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Frances Dee
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Frances Marion Dee (November 26, 1909 – March 6, 2004) was an American actress. Her first film was the musical Playboy of Paris (1930). She starred in films An American Tragedy (1931), Little Women (1933) and Becky Sharp (1935). She is also known for starring in the 1943 Val Lewton psychological horror film I Walked With a Zombie.
Key Information
Early life
[edit]The younger daughter of Francis "Frank" Marion Dee and his wife, the former Henriette Putnam, Frances Marion Dee was born in Los Angeles, California, where her father worked as a civil service examiner.[1][2]
When Dee was seven years old, her family moved to Chicago, Illinois.[3][4] She attended Shakespeare Grammar School and Hyde Park High School, where she went by the nickname of Frankie Dee.[citation needed]
After graduating from Hyde Park High in 1927, of which she was vice president of her senior class, as well as voted Belle of the Year, she spent two years at the University of Chicago, where she participated in dramatic activities,[4] then returned to California.
Career
[edit]
Following her sophomore year in 1929, she went on summer vacation with her mother and older sister to visit family in the Los Angeles area. She began working as a movie extra as a lark. Her big break came when she was still an extra; she was offered the lead opposite Maurice Chevalier in Playboy of Paris.
The audience appeal established in two films opposite Paramount stars Charles "Buddy" Rogers and Richard Arlen led to the co-starring role of Sondra Finchley, opposite Phillips Holmes and Sylvia Sidney, in Paramount Pictures's prestigious and controversial production of An American Tragedy, directed by Josef von Sternberg.
Dee's additional screen credits included June Moon, Little Women, Of Human Bondage, Becky Sharp, and Payment on Demand. She co-starred with her husband Joel McCrea in the Western Four Faces West (1948). She retired after production of Gypsy Colt in 1953.
Personal life
[edit]Dee met actor Joel McCrea on the set of the 1933 film The Silver Cord.[4] The couple married on October 20, 1933, after a whirlwind courtship, and remained married until McCrea's death in 1990. During their lifetime together, the McCreas lived, raised their children, and rode their horses on their ranch in what was then an unincorporated area of eastern Ventura County, California.[5] They ultimately donated several hundred acres of their personal property to the newly formed Conejo Valley YMCA for the city of Thousand Oaks, California. Dee, like McCrea, was a Republican.[6] Joel McCrea died on their 57th wedding anniversary.
Dee was honored at the 1998 Memphis Film Festival in Tennessee.[7] In 2004, Frances Dee McCrea died in Norwalk, Connecticut due to complications from a stroke at the age of 94.[8]
Filmography
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1929 | Words and Music | Co-Ed | Uncredited |
| 1930 | True to the Navy | Girl at Table | Uncredited |
| A Man from Wyoming | Nurse | Uncredited | |
| Manslaughter | Party Guest | Uncredited | |
| Monte Carlo | Receptionist | Uncredited | |
| Follow Thru | Woman in Ladies' Locker Room | Uncredited | |
| Playboy of Paris | Yvonne Phillbert | ||
| Along Came Youth | Elinor Farrington | ||
| 1931 | June Moon | Edna Baker | |
| An American Tragedy | Sondra Flinchley | ||
| Caught | Kate Winslow | ||
| Rich Man's Folly | Ann Trumbull | ||
