Mary Pickford
From Wikipedia, the free encyclopedia
| Mary Pickford | |
 Mary Pickford in the 1920s |
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| Birth name | Gladys Louise Smith |
| Born | April 8, 1892 Toronto, Canada |
| Died | May 29, 1979 Santa Monica, California |
| Other name(s) | "America's Sweetheart", "The Girl With The Curls" |
| Spouse(s) | Owen Moore Douglas Fairbanks Charles "Buddy" Rogers |
| Academy Awards | |
|---|---|
| Best Actress 1929 Coquette 1976 Honorary Award |
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Mary Pickford (April 8, 1892 – May 29, 1979) was an Oscar-winning Canadian motion picture star and co-founder of United Artists in 1919. She was known as "America's Sweetheart," "Little Mary" and "the girl with the golden curls." She was one of the first Canadian pioneers in early Hollywood and one of film's greatest pioneers. She was an outstanding influence in the development of film acting. Because her international fame was triggered by moving images, she is a watershed figure in the history of modern celebrity. As one of silent film's most important performers and producers, her contract demands were central to shaping the Hollywood industry.
The American Film Institute named Pickford among the greatest female stars of all time (AFI's 100 Years... 100 Stars).
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[edit] Early life
Mary Pickford was born Gladys Louise Smith in Toronto, Ontario, Canada. Her father, John Charles Smith, was the son of British Methodist immigrants, and worked a variety of odd jobs. Her mother, Charlotte Hennessy, was from an Irish Catholic family. She had two younger siblings, Jack and Lottie Pickford, who would also become actors. To please the relatives, Pickford's mother baptized Gladys in both the Methodist and Catholic churches (and used the opportunity to change her middle name to "Marie"). Gladys was raised Roman Catholic after Gladys's father, an alcoholic, left his family in 1895, and died three years later of a cerebral hemorrhage. Charlotte, who had worked as a seamstress throughout the separation, began taking in boarders. Through one of these lodgers, Gladys, aged seven, gained a part at Toronto's Princess Theatre in a stock company production, The Silver King. She subsequently played in many melodramas at the Princess Theatre in Toronto.
[edit] Beginning of career to stardom
Acting soon became a family enterprise, as Charlotte, Gladys, and her two younger siblings Jack and Lottie, toured the United States by rail in rag-tag melodramas. After six impoverished years of touring, Gladys gave herself a single summer to land a leading role on Broadway (she planned to quit acting if she failed). She landed a supporting role in a 1907 Broadway play, The Warrens of Virginia. The play was written by William C. deMille, whose brother, the then-unknown Cecil B. DeMille also appeared in the cast. David Belasco, the producer of the play, insisted that Gladys Smith assume the stage name Mary Pickford.[2] After completing the Broadway run and touring the play, however, Pickford was once again out of work.
