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Helene Costello
Helene Costello
Helene Costello
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Helene Costello (June 21, 1906 – January 26, 1957) was an American stage and film actress, most notably of the silent era.

Key Information

Early life and career

[edit]
Costello (child) with Mary Maurice, Earle Williams, and the "Vitagraph Dog" Jean in The Church Across the Way, 1912

Born in New York City, Costello was the youngest daughter of the prominent stage and pioneering film actor Maurice Costello and his actress wife Mae Costello (née Altschuk).[1] She had an older sister Dolores, who also became an actress and would go on to marry John Barrymore.[2] Costello first appeared on screen, opposite her father, in the 1909 film adaptation of Victor Hugo's Les Misérables.[3] She would continue acting in films throughout the 1910s as a child actor and also worked in vaudeville and appeared in stage roles.[4] In 1924, she appeared with her sister Dolores in George White's Scandals. Shortly thereafter, both sisters signed contracts with Warner Bros.[5] Costello reached her peak of public popularity in the mid-1920s and earned a reported $3,000 a week.[6]

Although she had been appearing on screen since her early childhood, Costello was selected as a WAMPAS Baby Star in 1927, a promotional campaign sponsored by the Western Association of Motion Picture Advertisers in the United States, which honored thirteen young women each year whom they believed to be on the threshold of movie stardom. In 1928, Costello co-starred in the first all-talking full-length feature film Lights of New York. Later that same year, she was released from her contract with Warner Bros. after she refused to star as a leading lady opposite Rin Tin Tin once again; she had previously appeared alongside the canine star in the 1926 film While London Sleeps.[4] Costello's final substantial role was opposite her sister Dolores in the all-star Technicolor musical revue The Show of Shows (1929). Costello and her sister performed in the "Meet My Sister" musical number.

After the advent of sound, Costello's career declined reportedly because her voice did not record well.[4] She was also beset with personal problems including illnesses, an addiction to drugs and alcohol, three divorces, a public custody battle with her third ex-husband and financial difficulties.[6][7] From 1930 to 1934, Costello did not appear in a film. In September 1935, she signed a contract with Metro-Goldwyn-Mayer and returned to the screen in a supporting role in Riffraff (1936).[8] Her final role was a bit part in the 1942 film The Black Swan. Later in 1942, Costello filed for bankruptcy.[6]

Personal life

[edit]

Costello was married four times, each marriage ending in divorce. Her first marriage was to football player John W. Regan in 1927. They divorced in June 1928.[9] Costello's second marriage was to actor/director Lowell Sherman, whom she married on March 15, 1930, in Beverly Hills.[2] They separated in November 1931 and were divorced in May 1932.[10][11] Costello's third marriage was to Dr. Arturo de Barrio, a lawyer who came from a prominent Cuban family. They were married in Havana on January 6, 1933.[12] Their marriage was considered invalid because Costello's divorce from her second husband was not finalized. They married for a second time in June 1933 in Los Angeles.[13] They were divorced in 1939.

Her fourth and final marriage was to artist George Lee Le Blanc, whom Costello married in 1940. The couple had a daughter, Diedre, on February 18, 1941.[14] Costello filed for divorce on August 6, 1947.[15] Shortly after Costello filed for divorce, Le Blanc joined the Merchant Marine. Before leaving, Le Blanc left Diedre in the care of Costello's sister Dolores claiming that Costello was unfit to care for Diedre because of her alcoholism.[16] Costello denied Le Blanc's claim and attempted to regain sole custody in September 1947. During one custody hearing, Costello's father and Lionel Barrymore (Dolores Costello's ex brother-in-law) testified that Costello did not have a drinking problem.[17] In April 1948, Costello was forced to drop her suit due to financial troubles and Le Blanc was awarded temporary custody of Diedre.[18] Costello and Le Blanc were divorced in June 1948.[19]

Death

[edit]

On January 24, 1957, Costello was admitted to Patton State Hospital under the assumed name of Adrienne Costello for treatment for a drug and alcohol addiction. She died there two days later of pneumonia.[6][7] Her sister, Dolores Costello Barrymore, was with her when she died.[20] Her funeral was held on January 30, after which she was interred in an unmarked grave at Calvary Cemetery in East Los Angeles.[21][22]

Other

[edit]

For her contribution to the motion film industry, Helene Costello has a star on the Hollywood Walk of Fame at 1500 Vine Street in Hollywood.[3]

Comedian Lou Costello, born Louis Cristillo, changed his name in honor of Helene Costello. Coincidentally, both of them were born in 1906.