| Nice Women | Jerry Girard | ||
| Working Girls | Louise Adams | ||
| 1932 | This Reckless Age | Lois Ingals | |
| Sky Bride | Ruth's Friend | Uncredited | |
| The Strange Case of Clara Deane | Nancy Deane | ||
| Love Is a Racket | Mary Wodehouse | ||
| The Night of June 13 | Ginger Blake | ||
| If I Had a Million | Mary Wallace | Uncredited | |
| 1933 | The Crime of the Century | Doris Brandt | |
| King of the Jungle | Ann Rogers | ||
| The Silver Cord | Hester | ||
| Headline Shooter | Jane Mallory | ||
| One Man's Journey | Joan Stockton | ||
| Little Women | Margaret "Meg" March | ||
| Blood Money | Elaine Talbart | ||
| 1934 | Keep 'Em Rolling | Marjorie Deane | |
| Coming Out Party | Joyce 'Joy' Stanhope | ||
| Finishing School | Virginia Radcliff | ||
| Of Human Bondage | Sally Altheny | ||
| 1935 | Becky Sharp | Amelia Sedley | |
| The Gay Deception | Mirabel Miller | ||
| 1936 | Half Angel | Allison Lang | |
| Come and Get It | Restaurant Patron | Uncredited | |
| 1937 | Souls at Sea | Margaret Tarryton | |
| Wells Fargo | Justine Pryor MacKay | ||
| 1938 | If I Were King | Katherine de Vaucelles | |
| 1939 | Coast Guard | Nancy Bliss | |
| 1941 | So Ends Our Night | Marie Steiner | |
| A Man Betrayed | Sabra Cameron | ||
| 1942 | Meet the Stewarts | Candace Goodwin | |
| 1943 | I Walked With a Zombie | Betsy Conell | |
| Happy Land | Agnes March | ||
| 1945 | Patrick the Great | Lynn Andrews | |
| 1947 | The Private Affairs of Bel Ami | Marie de Verenne | |
| 1948 | Four Faces West | Fay Hollister | |
| 1951 | Payment on Demand | Eileen Banson | |
| Reunion in Reno | Mrs. Doris Linaker | ||
| 1952 | Because of You | Susan Arnold | |
| 1953 | Mister Scoutmaster | Helen | |
| 1954 | Gypsy Colt | Em MacWade | |
| 2006 | Far as the Eye Can See | Grandma | Short |
References
[edit]- ^ Her birth name is given as Frances Marion Dee in the California Birth Index, 1905-1995, accessed via ancestry.com on January 13, 2011
- ^ Frank Dee's occupation is given in the 1910 U.S. Federal Census for Los Angeles, California, in which he is listed with his wife, Henriette, and daughters Margaret and Frances. In the 1920 U.S. Federal Census for Chicago, Illinois, Frank Dee is listed as an employment manager at a packing company. In the 1930 U.S. Federal Census for Indianapolis, Indiana, he was living as a lodger in a boarding house and working as a secretary at a public utility. All census records accessed on ancestry.com on January 13, 2011.
- ^ Soanes, Wood (June 17, 1934). "Frances Dee and Joel McCrea See Future Felicity and Freedom Upon Ranch When Studios Begin to Pall". Oakland Tribune. California, Oakland. Oakland Tribune. p. 39. Retrieved March 19, 2016 – via Newspapers.com.
- ^ a b c Bowers, Emilie (March 3, 1935). "Charming Frances Dee". Oakland Tribune. California, Oakland. Oakland Tribune. p. 59. Retrieved March 19, 2016 – via Newspapers.com.
- ^ Flans, Robyn (February 7, 2018). "McCrea family's Hollywood legacy lives on at Conejo ranch". Ventura County Star. Retrieved February 8, 2018.
- ^ Critchlow, Donald T. (October 21, 2013). When Hollywood Was Right: How Movie Stars, Studio Moguls, and Big Business Remade American Politics. Cambridge University Press. ISBN 9780521199186 – via Google Books.
- ^ "Western Film Festival Photos--Gallery 9". www.westernclippings.com.
- ^ Bergan, Ronald (March 10, 2004). "Obituary: Frances Dee". The Guardian – via www.theguardian.com.
External links
[edit]
Wikimedia Commons has media related to Frances Dee.
