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Mae Elizabeth Hampton (February 19, 1897 – January 23, 1982), known professionally as Hope Hampton, was an American actress and soprano. She was a silent motion picture actress and producer noted for her seemingly effortless incarnation of siren and flapper types in silent-picture roles during the 1920s. She was also an opera singer.[1][2]

Key Information

Early life and silent movie career

[edit]

The daughter of Ellsworth Kraft Hampton[3] and his wife Evelyn Grace Hampton,[4] Hope Hampton was born in Houston, Texas on February 19, 1897.[5] She was raised in Philadelphia, Pennsylvania.[6] She attended H. Sophie Newcomb Memorial College in New Orleans.[7] There she participated in student productions of plays.[8] Wishing to pursue a career as an actress, she studied drama at the American Academy of Dramatic Arts (then known as the Sargent Dramatic School) in New York City.[8]

Hampton won a newspaper beauty contest in Dallas after one of her friends submitted her photograph to a local paper. The attention from this led to an offer to work in silent films.[8] She first worked for director Maurice Tourneur in a minor uncredited part in Woman (1918).[9] Through Tourneur she met American silent cinema pioneer Jules Brulatour.[7] Brulatour, who was then married to Dorothy Gibson, began an affair with Hope and his marriage to Gibson ended in divorce in 1919.[10] Brulatour was determined to make Hope a star, and founded Hope Hampton Productions to make films with her as his leading actress.[11] Her first leading role in a film with this company was in the title part of A Modern Salome (1920).[7]

She went on to feature prominently in several Brulatour-financed films. In 1923, Hampton and Brulatour wed. They remained married until his death in 1946.[2]

Soprano

[edit]

A lyric soprano,[12] Hampton was trained as an opera singer by voice teachers Pietro Cimini[13] and Estelle Liebling; the latter also the teacher of Beverly Sills.[14] She began her career in light operas while still performing as a film actress.[15] In 1924 she portrayed the title role in the United States premiere of Leo Fall's operetta Madame Pompadour at the Forrest Theatre in Philadelphia.[16] In 1927 she starred in the title role (aka Minnie Johnson) of Alfred E. Aarons's operetta My Princess at Broadway's Shubert Theatre.[17] She made her grand opera debut with the Philadelphia Grand Opera Company (PGOC) on December 21, 1928 in the title role of Jules Massenet's Manon at the Academy of Music;[18] a role which she partially recorded in a 1929 short film made by Vitaphone.[19] She returned to the PGOC in 1929 as Mimì in La bohème with Dimitri Onofrei as Rodolfo, Mary Mellish as Musetta, and Artur Rodziński conducting.[20]

Hampton had critical triumphs as both Manon and Mimì at the Opéra-Comique in Paris in the summer of 1929;[21][22] making her European debut at that theatre on June 21, 1929.[23] In 1930 she appeared as Marguerite in Faust for her first appearance at the Théâtre du Casino Grand-Cercle [fr] in Aix-les-Bains,[24] and portrayed Manon at the Opéra Royal de Wallonie in Liege,[25] the Opéra de Vichy,[26] and at the Shrine Auditorium in Los Angeles.[27] On September 25, 1930 she sang the role of Marguerite for her debut at the San Francisco Opera.[28] She also performed several roles at the Opéra de Monte-Carlo in 1930,[29] and appeared at the Paris Opera in December of that year.[30]

In 1931 Hampton's mother, who had earlier divorced Hope's father and was now married to Harry C. Kennedy, died in Pittsburgh, Pennsylvania.[31] In 1933 she performed the title role in Thaïs with the Montreal Grand Opera Company,[32] and appeared as Manon at La Fenice in Venice.[33] She sang Manon at the Boston Opera House in February 1934 with Mario Chamlee as Des Grieux and Mario Valle as Lescaut;[34] repeating the role with the Chicago Grand Opera Company the following December.[35]

Brief return to film and later life

[edit]

She returned to the screen in The Road to Reno (1938), a film directed by her husband which co-starred Randolph Scott and Glenda Farrell.

Later she was known as "The Duchess of Park Avenue",[2] a leading member of New York's social set.