On April 19, 1909, the Biograph Company director D. W. Griffith screen-tested her at the company's New York studio for a role in the nickelodeon film Pippa Passes. The role went to someone else, but Griffith was immediately taken with Pickford, who instinctively grasped that movie acting was simpler and more intimate than the stylized stage acting of the day. Within a few days, Griffith agreed to pay her an astronomical $10 a day against a guarantee of $40 a week. ("Keep it to yourself," he advised her. "There will be a riot if it leaks out." (Most Biograph actors earned $5 a day.) Like everyone at Biograph, Pickford played both bit parts and leading roles, showing a huge emotional range as mothers, ingenues, spurned women, spitfires, slaveys, native Americans, and even a prostitute. As Pickford said of her whirlwind success at Biograph: "I played scrubwomen and secretaries and women of all nationalities. I got what no one else wanted and I took anything that came my way because I decided that if I could get into as many pictures as possible, I'd become known, and there would be a demand for my work." In 1909, Pickford appeared in 51 films - almost one a week. Her charisma, range, and comic blend of sweetness and temper made her not only Biograph's most important player, but the most popular star of the nickelodeon era.[3]
In January 1910 she traveled with a Biograph crew to Los Angeles. Many other companies wintered on the west coast, escaping the weak light and short days that hampered winter shooting in the east. Pickford added to her 1909 Biographs ("Sweet and Twenty," 'They Would Elope," and "To Save Her Soul," to name a few) with films from California. Like the other players in Griffith's company, her name was not listed in the credits, but Pickford had been noticed by audiences within weeks of her first film appearance. In turn, exhibitors capitalized on her popularity by advertising on sandwich boards outside their nickelodeons that a film with "The Girl with the Golden Curls," "Blondilocks" or "The Biograph Girl" was inside.[4] Pickford left Biograph in December, 1910, and spent 1911 with the Independent Motion Picture Company (later Universal) and Majestic. Unhappy with their creative standards, she returned to work with Griffith in 1912. Uncertain if her future lay in film or theater, she made her last Biograph, The New York Hat, then starred on Broadway in the David Belasco production of A Good Little Devil. The experience was the major turning point in her career because Pickford, who had always hoped to conquer the Broadway stage, discovered she missed movie acting acutely, and in 1913 decided to turn her energies exclusively toward film. In the same year, Adolph Zukor formed Famous Players in Famous Plays (later Paramount), one of the first American feature film companies. Pickford left the stage to join his roster of stars. She instantly attracted a fanatical following, appearing in such comedy-dramas as In the Bishop's Carriage (1913) and Hearts Adrift (1914). Her appearance as a tomboyish guttersnipe in 1914's Tess of the Storm Country sent her fame into the stratosphere. Pickford's effect in this and similar roles was summed up by Photoplay magazine: "luminous tenderness in a steel band of gutter ferocity."
Pickford remained Hollywood's biggest female star throughout the silent era, earning the right not only to act in her own movies, but to produce them and (through the creation of United Artists) control their distribution. She was also the first female actor to receive more than a million dollars per year.[2] Pickford starred in 52 features. The arrival of sound, however, was her undoing. She played a reckless socialite in Coquette (1929), a role for which she cut her famous hair into a 1920s bob. Pickford's hair had become a symbol of female virtue, and cutting it was front-page news in The New York Times and other papers. But Pickford meant to signal the public that her long-standing image had been put to rest. Unfortunately, though she won the Academy Award for Coquette, the public failed to respond to her work in roles that reflected her own age. (In the silents, Pickford played adolescents and women in their early twenties, with a celebrated sideline in children's roles.) Then in her forties, Pickford was unable to play the teenage spitfires so adored by her silent-film fans; nor could she play the soigne heroines of early sound. She retired from acting in 1933, though she continued to produce films for others, including Sleep My Love (1948), an update of Gaslight with Claudette Colbert.
[edit] Relationships
Pickford was married three times. She first married Owen Moore (1886-1939), an Irish-born silent-film actor, on January 7, 1911.[5] It is believed she became pregnant by Moore in the early 1910s, but had a miscarriage or an abortion. The couple had numerous marital problems, notably Moore's alcoholism and insecurity about living in the shadow of Pickford's fame, which he expressed by abusing his wife. The couple lived apart for several years, and Pickford became secretly involved in a relationship with Douglas Fairbanks, a personable former Broadway actor whose rising stardom in Hollywood sprang from a series of light, satiric comedies between 1916 and 1920.
Pickford and Fairbanks' romance was well along by the time they toured the US in 1918 in support of Liberty Bond sales for the World War I effort, and the phrase "by the clock" became a secret message of their love. (Once during their courtship, Fairbanks was discussing his mother's recent death as the couple was driving. When he finished the story, the car clock stopped. The pair took this as a signal that Fairbanks' late mother approved of their relationship.
Pickford finally divorced Moore on March 2, 1920, and married Fairbanks on March 28 of the same year. The tone of their European honeymoon was set by a riot in London as fans tried to touch Pickford's hair and clothes (she was dragged from her car and badly trampled). In Paris, a similar riot erupted at an outdoor market, with Pickford pulled to safety through an open window. The couple's triumphant return to Hollywood was witnessed by vast crowds who turned out to hail them at railway stations across the United States.