- Frances Dee at IMDb
- Frances Dee at the Internet Broadway Database
- francesdeemccrea.com
- Frances Dee Biography and obituary
- Photographs of Frances Dee
Frances Dee
View on Grokipediafrom Grokipedia
Early life
Family background and childhood
Frances Marion Dee was born on November 26, 1909, in Los Angeles, California, where her father was stationed.[5][6] Although some references cite 1907 as her birth year, primary records including her memorial and biographical databases confirm 1909.[5][6] She was the younger daughter of Francis "Frank" Marion Dee, a U.S. Army officer who later became a civil engineer, and his wife, Henriette Putnam.[7][8] Dee had one older sister, Margaret, born in 1908.[9][10] As the child of a military officer, Dee led an "army brat" lifestyle marked by frequent relocations tied to her father's postings, which instilled a sense of adaptability and transience in her early years.[4][11] Shortly after her birth, the family moved from Los Angeles to Cincinnati, Ohio, then to Washington, D.C., before relocating to Chicago, Illinois, around age 7 due to another transfer.[9] This pattern of moves exposed her to diverse environments, though the family eventually settled in Chicago, where her Midwestern upbringing took root amid the stability of her father's post-military career.[4][8]Education and early interests
Frances Dee attended Shakespeare Grammar School and later Hyde Park High School in Chicago, where she was known by the nickname Frankie Dee.[3] She graduated from Hyde Park High School in 1927, serving as vice president of her senior class and being voted Belle of the Year.[3] During high school, Dee developed an initial interest in acting through participation in school plays, including a lead role in a senior production that highlighted her talent.[12] As she later reflected, "practically the only acting I had done was in high school plays."[13] Following high school, Dee enrolled at the University of Chicago, where she studied for one to two years, focusing on liberal arts.[8] Her involvement in dramatic activities continued at the university, where she performed in college plays and gained confidence in her abilities.[8] These experiences were pivotal, as her success on stage encouraged her to consider acting professionally amid the film industry's shift to sound, which created demand for performers skilled in dialogue. Dee ultimately decided to leave the University of Chicago and pursue acting in Hollywood, a choice supported by her father's one-year ultimatum to secure reliable work in the industry or return home. Influenced by Chicago's vibrant cultural scene and her exposure to theater, she viewed the transition to talkies as an opportunity to apply her stage-honed skills, later noting, "All the little girls want to be actresses, don’t they? I just didn’t get over it."[8] This marked the end of her formal education and the beginning of her professional aspirations.Acting career
Entry into film and early roles
Frances Dee arrived in Hollywood in the summer of 1929 at the age of 19, shortly after attending the University of Chicago, where her studies had sparked an interest in acting.[8] Initially, she took on uncredited extra work to gain experience in the burgeoning talkie era, appearing in films such as Words and Music (1929) at Fox Studios and several Paramount productions including Follow Thru (1930), Monte Carlo (1930), and possibly Manslaughter (1930), though the latter appearance remains disputed due to production timelines.[14][15] These bit parts immersed her in the competitive studio system, where newcomers vied for visibility amid the transition from silent films to synchronized sound, often facing irregular employment and the pressure to stand out in crowd scenes.[8] Her breakthrough came through a serendipitous discovery at the Paramount commissary, where she was spotted by director Ludwig Berger and star Maurice Chevalier during lunch; originally, singer Lillian Roth had been cast opposite Chevalier, but Roth's withdrawal opened the role, leading to Dee's screen test and subsequent signing to a Paramount contract in late 1929 or early 1930.[16][14] This propelled her to her credited film debut as the female lead in the musical comedy Playboy of Paris (1930), where she portrayed a vivacious love interest to Chevalier's character, marking one of the earliest Hollywood musicals and earning her immediate notice for her fresh beauty and poise.