In 1978, she was crowned Queen of the Beaux Arts Ball.[36] She presided with King Arthur Tracy.

She died of a heart attack on January 23, 1982 in New York City. She was 84 years old.[2]

Personal life

[edit]

Hampton and Brulatour took a honeymoon trip to Egypt, there a Sheikh offered Brulatour £10,000 British pounds to buy his wife. Brulatour smiled at the Sheikh and told him that Mrs. Brulatour's jewels were worth more than that.

Brulatour also gave Hope Hampton a 5-story home on Park Avenue (built in 1885 and redesigned in 1921 by Emery Roth). It was listed for $9 million in 2016.[37]

Complete filmography

[edit]
Hope Hampton on the cover of Motion Picture Classic magazine, Feb 1922, cover art by Benjamin Eggleston (1867-1937).
Year Title Role Notes
1918 Woman
1920 A Modern Salome Virginia Hastings Lost film
1921 The Bait Joan Grainger Lost film
Love's Penalty Janis Clayton Lost film
1922 Stardust Lily Becker
The Light in the Dark Bessie MacGregor A condensed 33 minute version survives, the original is lost
1923 Lawful Larceny Marion Dorsey Lost film
Hollywood Herself Lost film
The Gold Diggers Jerry La Mar An incomplete copy exists, with reels 2 and 3 missing
Does It Pay? Doris Clark Lost film
1924 The Truth About Women Hilda Carr Lost film
The Price of a Party Grace Barrows Incomplete
1925 Fifty-Fifty Ginette Lost film
Marionettes Short subject
Lover's Island Clemmy Dawson
1926 The Unfair Sex Shirley Chamberlain
1927 Springtime of Love Short subject
The Call of the Sea Short Subject
1938 The Road to Reno Hope Hampton
1961 Hey, Let's Twist! Herself Cameo

References

[edit]
[edit]
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Hope Hampton

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Hope Hampton (February 19, 1897 – January 23, 1982) was an American , , singer, and , renowned for her and roles as alluring sirens and empowered flappers in cinema, as well as her later prominence in New York . Born Mae Elizabeth Hampton in , (raised in ), she entered the film industry after winning a beauty contest and being spotted as an extra by director and Jules Brulatour. Hampton starred in approximately 28 between 1918 and the late , leveraging her photogenic presence to achieve stardom despite limited acting experience. Her breakthrough came with roles in films such as Star Dust (1921) and The Light in the Dark (1922), the latter featuring her alongside . In 1923, she married Brulatour, a pioneering and executive associated with , who supported her career and provided financial security; the couple remained together until his death in 1946. Hampton also ventured into production and appeared in talkies, including The Road to Reno (1938) with , marking her transition from silent-era stardom. Transitioning from film, Hampton pursued in , performing as a with the Company in productions like , and touring with the in , , and . She resided in a luxurious townhouse for nearly six decades, reinventing herself as a glamorous known as the "Duchess of Park Avenue" and avid first-nighter at Broadway openings, often clad in custom Norman Norell gowns and hosting lavish parties. Hampton died of a heart attack in at age 84, leaving a legacy of reinvention across entertainment and elite social circles.

Early life

Birth and family background

Hope Hampton was born Mae Elizabeth Hampton on February 19, 1897, in , . She was the daughter of Ellsworth Kraft Hampton, a businessman, and Evelyn Grace Hampton (née Ruhland). Her family, of modest means with no prior ties to the entertainment world, relocated to shortly after her birth, where she spent her formative years and received her . Hampton grew up in a conventional household alongside siblings, including brothers Ellsworth Kraft Hampton Jr. and Claude Herbert Hampton, and sister Lottie H. Hampton.

