Émilie Chauchoin[1] (French:[emiliʃoʃwɛ̃]; September 13, 1903 – July 30, 1996), professionally known as Claudette Colbert (/koʊlˈbɛər/kohl-BAIR,[2]French:[klodɛtkɔlbɛʁ]), was an American actress. Colbert began her career in Broadway productions during the late 1920s and progressed to films with the advent of talking pictures. Initially contracted to Paramount Pictures, Colbert became one of the few major actresses of the period who worked freelance; that is to say, independently of the studio system.
With her Mid-Atlantic accent,[3] versatility, witty dialogues, aristocratic demeanor, and flair[4] for light comedy and emotional drama, Colbert became one of the most popular stars of the 1930s and 1940s.[5][2] In all, Colbert starred in more than 60 movies. Among her frequent co-stars were Fred MacMurray, in seven films (1935–1949), and Fredric March, in four films (1930–1933).
By the mid-1950s, Colbert had turned from motion pictures to television and stage work, earning a Tony Award nomination for The Marriage-Go-Round in 1959. Her career began to wane in the early 1960s. In the late 1970s, she experienced a comeback in the theater. Colbert received a Sarah Siddons Award for her Chicago theater work in 1980. Colbert's television appearance in The Two Mrs. Grenvilles (1987) earned her a Golden Globe Award and an Emmy Award nomination.
Although christened "Émilie", she was called "Lily" after Jersey-born actress Lillie Langtry,[8] and because an unmarried aunt of the same name—her maternal grandmother's adopted child, Emily Loew—was living with the family.[8] Colbert's brother, Charles Chauchoin, was also born in the Bailiwick of Jersey. Jeanne held various occupations, while Georges owned pastry and bonbon shops, and was also a major stockholder of an ink factory in which he suffered business setbacks.[9] Colbert's grandmother Marie Loew had been to the U.S., and Georges' brother-in-law Charles Loew was living in New York City. Marie was willing to help Georges financially, but also encouraged him to try his luck in the U.S.[8]
During her high school days, 1920
To pursue more employment opportunities, Colbert and her family, including Marie and Emily Loew, emigrated to Manhattan in 1906.[7][10]
They lived in a fifth-floor walk-up at 53rd Street. Colbert stated that she was always climbing those stairs until the age of 18.[11] Her parents formally changed her legal name to Lily Claudette Chauchoin.[4] Georges worked as a minor official in the foreign department at First National City Bank,[9] and the family was naturalized in 1912. Before Colbert entered public school, she quickly learnt British English from Marie,[12] and grew up bilingual, speaking both English and French.[5][13] She had hoped to become a painter ever since she first gripped a pencil. Her brother was drafted 1917 as private first class. After the First World War, he studied at the School of Military Aeronautics at Cornell University. Colbert's mother was an opera music fan, and her aunt was a dressmaker.[8]
Colbert studied at Washington Irving High School, which was known for its strong arts program. Her speech teacher, Alice Rostetter, encouraged her to audition for a play Rostetter had written. In 1921, Colbert made her stage debut at the Provincetown Playhouse in revivals of Rostetter's The Widow's Veil and Aria da Capo by Edna St. Vincent Millay, at the age of 17.[4] Her interests, though, still leaned towards painting, fashion design, and commercial art.[11]
Intending to become a fashion designer, she attended the Art Students League of New York, where she paid for her art education by working in a dress shop. After attending a party with writer Anne Morrison, Colbert was offered a bit part in Morrison's play,[14] and appeared on the Broadway stage in a small role in The Wild Westcotts (1923). She had used the name Claudette, instead of Lily, since high school; for her stage name, she added her paternal grandmother's maiden name, Colbert.[5][15] Her father died in 1925,[4] her grandmother died in New York in mid-1930s at age 88.[16]
Career
The beginnings, 1924–1927