Filmography

[edit]
Short subject
Year Title Role Notes
1909 Les Misérables Child Part 1
1909 A Midsummer Night's Dream Fairy
1911 Consuming Love; or, St. Valentine's Day in Greenaway Land
1911 A Quaker Mother The Harmon Daughter
1911 Courage of Sorts
1911 The Geranium
1911 Captain Barnacle's Baby The Baby
1911 Her Crowning Glory Helen, the Child
1911 The Child Crusoes
1911 His Sister's Children Boker aka Toodle Credited as Helen Costello
1911 Regeneration The Ross Child
1911 Auld Lang Syne The Child
1911 A Reformed Santa Claus The Widow's 2nd Child
1911 The Old Doll The Child
1912 Captain Jenks' Dilemma One of Widow Brown's Children
1912 The Meeting of the Ways One of Tom's Children
1912 Tom Tilling's Baby The Carter Baby
1912 Captain Barnacle's Messmates A Child
1912 The First Violin Helen - A Little Waif
1912 The Five Senses
1912 At Scroggineses' Corner Alice as a Child Credited as Helen Costello
1912 The Greatest Thing in the World A Lost Child
1912 Lulu's Doctor
1912 The Days of Terror; or, in the Reign of Terror
1912 The Church Across the Way Adele - The Child Credited as Helen Costello
1912 The Troublesome Step-Daughters
1912 The Money Kings
1912 The Black Sheep Clara Moreland as a Child
1912 Wanted... a Grandmother Phillip - Hale's Invalid Son
1912 Rip Van Winkle Steenie as a Child
1912 Captain Barnacle's Legacy The Little African Child
1912 The Irony of Fate Third Child
1912 The Toymaker Another Child Unconfirmed
1912 In the Garden Fair Mrs. Rose's Daughter, Helen
1912 Six O'Clock The Child
1912 The Servant Problem; or, How Mr. Bullington Ran the House One of the Third Cook's Three Children
1912 The Night Before Christmas Helen Corbin - The Child
1912 Two Women and Two Men Little Nellie Thornwell
1912 Days of Terror
1913 Mr. Bolter's Niece Pet - Mr. Bolter's Niece
1913 Buttercups Second Child
1913 Just Show People
1913 Beau Brummel Child Uncredited
Lost film
1913 Tim Grogan's Foundling Pearl Ligard - The Foundling Credited as Helen Costello
1913 The One Good Turn
1913 The Mystery of the Stolen Child The Stolen Grandchild
1913 The Hindoo Charm Helen Tilbury - The Younger Child
1913 Fortune's Turn The Child
1913 The Other Woman John's Child
1913 Heartbroken Shep Runa
1913 The Fruits of Vengeance Pauline's Child
1913 Matrimonial Manoeuvres Little Nellie
1913 The Doctor's Secret Elsa, as a child Lost film
1913 The Price of Thoughtlessness Mabel
1913 Fellow Voyagers Little Helen Gray
1913 A Christmas Story Bessie's Child
1914 Bunny's Mistake Little Helene
1914 Some Steamer Scooping Helen Reigel
1914 Memories That Haunt Little Annie Credited as Helen Costello
1914 Etta of the Footlights
1914 The Mysterious Lodger Brent's Child
1914 The Barrel Organ The Child
1914 The Blood Ruby Hugh's Child
1914 Too Much Burlgar
1914 By the Governor's Order Little Hope
1915 The Evil Men Do Beatrice - as a Little Girl
1915 Lifting the Ban of Coventry Helen Stuyvesant - their child
1915 The Heart of Jim Brice
1916 Billie's Mother Billie
Features
Year Title Role Notes
1912 Cleopatra Nicola - a Child
1925 Ranger of the Big Pines Virginia Weatherford Lost film
The Man on the Box Bob's Sister
Bobbed Hair Uncredited
1926 The Love Toy Princess Patricia Lost film
Wet Paint She Lost film
Don Juan Rena - Adriana's Maid Uncredited
The Honeymoon Express Margaret Lambert Lost film
Millionaires Ida Lost film
While London Sleeps Dale Burke Lost film
1927 Finger Prints Jacqueline Norton Lost film
The Fortune Hunter Josie Lockwood Lost film
The Broncho Twister Paulita Brady Lost film
The Heart of Maryland Nancy Incomplete film
Good Time Charley Rosita Keene - Daughter
In Old Kentucky Nancy Holden Lost film
Husbands for Rent Molly Devoe Lost film
1928 Burning Up Broadway Floss Lost film
Comrades Helen Dixon Lost film
The Phantom of the Turf Joan Lost film
Lights of New York Kitty Lewis
The Midnight Taxi Nan Parker
The Circus Kid Trixie
Broken Barriers Beryl Moore Lost film
1929 When Dreams Come True Caroline Swayne Lost film
The Fatal Warning Dorothy Rogers Lost film
Innocents of Paris Bit Role Uncredited
The Show of Shows Performer in "Meet My Sister" Number
1935 Public Hero No. 1 Undetermined Role Uncredited
1935 Honeymoon Limited Mrs. Randall
1936 Riffraff Maizie
1942 The Black Swan Woman Uncredited

