Barbara Stanwyck
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| Publicity photo c. 1930 |
Early Life
Ruby Catherine Stevens was born on July 16, 1907 in Brooklyn, New York to Byron and Catherine Stevens. When Ruby was only 4 years old, her mother was killed in a street car accident. Grief-stricken, her father abandoned the family two weeks later to join a Panama Canal work crew and was never seen again. Suddenly an orphan, Ruby was raised in a series of foster homes until about age 10, when she moved in with her older sister who was working as a night club showgirl. Growing up backstage in New York's speakeasy's, Ruby watched her sister's performances and taught herself the dance routines. Because of her early exposure to show business, Ruby developed an appreciation for the stage and committed herself to pursuing a career in entertainment from childhood. At around 16, Ruby dropped out of school and found work as both a model and a dancer, performing at various theaters and clubs in and around New York City.
Broadway Career
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| Stanwyck during her short-lived modeling career, c. 1924 |
In 1922, Ruby was discovered by a Broadway talent scout. She was given a small role in a play called The Noose, which proved to be quite successful. At the suggestion of the play's director, Ruby adopted a stage name, combining the first name of her character with the last name of a co-star to form Barbara Stanwyck. Due to the success of The Noose, Stanwyck was soon given the lead role in another Broadway production, Burlesque. The play proved to be another success, but it would also mark the end of her Broadway career. Noticed by a Hollywood scout, she was given a screen test for a lead role in a new film, Broadway Nights. Unable to cry on command during the test, Stanwyck saw her offer reduced to a bit part. Still, the allure of Hollywood was strong, and Stanwyck eagerly accepted the opportunity to start a film career.
Early Hollywood Career
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| A young Stanwyck stares down Clark Gable in Night Nurse (1931) |
Unlike her experience on Broadway, Stanwyck's start in Hollywood would prove rocky. Her first three films were failures, and in 1930 she was on the verge of leaving Hollywood for good when up-and-coming director Frank Capra selected her for a lead role in his new film, Ladies of Leisure. One of the first widely successful sound films, Ladies proved to be a commercial success and critics praised Stanwyck's emotional, heartfelt performance.
Stanwyck followed up Ladies with another prominent role in 1931, that of a heroic nurse rescuing two children from a devious Clark Gable in Night Nurse. Despite concerns over the film's dark subject matter, the production was a success and Stanwyck solidified herself as one of Hollywood's up-and-coming talents.
Stanwyck followed up Ladies with another prominent role in 1931, that of a heroic nurse rescuing two children from a devious Clark Gable in Night Nurse. Despite concerns over the film's dark subject matter, the production was a success and Stanwyck solidified herself as one of Hollywood's up-and-coming talents.
In addition to her newfound fame following her first successes, Stanwyck acquired a reputation of being one of the most professional and hardworking players in Hollywood. At a time when big names with even bigger egos dominated the set and made life difficult for directors, producers, and stage crews alike, Stanwyck stood out as someone who could be counted on to deliver a quality performance with minimal difficulty, regardless of what was asked of her. In addition, while petty rivalries between top actors were the stuff of legend, Stanwyck made it a point to be warm and inviting to her co-stars, regardless of their status or experience. Hollywood took notice, and Stanwyck quickly became one of the most popular actresses among both casts and crews alike.
Rise to Stardom
Over the next 6 years, Stanwyck starred in a number of productions with varying levels of success. While some of these films were successful (the most notable of which being His Brother's Wife in 1936) and helped build her profile, Stanwyck had yet to find her true breakout role. That would change in 1937 when she signed on to play the title role in the drama Stella Dallas.
Stella Dallas (1937)
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| Production still from Stella Dallas (1937) |
The second screen adaptation of a popular novel, Stella Dallas proved to be Stanwyck's vehicle to superstardom. The film cast Stanwyck as the poor girl Stella, who is determined to make a better life for herself by marrying into the upper class. Once she weds her beau (an up-and-coming businessman), she finds that she has trouble fitting in with high society and struggles to manage her life and relationships. Stanwyck's heartfelt portrayal of Dallas (inspired in part by her own rags-to-riches story) resonated with audiences and critics alike, and earned her an Academy Award nomination for Best Actress.
Peak Years
Now unquestionably one of Hollywood's top stars, Stanwyck found herself under consideration for virtually every top role that came by. Several prominent films followed, including the hits Union Pacific (1939) and Remember the Night (1940). Eventually, this popularity would see Stanwyck put together one of the all-time best single-year runs in Hollywood history in 1941.