When a string of mostly short-lived shows that enabled her to gain experience in different genres in Chicago, Washington D.C., Boston, Connecticut, in 1924 the actor Leslie Howard met Colbert, impressed by her ability to speak with both Mid-Atlantic and British accents, contacted the producer Al Woods to cast her in Frederick Lonsdale's The Fake, but she was replaced by Frieda Inescort before it opened.[17][3] After signing a five-year contract with Woods, Colbert played ingenue roles on Broadway from 1925 to 1929. During this period she disliked being typecast as a French maid.[18] By 1925 she was having success in the comedy A Kiss in a Taxi, which ran for 103 performances over a two-month period.[19] Columnists sang the praises of her unconventional beauty and her power to enrapture an audience.[20] Colbert was again acclaimed as a carnival snake charmer in the Broadway production of The Barker (1927), and she reprised the role in London's West End.[21] She was noticed by theatrical producer Leland Hayward, who suggested her for the heroine role in the silent film For the Love of Mike (1927). Now believed to be lost,[22] the film did not fare well at the box office.[2][23]
The early films, 1928–1934
Colbert in the Broadway production La Gringa, 1928
In 1928, Colbert signed a contract with Paramount Pictures.[4] A demand existed for stage actors who could handle dialogue in the new "talkies", and Colbert's elegance and musical voice were among her best assets.[2] Her distinctive high-cheekboned
beauty drew attention in The Hole in the Wall (1929), but at first she did not like film acting.[14] Her earliest films were produced in New York. During the filming of The Lady Lies (also 1929), she was also appearing nightly in the play See Naples and Die. The Lady Lies was a box-office success.[2] At this period, many film critics wrote her having potential to be the screen's next big star.[20] In 1930, she starred opposite Maurice Chevalier in The Big Pond, which was filmed in both English and French for release in their respective markets as was common during the early sound era. With her first husband Norman Foster she co-starred in the film Young Man of Manhattan (1930), for which he received negative reviews as one of her weakest leading men.[13]
She co-starred with Fredric March in Manslaughter (1930), acclaimed again by critics[24] for her performance as a woman charged with vehicular manslaughter.[25] She was paired with March again in Honor Among Lovers (1931), which was popular at that time.[26]
She also starred in Mysterious Mr. Parkes (1931), a French-language version of Slightly Scarlet for the European market, although Colbert's French was tinged with an English accent after American life. It was also screened in the United States. She sang and played piano/violin in the Ernst Lubitsch musical The Smiling Lieutenant (1931), which was nominated for the Academy Award for Best Picture. The film was also box-office hit and critical success.[2][27] Also Fredric March was originally cast as her co-star in His Woman (1931), but was replaced by Gary Cooper.[28]
In 1933, Colbert renegotiated her contract with Paramount to allow her to appear in films for other studios.
The pioneering screwball comedy film[32]Three-Cornered Moon reached No. 9 in the National Board of Review Awards in 1933.[33] Her musical voice, a contralto that footnotes list as being coached by Bing Crosby, was also featured in Torch Singer (1933),[34] co-starring Ricardo Cortez and David Manners. Partly as results, she was ranked as the year's 13th box-office star.[35][36] By 1933, she had appeared in 21 films, averaging four per year. Many of her early films were dramatics, and her performances were admired.[5] Colbert's leading roles were down-to-earth and diverse, highlighting her versatility.[18]
Colbert was initially reluctant to appear in the screwball comedyIt Happened One Night (1934). The studio agreed to pay her $50,000 for the role and guaranteed filming would be done within four weeks so she could take a planned vacation.[37] She won the Academy Award for Best Actress for the film.[38]
In Cleopatra (1934), Colbert played the title role opposite Warren William and Henry Wilcoxon. It was the second highest-grossing picture of that year in the United States.[31][2][23] Thereafter, Colbert did not wish to be portrayed as overtly sexual and later refused such roles.[39] She was loaned to Universal Pictures for Imitation of Life (1934), which was another box-office success.[13][23][40] Those three films were nominated for the Academy Award for Best Picture in the next year; Colbert is the only actress to date to star in three films nominated for Best Motion Picture in the same year.