[2] The film's success transitioned Dee from anonymous extra to contract player, though she navigated early dry spells of months without assignments, a common hurdle for young actresses in the rigid hierarchy of the major studios.[8] In 1931, Dee secured supporting roles that showcased her versatility within the ingénue archetype, often portraying refined, sympathetic young women amid dramatic narratives. In Rich Man's Folly, a modern adaptation of Charles Dickens' Dombey and Son directed by John Cromwell, she played Ann Trumbull, the daughter of a domineering industrialist (George Bancroft), highlighting her ability to convey emotional depth in family conflicts.[17] Later that year, she appeared in Josef von Sternberg's adaptation of Theodore Dreiser's An American Tragedy as Sondra Finchley, the affluent socialite who tempts the protagonist (Phillips Holmes), a role that underscored the era's fascination with class tensions and moral ambiguity.[18] These performances solidified her position at Paramount but also confined her to typecasting as the demure ingénue, a prevalent challenge in the early 1930s studio system where female leads were frequently pigeonholed based on youth and appearance, limiting opportunities for more complex characterizations amid fierce competition from established stars.[8]Peak years and notable films
During the 1930s, Frances Dee reached the height of her stardom, securing prominent starring roles in several acclaimed literary adaptations that showcased her poise and emotional depth. In George Cukor's Little Women (1933), she portrayed the eldest March sister, Meg, in a film adaptation of Louisa May Alcott's novel that became a major box-office success, grossing $100,000 in its first week at Radio City Music Hall and outpacing most contemporary releases.[19][20] Dee followed this with the role of Sally Athelny in John Cromwell's Of Human Bondage (1934), a screen version of W. Somerset Maugham's novel opposite Leslie Howard and Bette Davis, where her portrayal of the kind-hearted artist model provided a contrast to the central drama.[21] The following year, she played Amelia Sedley in Rouben Mamoulian's Becky Sharp (1935), the first feature-length film shot entirely in three-strip Technicolor, earning praise for its vibrant visuals and Dee's depiction of the naive socialite ensnared in Vanity Fair's intrigues.[22] Dee frequently collaborated with Joel McCrea, whom she met on the set of The Silver Cord (1933), in romantic and adventure films that highlighted their on-screen chemistry. Their pairing in Frank Lloyd's historical Western Wells Fargo (1937), where Dee played McCrea's steadfast wife amid the expansion of the American frontier, contributed to the film's strong commercial performance as one of the year's top-grossing pictures.[23] These roles, blending sentiment and action, solidified Dee's appeal in mid-decade Hollywood productions before their real-life marriage further intertwined their careers. In the early 1940s, Dee ventured into horror with her lead role as Betsy Connell, a Canadian nurse confronting voodoo mysteries on a Caribbean island, in Jacques Tourneur's I Walked with a Zombie (1943), produced by Val Lewton for RKO. Critics lauded her subtle, luminous performance, which infused the atmospheric thriller with an ethereal quality, emphasizing themes of beauty and psychological tension amid the film's poetic shadows.[24] Throughout this period, Dee's striking looks and range—from ingénue to dramatic leads—earned her acclaim as "one of the most beautiful women ever to grace Hollywood," a moniker bestowed by Paramount producer A.C. Lyles, while her versatility in diverse genres underscored her status as a reliable leading lady.[16]Later roles and retirement
In the late 1940s, Frances Dee continued her film work with occasional appearances, including the Western Four Faces West (1948), in which she co-starred opposite her husband Joel McCrea as his steadfast love interest in a story of redemption and pursuit across the New Mexico desert.[25] This marked one of her last collaborations with McCrea on screen and highlighted her transition toward more mature dramatic parts.[26] By the early 1950s, Dee's roles shifted to supporting and character positions amid her decreasing output. She returned to the screen after a three-year absence in Payment on Demand (1951), portraying the glamorous mistress who disrupts a marriage in a tense drama led by Bette Davis.