The Lady Eve (1941)
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| Publicity photo for The Lady Eve (1941), alongside Henry Fonda |
To kick off this remarkable run, Stanwyck starred in one of the greatest screwball comedy roles of all time in The Lady Eve, in which she plays a crafty card shark who ends up falling in love with her latest mark, a bumbling Ophidiologist played by Henry Fonda.
Hailed as one of the greatest comedies of all time, The Lady Eve was a smash hit. The on-screen chemistry between Stanwyck and Fonda was excellent, so much so that they reunited for another film later in the year (You Belong to Me), which would also be a hit.
Meet John Doe (1941)
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| Stanwyck and Gary Cooper in Meet John Doe (1941) |
Shortly after wrapping up Eve, Stanwyck reunited with director Frank Capra to star alongside Gary Cooper in Meet John Doe. The film marked Stanwyck's fourth collaboration with Capra, but her first with Cooper, one of the top actors in Hollywood at the time. Cooper himself was eager to work with Stanwyck after having seen her recent work.
In Meet John Doe, Stanwyck plays the role of a sly reporter who, to keep from being laid off, publishes a sensational protest manifesto under the auspices of "John Doe" and unwittingly starts a political movement. Once word of the piece spreads, Stanwyck's character convinces her bosses to hire a bum (Cooper) to pose as "John Doe" and serve as a figurehead for the movement.
Meet John Doe was an instant hit. The film's timely narrative was well-received, and both Cooper and Stanwyck's performances were praised. For Stanwyck, the pairing with Cooper (her highest-profile co-star to date) was a boost for her career, and the two players would quickly reunite for another hit film.
Ball of Fire (1941)
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| Cooper and Stanwyck in a publicity still for Ball of Fire (1941) |
Later in 1941, Gray Cooper signed on for the lead role in the comedy Ball of Fire, directed by Howard Hawks. While Cooper was a shoe-in for the male lead, the female lead was tougher to cast. Lucille Ball, Carole Lombard, Ginger Rogers, and Jean Arthur were all contacted about the role, but for one reason or another, they all turned it down. Cooper then suggested Stanwyck, with whom he had worked in Meet John Doe.
A screwball adaptation of Snow White and the Seven Dwarfs, Ball of Fire sees Stanwyck play the part of a showgirl on the run from the police who want her to testify against her mobster boyfriend. She eventually hides out with a team of professors (led by Cooper) who are working on a new encyclopedia. Intrigued by her worldliness, Cooper allows her to stay with him so that he can learn the ins-and-outs of modern slang, which he intends to include in his volume.
Like their previous collaboration, Ball of Fire proved to be a hit for both Cooper and Stanwyck. Stanwyck in particular received praise for her performance (inspired in part by her past experience working as a showgirl), which secured her a second nomination for Best Actress.
Double Indemnity (1943)
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| Still from Double Indemnity (1943) with Fred MacMurray |
After a hugely successful run in 1941, Stanwyck solidified her position as one of Hollywood's top actresses. However, her next big hit would not be until 1943 when she would star in one of the most iconic film noir roles of all time in Double Indemnity.
Adapted from a novella that was based a real 1927 case, Double Indemnity sees Stanwyck play the part of a femme fatale who convinces an insurance salesman to murder her husband. Though she was director Billy Wilder's first and only choice for the part, Stanwyck was quite hesitant to take the role; not only was it unfamiliar territory for her professionally, she worried that the nature of the part could damage her image.
In addition, Stanwyck was known for being particularly kind and approachable: This made it particularly difficult for Stanwyck (and others) to believe that she could convincingly portray a cold murderess. However, Wilder was sure that she was perfect for the role, and eventually convinced her to take it. Ultimately, the decision paid off for Stanwyck: Not only did she end up collecting her third nomination for Best Actress, but she put on a performance that is universally considered the best of her career.
Late Career
Christmas in Connecticut (1945)
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| Still from Christmas in Connecticut (1945) with Dennis Morgan |
While Double Indemnity was a rip-roaring success, Stanwyck was eager to return to her roots a light and warm comedy (as she wanted to avoid being typecast). 1945's Christmas in Connecticut fit the bill: The script sees Stanwyck play an unmarried writer who must deceive her boss into believing that she is a perfect housewife when he invites himself and a war veteran over to her house for Christmas.
Christmas in Connecticut did well at the box office and would go on to become a holiday classic. For Stanwyck, the return to comedy was a success, but at 38 years old, her age was slowly becoming more of a liability. The more prominent roles in Hollywood were starting to shift toward younger actresses, and it would be 3 years before Stanwyck would have another unqualified hit.
Christmas in Connecticut did well at the box office and would go on to become a holiday classic. For Stanwyck, the return to comedy was a success, but at 38 years old, her age was slowly becoming more of a liability. The more prominent roles in Hollywood were starting to shift toward younger actresses, and it would be 3 years before Stanwyck would have another unqualified hit.