References

[edit]
[edit]
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Helene Costello

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Helene Costello (June 21, 1906 – January 26, 1957) was an American stage and film actress, best known for her work in silent films during the 1920s, where she rose to stardom as a leading lady after beginning her career as a child performer in over 60 pictures. Born in to actor and his wife, she frequently appeared alongside her older sister, , both on stage in acts and in early films like the 1909 short . Named a WAMPAS Baby Star in 1927, Costello earned up to $3,000 per week at the peak of her fame, appearing alongside major figures such as in notable productions including (1926). Her career transitioned briefly into sound films with a role in Lights of New York (1928), recognized as Hollywood's first all-talking , though she largely retired from acting by 1930 amid personal and professional challenges. The daughter of a prominent matinee idol, Costello debuted on screen at age three in her father's films, building a foundation in juvenile roles through the while also performing in family routines that showcased the sisters' dancing talents. By the mid-1920s, she had transitioned to adult leads in productions such as Bobbed Hair (1925) and Good Time Charley (1927), capitalizing on her petite frame and expressive features to embody the era's archetypes. Despite her early success, Costello's trajectory was overshadowed by her sister's more enduring stardom—Dolores, who later married , often received greater acclaim—and by the advent of talkies, which favored different vocal styles. Costello's personal life was marked by turbulence, including four marriages—to John W. Regan (1927–1928), director Lowell Sherman (1930–1932), Arturo de Barrio, and George Lee LeBlanc, with whom she had a daughter, —and struggles with , narcotics , and financial ruin. After filing for bankruptcy in 1942 and losing custody of to her sister in a legal battle, she worked sporadically as a script reader for 20th Century Fox in the 1940s before health issues confined her to the Motion Picture Country Home and, eventually, . She died there at age 50 from and , leaving behind a legacy honored by a star on the at 1500 Vine Street, awarded posthumously in 1960.

Early Life

Family and Childhood

Helene Costello was born on June 21, 1906, in to , a prominent stage actor known for his work in early theater productions, and (née Altschuk), an actress active in the nascent film and stage scenes. The family resided in during her early years, forming a quintessential household where entertainment was the central focus. The Costellos' home life revolved around the demands of Maurice's career, which included vaudeville performances and theatrical tours that often required the family to relocate frequently across various cities and venues. This nomadic existence exposed young Helene to the rhythms of the from infancy, with her parents' routines shaping daily family dynamics amid the instability of touring schedules in playhouses and auditoriums. Her older sister, , born September 17, 1903, in , , shared this environment and later achieved significant success as a star, marrying actor and becoming the grandmother of actress . Helene's formative years were immersed in a vaudeville-influenced world, where Maurice's early acts, such as his 1894 singing performances, underscored the family's deep ties to live traditions. Formal for Helene was likely limited by the transient lifestyle, prioritizing instead through observation of her parents' professional world and the cultural milieu of New York City's theater districts. Non-professional influences, including the Irish Catholic boarding house environment of Maurice's own upbringing in , indirectly colored the family's values of resilience amid economic and performative uncertainties.