The Mark of Zorro (1920) and a series of other spectacular swashbucklers gave the popular Fairbanks a more romantic, heroic image, and Pickford continued to epitomise the spunky girl next door. Together, they seemed to be the ultimate symbols of optimistic American values. Even at private parties, people instinctively stood up when Pickford entered a room; she and her husband were often referred to as "Hollywood royalty." European heads of state and dignitaries visited the White House, then asked to visit Pickfair, the couple's mansion in Beverly Hills.[2]
Dinners at Pickfair were legendary; guests included George Bernard Shaw, Albert Einstein, Elinor Glyn, Helen Keller, H. G. Wells, Lord Mountbatten, Fritz Kreisler, Amelia Earhart, F. Scott Fitzgerald, Noel Coward, Max Reinhardt, Sir Arthur Conan Doyle, Austin Chamberlain and Sir Harry Lauder. Lauder's nephew, Matt C. Lauder Jr., a professional golfer who owned a property near Pasadena, California, taught Fairbanks to play golf. Pickford and Fairbanks were the first actors to leave their hand-prints in the courtyard cement at Grauman's Chinese Theatre (Pickford also left her footprints). Nonetheless, the public nature of Pickford's second marriage strained it to the breaking point. Both she and Fairbanks had little time off from producing and acting in their films. When they weren't acting or attending to United Artists, they were constantly on display as America's unofficial ambassadors to the world — leading parades, cutting ribbons, making speeches.
The pressures increased when their film careers both began to founder at the end of the silent era, and Fairbanks' restless nature found an outlet in almost-constant overseas travel (something which Pickford did not enjoy). The relationship was fatally damaged when Fairbanks' romance with England's Lady Sylvia Ashley became public in the early 1930s. This led to a long separation and a final divorce on January 10, 1936. Fairbanks' son by his first wife, Douglas Fairbanks Jr., claimed that his father and Pickford regretted their inability to reconcile for the rest of their lives.
On June 24, 1937, Mary Pickford married her last husband, actor and band leader Charles 'Buddy' Rogers. They adopted two children, Roxanne (born 1944, adopted 1944) and Ronald Charles (born 1937, adopted 1943, a.k.a. Ron Pickford Rogers). As a PBS "American Experience" documentary noted, Pickford's relationship with her children was tense, and actress eventually "became critical of their physical imperfections, including Ronnie's small stature and Roxanne's crooked teeth. Both children would later remark that their mother was too self-interested to provide genuine maternal love." In 2003, Ronnie recalled that "Things didn't work out that much. You know. But I'll never forget her. I think that she was a good woman." [1].
Pickford probably had no real idea of how to parent children. As a child, she felt a wild allegiance to her widowed mother (who she freely admitted she worshipped) and, by age seven, felt the need to "take my father's place in some mysterious way, and prevent anything from breaking up my family" (Sunshine and Shadow: An Autobiography, p. 46). The result, as her brother Jack observed, was that Pickford grew up much too early; she may have been the family breadwinner and her mother's confidante, but she "never learned to play." As a parent, Pickford had little concept of how an ordinary family functioned, and how to give Ronald and Roxanne a normal childhood.
Pickford also adopted at a time of personal loss and collapse. Though she married Rogers and took on various producing projects, the decimation of silent film had erased her artistic life, damaged her public stature, but erased her artistic life and ruined her self-esteem. In addition, she still hadn't recovered from a series of personal losses: her mother Charlotte in March 1928 (to breast cancer); her brother Jack in 1933 and sister Lottie in 1936 (each due to general dissipation), and Douglas Fairbanks in 1939 (a stroke). Fairbanks was still the love of Pickford's life, and upon hearing of his death, she reportedly began to weep in front of her new husband, Rogers, saying "My darling is gone". [2] (Pickford always insisted she was careful not to let Rogers see her cry.) Her panacea, alcohol, may have eased the pain of these events, but it did not help her meet the challenge of reinventing her image and career -- or of parenting adopted children.