[27] This film represented one of her final substantial leading turns, followed by a supporting role as a compassionate friend in Because of You (1952), a prison-break romance starring Loretta Young, and then as Helen in Mister Scoutmaster (1953), a family comedy with Clifton Webb.[28][29] Her last feature was Gypsy Colt (1954), where she played the devoted mother of a boy and his beloved horse in a heartfelt family adventure.[25] Dee made no further verified film appearances after 1954, effectively retiring from acting around age 45 following the birth of her third son in 1955.[1] Her decision stemmed primarily from a desire to prioritize family life and devote herself fully to raising her children alongside McCrea, amid the evolving postwar Hollywood landscape where television's rise and shifting studio systems reduced opportunities for established leading ladies of her generation.[1] Claims of later credits, such as a role in the 2006 film Far as the Eye Can See, are erroneous, as Dee had passed away two years prior.[2]Personal life
Marriage and family
Frances Dee met Joel McCrea in January 1933 during a Paramount publicity photo shoot at the Santa Monica pier, where McCrea, who had previously seen her in a film and expressed interest, was playing volleyball nearby and was asked by the photographer to pose with her.[13] Their courtship blossomed quickly after they co-starred in the 1933 film The Silver Cord, leading to an engagement during Dee's work on Little Women later that year.[13] The couple eloped and married on October 20, 1933, in Rye, New York, while Dee was on location for another production; they honeymooned briefly before returning to their Hollywood commitments.[2][8] The McCreas had three sons: Joel Dee "Jody" McCrea, born September 6, 1934, in Los Angeles, who later pursued acting and ranching; David Thomas McCrea, born November 15, 1935, in Beverly Hills, who became a rancher; and Peter McCrea, born April 10, 1955, in Los Angeles County, who worked as a real estate consultant and writer.[30][31] In their sons' early years, Dee balanced her acting career with motherhood by continuing to work through the 1930s and 1940s, often incorporating family into her routine, such as taking the children on set when possible.[13] The couple faced challenges in managing dual Hollywood careers alongside parenting during this period, including the demands of frequent travel and long shooting schedules, but they prioritized family stability by making joint decisions about work commitments.[1] Their marriage lasted 57 years, one of Hollywood's longest-lasting unions, until McCrea's death on October 20, 1990—the exact date of their anniversary—from complications of pulmonary fibrosis.[1] Throughout their partnership, the McCreas supported each other's careers, with Dee occasionally co-starring with her husband in films like Wells Fargo (1937), where their genuine rapport added authenticity to their portrayals.[2]Ranch life and later years
In the 1930s, shortly after their marriage, Joel McCrea purchased approximately 1,000 acres of land in eastern Ventura County, California, near what is now Thousand Oaks, establishing the McCrea Ranch as a working cattle operation and private family retreat.[1] The property, originally spanning about 851 acres at the time of acquisition from the Title Insurance and Trust Company, was developed with a ranch house, barns, a shop, and a milk house constructed between 1933 and 1939 under the design of architect John Byers.[32] Frances Dee and McCrea raised their three sons—Jody, David, and Peter—on the ranch, where Dee largely retired from acting by age 44 to focus on family and ranching duties.[1] The couple managed daily operations, including farming oats, grain, and wheat, while raising 200 to 250 head of cattle with the help of hired hands and horses until introducing a tractor in the 1950s; they prioritized a low-key existence, entertaining only close friends like Gary Cooper and Randolph Scott while avoiding Hollywood's social scene and declining to film on the property.[32] Over the decades, portions of the ranch were sold or donated, reducing it to about 220 acres by the 1990s, with Dee contributing the remaining land to the Conejo Recreation and Park District in 1995 to preserve it as public open space.[1] Following McCrea's death on October 20, 1990—their 57th wedding anniversary—Dee resided for a time in the ranch's bunkhouse before relocating in her later years to be near her sons, including spending winters with Peter in Connecticut.[1][33] She died on March 6, 2004, at age 94 in Norwalk Hospital, Norwalk, Connecticut, from complications of a stroke, including pneumonia and a broken leg sustained prior to her passing.[1] Dee was cremated, and her ashes were scattered at sea.[5]Legacy and honors