Introduction to Entertainment

Helene Costello entered the entertainment industry at the tender age of three, making her professional debut in the 1909 silent film adaptation of Victor Hugo's Les Misérables, where she appeared opposite her father, Maurice Costello, who portrayed Jean Valjean. This early exposure marked the beginning of her career in the burgeoning medium of motion pictures, produced by the Vitagraph Company of America. Born into a family already entrenched in show business, with her father being a prominent stage actor who had transitioned to film, Costello's debut capitalized on the era's fascination with family acts in the nascent film industry. In the early , Costello became involved in performances alongside her family, including her sister Dolores and parents, performing in variety acts that showcased juvenile talents across theaters. These engagements complemented her growing presence in short films and stage plays, where she took on juvenile roles that highlighted her youthful charm and versatility. The family's act gained popularity, blending live theater with the novelty of early cinema, allowing Costello to hone her skills in diverse performance formats. Her screen debut in paved the way for a prolific output of child roles in silent shorts, amassing over 20 appearances by 1915, often portraying innocent or spirited young characters in comedies and dramas produced by studios like Vitagraph. These early film works, typically one- or two-reelers, established her as a reliable child performer in the competitive landscape of nickelodeon-era cinema. As Costello transitioned from child performer to teenager in the mid-1910s, she maintained involvement in non-film stage work and , performing in family-oriented productions and independent theater engagements before securing more substantial film contracts later in the decade. This period allowed her to build experience in live audiences, bridging her juvenile beginnings with emerging opportunities in feature-length films.

Career

Child and Early Adult Roles (1909–1923)

Helene Costello entered the film industry as a child actress at the age of three, debuting in the 1909 Vitagraph Studios adaptation of Victor Hugo's Les Misérables, where she portrayed a young girl alongside her father, Maurice Costello, who starred as Jean Valjean. This early exposure, facilitated by her father's prominence as a stage and screen matinee idol, led to numerous juvenile roles in silent shorts and features throughout the 1910s, primarily with Vitagraph and other independent producers. These family-oriented productions often featured her in supporting parts as innocent children or young siblings, building her experience in dramatic and comedic scenarios. Costello's collaborations with her father were frequent in these years, including the 1909 Shakespeare adaptation , in which she played a in the whimsical fantasy directed by . By 1911, she appeared in Her Crowning Glory, a comedy short directed by Laurence Trimble, depicting a mischievous whose elaborate hairstyle causes family mishaps. The following year marked a prolific period, with roles in Vitagraph shorts such as Lulu's Doctor, where she enacted a sickly under medical care, and the Cleopatra, portraying Nicola, a young attendant to the queen, again opposite her father. Additional 1912 appearances included The Anarchist's Wife as a in a tense domestic tale and In the Garden Fair as Helen, the daughter of a widowed mother, highlighting her versatility in emotional supporting parts. As a child performer, Costello navigated the era's constraints on young actors, including typecasting in wholesome, precocious roles that emphasized cuteness over complexity, a common hurdle for juvenile stars reliant on studio contracts. Her earnings during this period were modest, reflecting the limited budgets of short films and her status as a supporting player, in stark contrast to the $3,000 weekly salary she later commanded as an adult lead in the late 1920s. Family dynamics added further challenges; Maurice Costello's declining career due to personal issues strained finances, yet his influence secured her steady work in independent shorts and occasional features. By her early teens in the late , Costello continued accumulating credits in mystery serials and dramas. Approaching adulthood around 1923 at age 17, she shifted toward transitional roles in larger ensemble casts, including minor appearances in independent productions that allowed her to experiment beyond child characters while honing skills for impending leading opportunities. These experiences solidified her reputation as a reliable young talent, setting the stage for her evolution into mature ingenue parts.

Silent Film Stardom (1924–1929)