Sorry, Wrong Number (1948)
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| Publicity still for Sorry, Wrong Number (1948) |
The next few years saw Stanwyck's career slow down appreciably; her films over this span were generally poorly received, and Stanwyck herself wasn't getting any younger. Also, Stanwyck increasingly delved into film noir, spurred in part by her success in Double Indemnity and because the genre was more accommodating to older actresses (like herself) than comedy or traditional drama. While she may have entered the final phase of her film career, Stanwyck had one last Oscar-caliber performance to put on in the film noir thriller Sorry, Wrong Number.
In Sorry, Wrong Number, Stanwyck plays a bedridden wife who overhears a murder plot over her phone line and rushes to solve it before it's too late. Sorry, Wrong Number was a challenge for Stanwyck, as the script saw her character confined to a bed for most of the film. In addition, her scenes were shot over a grueling 12-day period, an taxing task for the aging actress. Nevertheless, Stanwyck's legendary work ethic prevailed; the film was a success and Stanwyck's performance earned her a fourth (and final) nomination for Best Actress.
Later Years
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| Publicity photo for The Big Valley, c. 1965 |
After Sorry, Wrong Number, Stanwyck's film career would begin to decline for good. While she established herself well in film noir in the second half of her career (including starring in successful productions like The Strange Love of Martha Ivers, Clash by Night, Jeopardy, and Crime of Passion), her major hit roles were well behind her.
Late in her film career, Stanwyck began to explore opportunities on TV, beginning with The Barbara Stanwyck Show in 1960, which ran for a single season. After having been nominated for four Oscars for Best Actress and losing out each time, 1961 saw Stanwyck finally take home a major award when she won the Emmy for Best Actress for her performance in The Barbara Stanwyck Show.
In 1964, Stanwyck left the silver screen for good, and started a new role on TV in the Western series The Big Valley, which ran from 1965-1968 (it's this role for which she is best remembered by modern audiences). Stanwyck's performance in The Big Valley would earn her an additional Emmy win in 1966 and two more nominations, one each in 1967 and 1968.
Years later, Stanwyck would return to TV for what would essentially be the swan song for her long and illustrious career in show business. In 1983, at the age of 76, Stanwyck starred in the hit TV miniseries The Thorn Birds, for which she would win her final Emmy. In 1985, Stanwyck retired from public life for good.
In 1990, Barbara Stanwyck died of heart failure caused by COPD (she had been a heavy smoker throughout her life) at Saint John's Health Center in Santa Monica, California. By her wishes, no funeral service was held and her remains were cremated and scattered over Lone Pine, California.
Legacy
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| Publicity photo c. 1930s |
Barbara Stanwyck's legacy ranks among the all-time Hollywood greats. A 38-year Hollywood career (not to mention an additional 22 years on television, for an astounding 60 total years in show business) that saw her make 85 films and score 4 Oscar nominations is one that cannot be easily overlooked. Her success was due in no small part to her captivating screen presence, which was remarkable even among the Hollywood elite. And yet, acknowledging that alone just doesn't do her legacy justice.
Hollywood has always been a place where large egos and a culture of selfishness has abounded. To an extent, Stanwyck was an exception to that rule. For sure, she wielded a larger-than-life persona and allowed nothing to stand in the way of her career, but it's the care and professionalism with which she practiced her craft that I believe is the other enduring side to her legacy. Whether it was taking the time to learn the names of the families of the crew and asking about them regularly, pushing through brutal shooting schedules without complaint, or even performing elaborate stunts that hardened daredevils refused to attempt, Stanwyck exercised a work ethic second to none.
All things considered, Stanwyck was an exceptional actress. Though a woman of humble origins, she exhibited a complexity that defies easy classification. That said, if I had to ascribe a moniker to her, I would choose no other than the title of the production that earned her a second Oscar nomination... a true Ball of Fire.
Hollywood has always been a place where large egos and a culture of selfishness has abounded. To an extent, Stanwyck was an exception to that rule. For sure, she wielded a larger-than-life persona and allowed nothing to stand in the way of her career, but it's the care and professionalism with which she practiced her craft that I believe is the other enduring side to her legacy. Whether it was taking the time to learn the names of the families of the crew and asking about them regularly, pushing through brutal shooting schedules without complaint, or even performing elaborate stunts that hardened daredevils refused to attempt, Stanwyck exercised a work ethic second to none.
All things considered, Stanwyck was an exceptional actress. Though a woman of humble origins, she exhibited a complexity that defies easy classification. That said, if I had to ascribe a moniker to her, I would choose no other than the title of the production that earned her a second Oscar nomination... a true Ball of Fire.
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