Ronald and Roxanne each left Pickfair when they were of age. Pickford and Rogers, on the other hand, stayed together for over four decades until Pickford's death from a cerebral hemorrhage at the age of 87.[3]
[edit] The film industry
Pickford used her stature in the movie industry to promote a variety of causes. During World War I, she was the most prominent film star to promote the sale of Liberty Bonds, an exhausting series of fund-raising speeches that kicked off in Washington, D.C., where she sold bonds alongside Charles Chaplin, Douglas Fairbanks, and Marie Dressler.[5] Five days later she spoke on Wall Street to an estimated 50,000 people. Though Canadian-born, she was a powerful symbol of Americana, kissing the American flag for cameras and auctioning one of her world-famous curls for $15,000. In a single speech in Chicago she sold an estimated five million dollars' worth of bonds. She was christened the U.S. Navy's official "Little Sister"; the army named two cannons after her and made her an honorary colonel.
At the end of World War I, Pickford conceived of the Motion Picture Relief Fund, an organization to help financially needy actors. Leftover funds from her work selling Liberty Bonds were put toward its creation, and in 1921, the Motion Picture Relief Fund (MPRF) was officially incorporated with Joseph Schenck voted its first president and Mary Pickford as its vice president. In 1932, Pickford spearheaded the "Payroll Pledge Program," a payroll deduction plan for studio workers who gave one-half of one percent of their earnings to the MPRF. As a result, in 1940 the Fund was able to purchase the land and build the Motion Picture Country House and Hospital.
But Pickford's most profound influence (beyond her acting) was to help re-shape the film industry itself. When she entered features, Hollywood believed that the movies' future lay in reproducing Broadway plays for a mass audience. Pickford, who entered feature film with two Broadway credits but a far greater following among fans of nickelodeon flickers, became the world's most popular actor in a matter of months. In response to her astonishing popularity, Hollywood re-thought its vision of features as "canned theatre," and focussed instead on actors and material that were uniquely suited to film, not the footlights.
An astute businesswoman, Pickford became her own producer within three years of her start in features. According to her Foundation, "she oversaw every aspect of the making of her films, from hiring talent and crew to overseeing the script, the shooting, the editing, to the final release and promotion of each project." Pickford first demanded (and received) these powers in 1916, when she was under contract to Adolph Zukor's Famous Players in Famous Plays (later Paramount). He also acquiesced to her refusal to participate in block-booking, the widespread practice of forcing an exhibitor to show a bad film of the studio's choosing in order to also show a Pickford film. In 1916, Pickford's films were distributed, singly, through a special distribution unit called Artcraft.
In 1919, she increased her power by co-founding United Artists (UA) with Charlie Chaplin, D. W. Griffith, and her (at the time) soon-to-be husband, Douglas Fairbanks. At that time, the Hollywood studios were vertically integrated, not only producing films but forming chains of theatres in which to show them. Filmmakers relied on the studios for bookings; in return they put up with what many considered creative interference. United Artists did not produce films; it was solely a distribution company, offering independent film producers access to its own screens as well as the rental of temporarily unbooked cinemas owned by other companies. Pickford and Fairbanks produced and shot their films after 1920 at the jointly-owned Pickford-Fairbanks studio on Santa Monica Boulevard. The producers who signed with UA were true independents, producing, creating and controlling their work to an unprecedented degree. As a co-founder, as well as the producer and star of her own films, Pickford became the most powerful woman who has ever worked in Hollywood.