In 1925, Helene Costello signed a one-year contract with Warner Bros., transitioning from supporting roles to prominent leading lady positions that capitalized on her youthful charm and established her as a rising star in the late silent era. This deal marked a significant escalation in her career, building on her earlier child and adolescent appearances to position her alongside major talents in high-profile productions. By the mid-1920s, her popularity had surged, earning her a reported salary of $3,000 per week at the peak of her silent film success. Costello's breakthrough came with her selection as one of the in 1927, an accolade from the Western Association of Motion Picture Advertisers that highlighted thirteen promising young actresses each year and signified substantial industry endorsement of her potential. This recognition underscored her on-screen persona as a glamorous , embodying elegance and innocence in romantic dramas and comedies. Notable examples include her appearance in (1926), where she contributed to the film's lavish spectacle opposite , and Wet Paint (1926), a lighthearted comedy that showcased her comedic timing and appeal as a sophisticated young woman navigating social entanglements. Her silent era culminated in landmark films that bridged the transition to sound. In Lights of New York (1928), Costello took the female lead as Kitty Lewis, a chorus girl entangled in a plot, in what is recognized as the first full-length all-talking , demonstrating her adaptability amid technological shifts. The following year, she appeared alongside her sister Dolores in the revue (1929), performing in musical numbers that celebrated Warner Bros.' stable of stars and marked a celebratory close to her silent stardom phase.

Sound Era and Later Career (1930–1942)

With the advent of sound films in the late , Helene Costello encountered substantial difficulties in adapting to the new medium, primarily due to her voice not recording well on early sound equipment, which contrasted sharply with her success in silent cinema. This led to her being typecast in supporting and minor roles rather than leading parts, as studios prioritized performers whose voices suited the technology. After appearing in the transitional all-talking film Lights of New York (1928) as Kitty Lewis, her opportunities diminished, with no credited roles from 1930 to 1934. In 1935, Costello made uncredited and supporting appearances, including as a convict's wife in Public Hero No. 1 and as Mrs. Randall in Honeymoon Limited. In September 1935, she signed a short-term contract with . Later that year, she played a small supporting role as Maizie in the prison drama Riffraff (1936), directed by J. Walter Ruben and starring and . By the late 1930s, Costello's film work became increasingly sporadic and uncredited, reflecting a broader decline in demand for her talents as younger actors dominated the sound era. She appeared in occasional bit parts, such as an uncredited role as a woman in the The Black Swan (1942), directed by Henry King and starring and . This marked her final screen appearance after a career spanning over 70 feature films. Studio politics, including contract disputes and the preference for established sound performers, along with periodic health-related absences, further limited her prospects, leading to her retirement from acting around 1942. In the early 1940s, she briefly worked as a story reader for 20th Century Fox before financial difficulties culminated in bankruptcy filings that year.

Personal Life

Marriages and Divorces

Helene Costello's first marriage was to John W. Regan, a and tennis player from New York and her childhood acquaintance, on September 27, 1927, in a simple ceremony at the Church of the Good Shepherd in . The union lasted less than a year; Costello filed for in February 1928, citing Regan's excessive drinking and use of harsh language toward her. The was granted in June 1928 on grounds of incompatibility, with Costello receiving custody of their shared assets but no . Her second marriage, to actor and director Lowell Sherman, took place on March 15, 1930, at the home of Sherman's brother in . Nearly 20 years her senior, Sherman had been previously married twice; the couple's relationship drew significant media attention due to their Hollywood prominence. They separated in November 1931 after a tumultuous period marked by public arguments and Sherman's attempts to obtain a quick , which Costello contested. The divorce was finalized in May 1932 on Costello's cross-complaint, with the judge refusing to recognize the Mexican proceedings and awarding her a settlement amid allegations of cruelty from both sides. These marital strains briefly interrupted Costello's film work during the transition to sound pictures. Costello's third marriage was to Arturo de Barrio, a and member of a prominent Cuban family involved in , on January 12, 1933, in , . The ceremony occurred shortly before her from Sherman was fully resolved in the , rendering the union initially invalid under law, though it was later validated. The couple resided partly in , where de Barrio hoped to launch film production ventures, but the marriage deteriorated due to financial disagreements and Costello's return to the . They separated in 1939, with de Barrio filing for on grounds of ; the was finalized in 1939 amid disputes over property and support. Her fourth and final marriage was to artist George Lee Le Blanc on August 14, 1940, in , . Le Blanc, who worked in Hollywood's department, provided a more stable partnership initially, though the union was influenced by the industry's social circles. The couple divorced in 1948 following years of personal challenges, including Costello's waning career opportunities. Helene Costello gave birth to her only child, a daughter named Deidre Le Blanc, on February 18, 1941, during her marriage to artist George Lee Le Blanc. In late 1947 and early 1948, Costello engaged in a contentious custody battle over Deidre with Le Blanc, who alleged neglect and instability on her part; Superior Court Judge Byron J. Walters ruled in favor of temporary custody for the father in December 1947, citing the child's welfare. By April 1948, amid escalating financial difficulties that prevented her from continuing legal proceedings, Costello was compelled to withdraw her appeal, resulting in Le Blanc receiving full temporary custody of the six-year-old Deidre. Custody was later transferred to her sister Dolores Costello, who held it temporarily before relinquishing it back to Le Blanc. Costello's adulthood was marked by strained relations with her family, including her sister and parents Maurice and , exacerbated by Maurice's alcoholism and jealousy over Dolores's high-profile 1928 marriage to , which created ongoing tensions within the household. These familial conflicts were compounded by financial dependencies, as the family's early Hollywood success gave way to instability following Mae's death in 1929, leaving Helene increasingly reliant on intermittent support amid her own economic challenges. The unresolved custody loss and persistent family discord contributed to long-term instability in Costello's , fostering isolation and emotional strain that persisted into the late 1940s.

