulk of her remaining work was for television. She won an Emmy Award for Strangers:

The Story of a Mother and Daughter (1979) with Gena Rowlands, and was nominated for her performances in White Mama (1980) and Little Gloria… Happy at Last (1982). She also played supporting roles in two Disney films, Return from Witch Mountain (1978) and The Watcher in the Woods (1980).

Davis’s name became well-known to a younger audience when Kim Carnes’s song “Bette Davis Eyes” (written by Jackie DeShannon) became a worldwide hit and the best-selling record of 1981 in the U.S., where it stayed at number one on the music charts for more than two months. Davis’s grandson was impressed that she was the subject of a hit song and Davis considered it a compliment, writing to both Carnes and the songwriters, and accepting the gift of gold and platinum records from Carnes, and hanging them on her wall. She continued acting for television, appearing in Family Reunion (1981) opposite her grandson J. Ashley Hyman, A Piano for Mrs. Cimino (1982) and Right of Way (1983) with James Stewart. In 1983, she was awarded the Women in Film Crystal Award.

In 1983, after filming the pilot episode for the television series Hotel, Davis was diagnosed with breast cancer and underwent a mastectomy. Within two weeks of her surgery she suffered four strokes which caused paralysis in the left side of her face and in her left arm, and left her with slurred speech. She commenced a lengthy period of physical therapy and, aided by her personal assistant, Kathryn Sermak, gained partial recovery from the paralysis.

During 1988 and 1989, Davis was fêted for her career achievements, receiving the Kennedy Center Honor, the Legion of Honor from France, the Campione d’Italia from Italy and the Film Society of Lincoln Center Lifetime Achievement Award.

She collapsed during the American Cinema Awards in 1989 and later discovered that her cancer had returned. She recovered sufficiently to travel to Spain where she was honored at the Donostia-San Sebastián International Film Festival, but during her visit her health rapidly deteriorated. Too weak to make the long journey back to the U.S., she traveled to France where she died on October 6, 1989, at 11:20 pm, at the American Hospital in Neuilly-sur-Seine.

Davis was 81 years old. She was interred in Forest Lawn—Hollywood Hills Cemetery in Los Angeles, alongside her mother, Ruthie, and sister, Bobby, with her name in larger type size. On her tombstone is written: “She did it the hard way”, an epitaph that she mentioned in her memoir Mother Goddam as having been suggested to her by Joseph L. Mankiewicz shortly after they had filmed All About Eve.