Colbert's rising profile internationally allowed her to renegotiate her contract, which raised her salary. For 1935 and 1936, she was listed sixth and eighth in Quigley's annual "Top-Ten Money-Making Stars Poll".[41] She received an Academy Award nomination for her role in the hospital drama Private Worlds (1935).[42]
In 1936, Colbert signed a new contract with Paramount, making her Hollywood's highest-paid actress.[43] When the studio renewed her contract in 1938, she was again reported to be Hollywood's top-paid actress, with a salary of $426,924.[44] At the peak of her popularity in the late 1930s, she earned $150,000 per film.[45] In 1937 and 1938, she was listed as the fourteenth and sixth (respectively) top money-making woman in the U.S.[4]
Colbert was 5 ft 5 in (165 cm) tall.[46] One columnist wrote that Colbert placed her career "ahead of everything, save possibly her marriage", and that she had a strong sense of what was best for her, and a "deep-rooted desire to be in shape, efficient, and under control".[47] A biographer wrote that Colbert "helped define femininity for her generation with her chic manner".[48] Colbert once said, "I know what's best for me—after all, I have been in the Claudette Colbert business longer than anybody."[49][50]
Colbert was very particular about how she appeared on-screen, and believed her face was difficult to light and photograph. She insisted on having the right side of her face away from the camera when shooting close-up, because of a small bump from a broken nose as a child.[51] This sometimes required movie sets to be redesigned.[14] During the filming of Tovarich (1937), director Anatole Litvak favored co-starring Charles Boyer over her in the camera angles, so she got very frustrated.[52]
Early 1940s
Gary Cooper was terrified at the prospect of working with Colbert in his first comedy, Bluebeard's Eighth Wife (1938), considering Colbert an expert in the genre.[53]
Colbert learnt about lighting and cinematography, and refused to begin filming until she was satisfied that she would be shown to her best advantage.[55]Drums Along the Mohawk (1939) with Henry Fonda was her first color film, and was the 10th-grossing picture of the year in the United States.[56] However, she mistrusted the relatively new Technicolor process, and fearing she would not photograph well, preferred thereafter to be filmed in black-and-white.[57]
During this time, she began performing on CBS's popular radio program Lux Radio Theater, and was heard in 22 episodes between 1935 and 1954.[58] She also participated in 13 episodes of radio's The Screen Guild Theater, between 1939 and 1952.[59]
In 1940, Colbert was offered a seven-year contract with Paramount Pictures that would have paid her $200,000 a year; she declined the offer after learning she could command $150,000 per film as a freelance artist. She secured roles in several prestigious films and this period marked the height of her earning power.[43] As a supporting role, Colbert co-starred with Clark Gable and Spencer Tracy in Boom Town, released by MGM in 1940 and was the highest-grossing picture of the year in the United States. However, Colbert once often said that Arise, My Love (1940) was her favorite of all her movies.
[60][17] It won the Academy Award for Best Story.
Preston Sturges' mature The Palm Beach Story (1942) had been accepted some re-evaluation over the years as a comedic classic,[61] where she did one of the best performances of her film career,[62] which featured such a thing as beauty that speaks of intelligence.[63] She again became the industry's highest-paid star in 1942.[2]
During filming of So Proudly We Hail! (1943), her co-star Paulette Goddard preferred working with the other co-star Veronica Lake, over Colbert; Colbert felt that the younger actress had treated her like an "old lady". Goddard said that Colbert "was at [my] eyes at every moment". Goddard insisted that portions of the script be rewritten so that her role was as large as Colbert's.[47] This was unusual for Colbert, who was otherwise known for maintaining high standards of professionalism.[49][5] For example, from her early film career, she offered acting advice to her less experienced co-stars.
[64]
Impressed by Colbert's role in So Proudly We Hail!, David O. Selznick approached her to play the lead in Since You Went Away (1944). Colbert was initially reluctant to appear as a mother of teenaged children, but Selznick eventually convinced her to take the role.[65] Released in June 1944, the film made almost $5 million at the US box office and was the year's third highest-grossing picture. One critic praised aspects of the film, but particularly Colbert's work.[66] Partly as a result, she received an Academy Award nomination for Best Actress.[67]
During the World War II, she also volunteered with the Red Cross.[20]
In 1945, Colbert ended her association with Paramount and continued to freelance in such films as Guest Wife (1945) with Don Ameche. She starred opposite John Wayne in RKO'sWithout Reservations (1946), which grossed $3 million in the U.S. While working on it, director Mervyn LeRoy described Colbert as an "interesting" lady to work with, recalling her habit of not watching where she was going and constantly bumping into things.[68] Praised for her sense of style and fashion, Colbert ensured throughout her career that she was impeccably groomed and costumed. For the melodrama Tomorrow Is Forever (1946), Jean Louis was hired to create 18 changes of wardrobe for her.[69]Tomorrow is Forever and The Secret Heart (also 1946) were also substantial commercial successes,[23] and Colbert's popularity during 1947 led her to place 9th in Quigley's "Top Ten Money-Making Stars Poll".[41]
