A shrewd millionaire who owns races horses for publicity for his automobile business, claims ownership of a female horse trainer's thoroughbred in order to get the trainer.
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Ann Dvorak (born Anna McKim; August 2, 1911 – December 10, 1979) was an American stage and film actress. Asked how to pronounce her adopted surname, she told The Literary Digest: "My fake name is properly pronounced vor'shack. The D remains silent." Dvorak was the daughter and only child of silent film actress Anna Lehr and director Edwin McKim. While in New York, she attended St. Catherine's Convent. After moving to California, she attended Page School for Girls in Hollywood. She made her film debut when she was five years old in the silent film version of Ramona (1916), credited as "Baby Anna Lehr". She continued in children's roles in The Man Hater (1917) and Five Dollar Plate (1920), but then stopped acting in films. Her parents separated in 1916 and divorced in 1920; she did not see her father again until 13 years later, when she made a public plea to the press to help her find him. In the late 1920s, Dvorak worked as a dance instructor and gradually began to appear on film as a chorus girl. Her friend, actress Karen Morley, introduced her to billionaire movie producer Howard Hughes, who groomed her as a dramatic actress. She was a success in such pre-Code films as Scarface (1932) as Paul Muni's sister; in Three on a Match (1932) with Bette Davis and Joan Blondell as the doomed, unstable Vivian; in The Crowd Roars (1932) with James Cagney; and in Sky Devils (1932) opposite Spencer Tracy. Known for her style and elegance, she was a popular leading lady for Warner Bros. during the 1930s, and appeared in numerous contemporary romances and melodramas. At age 19, Dvorak eloped with Leslie Fenton, her English co-star from The Strange Love of Molly Louvain (1932), and they married on March 17, 1932. They left for a year-long honeymoon in spite of her contractual obligations to the studio, which led to a period of litigation and pay disputes during which she discovered she was making the same amount of money as the boy who played her son in Three on a Match. She completed her contract on permanent suspension, then worked as a freelancer. Although she worked regularly, the quality of her scripts declined sharply. She appeared as secretary Della Street to Donald Woods' Perry Mason in The Case of the Stuttering Bishop (1937). With her then-husband, Leslie Fenton, Dvorak traveled to England where she supported the war effort by working as an ambulance driver and acted in several British films. She appeared as a saloon singer in Abilene Town with Randolph Scott and Edgar Buchanan, released in 1946. The following year she adeptly handled comedy by giving an assured performance in Out of the Blue (1947). In 1948, Dvorak gave her only performance on Broadway in The Respectful Prostitute. Dvorak's marriage to Fenton ended in divorce in 1946. In 1947, she married Igor Dega, a Russian dancer who danced with her briefly in The Bachelor's Daughters. The marriage ended two years later. Dvorak retired from the screen in 1951, when she married her third and last husband, Nicholas Wade, to whom she remained married until his death in 1975. She had no children.
Henry DeWitt Carey II (January 16, 1878 - September 21, 1947) was an American actor and one of silent film's earliest superstars, usually cast as a Western hero. One of his best known performances is as the president of the United States Senate in the drama film Mr. Smith Goes to Washington (1939), for which he was nominated for the Academy Award for Best Supporting Actor. He was the father of Harry Carey Jr., who was also a prominent actor. Born in New York City to a Judge of Special Sessions who was also president of a sewing machine company. Grew up on City Island, New York. Attended Hamilton Military Academy and turned down an appointment to West Point to attend New York University, where his law school classmates included future New York City mayor James J. Walker. After a boating accident which led to pneumonia, Carey wrote a play while recuperating and toured the country in it for three years, earning a great deal of money, all of which evaporated after his next play was a failure. In 1911, his friend Henry B. Walthall introduced him to director D.W. Griffith, for whom Carey was to make many films. Carey married twice, the second time to actress Olive Fuller Golden (aka Olive Carey, who introduced him to future director John Ford. Carey influenced Universal Studios head Carl Laemmle to use Ford as a director, and a partnership was born that lasted until a rift in the friendship in 1921. During this time, Carey grew into one of the most popular Western stars of the early motion picture, occasionally writing and directing films as well. In the '30s he moved slowly into character roles and was nominated for an Oscar for one of them, the President of the Senate in Mr. Smith Goes to Washington (1939). He worked once more with Ford, in The Prisoner of Shark Island (1936), and appeared once with his son, Harry Carey Jr., in Howard Hawks' Red River (1948). He died after a protracted bout with emphysema and cancer. Ford dedicated his remake of 3 Godfathers (1948) "To Harry Carey--Bright Star Of The Early Western Sky."