When she retired from acting in 1933, Pickford continued to produce films for United Artists, and she and Charlie Chaplin remained partners in the company for decades. Chaplin left the company in 1955, and Pickford followed suit in 1956, selling her remaining shares for three million dollars. [6]
[edit] Later years
After retiring from the screen, Pickford developed alcoholism, the addiction that had afflicted her father. Other alcoholics in the family included her first husband, Owen Moore; her mother Charlotte; and her younger siblings, Lottie and Jack. Charlotte died of cancer in March 1928. Within a few years, Lottie and Jack died of alcohol-related causes. These deaths, her divorce from Fairbanks, and the end of silent films left Pickford deeply depressed. Her relationship to her adopted children, Roxanne and Ronald, was turbulent at best, and each left Pickfair at an early age. Gradually, Pickford became a recluse, remaining almost entirely at Pickfair, allowing visits only from Lillian Gish, her stepson Douglas Fairbanks, Jr., and a few select others. In the mid-1960s, she often received visitors only by telephone, speaking to them from her bedroom. Buddy Rogers often gave guests tours of Pickfair, including views of a genuine western bar she had bought for Douglas Fairbanks, and a portrait of Pickford in the drawing room. Painted at the height of her fame, it emphasizes her girlish beauty and spun-gold curls. A print of this image now hangs in the Library of Congress.[6]
The "Pickford Center for Motion Picture Study" at 1313 Vine Street in Hollywood, constructed by the Academy of Motion Picture Arts and Sciences, opened in 1948 as a radio and television studio facility. The "Mary Pickford Theater" at the Library of Congress is named in her honor.[6]
In addition to her Oscar as best actress for Coquette (1929), Mary Pickford in 1976 received an Academy Honorary Award for a lifetime of achievements. The Academy sent a TV crew to her house to record her short statement of thanks upon acceptance of the award. Her frail, doll-like appearance and her nearly unintelligible speech shocked viewers, some of whom still remembered the vital, take-charge character Pickford played in silent features. [5]
Before her death, Pickford petitioned the Canadian government to restore her Canadian citizenship which she believed had been lost when she became a U.S. citizen on her marriage to Fairbanks in 1920. Due to the byzantine immigration laws of the 1920s, the Canadian government wasn't sure she had ever lost her citizenship. Nevertheless, they officially declared her to be a Canadian. As a result, long before it became fashionable to do so, Pickford became a dual citizen. She died on May 29, 1979, at the age of 87, and was buried in the Garden of Memory of the Forest Lawn Memorial Park Cemetery in Glendale, California. Buried alongside her in the Pickford private family plot are her mother Charlotte, her siblings Lottie and Jack Pickford and the family of Elizabeth Watson, Charlotte's sister, who had helped raise Mary in Toronto.[3]
Mary Pickford received a posthumous star on Canada's Walk of Fame in Toronto in 1999. In 2006, along with fellow deceased Canadian stars Fay Wray, Lorne Greene and John Candy, Pickford was featured on a Canadian postage stamp. [2]
[edit] Partial chronology
- 1909: discovered by David Wark Griffith at Biograph, worked for $5 a day, which he quickly increased to $8 a day.
- 1911: I.M.P., $175 a week, with the employment of her mother and siblings guaranteed. Unhappy with the quality of I.M.P. films, Pickford sued to be released from her contract and won.
- 1911: Majestic Film Corp., $225 a week, with the employment of her husband, Owen Moore, as an actor and director, guaranteed.
- 1912: back to Biograph, $175 a week, a pay cut she justified with the belief that the key to a great career was to "get yourself with the right associates." This period featured some of Pickford's most mature and varied work. Owen Moore signed with Victor Films and an unpublicized marital separation began.
- 1913: appeared as the star (with Lillian Gish in a small role) in Belasco's Broadway production A Good Little Devil for $175 a week, raised to $200 a week.
- 1913: Pickford moved to feature film by signing with Adolph Zukor's Famous Players in Famous Plays, for $500/week (D.W. Griffith had balked at paying more than $300).
- 1914: Pickford became an international phenomenon through her roles as barefoot adolescents and urchins in the features Hearts Adrift and Tess of the Storm Country. Within the U.S., she was called "America's Sweetheart." In the country of her birth, she was "Canada's Sweetheart" and she became "The World's Sweetheart" overseas. Pickford asked Zukor for double her previous salary, and received it ($1,000/wk.).
