1920s, Greta Garbo, Silent Era

Garbo & Gish.


Greta Garbo visits Lillian Gish on the set of The Wind, 1927.

“I heard one day that she had lost her only sister, and I sent her flowers and a note. Garbo came to thank me, but she could not speak English. Tears came to her eyes, but I could not speak Swedish so I put my arms around her and we both cried.” – Lillian Gish.


1920s, 1930s, Drama, Romance, Silent Era

Ramon Novarro.

I was always the hero – with no vices – reciting practically the same lines to the leading lady. The current crop of movie heroes are less handicapped than the old ones. They are more human. The leading men of silent films were Adonises and Apollos. Today, the hero can even take a poke at the leading lady. In my time, a hero who hit the girl just once would have been out.


1920s, 1930s, 1940s, Drama, Musical

Theresa Harris.

Theresa Harris- She is a famous actress who refused to be given roles that portrayed black women negatively. She is one of many black people who stood up for the "thingification" of black bodies that came from fetishes.:

Harris was born on New Year’s Eve 1906 (some sources indicate 1909) in Houston, Texas to Isaiah (1879–1956) and Mable (1883–1964) Harris, both of whom were former sharecroppers from Louisiana.

Harris’ family relocated to Southern California when she was 11 years old. After graduating Jefferson High School, she studied at the UCLA Conservatory of Music and Zoellner’s Conservatory of Music. She then joined the African American musical comedy theatre troupe, the Lafayette Players.

Theresa Harris - early black film star.:

In 1929, she traveled to Hollywood where she embarked on an acting career. She made her film debut in Thunderbolt, singing the song “Daddy Won’t You Please Come Home”. As she entered the 1930s she found herself playing maids to fictitious Southern belles, socialites and female molls played by such actresses as Ginger Rogers, Bette Davis, Sylvia Sidney, Frances Dee, Myrna Loy, Jean Harlow, Esther Williams, Thelma Todd, Kay Francis, and Barbara Stanwyck. These parts, however, were sometimes uncredited. She also floated around studios doing bit-parts, usually at Warner Bros. or Metro-Goldwyn-Mayer. Aside from maids, she also specialized in playing blues singers, waitresses, tribal women, prostitutes, and hat check girls.

Harris had a featured role as a friend of Jean Harlow in MGM’s Hold Your Man (1932), also starring Clark Gable. In 1933, she starred as Chico in the Warner Bros.Pre-code production of Baby Face, starring Barbara Stanwyck. That same year, Harris starred in a substantial role opposite Ginger Rogers in Professional Sweetheart. As Rogers’ character’s maid, Harris’ character subs for Rogers’ character as a singer on the radio. Despite the fact that Harris’ character was a major point for the story’s plot development, she was uncredited for the role.

Throughout the 1930s, Harris played many uncredited parts in films such as Horse Feathers (1932), Gold Diggers of 1933 (1933), Mary Stevens, M.D. (1933) and Morning Glory (1933). She also played Bette Davis’s maid Zette in the film Jezebel (1938). In 1937, she appeared in the race film Bargain With Bullets opposite Ralph Cooper for Million Dollar Productions which was owned by Cooper. While doing promotion for the film, Harris spoke about her frustration over the difficulty African American actors faced in the film industry stating, “I never had the chance to rise about the role of maid in Hollywood movies. My color was against me anyway you looked at it. The fact that I was not “hot” stamped me either as uppity or relegated me to the eternal role of stooge or servant. […] My ambition is to be an actress. Hollywood had no parts for me.” She also praised Ralph Cooper for starting a production company that produced films starring African American actors. She said, “We have nothing to lose in the development of an all-colored motion picture company. The competition will make Hollywood perk up and produce better films with our people in a variety of roles.” Harris continued to lobby for better parts but found few opportunities within Hollywood. In the 1939 movie, “Tell No Tales” she was credited for her part as Ruby, the wife of a murdered man. Harris played an emotional scene with Melvin Douglas at the funeral.

In addition to films, Harris also performed in many radio programs including Hollywood Hotel. Harris was often paired with Eddie Rochester Anderson, who portrayed her on-screen boyfriend. They appeared together in Buck Benny Rides Again (1940) and What’s Buzzin’ Cousin (1943). In Buck Benny Rides Again, Harris and Anderson performed the musical number, “My, My,” where they sing and dance tap, classical, Spanish, and swing. She also appeared in several prominent roles for RKO Pictures as she was a favorite of RKO producer Val Lewton who routinely cast African American actors in non-stereotypical roles. In 1942, Lewton cast Harris as a sarcastic waitress in Cat People, followed by roles in I Walked with a Zombie (1943), Phantom Lady (1944), and Strange Illusion (1945).

Actress Theresa Harris as she appeared in the 1948 film, “The Velvet Touch,” which starred Rosalind Russell. Ms. Harris was the inspiration behind Lynn Nottage’s play, “By the Way, Meet Vera Stark” which starred Sanaa Lathan. From Donald Bogle’s Bright Boulevards, Bold Dreams: The Story of Black Hollywood: “Harris - who was both outspoken and highly intelligent - didn’t mince words about the plight of colored actresses. She told Fay M. Jackson, of the California Eag:

During the 1950s, Harris appeared several times on television on such shows as Lux Video Theatre, Alfred Hitchcock Presents, and Letter to Loretta. She made her last film appearance in an uncredited role in The Gift of Love in 1958. Harris later married a doctor and retired from acting, living comfortably after having carefully invested the money she made during her career in the movies.

On October 8, 1985, Harris (then known as Theresa Robinson) died of undisclosed causes in Inglewood, California. She was buried in Angelus-Rosedale Cemeteryin Los Angeles, California.

1930s, Adaptation, Drama, Historical

Misses McQueen & McDaniel.

Butterfly McQueen & Hattie McDaniel: Gone With the Wind - Wardrobe Stills:

Butterfly McQueen & Hattie McDaniel: Gone With the Wind in Wardrobe Stills, both actresses played servants in the movie but both women were too often typecast because of the colour of their skin as Butterfly McQueen spoke out against;

“I didn’t mind playing a maid the first time, because I thought that was how you got into the business. But after I did the same thing over and over, I resented it. I didn’t mind being funny, but I didn’t like being stupid.”

McQueen played Scarlett’s maid Prissy while McDaniel who won an Academy Award for her role as Mammy in the 1939 film.