She achieved great success opposite Fred MacMurray in the comedy The Egg and I (1947), which was the year's second-highest grossing picture, and later acknowledged as the 12th-most profitable American film of the 1940s.[70] The suspense film Sleep, My Love (1948) with Robert Cummings was a modest commercial success. By 1949, she still ranked as the 22nd-highest box-office star.[71]
The romantic comedy Bride for Sale (1949), wherein Colbert played part of a love triangle that included George Brent and Robert Young, was well-reviewed.[72] Her performance in the Pacific war film Three Came Home (1950) was also praised by critics.[2] However, the mystery melodrama The Secret Fury (1950), distributed by RKO Studios, received mixed reviews.[72] During this period, Colbert was unable to work beyond 5 p.m. each day due to orders from her doctor.[73] While Colbert still looked like a young woman,[11] she found it difficult making the transition to playing more mature characters as she entered middle age.[47] She said, "I'm a very good comedienne, but I was always fighting that image, too."[45]
In 1949, Colbert was asked to play the lead role in All About Eve, because the producer felt that she best represented the style he envisioned for the part. However, Colbert severely injured her back, forcing her to abandon the picture shortly before filming began. Bette Davis was cast, instead. In later life, Colbert said, "I just never had the luck to play bitches."[45]
Patric Knowles and Colbert in Three Came Home, 1950
In the early 1950s, Colbert traveled to Europe for tax purposes[11] and joined fewer films. The Planter's Wife (1952) was a success in British market.[74] She played a small role in Royal Affairs in Versailles (1954), her only film with a French director (Sacha Guitry). Colbert had found the directorial method disappointing, which was on the heavy-handed and ponderous.[75] It was screened in the United States in 1957.[76]
In 1957, she was cast as Lucy Bradford, wife of schoolteacher Jim Bradford (Jeff Morrow), in the "Blood in the Dust" episode of CBS's Dick Powell's Zane Grey Theatre. In the story, Jim refuses to back down when a gunman orders him to leave town, and Lucy is distressed because Jim hasn't fired a weapon since he was in the Civil War.[77]
In the show's 1960 episode "So Young the Savage Land", she played Beth Brayden, who becomes disillusioned with her rancher-husband Jim (John Dehner) when he turns to violence to protect their property.[78]
She made a brief return to the screen, played the supporting role as the mother of Troy Donahue in Parrish (1961). It was her last appearance on the big screen. The film was a commercial success,[79] but Colbert received little attention, and she directed her agent to end any further attempts to generate interest in her as a TV actress.[80] Even at this period, she still looked younger than her actual age.[81]
Later career, 1963–1987
Colbert made successful Broadway appearances in The Irregular Verb to Love (1963); in The Kingfisher (1978), with co-star Rex Harrison; and in Frederick Lonsdale's Aren't We All? (1985), also with Harrison. She told an interviewer, "Audiences always sound like they're glad to see me, and I'm damned glad to see them."[2]
She appeared in a supporting role in the television miniseriesThe Two Mrs. Grenvilles (1987), which was a ratings success, and for which she won a Golden Globe and was nominated for an Emmy Award. Towards the end of her life, she explained why she had never written her autobiography, "I've been happy, and that's no story."[82]
Modern critics have pointed out that Colbert had a unique set of assets—her heart-shaped face, distinct facial features,[4] curly hair,[2] aristocratic manner, relaxed acting, little mysterious, and intelligent style,[83]—that distinguishes her from other classic cinema stars through the 1930s and 1940s.[49] In her comedies, she invariably played shrewd, self-reliant women; unlike many of her contemporaries, though, she rarely engaged in physical comedy. Her characters were more likely to be observers and commentators.[84]
Personal life
In 1928, Colbert married actor and director Norman Foster, with whom she co-starred in the Broadway show The Barker. Their marriage remained a secret for many years while they lived in separate homes.[4]
In Los Angeles, Colbert shared a home with her mother, Jeanne Chauchoin,[85] who disliked Foster and reputedly did not allow him into the home.[86] Colbert and Foster divorced in 1935 in Mexico.[4]
Colbert and her mother, Jeanne, in early 1930s
On Christmas Eve, 1935, in Yuma, Arizona, Colbert married Dr. Joel Pressman, who eventually became a professor and chief of the head and neck surgery department of UCLA Medical School. She gave Pressman a Beechcraft airplane as a present. They purchased a ranch in northern California,[11] where Colbert enjoyed horseback riding[87] and her husband kept show cattle. During this time, Colbert drove a Lincoln Continental and a Ford Thunderbird.[11] The marriage lasted 33 years, until Pressman's death from liver cancer in 1968.