Entry into entertainment

Hope Hampton's entry into the entertainment industry occurred in the late 1910s through a combination of her striking appearance and serendipitous opportunities in the burgeoning film world. Raised in but attending boarding school in , she gained initial notice by winning a statewide around 1918, which drew the attention of motion picture producers seeking fresh talent for silent films. This accolade led to her first professional steps in Hollywood, where she began working as an extra to build experience on set. After moving to New York, she enrolled at the Sargent Dramatic School to pursue acting training. Her breakthrough came shortly thereafter when acclaimed director selected her for a small role as an extra in his 1918 drama . This exposure highlighted her reddish-blonde hair, blue eyes, and poised screen presence, positioning her as a promising in the competitive landscape of early cinema. During this period, she was discovered by influential film distributor and producer Jules E. Brulatour, who recognized her potential and signed her to a personal contract, providing financial backing and career guidance that propelled her forward. Hampton's formal entry as a leading actress materialized in 1920 with her debut starring role in A Modern Salome, a lavish production directed by French filmmaker Léonce Perret and financed by Brulatour's company. The film, an adaptation of Oscar Wilde's biblical tale, showcased her dramatic abilities and exotic allure, establishing her as a rising star in the silent era and setting the stage for a series of high-profile roles in the early .

Career

Silent film stardom

Hope Hampton entered the industry in 1918 after winning a beauty contest, which led to her discovery while working as an extra in Maurice Tourneur's Woman. Her first leading role came in the 1920 comedy A Modern Salome, directed by Léonce Perret and produced by distributor Jules E. Brulatour. She also appeared in 1921's The Bait, co-starring John Gilbert. Brulatour, a prominent film financier, took a personal interest in her career, forming Hope Hampton Productions, Incorporated, around 1919 to develop vehicles for her as a newcomer. Hampton's rise to stardom accelerated in the early , as she starred in approximately 28 silent films, often portraying siren and characters that capitalized on her striking reddish-blonde hair and blue eyes. A pivotal role came in 1922's The Light in the Dark, directed by , where she played Bessie MacGregor opposite ; the film, produced under her own company banner, highlighted her as a sympathetic working-class heroine in a drama involving redemption and romance. The following year marked the height of her popularity with two key releases: The Gold Diggers, directed by Harry Beaumont, in which she portrayed the ambitious chorus girl Jerry La Mar in an adaptation of the hit play, establishing her as a versatile leading lady in comedic social satires, and Lawful Larceny, directed by , where as Marion Dorsey she navigated marital intrigue alongside and , earning praise for her poised performance in a fast-paced adaptation of a Broadway success. Throughout the mid-1920s, Hampton continued to headline features that showcased her charm and limited but effective acting range, including The Truth About Women (1924) with Lowell Sherman, Fifty-Fifty (1925) opposite Lionel Barrymore as the conflicted Ginette, and The Unfair Sex (1926) with Nita Naldi. Her films, frequently backed by Brulatour's resources—whom she secretly married on August 22, 1923—allowed her to maintain a high profile amid the competitive silent era landscape. By 1927, with roles in shorts like Love's Springtime, Hampton had solidified her status as a notable starlet, though the advent of sound films began to shift industry dynamics.

Notable roles and films

Hope Hampton's screen debut as a lead came in the 1920 silent drama A Modern Salome, directed by Léonce Perret, where she portrayed Virginia Hastings, a woman who sacrifices love for financial security following her father's death. The film, produced by , marked her introduction as a leading lady and was noted for its dramatic intensity, though it is now considered lost. In 1921, Hampton starred as Lily Becker in Stardust, a adaptation of Fannie Hurst's story, directed by Hobart Henley. Her role depicted a young woman from who flees a stifling to pursue dreams in New York, highlighting themes of personal freedom and ambition that resonated in early 1920s cinema. The film showcased Hampton's expressive performance in emotional scenes, contributing to her rising profile. Hampton delivered a standout performance as Bessie MacGregor in The Light in the Dark (1922), directed by for Hope Hampton Productions. The story centers on Bessie MacGregor (Hampton), a working-class woman injured in an accident, whose admirer steals a legendary goblet—the —believed to have healing properties, with innovative sequences in a medieval flashback. This role solidified her as a versatile dramatic actress, and the film was praised for its innovative use of sequences. One of her most prominent parts was Jerry La Mar in The Gold Diggers (1923), a silent comedy-drama directed by Harry Beaumont, adapted from the Broadway play by Avery Hopwood. Hampton played a chorus girl entangled in schemes for wealth and love, capturing the era's fascination with glamour. The film was a commercial success and a precursor to the later sound version, emphasizing Hampton's comedic timing alongside co-stars like Wyndham Standing. In Lawful Larceny (1923), directed by for Preferred Pictures, Hampton took on the role of Marion Dorsey, a woman navigating and marital intrigue in a tale of high-society deception. Adapted from a Samuel Shipman play, the production highlighted her dramatic range and was considered a career highlight for its sophisticated plotting. Hampton starred as Grace Barrows in The Price of a Party (1924), a Preferred Pictures drama directed by , exploring the consequences of extravagant social climbing. Her portrayal of a facing moral dilemmas after a lavish party underscored Weber's feminist themes, with co-stars including and . later cited this as one of her key starring roles. Her final major silent film lead was in Fifty-Fifty (1925), a Henri Diamant-Berger production distributed by Pathé Exchange, where she played Ginette, a singer torn between two men in a tale of and rivalry. Co-starring and Louise Glaum, the film blended drama and romance, marking a transition point before Hampton's shift toward . Most of her approximately dozen silent features, including these, are now lost, limiting modern assessments of her work.