Bette Davis died in France, 1989 of breast cancer



1931 The Bad Sister Laura Madison Hobart Henley Conrad Nagel, Sidney Fox, Zasu Pitts, Slim Summerville, Humphrey Bogart Universal
1931 Seed Margaret Carter John M. Stahl John Boles, Frances Dade, Raymond Hackett, Zasu Pitts Universal
1931 Waterloo Bridge Janet Cronin James Whale Mae Clarke, Douglass Montgomery, Doris Lloyd Universal
1931 Way Back Home Mary Lucy William A. Seiter Phillips Lloyd, Effie Palmer, Frank Albertson, Frankie Darro RKO
1932 The Menace Peggy Lowell Roy William Neill H. B. Warner, Walter Byron, Natalie Moorhead Columbia
1932 Hell’s House Peggy Gardner Howard Higgin Pat O’Brien B.F. Zeidman Productions Ltd.
1932 The Man Who Played God Grace Blair John G. Adolfi George Arliss, Violet Heming Warner Bros.
1932 So Big! Miss Dallas O’Mara William A. Wellman Barbara Stanwyck, George Brent, Dickie Moore Warner Bros.
1932 The Rich Are Always with Us Malbro Alfred E. Green Ruth Chatterton, George Brent, John Miljan First National
1932 The Dark Horse Kay Russell Alfred E. Green Warren William, Guy Kibbee Warner Bros.
1932 The Cabin in the Cotton Madge Norwood Michael Curtiz Richard Barthelmess, Dorothy Jordan, Hardie Albright First National
1932 Three on a Match Ruth Wescott Mervyn LeRoy Joan Blondell, Ann Dvorak, Humphrey Bogart Warner Bros.
1932 20,000 Years in Sing Sing Fay Wilson Michael Curtiz Spencer Tracy Warner Bros.
1933 Just Around the Corner (promotional short film) Ginger Joan Blondell, Ruth Donnelly, Dick Powell Warner Bros.
1933 Parachute Jumper Patricia “Alabama” Brent Alfred E. Green Douglas Fairbanks Jr., Claire Dodd Warner Bros.
1933 The Working Man Jenny Harland (aka Jane Grey) John G. Adolfi George Arliss, Theodore Newton, Hardie Albright Warner Bros.
1933 Bureau of Missing Persons Norma Roberts Roy Del Ruth Lewis Stone, Pat O’Brien, Glenda Farrell First National
1933 Ex-Lady Helen Bauer Robert Florey Gene Raymond, Frank McHugh, Claire Dodd Warner Bros.
1934 The Big Shakedown Norma Nelson John Francis Dillon Charles Farrell, Ricardo Cortez, Glenda Farrell First National
1934 Fashions of 1934 Lynn Mason William Dieterle William Powell, Frank McHugh, Hugh Herbert, Verree Teasdale Warner Bros.
1934 Jimmy the Gent Miss Joan Martin Michael Curtiz James Cagney, Allen Jenkins, Alice White, Mayo Methot Warner Bros.
1934 Fog Over Frisco Arlene Bradford William Dieterle Donald Woods, Margaret Lindsay, Lyle Talbot Warner Bros.
1934 Of Human Bondage Mildred Rogers John Cromwell Leslie Howard, Frances Dee, Kay Johnson, Reginald Denny, Alan Hale RKO
1934 Housewife Patricia “Pat” Berkeley Alfred E. Green George Brent, Ann Dvorak, John Halliday, Ruth Donnelly Warner Bros.
1935 Bordertown Mrs Marie Roark Archie Mayo Paul Muni, Margaret Lindsay, Eugene Pallette Warner Bros.
1935 The Girl from 10th Avenue Miriam A. Brady Alfred E. Green Ian Hunter, Colin Clive, Alison Skipworth Warner Bros.
1935 Front Page Woman Ellen Garfield Michael Curtiz George Brent, Roscoe Karns Warner Bros.
1935 Special Agent Julie Gardner William Keighley George Brent, Ricardo Cortez Warner Bros.
1935 Dangerous Joyce Heath Alfred E. Green Franchot Tone, Margaret Lindsay, Alison Skipworth Warner Bros.
1936 The Petrified Forest Gabrielle “Gabby” Maple Archie Mayo Leslie Howard, Genevieve Tobin, Dick Foran, Humphrey Bogart Warner Bros.
1936 The Golden Arrow Daisy Appleby Alfred E. Green George Brent, Eugene Pallette, Dick Foran Warner Bros.
1936 Satan Met a Lady Valerie Purvis William Dieterle Warren William, Alison Skipworth Warner Bros.
1937 Marked Woman Mary Dwight Strauber Lloyd Bacon Humphrey Bogart, Lola Lane, Isabel Jewell, Eduardo Ciannelli, Rosalind Marquis, Mayo Methot, Jane Bryan Warner Bros.
1937 Kid Galahad Louise “Fluff” Phillips Michael Curtiz Edward G. Robinson, Humphrey Bogart, Wayne Morris, Jane Bryan Warner Bros.
1937 That Certain Woman Mary Donnell (aka Mrs Al Haines) Edmund Goulding Henry Fonda, Anita Louise, Ian Hunter, Donald Crisp Warner Bros.
1937 It’s Love I’m After Joyce Arden Archie Mayo Leslie Howard, Olivia de Havilland, Eric Blore, Patric Knowles, Spring Byington, Bonita Granville Warner Bros.
1938 Jezebel Julie Marsden William Wyler Henry Fonda, George Brent, Margaret Lindsay, Fay Bainter, Donald Crisp, Spring Byington Warner Bros.
1938 The Sisters Louise Elliott Medlin Anatole Litvak Errol Flynn, Anita Louise, Ian Hunter, Donald Crisp, Beulah Bondi, Jane Bryan Warner Bros.
1939 Dark Victory Judith Traherne Edmund Goulding George Brent, Humphrey Bogart, Geraldine Fitzgerald, Ronald Reagan Warner Bros.
1939 Juarez Empress Carlotta William Dieterle Paul Muni, Brian Aherne, Claude Rains, John Garfield, Donald Crisp, Joseph Calleia, Gale Sondergaard Warner Bros.
1939 The Old Maid Charlotte Lovell Edmund Goulding Miriam Hopkins, George Brent, Donald Crisp, Jane Bryan, Louise Fazenda Warner Bros.
1939 The Private Lives of Elizabeth and Essex Elizabeth I of England Michael Curtiz Errol Flynn, Olivia de Havilland, Donald Crisp, Alan Hale Warner Bros.
1940 All This, and Heaven Too Henriette Deluzy-Desportes Anatole Litvak Charles Boyer, Jeffrey Lynn, Barbara O’Neil, Virginia Weidler Warner Bros.
1940 The Letter Leslie Crosbie William Wyler Herbert Marshall, James Stephenson, Frieda Inescort, Gale Sondergaard Warner Bros.