Jeanne reportedly envied her daughter,[11] preferred her son's company, and made Colbert's brother Charles serve as his sister's agent. Charles used the surname Wendling, borrowed from Jeanne's paternal grandmother Rose Wendling.[8] He served as Colbert's business manager for a time,[7] and was credited with negotiating some of her more lucrative contracts in the late 1930s and early 1940s.[43][8] In 1942 Charles enlisted to take part in World War Two. Colbert's uncle Charles Loew died in 1953, and her aunt Emily Loew in 1954.[88]
Although virtually retired from motion pictures since the mid-1950s, Colbert continued to maintain an upscale lifestyle. She had a country house in Palm Springs for weekends. An advertising executive said, "Claudette was extravagant; I never, ever saw her question the price of anything." In 1963, Colbert sold her a Lloyd Wright-designed residence in Holmby Hills, and she and Dr. Pressman rented a small house in Beverly Hills.[11]
In 1958, she met Verna Hull, a wealthy painter, photographer, and the stepdaughter of a Sears Roebuck heiress. They had a nine-year friendship that included travel, and an interest in art, and they rented twin New York penthouses. When Colbert bought a house in Barbados in the early 1960s, Hull bought a house next door, amid rumors that their friendship was a romantic one, which Colbert denied.[11] The friendship ended after an argument that took place as Colbert's husband lay dying, during which Hull insisted that Pressman would not only take his own life, but Colbert's as well, rather than die alone.[11] Pressman died on February 26, 1968.[11]
at party in Dorothy Shaver Award Nov. 9, 1977, New York City
For years, Colbert divided her time between her Manhattan apartment and her vacation home in Speightstown, Barbados.[2] The latter, purchased from a British gentleman and nicknamed Bellerive, was the island's only plantation house fronting the beach.[11] Her permanent address remained Manhattan.
When her mother Jeanne died in 1970,[4] and her brother Charles in 1971, Colbert's only surviving relative was her brother's daughter, Coco Lewis.[45][90]
Colbert suffered a series of small strokes during the last three years of her life. She died in 1996 in Barbados,[2] where she had employed a housekeeper and two cooks. She was 92. Her remains were transported to New York City for cremation and funeral services.[11]
Colbert never had children. She left most of her estate, estimated at $3.5 million and including her Manhattan apartment and Bellerive, to longtime friend Helen O'Hagan, a retired director of corporate relations at Saks Fifth Avenue. Colbert had met O'Hagan in 1961 on the set of Parrish, her last film,[92][93] and they became best friends around 1970.[4]
After Pressman's death, Colbert instructed her friends to treat O'Hagan as they had Pressman, "as her spouse".[94] Although O'Hagan was financially comfortable without the generous bequest, Bellerive was sold for over $2 million to David Geffen. Colbert's will also left $150,000 to her niece Coco Lewis; a trust of over $100,000 to UCLA, in Pressman's memory; and $75,000 to Marie Corbin, her Bajan housekeeper.[11]
^ abArchives du Val-de-Marne. "Register of births of Saint-Mandé, 1903-1905, snapshot 48/188, certificate No. 171, Chauchoin Émilie, 14 septembre 1903, légitime". archives.valdemarne.fr. Retrieved November 14, 2023. […] Acte de naissance de Chauchoin Émilie, du sexe féminin, née le 13 septembre courant à 8 h du matin au domicile de ses père et mère, rue Armand-Carrel No. 5. Fille de Georges Claude [Chauchoin], âgé de 36 ans, pâtissier, et de Loew Jeanne Marie, son épouse, âgée de 25 ans , sans profession. […]. Translation of this quotation : "[…] Birth certificate of Chauchoin Émilie, female, born on September 13 running at 8 o'clock in the morning at her father and mother's home, rue Armand-Carrel No. 5. Daughter of Georges Claude [Chauchoin], aged 36, pastry chef, and Loew Jeanne Marie, his wife, aged 25 [this age here stated and transcribed appears erroneous because it is actually 26 since her mother was born on 27 October 1876], without profession. […]"
^Springer, John (1978). They Had Faces Then, Annabella to Zorina, the Superstars, Stars and Starlets of the 1930s. Citadel Press. p. 62. ISBN0-8065-0657-1.
^ abBirchard, Robert S. (2004). Cecil B. DeMille's Hollywood. University Press of Kentucky. ISBN9780813123240.
^Schallert, Edwin. "Stars' Box-Office Ratings for Past Season Given: Survey Shows Sophisticates Slipping Fast. Will Rogers Tops All; Shirley Temple and Crosby Shoot Up", Los Angeles Times, December 9, 1934, p. A1.
Finler, Joel W. (1989). The Hollywood Story: Everything You Always Wanted to Know About the American Film Industry But Didn't Know Where to Look. Pyramid Books. ISBN1-85510-009-6.