Transition to opera

Following the decline of her silent film career with the advent of talkies in the late , Hope Hampton pursued her longstanding interest in vocal performance, transitioning from to singing. She had already gained experience in light earlier in the decade, appearing as a in productions such as Madame Pompadour in 1924, where her engagement was abruptly ended after two weeks due to reported vocal strain. Encouraged by her husband, film executive Jules E. Brulatour, who financed extensive vocal training including private lessons and European study, Hampton committed to , undergoing a two-year intensive course to prepare for professional stages. This shift was announced in September 1928 when she signed with the Philadelphia Grand Opera Company for the upcoming season, marking her entry into legitimate . Hampton's operatic debut occurred on December 21, 1928, at the Academy of Music in Philadelphia, where she took the title role in Massenet's Manon with the Philadelphia Grand Opera Company, after an initial plan for La Bohème was altered. Her performance was described as pleasing and promising, earning noisy approval from an audience that included about 200 invited guests, though some critics noted her acting overshadowed her vocal technique. Building on this, she portrayed Mimi in Puccini's La Bohème with the same company on February 28, 1929, further establishing her presence in the American opera scene. Her international breakthrough came on June 21, 1929, at the Opéra Comique in Paris, again as Manon, where she overcame initial nervousness to receive repeated applause and multiple curtain calls from a mixed audience of French subscribers and American expatriates. Hampton continued performing in and the through 1930, reprising at the in on July 9, 1930, to generous applause from a full house, and then appearing as Marguerite in Gounod's at shortly thereafter. Back in the U.S., she joined the Los Angeles Opera Company, singing in and , where audiences—often including Hollywood figures—were intrigued by her celebrity, though reviews were mixed, with some accusing local directors of favoritism in booking her. Her final notable engagements included Marguerite in at San Francisco's Exposition Auditorium on September 25, 1930. Despite the financial backing—estimated at $100,000 for her Philadelphia debut alone, including costly private rehearsals—Hampton's opera career proved short-lived, lasting primarily from 1928 to 1930, as she increasingly shifted focus to life amid varying critical reception and the challenges of establishing a sustainable vocal career.

Personal life

Marriage and family

Hope Hampton married Jules E. Brulatour, the French-born film financier who served as her manager, on August 22, 1923, in a private ceremony conducted by Reverend James M. Wallace at his Baltimore, Maryland, home. The intimate event was attended solely by Hampton's father, Ellsworth Hampton, and her sister, Evelyn Hampton. The couple deliberately concealed the marriage for nearly three months, announcing it publicly on November 7, 1923; Brulatour explained the secrecy as a desire to "be a little different" from conventional weddings. This union marked Brulatour's third marriage, following two prior ones that produced three children. After the wedding, Hampton and Brulatour embarked on an extended honeymoon traveling through and , returning to New York in early 1924. They resided primarily in , where Hampton had already established a home before the marriage, and remained together until Brulatour's death on October 26, 1946. The couple had no children of their own, though Brulatour's estate provided Hampton with financial security, including income for life, while supporting his three adult children from earlier marriages. Hampton, born Mae Elizabeth Hampton, maintained close ties to her immediate family throughout her life, including her father and sister who witnessed her wedding.