William “Willie” Best (May 27, 1916 - February 27, 1962), sometimes known as “Sleep n' Eat,” was an American television and film actor. Best was one of the first African-American film actors and comedians to become well known. In the 21st century, his work, like that of Stepin Fetchit, is sometimes reviled because he was often called upon to play stereotypically lazy, illiterate, and/or simple-minded characters in films. Of the 124 films he appeared in, he received screen credit in at least 77, an unusual feat for an African-American bit player. Willie Best appeared in more than one hundred films of the 1930s and 1940s. Although several sources state that for years he was billed only as “Sleep n' Eat,” Best received credit under this moniker instead of his real name in only six movies: his first film as a bit player (Harold Lloyd's Feet First) and in Up Pops the Devil (1931), The Monster Walks (1932), Kentucky Kernels and West of the Pecos (both 1934), and Murder on a Honeymoon (1935). Best was first loved as a great clown, then later in the 20th century reviled and pitied, before being forgotten in the history of film. Hal Roach called him one of the greatest talents he had ever met. Comedian Bob Hope similarly acclaimed him as “the best actor I know,” while the two were working together in 1940 on The Ghost Breakers. As a supporting actor, Best, like many black actors of his era, was regularly cast in domestic worker or service-oriented roles (though a few times he played the role echoing his previous occupation as a private chauffeur). He was often seen making a brief comic turn as a hotel, airline or train porter, as well as an elevator operator, custodian, butler, valet, waiter, deliveryman, and at least once as a launch pilot (in the 1939 movie Mr. Moto in Danger Island). Willie Best received screen credit most of the time, which was unusual for “bit players,” most in the 1930s and '40s were not accorded due credit. This also happened to white actors in small roles, but black actors were not credited even when their roles were larger. In more than 80 of his movies, he was given a proper character name (as opposed to simple descriptions such as “room service waiter” or “shoe-shine boy”), beginning with his second film. Best played “Chattanooga Brown” in two Charlie Chan films —The Red Dragon in 1945 and Dangerous Money in 1946. He also played the character of “Hipp” in three of RKO’s six Scattergood Baines films with Guy Kibbee: Scattergood Baines (1941), Scattergood Survives a Murder (1942), and Cinderella Swings It in 1943. (Actor Paul White, who played a young version of Best’s “Hipp” in the first film, went on to play “Hipp” in the next three films. Best returned to the role in the last two.) After a drug arrest ended his film career, he worked in television for a while and became known to early TV audiences as “Charlie the Elevator Operator” on CBS's My Little Margie, from 1953 to 1955. He also played Willie, the house servant, handyman and close friend of the title character of ABC’s The Trouble with Father, for its entire run from 1950 to 1955.
Hattie McDaniel (June 10, 1893 - October 26, 1952) was an American actress whose portrayal of Mammy in Gone with the Wind (1939) won her the Oscar for Best Supporting Actress, making her the first black person to win an Academy Award. After working as early as the 1910s as a band vocalist, Hattie McDaniel debuted as a maid in The Golden West (1932). Her maid-mammy characters became steadily more assertive, showing up first in Judge Priest (1934) and becoming pronounced in Alice Adams (1935). In this one, directed by George Stevens and aided and abetted by star Katharine Hepburn, she makes it clear she has little use for her employers' pretentious status seeking. By The Mad Miss Manton (1938) the character she portrays actually tells off her socialite employer Barbara Stanwyck and her snooty friends. This path extends into the greatest role of McDaniel's career, Mammy in Gone with the Wind (1939). Mammy is, in a number of ways, superior to most of the white folk surrounding her. From that point, McDaniel's roles unfortunately descended, with the characters becoming more and more menial. McDaniel played on the "Amos and Andy" and Eddie Cantor radio shows in the 1930s and 1940s, the title character in her own radio show "Beulah" (1947-51), and the same part on TV (Beulah, 1950).
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1936
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1936
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1937
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1943
