Above: A screen grab of twenty year old Shirley Ann Richards in Tall Timbers (1937), her second Australian film for Director Ken Hall. The by-line is from Dad and Dave come to Town (1938) and part of it is used as the title for a documentary made by Andree Wright in 1985. Source: Loving the Classics. Author’s Collection
The 5 second version
Born as Shirley Ann Delaforce Richards in Sydney, New South Wales, Australia, 20 December 1917, died California, United States, 25 August 2006. Known in the US as Ann Richards. After a short stint with amateur theatricals in Sydney, she moved to acting with Cinesound. There she appeared in six films directed by Ken Hall before moving to Hollywood. Between 1942 and 1952 she performed in a dozen films, including one directed by Edmund Angelo, her husband.
She pursued writing and philanthropic interests after 1952 and returned several times to Australia.
Growing up in Australia
Shirley Ann Delaforce Richards hardly qualifies as a “forgotten Australian” actor. Alone amongst Australians who went overseas to pursue an acting career in the 1930s, she returned to Australia later in life to discuss the experience and celebrate a new wave of Australian film making.
Her New Jersey-born father Mortimer Richards was the Australian manager of the successful US – owned S. F. Bowser Company, while her mother Marion nee Dive was a 24 year old from New Plymouth in New Zealand. Shirley Ann and her younger brother Roderick grew up in comfortable surroundings – first at Killara on Sydney’s north shore, then in Double Bay.
Mortimer regularly appeared in newspaper reports of the doings of Sydney’s small US community, sometimes addressing business groups about Australia’s great un-tapped potential (a favourite topic of the 1920s), while Marion was active in the newly established English Speaking Union.
Shirley Ann attended Ascham School in Edgecliff from 1925-1928, but left after the sudden death of her father in August 1928. She completed her Leaving Certificate at the Garden School, run by the Theosophical Education Trust in Mosman. Like Ascham, the school was educationally progressive, with a focus on the performing arts, literature and elocution. These interests stayed with Shirley Ann all her life, together with a strong sense of social conscience and public duty. Later in life she reflected that her upbringing and education (and the untimely death of her father) had also exposed her to an amazing group of independent and opinionated women – her mother, teachers (Lily Arnold and Jessie MacDonald at the Garden School) and family acquaintances like social reformer and politician Millicent Preston-Stanley. Her first publicly reported appearance on stage appears to have been in a school production of A Midsummer Night’s Dream, at the Savoy Theatre in October 1933.
A Cinesound Career
After leaving school and whilst working for the Russell Roberts Studio in 1936, she threw herself into amateur theatricals with the Sydney Players Club. While there she came to the attention of Ken G Hall, an Australian Producer-Director of enormous energy and capacity, with whom she maintained a lifelong friendship.
18 year old Shirley Ann reported as interested in amateur theatricals, by Truth 23 Feb, 1936. Via the National Library of Australia’s Trove.
Her first film with Hall was It Isn’t Done, a rags to riches comedy (or “bush to baronetcy”) with a script by Cecil Kellaway. The film was a great success, establishing Shirley Ann as a popular favourite with Australian audiences (and incidentally also providing Kellaway with a pathway to work in the US). Shirley Ann recalled that the established actors in this film, including British actors Frank Harvey and Harvey Adams, realizing the 18 year old was new to film, “spoiled her” on the set.
Above: Shirley Ann Richards at the opening of Tall Timbers at the Sydney State Theatre in 1937. She toured much of Australia for Cinesound. Source: Hood Collection, via the Mitchell Library, State Library of New South Wales.
Above: Shirley Ann Richards appears live on stage as a part of Cinesound publicity. The Sydney Morning Herald, 19 Oct 1937 via National Library of Australia’s Trove
She appeared in a total of five feature films for Cinesound over the very busy period 1936-39. These were It Isn’t Done, Tall Timbers, Lovers and Luggers, Dad and Dave Come to Town, and Come Up Smiling. She also appeared in the surprisingly entertaining 100,000 Cobbers, a propaganda recruitment short made for the Australian Government by Cinesound after the outbreak of War. A 1984 audio interview, mostly focusing on her Cinesound years can be heard here.