Later Years and Death

Health Decline and Institutionalization

Following her retirement from acting after a minor role in the 1942 film The Black Swan, Helene Costello faced mounting financial difficulties that compounded her physical decline. She filed for that same year, listing significant debts against minimal assets. By 1947, Costello described herself as destitute, relying on charitable donations from the motion picture industry for basic clothing and support while living temporarily at the Motion Picture Country Home in Woodland Hills, California. These economic hardships, stemming from the abrupt end of her once-lucrative career, exacerbated her stress and contributed to a broader deterioration in her well-being. In the late 1940s and early 1950s, Costello's health worsened due to chronic illnesses that left her too frail for regular work. She worked sporadically as a script reader for 20th Century Fox during the 1940s. Reports indicated she suffered from respiratory issues, including a severe chest ailment that progressed into tuberculosis, rendering her increasingly isolated and unable to sustain employment. This physical decline was intertwined with the era's Hollywood pressures, where fading stars often grappled with inadequate support systems, leading to widespread cases of substance dependency and mental strain among former celebrities. Her condition deteriorated further amid ongoing personal turmoil, fostering an environment of limited family contact and public awareness. By the mid-1950s, Costello's struggles culminated in severe and alcohol addiction. On January 24, 1957, at age 50, she was admitted to in —a psychiatric facility—under the pseudonym Adrienne Costello for treatment of her addictions. During her brief stay, she experienced profound isolation, with little public knowledge of her circumstances until after her passing; her sister, Barrymore, was present at the end. Institutional conditions at Patton, focused on rehabilitation for and substance issues, offered limited recovery prospects given her advanced frailty, reflecting the era's often stigmatized and under-resourced approaches to such care for aging entertainers.

Death and Burial

Helene Costello died on January 26, 1957, at the age of 50, from pneumonia and tuberculosis while undergoing treatment at Patton State Hospital in San Bernardino, California. By the time of her death, Costello had long faded from public view, resulting in limited media attention to her passing; a brief obituary in The New York Times noted her earlier stardom and institutionalization for narcotics addiction, but coverage was sparse due to her obscurity and the remote location of the state hospital. She was buried in an unmarked grave at Calvary Cemetery in East , the only such grave in the Costello family plot. The funeral drew few mourners, with journalists serving as pallbearers. Costello left behind a , Deirdre, from her fourth .

Legacy

Professional Honors

In 1927, Helene Costello was selected as one of the , an annual promotional honor by the Western Association of Motion Picture Advertisers recognizing thirteen promising young actresses on the verge of stardom. For her contributions to the motion picture industry, Costello received a star on the at 1500 Vine Street in Hollywood, , awarded posthumously on February 8, 1960.