- 1915: At her request, her salary at Famous Players was again doubled, to $2000 a week, plus half the profits of her films. The movie Rags contained one of Pickford's ground-breaking roles as a self-described "hellcat."
- 1916: Pickford formed her own producing unit, the Pickford Film Corporation, within Famous Players, and installed her mother as treasurer. She had a voice in the selection of her roles and the film's final cut. She chose her own directors and approved the supporting cast and the advertising. She was required to make only six films a year, a saner quota that earlier years, in which she made nine or more. She was paid annually $10,000 a week, plus half the profits in her films, or half a million dollars, whichever was greater. As the contract's duration was two years, Pickford was guaranteed at least a million dollars. Famous Players also created a special unit called Artcraft to distribute Pickford's features, rather than blockbooking them, a practice Pickford vehemently opposed.
- 1917: Pickford toured the United States with Fairbanks and Chaplin, supporting U.S. involvement in World War I and promoting Liberty Bonds. She played three of her legendary roles as children in The Poor Little Rich Girl, Rebecca of Sunnybrook Farm and A Little Princess. On the other hand, she was thoroughly adult in an anti-German propaganda picture The Little American, and the western A Romance of the Redwoods, both directed by Cecil B. DeMille.
- 1918: She signed a contract with First National to make three films for $675,000 (about $10 million in 2005-terms). Pickford also received 50% of all profits, and complete creative control, ranging from script to the final cut. Meanwhile, Famous Players released one of her greatest films, the tragedy Stella Maris, in which she played a double role, as well as M'liss (another ragged spitfire) and the war comedy Johanna Enlists.
- 1919: Pickford co-founded United Artists with Charles Chaplin, Douglas Fairbanks and D.W. Griffith. During U.A.'s start-up, Pickford's films for First National were released, including Daddy Long-Legs (from the book by Jean Webster) and the violent melodrama The Heart o' the Hills.
- 1923: Hoping to expand her image, Pickford convinced Ernst Lubitsch to direct her next film. After considering Faust, they settled on Rosita, the story of a Spanish street-singer who attracts the attention of the lecherous king. Though the role catered to Pickford's gift for playing sweet-but-fiery women in rags, it introduced a note of sexual sophistication which many of her fans loathed. Plans for future films with Lubitsch were abandoned. For the next few years she appeared in a series of superlative productions, culminating in Sparrows (1926), which blended German expressionism to Hollywood production values.
- 1927 United Artists, under Pickford's direction, opened their flagship Spanish Gothic movie theatre in downtown Los Angeles. Pickford became deeply involved in the design of the theatre, and two Anthony Heinsbergen murals in the auditorium feature her. Theatre architect Howard Crane opened two other UA theatres in the same year, in Chicago and Detroit. The Los Angeles theatre has become known as the University Cathedral of Dr. Eugene Scott. 'My Best Girl, perhaps the greatest romantic comedy of the era, was released with her future husband, Charles Rogers, playing the male interest.
- 1929: Pickford starred in a sound film, Coquette, a production that did well at the box office, earning $1.4 million. Pickford used the break from silent film to established a more flirtatious and sophisticated adult character. Her performance earned her an Oscar. In the same year, Pickford appeared with her husband Douglas Fairbanks in a sound version of The Taming of the Shrew.
- 1933: Pickford starred with Leslie Howard in Secrets, a money-losing film which proved her last.
- 1937: Pickford founded Mary Pickford Cosmetics, a beauty company.
- 1941: Pickford, Charlie Chaplin, Walt Disney, Orson Welles, Samuel Goldwyn, David O. Selznick, Alexander Korda, and Walter Wanger founded the Society of Independent Motion Picture Producers.
- 1949: Pickford and her husband Buddy Rogers formed Pickford-Rogers-Boyd, a radio and television-production company.
- 1976: Pickford received an Academy Honorary Award for a lifetime of achievements.
Mary Pickford has a star on the Hollywood Walk of Fame at 6280 Hollywood Boulevard. Her handprints and footprints can be seen in the courtyard of Grauman's Chinese Theater in Hollywood.
