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Mady Berry
Mady Berry
Mady Berry
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Mady Berry (14 October 1887 – 18 January 1965) was a French stage and film actress.[1]

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Selected filmography

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Mady Berry

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Mady Berry was a French stage and film actress known for her prolific career in supporting roles during the golden age of French cinema from the 1930s to the 1950s. She frequently portrayed good-hearted, plain-speaking women and long-suffering mothers, bringing warmth and authenticity to character parts in films by major directors such as Marcel Carné and Georg Wilhelm Pabst. Born in 1887, Berry trained at the Nice Conservatoire and made her stage debut in Marseille in 1912, establishing herself in theater before entering films in 1930 with the advent of sound cinema. Over the next three decades she appeared in scores of French productions, earning particular remembrance for roles including Sancho Panza's wife in Pabst's Don Quichotte (1933), as well as memorable parts in Carné's Le Jour se lève and Les Portes de la nuit. She remained active into the early 1960s and died in Paris in 1965.

Early life

Birth and family background

Madeleine Van Blitz, later known by her stage name Mady Berry, was born on 4 October 1887 in Berck, Pas-de-Calais, France. This date is confirmed by French archival records, while some English-language sources erroneously list 14 October 1887. She was the daughter of Salomon Emmanuel Van Blitz, a photographer originally from Utrecht, Netherlands, who operated a studio in Berck starting around 1886–1887, and Marie Louise Stéphanie Marguerite Berry. Her adopted stage surname Berry came from her mother's maiden name.

Marriages

Mady Berry's first marriage was to actor Paul Marcel Millet (1886–1970) on 5 July 1910 in the 18th arrondissement of Paris. The couple resided at 32 rue des Abbesses following the marriage. This union ended in divorce on 30 October 1910. Her second marriage took place on 7 August 1915 in the 12th arrondissement of Paris to René Max Wachthausen, who worked as a railway employee. The couple's residence was at 34 boulevard de la Bastille. No further details on the duration or outcome of this marriage are documented in primary sources.

Career

Theatre career

Mady Berry studied acting at the Conservatoire à rayonnement régional de Nice before beginning her stage career. Her early theatre work included a role in Maurice Magre's Le Marchand de passions at the Théâtre des Arts in 1911. She made her official stage debut in Marseille in 1912. Berry devoted nearly two decades to the theatre before transitioning to film in 1930 with the advent of sound cinema. Her stage career spanned from 1911 to 1958 and featured collaborations with prominent directors such as Georges Pitoëff, Pierre Fresnay, and André Barsacq. She appeared in a wide range of productions on major Paris stages including the Théâtre des Arts, Théâtre du Gymnase, Théâtre Antoine, Théâtre du Vieux-Colombier, Théâtre des Mathurins, Théâtre de l'Atelier, and others. In the mid-1930s, she worked extensively with Georges Pitoëff on productions including Henrik Ibsen's Le Canard sauvage in 1934, Luigi Pirandello's Ce soir, on improvise in 1935, and Leo Ferrero's Angelica in 1936. She also appeared under Pierre Fresnay's direction in Édouard Bourdet's Margot in 1935. Postwar highlights included her role in Marcel Pagnol's Topaze in 1945. In the 1950s, Berry performed in two plays directed by André Barsacq at the Théâtre de l'Atelier: Jean Anouilh's Médée and Georges Neveux's Zamore, both in 1953. She later appeared in Agatha Christie's Trois Souris aveugles in 1957. In 1958, she took on a directing role for the first time, staging Didier Daix's La Fée at the Théâtre des Arts.

Film career

Mady Berry began her film career in 1930, coinciding with the advent of sound cinema in France. Over the next three decades, she appeared in approximately 93 films, primarily French productions with occasional German co-productions. She was consistently typecast in supporting roles as warm-hearted, plain-speaking, good-natured women of the people, most often portraying long-suffering mothers, concierges, cooks, or maids. Berry frequently collaborated with notable directors in memorable character parts. She worked with Marcel Carné in Le Jour se lève (1939), playing the concierge, and Les Portes de la nuit (1946), as Madame Quinquina. Her performance as Sancho Panza’s wife in G.W. Pabst's Don Quichotte (1933) was particularly memorable. Among her other highlights were Gloria (1931) as Thérèse, Pièges (1939) as the cook Sidonie, and The Ostrich Has Two Eggs (1957) as Léonie. These roles underscored her reliability in secondary but distinctive supporting parts across French cinema's golden age.

Television career

Mady Berry made a limited number of appearances in French television during the mid-to-late 1950s and into 1960, which represented some of her final professional activities. These roles continued the tradition of supporting characters she had frequently portrayed in her film career. Her documented television credits include the 1957 episode "L’Affaire Lafarge" of the anthology series En votre âme et conscience. In 1958 she appeared as Princesse Ulrique-Marie in the téléfilm Adélaïde. The following year she played Tante Anna in Jean Le Maufranc. In 1960 she portrayed Anfissa, la norrice, in the téléfilm Les trois soeurs.

Autobiography

Memoirs

In 1962, Mady Berry published her autobiography titled Cinquante ans sur les planches : mémoires d'une servante through Les Éditeurs Français Réunis. The 182-page volume includes a preface by actress Edwige Feuillère. The memoirs reflect on Berry's fifty years in the theatre, serving as a primary source of personal insights into her stage career.

Death

Death

Mady Berry died on 18 January 1965 at the age of 77 in the 13th arrondissement of Paris. Her remains were interred at the Cimetière parisien de Thiais in Val-de-Marne, but the grave no longer exists due to the expiration of the concession.
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