Cultural Impact and References

Helene Costello's name endures in popular culture partly through its adoption by comedian Lou Costello, born Louis Cristillo in 1906—the same year as Helene—who chose his stage surname in her honor during his early career aspirations in show business. In film histories, Costello is frequently referenced as a transitional figure from silent cinema to sound, particularly for her lead role in Lights of New York (1928), recognized as the first full-length all-talking feature film, which marked a pivotal technological shift in Hollywood production. Her collaborations with sister Dolores Costello, including joint appearances in early Warner Bros. productions like Show of Shows (1929), exemplify the rare sister-act dynamic in the 1920s studio system, highlighting the Costello family's role as one of Hollywood's earliest acting dynasties. Costello has appeared in modern media through documentaries on silent film stars, such as tributes produced by the , which honor her contributions to early cinema. She received a star on the in 1960, serving as a lasting physical tribute to her pioneering work. Despite these nods, Costello's legacy remains underrepresented compared to her sister Dolores, whose high-profile marriage to overshadowed Helene's achievements and contributed to her relative obscurity in mainstream narratives. Recent scholarship, such as Terry Chester Shulman's 2019 book Film's First Family: The Untold Story of the Costellos, seeks to address this gap by emphasizing Helene's historical significance and advocating for her rediscovery among silent era icons.

Filmography

Silent Films

Helene Costello began her film career as a child actress in the silent era, appearing in over 60 short films produced by the Vitagraph Company of America between 1909 and 1916, frequently alongside her father, Maurice Costello, in comedic and dramatic vignettes. These early works, often one- or two-reelers, showcased her in minor roles such as children or supporting characters in family-oriented stories, with representative examples including A Midsummer Night's Dream (1909, as a fairy), Her Crowning Glory (1911, as Helen, the child), and Lulu's Doctor (1912, as Little Lulu). After a period away from the screen during her teenage years, she returned in the mid-1920s as an adult performer, transitioning to feature-length silent films with independent producers and later Warner Bros., where her roles evolved from supporting ingenue parts to leading dramatic and romantic leads. In total, Costello's output included dozens of Vitagraph shorts and approximately 15 features from 1925 to 1929, reflecting her progression from child performer to established starlet under contracts.

Key Silent Features (1925–1929)

The following table lists her major silent feature films from the , grouped by year, with brief annotations on roles and significance. These productions, primarily distributed by after 1926, highlighted her versatility in Westerns, romances, and early sound experiments. Note: Several films are lost.
YearTitleRoleStudio/Notes
1925Ranger of the Big PinesVirginia WeatherfordUniversal; her first adult lead in a Western drama (lost film), establishing her post-childhood presence.
1925Bobbed HairUndetermined secondary role (uncredited)Warner Bros.; light comedy.
1925The Man on the BoxBob's SisterWarner Bros.; romantic comedy supporting role opposite Sydney Chaplin.
1926Don JuanRena - Adriana's Maid (uncredited)Warner Bros.; brief cameo opposite John Barrymore; notable as the first major film with synchronized Vitaphone music and sound effects, boosting her visibility (partially lost).
1926Wet PaintFeminine leadFirst National; lead in a romantic comedy opposite Raymond Griffith, demonstrating her comedic timing (lost film).
1926The Honeymoon ExpressMargaret LambertWarner Bros.; adventure-romance with exotic settings, furthering her leading lady status.
1926The Love ToyPrincess TatianaWarner Bros.; satirical comedy where she played a royal figure, highlighting her dramatic range (lost film).
1927Good Time CharleySunny PenningtonWarner Bros.; musical comedy lead, praised for her vivacious performance opposite Warner Oland.
1927In Old KentuckyJeanne DupreeWarner Bros.; romantic drama set in horse-racing world, solidifying her as a Warner star.
1928The Midnight TaxiNan ParkerWarner Bros.; part-talkie mystery, blending her silent training with emerging dialogue.
1929The Fatal WarningDorothy RogersColumbia; lead in a mystery serial, one of her last pure silents before full sound transition (lost film).
1929The Show of ShowsHerself (in revue segments)Warner Bros.; all-star variety revue with musical numbers, featuring her in song-and-dance routines.