Residences and social circle

Hope Hampton's primary residence was a five-story limestone townhouse at 1145 Park Avenue on Manhattan's Upper East Side, where she lived from 1921 until her death in 1982. Originally built in 1885 and redesigned by architect Emery Roth in 1921, the 4,200-square-foot home featured opulent interiors with Louis XV-style French furniture, extensive mirrors, a redwood staircase, a glass atrium, and distinctive leopard-spotted carpeting in some rooms; it included four bedrooms, four full bathrooms, a powder room, an elevator, and spaces such as a formal dining room, library, and master suite. The property was purchased in October 1921 with a $20,000 mortgage, reportedly financed as a gift from Brulatour, her manager at the time; it became her primary residence after their 1923 marriage. In 1951, during the height of tensions, Hampton built a country house in , as a secluded retreat from potential atomic threats in . This ranch-type estate was a showplace of the area, featuring a 15-inch square, 150-pound for valuables, though other specific details on its design or size remain limited in historical records. Hampton was an enduring fixture in New York high society, known for her glamorous presence at opera openings, theater premieres, and nightclubs like , often adorned in sequins, furs, and jewels. Her home served as a hub for elite gatherings, hosting luminaries such as the Duke and Duchess of Windsor, author , and shipping magnate . Her social orbit also included her husband Jules E. Brulatour, a ; vocal coach , who supported her operatic pursuits; and later companion Tony Carlyle, who praised her timeless elegance and influence into her later years. Hampton extended her social activities to , where she immersed herself in the winter season's from the onward, attending theater events, parties, and galas that defined the town's scene. Notable appearances included arrivals at local theaters in sequined attire, underscoring her role among Palm Beach's fashionable set.

Later years and death

Socialite activities

In her later years, following the decline of her entertainment career, Hope Hampton emerged as a prominent New York , often dubbed the "Duchess of " and the "grande dame of New York." She resided in a five-story at 1145 , a rare single-family home amid the avenue's apartment buildings, which she had acquired in 1921 as a gift from her husband, . There, she hosted lavish events, entertaining an social circle. Hampton was renowned as a devoted first-nighter, regularly attending opening nights at Broadway theaters and the , where curtains were occasionally held awaiting her arrival. Her visibility in high-society events persisted into her 80s; in 1977, she attended a gala for the Marymount School of New York, where her enduring fame from the —marked by frequent appearances in newsreels and society pages—was noted by companions. Even at age 64, Hampton embraced the era's social trends; her enthusiasm for the Twist led to a as herself in the 1961 film Hey, Let's Twist!, portraying a legendary first-nighter, and she was named Miss Twist of 1962 at the . In 1978, at 81, she was crowned Queen of the Beaux Arts Ball, presiding alongside Tracy at the annual costume event benefiting the American Academy of Dramatic Arts. In 1978, slowed by age, she gave up her extensive social calendar after noting a decline in glamour at openings. Her persona was accentuated by a flair for , including one of the largest collections of Norman Norell gowns—featuring the iconic "cobra dress"—and luxurious furs such as and black broadtail trimmed with . Hampton's enthusiasm for publicity ensured she remained a fixture in society columns until her death.

Death and honors

Hope Hampton died of a heart attack on January 23, 1982, in at the age of 84. She was interred in the Brulatour Mausoleum at in . Hampton received no formal awards during her lifetime, but she earned widespread recognition as one of New York's most indefatigable first-nighters, a status that defined her later social prominence. She also lent her support to charitable causes, including co-chairing a gala for the Marymount School of New York in 1977.