1941 The Great Lie Maggie Patterson Van Allen Edmund Goulding George Brent, Mary Astor, Lucile Watson, Hattie McDaniel Warner Bros.
1941 Shining Victory (uncredited cameo role) Nurse Irving Rapper James Stephenson, Geraldine Fitzgerald, Donald Crisp, Barbara O’Neil Warner Bros.
1941 The Bride Came C.O.D. Joan Winfield William Keighley James Cagney, Stuart Erwin, Eugene Pallette, Jack Carson, George Tobias Warner Bros.
1941 The Little Foxes Regina Giddens William Wyler Herbert Marshall, Teresa Wright, Richard Carlson, Dan Duryea, Patricia Collinge RKO
1942 The Man Who Came to Dinner Maggie Cutler William Keighley Ann Sheridan, Monty Woolley, Richard Travis, Jimmy Durante, Billie Burke, Mary Wickes Warner Bros.
1942 In This Our Life Stanley Timberlake Kingsmill John Huston Olivia de Havilland, George Brent, Dennis Morgan, Charles Coburn, Billie Burke, Hattie McDaniel, Lee Patrick Warner Bros.
1942 Now, Voyager Charlotte Vale Irving Rapper Paul Henreid, Claude Rains, Gladys Cooper, Bonita Granville, John Loder, Ilka Chase, Lee Patrick, Mary Wickes Warner Bros.
1943 Watch on the Rhine Sara Muller Herman Shumlin Paul Lukas, Geraldine Fitzgerald, Lucile Watson, Beulah Bondi Warner Bros.
1943 Thank Your Lucky Stars Herself David Butler Humphrey Bogart, Eddie Cantor, Olivia de Havilland, Errol Flynn, John Garfield, Joan Leslie, Ida Lupino, Dennis Morgan, Ann Sheridan, Dinah Shore, Alexis Smith, Jack Carson, Alan Hale, Edward Everett Horton, Hattie McDaniel Warner Bros.
1943 Old Acquaintance Kit Marlowe Vincent Sherman Miriam Hopkins, John Loder, Gig Young Warner Bros.
1944 Mr. Skeffington Fanny Trellis Vincent Sherman Claude Rains, Walter Abel, George Coulouris Warner Bros.
1944 Hollywood Canteen Herself Delmer Daves Jack Benny, Joe E. Brown, Eddie Cantor, Kitty Carlisle, Jack Carson, Joan Crawford, John Garfield, Sydney Greenstreet, Alan Hale, Paul Henreid, Peter Lorre, Ida Lupino, Dennis Morgan, Janis Paige, Eleanor Parker, Roy Rogers & Trigger, Zachary Scott, Alexis Smith, Barbara Stanwyck, Jane Wyman Warner Bros.
1945 The Corn Is Green Miss Lilly Moffat Irving Rapper John Dall, Nigel Bruce, Rhys Williams, Mildred Dunnock, Joan Lorring Warner Bros.
1946 A Stolen Life Kate and Patricia Bosworth (dual role) Curtis Bernhardt Glenn Ford, Dane Clark, Walter Brennan Warner Bros.
1946 Deception Christine Radcliffe Irving Rapper Paul Henreid, Claude Rains Warner Bros.
1948 Winter Meeting Susan Grieve Bretaigne Windust Janis Paige, Jim Davis, John Hoyt, Florence Bates Warner Bros.
1948 June Bride Linda Gilman Bretaigne Windust Robert Montgomery, Fay Bainter, Betty Lynn, Mary Wickes, Barbara Bates Warner Bros.
1949 Beyond the Forest Rosa Moline King Vidor Joseph Cotten, David Brian, Ruth Roman Warner Bros.
1950 All About Eve Margo Channing Joseph L. Mankiewicz Anne Baxter, George Sanders, Celeste Holm, Gary Merrill, Hugh Marlowe, Thelma Ritter, Marilyn Monroe 20th Century Fox