Sound Films

Helene Costello transitioned to sound films amid the industry's shift from silent cinema, appearing in a series of productions that highlighted her adaptability but increasingly relegated her to supporting and uncredited roles as her star status diminished. Her sound era work, spanning 1929 to 1942, featured fewer credits than her silent period, reflecting personal challenges and industry changes, with notable appearances in early talkies and later bit parts in major studio films. Key sound films include:
  • Lights of New York (1928), as Kitty Lewis opposite Cullen Landis, directed by Bryan Foy; lead in a gangster thriller, historically significant as the first full-length all-talking feature film.
  • When Dreams Come True (1929), as Caroline Swayne alongside Rex Lease and Claire McDowell, directed by Duke Worne; lost romantic drama.
  • Innocents of Paris (1929), an uncredited bit role in the Maurice Chevalier musical comedy directed by Richard Wallace, emphasizing her presence in high-profile early sound musicals.
  • The Show of Shows (1929), performing in the "Meet My Sister" number with her sister Dolores Costello, in John G. Adolfi's all-star revue featuring Frank Fay and H.B. Warner; a significant cameo in Warner Bros.' lavish production celebrating the talkie era.
Following a hiatus from 1930 to 1934, Costello returned under contract with in 1935, taking on smaller parts.
  • Honeymoon Limited (1935), portraying Mrs. Randall with Neil Hamilton and Lloyd Hughes, directed by Arthur Lubin; a highlighting her supporting comedic timing.
  • Public Hero No. 1 (1935), an uncredited role as Convict Wife in J. Walter Ruben's crime drama starring and .
Her subsequent credited role came in:
  • Riffraff (1936), as Maizie opposite and , directed by J. Walter Ruben; this MGM drama represented one of her last substantial sound appearances before another extended break.
Costello's final screen credit was a brief uncredited cameo after years away from acting:

References

  1. https://projects.latimes.com/hollywood/star-walk/helene-costello/
  2. https://www.findagrave.com/memorial/5898800/helene-costello
  3. https://www.nytimes.com/1957/01/29/archives/helene-costello-silentfilm-star-dies-had-brief-career-in-nineteen.html
  4. https://walkoffame.com/helene-costello/
  5. https://lareviewofbooks.org/article/forgotten-movie-royalty
  6. https://www.imdb.com/name/nm0182537/
  7. https://www.imdb.com/name/nm0182557/bio/
  8. https://www.imdb.com/title/tt0143264/
  9. https://travsd.wordpress.com/2017/06/21/helene-costello-began-at-the-top/
  10. https://www.imdb.com/name/nm0182557/
  11. https://www.imdb.com/title/tt0000966/
  12. https://www.imdb.com/title/tt0001660/
  13. https://www.imdb.com/title/tt0222168/
  14. https://www.themoviedb.org/person/1047595-helene-costello
  15. https://www.tcm.com/tcmdb/person/39751%7C68707/Helene-Costello
  16. https://www.imdb.com/title/tt0019096/
  17. https://www.imdb.com/title/tt0026895/
  18. https://www.imdb.com/title/tt0026379/
  19. https://www.imdb.com/title/tt0034522/fullcredits
  20. https://www.nytimes.com/1928/02/16/archives/helen-costello-sues-for-divorce.html
  21. https://www.nytimes.com/1930/03/16/archives/helene-costello-weds-actors-daughter-married-to-lowell-sherman-at.html
  22. https://www.nytimes.com/1931/12/20/archives/lowell-shermans-make-settlement.html
  23. https://www.nytimes.com/1932/05/11/archives/helene-costello-wins-divorce-on-crossbill-judge-on-coast-refuses.html
  24. https://newspaperhub.mnhs.org/?a=d&d=sppp19330113.1.3
  25. https://hojishinbun.hoover.org/?a=d&d=thi19330113-01.1.10&l=en
  26. https://www.imdb.com/name/nm0182557/trivia/
  27. https://www.findagrave.com/memorial/47563230/lee_g-leblanc
  28. https://newspaperarchive.com/bakersfield-californian-jan-01-1948-p-3/
  29. https://newspaperarchive.com/kingsport-news-jan-01-1948-p-11/
  30. https://cdm17175.contentdm.oclc.org/digital/collection/SanMonNP21/id/395/
  31. https://www.youtube.com/watch?v=ZY_80SsH16g
  32. https://catalog.afi.com/Catalog/PersonDetails/68707
  33. https://www.silentera.com/PSFL/data/W/WetPaint1926.html
  34. https://www.imdb.com/title/tt0016981/
  35. https://www.imdb.com/title/tt0017085/
  36. https://www.imdb.com/title/tt0017946/
  37. https://www.imdb.com/title/tt0019165/
  38. https://www.imdb.com/title/tt0019873/
  39. https://www.imdb.com/title/tt0020579/
  40. https://www.imdb.com/title/tt0020026/
  41. https://www.tcm.com/tcmdb/person/39751|68707/Helene-Costello
  42. https://www.imdb.com/title/tt0026487/
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