[edit] Trivia
- She left her children $50,000 and her grandchildren trust funds.
- The second cousin of John Mantley.
- Silent star Norma Talmadge accidentally walked onto the wet cement of Hollywood's Chinese Theater before its official opening. This inspired the theatre's owner, Sid Grauman, to fill the theatre's courtyard with handprints of the stars. Mary Pickford was the first (along with husband Douglas Fairbanks) to officially place hand and footprints in the cement (April 30, 1927).
- Was named #24 on the American Film Institute's 50 Greatest Screen Legends
- Is portrayed by Maria Pitillo in Chaplin (1992)[3]
- Ernst Lubitsch came to America on an invitation from Mary Pickford to direct her in Dorothy Vernon of Haddon Hall (1924), which was eventually directed by Marshall Neilan. When Lubitsch arrived in California, he expressed unhappiness with the scenario. After he and Pickford discussed and rejected the idea of filming Faust, he directed her in one of her greatest films, Rosita (1923).
- The Lonely Villa and Her First Biscuits (both American Mutoscope and Biograph Company, 1909) are often cited as Pickford's first starring appearance in a film. In fact, she plays bit parts in these titles. In her own memoirs, Pickford recalls that her first lead role was in the 1909 Biograph The Violin Maker of Cremona. Biograph production records confirm this.
- According to her autobiography Sunshine and Shadow (1956), Pickford tried eating roses as at about the age of eight, hoping to capture their beauty for herself. This habit did not continue.
[edit] Filmography
[edit] One Reels
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[edit] Feature Length
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[edit] Talkies
- Coquette. March 30, 1929.
- The Taming of the Shrew. October 26, 1929.
- Kiki. March 14, 1931.
- Secrets. March 16, 1933.
| Awards | ||
|---|---|---|
| Preceded by Janet Gaynor for Seventh Heaven, Street Angel and Sunrise |
Academy Award for Best Actress 1929 for Coquette |
Succeeded by Norma Shearer for The Divorcee |
[edit] See also
[edit] References
- Whitfield, Eileen Pickford: The Woman Who Made Hollywood University Press of Kentucky (1997) ISBN 0-8131-2045-4 (Highly recommended by the Library Journal who described it as the definitive Pickford biography.)
- Whitman, Alden, "Mary Pickford is Dead at 86; America's Sweetheart of Films", The New York Times, 30 May 1979, page A1.
- ^ Whitfield, Eileen: Pickford: The Woman Who Made Hollywood., University Press of Kentucky, 1997
- ^ a b c d Mary Pickford at Filmbug.. Filmbug. Retrieved on 2007-01-24.
- ^ a b c d Mary Pickford's biography at IMDB.. Internet Movie Database. Retrieved on 2007-01-24.
- ^ Mary Pickford at Golden Silents.. Golden Silents.. Retrieved on 2007-01-15.
- ^ a b c
- ^ a b c Biography at u-s-history.com. Retrieved on 2007-01-24.
- ^ Mary Pickford at IMDB. Internet Movie Database. Retrieved on 2007-01-24.
[edit] External links
- Mary Pickford at the Internet Movie Database
- Mary Pickford at the TCM Movie Database
- Mary Pickford at the Internet Broadway Database
- Mary Pickford at Golden Silents
- Mary Pickford Photo Galleries
- About Mary Pickford, from the website of the Mary Pickford Institute for Film Education
- Mary Pickford, from American Experience
- Ontario Plaques - Mary Pickford
- Mary Pickford at Virtual History
Categories: American film actors | American silent film actors | Canadian film actors | Canadian silent film actors | Best Actress Academy Award winners | Hollywood Walk of Fame | Canada's Walk of Fame | Christian Science followers | Canadian Roman Catholics | People from Toronto | Canadian actors | Canadian Americans | English Americans | Irish-American actors | Forest Lawn Memorial-Parks & Mortuaries | 1892 births | 1979 deaths