Filmography

Feature films

Hope Hampton starred in approximately 28 silent films during the 1920s, many of which are now considered lost, according to contemporary accounts of her career. Her feature film work spanned from 1918 to 1961, with the majority produced under major studios like , Paramount, and First National. She often portrayed glamorous, strong-willed women in dramas and romances, leveraging her striking appearance and stage presence. Notable examples include her lead role in The Light in the Dark (1922), directed by , where she played Bessie MacGregor, a character navigating social and romantic challenges in post-World War I America. Another key film was The Gold Diggers (1923), an adaptation of Avery Hopwood's play, in which she starred as Jerry La Mar, a chorus girl entangled in schemes for wealth and love; the film was directed by Harry Beaumont and highlighted her comedic timing. Later in the decade, Hampton took on more diverse roles, including in Lawful Larceny (1923), directed by , portraying Marion Dorsey in a story of marital deception and redemption, which marked a high point in her silent career for its critical reception. By 1925, she starred in Fifty-Fifty, a opposite , directed by Henri Diamant-Berger, exploring themes of love and betrayal in a setting; the film is listed among lost U.S. silent features. Her final sound feature appearances were limited, including a supporting role as Linda Halliday in The Road to Reno (1938), a directed by S. Sylvain Simon, and a cameo in the youth-oriented Hey, Let's Twist! (). The following table summarizes her known feature film credits, compiled from film databases and preservation records; roles are noted where documented, and many early titles remain lost or incomplete.
YearTitleRoleNotes
1918WomanUnknownEarly appearance as extra; directed by Maurice Tourneur.
1920A Modern SalomeVirginia HastingsLost film; directed by Léonce Perret.
1921The BaitJoan GraingerLost film.
1921Love's PenaltyUnknownDrama; lost.
1921Greater Than LoveUnknownLost film.
1921StardustUnknownAdaptation of Fannie Hurst story; lost.
1922The Light in the DarkBessie MacGregorSurviving in edited form; directed by Clarence Brown.
1922The ChristianUnknownAdaptation of Hall Caine novel; lost.
1923The Gold DiggersJerry La MarComedy-drama; surviving print exists.
1923Lawful LarcenyMarion DorseyDrama; lost.
1923The Eternal CityUnknownEpic romance; lost.
1923Rupert of HentzauUnknownAdventure; lost.
1923The Light That FailedUnknownAdaptation of Kipling story; lost.
1924The Truth About WomenVera SheldonDrama; lost.
1925The White DesertUnknownDrama; lost.
1925A Sainted DevilUnknownComedy; lost.
1925The Golden BedPearl StrangDrama; lost.
1925Fifty-FiftyGinetteLost film; co-starring Lionel Barrymore.
1925Lover's IslandUnknownLost film.
1926The Road to GloryUnknownWar drama; lost.
1926The Love ThiefUnknownRomantic comedy; lost.
1926The Unfair SexDirector and actressLost film; Hampton directed.
1927The Lady of the HaremSara de RuthLost film; her final silent lead.
1938The Road to RenoLinda HallidaySound film; supporting role.
1961Hey, Let's Twist!UnknownCameo appearance.

Other appearances

In addition to her feature films, Hope Hampton appeared in several short subjects and experimental films during the silent era. One notable early example is the 1922 experimental short Two-Color Test Shots No. III, produced by Eastman Kodak to demonstrate early color technology, in which Hampton modeled costumes as a brunette and blonde from her film . She also starred as Colombine in the 1925 fantasy short Marionettes, a whimsical production directed by Ralph Ince. Later shorts included Springtime of Love (1927), a romantic vignette, and The Call of the Sea (1927), where she portrayed a in an underwater-themed fantasy. In 1929, Hampton featured in the musical short Hope Hampton in the Fourth Act of '', performing an operatic sequence from the Jules Massenet . Her final film appearance came in the 1942 short Screen Snapshots (Series 22, No. 10), appearing as herself in archive footage commemorating 25 years of Hollywood production. Beyond cinema, Hampton ventured into stage work with her Broadway debut in the 1927 operetta My Princess, composed by and book by Dorothy Donnelly, where she played the role of Minnie Johnson during its brief 20-performance run at the Lyceum Theatre. Hampton also pursued recording as an extension of her vocal talents, issuing several sides for Victor Records between 1925 and 1937. Her 1925 sessions featured popular songs such as "The Magic of Moonlight is Love" (Victor B-32460), "Love Me Now" (Victor B-32461), "The Song of Songs" (Victor B-32462), and "I Hear Love Call Me" (Victor B-32463), all recorded as solos with accompaniment. In 1929, she recorded operatic arias including "Were My Song with Wings Provided" (Victor CVE-50909), "Mi Chiamano Mimì" from Puccini's (Victor CVE-50910), and "" (Victor CVE-50911). Additional 1937 dubs from film soundtracks included the "Jewel Song" from Gounod's (Victor PCS-09427) and "Sempre Libera" from Verdi's (Victor PCS-09428).