Awards and recognition
In 1938, Frances Dee received the Photoplay Award for Best Performance of the Month (February) for her role as Justine Pryor in the Western film Wells Fargo, recognizing her portrayal of a resilient pioneer woman alongside Joel McCrea.[34] Dee was honored with a star on the Hollywood Walk of Fame in the Motion Pictures category, located at 7080 Hollywood Boulevard, with the ceremony held on February 1, 1994.[3] In 1983, she and her husband Joel McCrea shared a Lifetime Achievement Award from the American Cinema Awards, celebrating their enduring contributions to film as both individual performers and an iconic on-screen couple.[35][36] Earlier in her career, Dee earned industry recognition as one of the WAMPAS Baby Stars in 1931, a prestigious annual selection by the Western Association of Motion Picture Advertisers that highlighted promising young actresses noted for their talent and appeal.[8] Following her death in 2004, Dee received a posthumous Lifetime Achievement Award from the Mystic Film Festival in 2019, jointly with McCrea, presented through a tribute video and event that acknowledged their lasting legacy in classic cinema.[37]Cultural impact and remembrance
Frances Dee is remembered as an iconic figure of Hollywood's Golden Age, particularly for her versatile performances in pre-Code dramas like Working Girls (1931) and Blood Money (1933), atmospheric horror films such as I Walked with a Zombie (1943), and Westerns including Wells Fargo (1937) and Four Faces West (1948).[38][26] Her portrayals of elegant, resilient heroines—often marked by serene beauty and emotional depth—contributed to the archetype of the poised leading lady in classic cinema, influencing subsequent actresses in similar roles within period dramas and genre films.[14] Critics like James Agee praised her as a "touching" and "wholesome" presence, underscoring her ability to bring authenticity to complex characters amid the studio system's demands.[14] Her personal life further cemented Dee's cultural legacy, as her 57-year marriage to actor Joel McCrea from 1933 until his death in 1990 exemplified enduring stability in an era of Hollywood's tumultuous romances.[14][26] This union, which produced three sons and balanced stardom with family priorities on their California ranch, symbolized traditional values amid the glamour and scandals of the studio era, earning her media portrayals as a "survivor" of old Hollywood's challenges.[1] Dee's longevity—she lived to 96—and her rare public appearances at film conventions in later years reinforced this image of graceful endurance.[14] In contemporary remembrance, Dee's contributions have seen renewed interest through scholarly works and cultural initiatives, addressing gaps in recognition of her later television appearances and ranch-based community efforts. Ed Hulse's 2016 book Frances Dee: A Film History serves as a key reference, highlighting her as an "unjustly forgotten" star and cataloging her filmography to revive appreciation for her range.[39] Her role in Val Lewton's I Walked with a Zombie remains a staple in horror retrospectives, featured in film festival screenings and books on 1940s cinema for its innovative psychological tension.[40] The Joel and Frances McCrea Ranch Foundation perpetuates her legacy by preserving their historic property, hosting educational tours and summer movie nights showcasing classic films, while supporting local philanthropy such as land donations for community facilities like a YMCA in Thousand Oaks.[41] These efforts, alongside online archives of her underrepresented TV roles in series like Four Star Playhouse (1953–1954), ensure her influence endures in discussions of Golden Age versatility and off-screen benevolence.[6]Works
Feature films
Frances Dee's feature film career spanned from 1930 to 1954, during which she appeared in over 50 productions, often in supporting or leading roles that showcased her versatility in drama, romance, and occasional horror genres. Her roles ranged from glamorous socialites to resilient everyday women, contributing to the studio system's golden age output. The following chronological table lists her feature films, including title, role (where specified in contemporary sources), director, and studio. Uncredited appearances are noted; disputed extras, such as a potential role in Manslaughter (1930), are excluded due to lack of verification.[15]| Year | Title | Role | Director | Studio |