[edit] 1951–1960Year Title Role Director Other cast members Studio
1951 Payment on Demand Joyce Ramsey Curtis Bernhardt Barry Sullivan, Jane Cowl, Betty Lynn, Kent Taylor RKO
1951 Another Man’s Poison Janet Frobisher Irving Rapper Gary Merrill, Emlyn Williams, Anthony Steel, Barbara Murray Angel Productions
1952 Phone Call from a Stranger Bianca Carr Jean Negulesco Shelley Winters, Gary Merrill, Michael Rennie, Keenan Wynn, Beatrice Straight 20th Century Fox
1952 The Star Margaret Elliot Stuart Heisler Sterling Hayden, Natalie Wood 20th Century Fox
1955 The Virgin Queen Queen Elizabeth I of England Henry Koster Richard Todd, Joan Collins, Herbert Marshall, Dan O’Herlihy 20th Century Fox
1956 The Catered Affair Agnes Hurley Richard Brooks Ernest Borgnine, Debbie Reynolds, Barry Fitzgerald, Rod Taylor MGM
1956 Storm Center Alicia Hull Daniel Taradash Brian Keith, Kim Hunter Columbia
1959 John Paul Jones Catherine the Great John Farrow Robert Stack, Marisa Pavan, Charles Coburn, MacDonald Carey, Jean-Pierre Aumont, Peter Cushing Warner Bros.
1959 The Scapegoat The Countess Robert Hamer Alec Guinness, Nicole Maurey, Irene Worth MGM


1961 Pocketful of Miracles Apple Annie Frank Capra Glenn Ford, Hope Lange, Arthur O’Connell, Peter Falk, Edward Everett Horton, Ann-Margret United Artists
1962 What Ever Happened to Baby Jane? Baby Jane Hudson Robert Aldrich Joan Crawford, Victor Buono Seven Arts
1963 The Empty Canvas Dino’s mother Damiano Damiani Horst Buchholz, Isa Miranda Compagnia Cinematografica Champion
1964 Dead Ringer Margaret De Lorca and Edith Phillips (dual role) Paul Henreid Karl Malden, Peter Lawford, Jean Hagen, Estelle Winwood Warner Bros.
1964 Where Love Has Gone Mrs Gerald Hayden Edward Dmytryk Susan Hayward, Mike Connors, Joey Heatherton, Jane Greer Paramount
1964 Hush… Hush, Sweet Charlotte Charlotte Hollis Robert Aldrich Olivia de Havilland, Joseph Cotten, Agnes Moorehead, Cecil Kellaway, Victor Buono, Mary Astor 20th Century Fox
1965 The Nanny The nanny Seth Holt Wendy Craig, Jill Bennett Seven Arts
1968 The Anniversary Mrs Taggart Roy Ward Baker Sheila Hancock, Jack Hedley Seven Arts
1970 Connecting Rooms Wanda Fleming Franklin Gollings Michael Redgrave, Leo Genn Hemdale


1971 Bunny O’Hare Bunny O’Hare Gerd Oswald Ernest Borgnine, Jack Cassidy, John Astin American International
1972 The Scientific Cardplayer The Millionairess Luigi Comencini Alberto Sordi, Silvana Mangano, Joseph Cotten Dino de Laurentiis
1976 Burnt Offerings Aunt Elizabeth Dan Curtis Karen Black, Oliver Reed, Burgess Meredith, Eileen Heckart United Artists
1978 Return from Witch Mountain Letha Wedge John Hough Christopher Lee, Kim Richards, Jack Soo Disney
1978 Death on the Nile Marie Van Schuyler John Guillermin Peter Ustinov, Simon MacCorkindale, Lois Chiles, Mia Farrow, George Kennedy, Maggie Smith, Angela Lansbury, Olivia Hussey, David Niven, Jon Finch, Jack Warden, Jane Birkin, Harry Andrews, I. S. Johar Paramount
1978 The Children of Sanchez uncredited role Hall Bartlett Anthony Quinn, Dolores del Rio, Katy Jurado Lone Star
1980 The Watcher in the Woods Mrs Aylwood John Hough Lynn-Holly Johnson, Kyle Richards, Carroll Baker, David McCallum Disney
1987 The Whales of August Libby Strong Lindsay Anderson Lillian Gish, Vincent Price, Ann Sothern Alive Films
1989 Wicked Stepmother Miranda Pierpoint Larry Cohen Barbara Carrera, Colleen Camp, Lionel Stander MGM