References

  1. https://adp.library.ucsb.edu/index.php/talent/refer/29085
  2. https://www.findagrave.com/memorial/8810586/hope-hampton
  3. https://travsd.wordpress.com/2024/02/19/hope-hampton-the-duchess-of-park-avenue/
  4. https://www.nytimes.com/1982/01/25/obituaries/hope-hampton-opera-singer-and-first-nighter-dies-at-84.html
  5. https://www.nytimes.com/1927/10/16/archives/recognition-at-last-being-something-about-the-struggles-and.html
  6. https://www.geni.com/people/Hope-Hampton/6000000145557325839
  7. https://broadway.library.sc.edu/content/hope-hampton.html
  8. https://cdnc.ucr.edu/?a=d&d=SDI19201106.2.104
  9. https://www.silentera.com/PSFL/companies/H/hopeHamptonProdInc.html
  10. https://www.tcm.com/tcmdb/title/498229/the-light-in-the-dark
  11. https://www.silentera.com/PSFL/data/G/GoldDiggers1923.html
  12. https://www.encyclopedia-titanica.org/hope-hampton-kept-her-wedding-secret.html
  13. https://www.rihs.us/2021/06/28/monday-june-28-2021-more-than-real-estate-the-wild-life-of-hope-hampton/
  14. https://www.imdb.com/title/tt0010474/
  15. https://www.imdb.com/title/tt0013312/
  16. https://www.imdb.com/title/tt0014090/
  17. https://www.imdb.com/title/tt0014190/
  18. https://www.nytimes.com/1924/11/08/archives/hope-hampton-out-of-mme-pompadour-husband-of-screen-star-replaced.html
  19. https://time.com/archive/6861720/music-from-movies-to-manon/
  20. https://www.nytimes.com/1928/09/18/archives/hope-hampton-in-opera-screen-star-to-sing-with-philadelphia-grand.html
  21. https://www.nytimes.com/1929/01/06/archives/review-of-music-seasons-afield-molinari-in-st-louis-los-angeles.html
  22. https://www.nytimes.com/1929/06/22/archives/paris-lauds-hope-hampton-she-makes-french-debut-at-opera-comique-in.html
  23. https://www.nytimes.com/1930/07/10/archives/hope-hampton-in-manon-american-singer-is-generously-applauded-in.html
  24. https://time.com/archive/6746033/music-curtain-call/
  25. https://archive.org/download/insidefacts12-1930-09-13/insidefacts12-1930-09-13.pdf
  26. https://www.architecturaldigest.com/story/hope-hamptons-park-avenue-home
  27. http://daytoninmanhattan.blogspot.com/2015/02/the-hope-hampton-house-no-1145-park.html
  28. https://rihs.us/2021/06/28/monday-june-28-2021-more-than-real-estate-the-wild-life-of-hope-hampton/
  29. https://www.nytimes.com/2001/02/25/magazine/inside-whiff-mink-dew.html
  30. https://www.newspapers.com/newspage/134250629/
  31. https://www.loc.gov/static/programs/national-film-preservation-board/documents/SFF-LostFilmsList102319.pdf
  32. https://www.rottentomatoes.com/m/the_road_to_reno
  33. https://www.imdb.com/title/tt0009827/
  34. https://www.listal.com/hope-hampton/movies/date-desc
  35. https://www.virtual-history.com/movie/person/10019/hope-hampton
  36. https://www.themoviedb.org/person/1090736-hope-hampton
  37. https://catalog.afi.com/Catalog/moviedetails/12873
  38. https://www.loc.gov/static/programs/national-film-preservation-board/documents/kodachrome.pdf
  39. https://www.imdb.com/title/tt3679014/
  40. https://www.ibdb.com/broadway-production/my-princess-10465
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