|---|---|---|---|---|
| 1930 | True to the Navy | Supporting sailor girl | Frank Tuttle | Paramount Publix Corp. |
| 1930 | A Man from Wyoming | Patricia Hunter | Rowland V. Lee | Paramount Publix Corp. |
| 1930 | Monte Carlo | Receptionist (uncredited) | Ernst Lubitsch | Paramount Publix Corp. |
| 1930 | Follow Thru | Lora (uncredited) | Laurence Schwab, Lloyd Corrigan | Paramount Publix Corp. |
| 1930 | Playboy of Paris | Jacqueline | Ludwig Berger | Paramount Publix Corp. |
| 1930 | Along Came Youth | Polly | Lloyd Corrigan, Norman Z. McLeod | Paramount Publix Corp. |
| 1931 | June Moon | Maxine | A. Edward Sutherland | Paramount Publix Corp. |
| 1931 | Caught | Peggy | Edward Sloman | Paramount Publix Corp. |
| 1931 | An American Tragedy | Sondra Finchley | Josef von Sternberg | Paramount Publix Corp. |
| 1931 | Rich Man's Folly | Ann Trumbull | John Cromwell | Paramount Publix Corp. |
| 1931 | Nice Women | Jerry Girard | Edwin H. Knopf | Universal Pictures Corp. |
| 1931 | Working Girls | Louise Adams | Dorothy Arzner | Paramount Publix Corp. |
| 1932 | This Reckless Age | Lois Ingals | Frank Tuttle | Paramount Publix Corp. |
| 1932 | Love Is a Racket | Jerry Bacon | William A. Wellman | First National Pictures, Inc. |
| 1932 | The Strange Case of Clara Deane | Claire | Louis J. Gasnier, Max Marcin | Paramount Publix Corp. |
| 1932 | The Night of June 13 | Ginger Blake | Stephen Roberts | Paramount Publix Corp. |
| 1932 | If I Had a Million | Edith (segment "The Clerk and the Burglar") | James Cruze (segment) | Paramount Publix Corp. |
| 1933 | King of the Jungle | Joan Tresler | H. Bruce Humberstone | Paramount Productions, Inc. |
| 1933 | The Silver Cord | Hester | John Cromwell | RKO Radio Pictures, Inc. |
| 1933 | The Crime of the Century | Crime witness | William Beaudine | Paramount Productions, Inc. |
| 1933 | Headline Shooter | Hal's girlfriend | Otto Brower | RKO Radio Pictures, Inc. |
| 1933 | One Man's Journey | Letty McGinnis | John S. Robertson | RKO Radio Pictures, Inc. |
| 1933 | Little Women | Meg March | George Cukor | RKO Radio Pictures, Inc. |
| 1933 | Blood Money | Elaine Talbert | Rowland Brown | 20th Century Pictures, Inc. |
| 1934 | Keep 'Em Rolling | Molly Carlyle | George Archainbaud | RKO Radio Pictures, Inc. |
| 1934 | Coming Out Party | Joy Stanhope | John G. Blystone | Fox Film Corp. |
| 1934 | Finishing School | Virginia Radcliffe | Wanda Tuchock, George Nicholls Jr. | RKO Radio Pictures, Inc. |
| 1934 | Of Human Bondage | Sally Athelny | John Cromwell | RKO Radio Pictures, Inc. |
| 1935 | Becky Sharp | Amelia Sedley | Rouben Mamoulian | Pioneer Pictures, Inc. |
| 1935 | The Gay Deception | Mirabel Acuna | William Wyler | Fox Film Corp. |
| 1936 | Half Angel | Jane Carroll / Flo Clark | Sidney Lanfield | Twentieth Century-Fox Film Corp. |
| 1937 | Souls at Sea | Margaret "Maggie" Tarryton | Henry Hathaway | Paramount Pictures, Inc. |
| 1937 | Wells Fargo | Mary Mack | Frank Lloyd | Paramount Pictures, Inc. |
| 1938 | If I Were King | Lady Isobel | Frank Lloyd | Paramount Pictures, Inc. |
| 1939 | Coast Guard | Nancy Bliss | Edward Ludwig | Columbia Pictures Corp. |
| 1941 | So Ends Our Night | Julie Kirchberg | John Cromwell | David L. Loew-Albert Lewin, Inc. |
| 1941 | A Man Betrayed | Tonia Seward | John H. Auer | Republic Pictures Corp. |
| 1942 | Meet the Stewarts | Candace "Candy" Goodwin | Alfred E. Green | Columbia Pictures Corp. |
| 1943 | I Walked with a Zombie | Betsy Connell | Jacques Tourneur | RKO Radio Pictures, Inc. |
| 1943 | Happy Land | Lena Stoddard | Irving Pichel | Twentieth Century-Fox Film Corp. |
| 1945 | Patrick the Great | Jean Matthews | Frank Ryan | Universal Pictures Company, Inc. |
| 1947 | The Private Affairs of Bel Ami | Marie Louvet | Albert Lewin | Loew-Lewin, Inc. |
| 1948 | Four Faces West | Fay Hollister | Alfred E. Green | Harry Sherman Pictures, Inc. |
| 1951 | Payment on Demand | Eileen Benson | Curtis Bernhardt | Gwenaud Productions, RKO Radio Pictures, Inc. |
| 1951 | Reunion in Reno | Vivian Kirk | Kurt Neumann | Universal-International Pictures Co., Inc. |
| 1952 | Because of You | Susan Arnold | Joseph Pevney | Universal-International Pictures Co., Inc. |
| 1953 | Mister Scoutmaster | Helen Jordan | Henry Levin | Twentieth Century-Fox Film Corp. |
| 1954 | Gypsy Colt | Em MacWade | Andrew Marton | Metro-Goldwyn-Mayer Corp. |