Above: Screengrabs of Shirley Ann with Lloyd Hughes in Lovers and Luggers (1938). Unfortunately Hall’s Cinesound films have never been released on home video in Australia, they are only available via US specialist providers, often made from shortened and/or low-quality prints. Author’s Collection.
In addition to working with established Australians, the Cinesound films brought her into contact with a number of visiting British and US actors – including Cecil Kellaway, John Longden, Will Mahoney, Lloyd Hughes and James Raglan. Doubtless they talked of their experiences and the opportunities to be had working internationally. However the outbreak of war in Europe in 1939 and the closure of feature production at Cinesound Studios hastened her decision to try her luck in the US. She continued with some work on the Australian stage in the meantime, having toured in Charley’s Aunt through Australia and New Zealand.
Film career in the US
Shirley Ann often recounted the story of being on the last passenger ship after Pearl Harbour. It was true. She had booked to leave Australia on 13 December 1941, on the Matson liner Mariposa. She did not cancel her travel after the sudden Japanese attacks in the Pacific and South East Asia. Shirley Ann’s name appears on the passenger manifest along with other US citizens anxious to get home from Australia, and from Hawaii where the ship had a brief stop. The ship docked in San Francisco on 31 December. She arrived with “the equivalent of $75, a weighty scrapbook… film clips and introductions” courtesy Ken Hall. (The film clips were promptly lost somewhere in Hollywood, unfortunately).
And the risk she took? The Mariposa had no defences, but it could manage over 20 knots, while Japanese submarines of the time might manage less than 7 knots when submerged. And a slight comforting factor also existed for Shirley Ann – both her parents were US citizens, and her own birth had been registered with the US embassy in Australia. Her father’s surviving sister Grace lived in the US – although far from Hollywood California.
Years later Shirley Ann recalled that MGM signed her up quickly – they respected her Australian experience, but to avoid being confused with Anne Shirley, her screen name was shortened to Ann Richards. A small part in a short – to test her – followed, then MGM gave her a very, very small role in Random Harvest with Ronald Colman and Greer Garson – so small a role she doesn’t have any lines. Shirley Ann said later that most of her part ended up on the cutting room floor. But in Dr Gillespie’s New Assistant, another in the popular Dr Kildare series and also made in 1942, she played an Australian nurse working in US. This was also a small role, but at least she had a few lines and some close-ups. Richard Quine‘s “Australian-isms” are excruciating and Dr Gillespie’s (Lionel Barrymore‘s) every second comment unbelievably inappropriate for today’s viewers, but Shirley Ann manages her role with the characteristic class and good manners that she was to give all her roles.
Above: Screen grabs of Richard Quine as the Australian doctor and Shirley Ann Richards as the Australian nurse in Dr Gillespie’s New Assistant. TCM currently have a collection of the Dr Gillespie films for sale.
Richard Quine and Shirley Ann in a short piece of dialogue. Quine, a US actor, tried hard to sound convincing as a young Australian doctor from Wooloomooloo, Sydney.
King Vidor‘s film An American Romance – a story of an emigrant who makes good in the US steel industry – could have been a breakthrough film for her, but it was expensive to make and at two and a half hours in length, way over-long. It was in technicolor, but it still met with a mixed reception. Australian reviewer Lon Jones felt “a trifle disappointed, for…(Ann Richards) is forced to compete with auto assembly lines and steel plants. The story is essentially one of men and machines and the camera is continually focused on them to the disadvantage of Miss Richards.”
Above: Shirley Ann at the height of her Hollywood popularity. Her resemblance to Greer Garson was often noted. Post card in the Author’s Collection.
Despite claims that Shirley Ann was very busy in Hollywood, it seems that over the seven years 1942-48 she appeared in only eleven films – a modest output. While she was as selective as she could be with her roles, she later acknowledged that she also spent a lot of time waiting around for offers to come her way. However, it should be noted that compared to her Australian contemporaries, Mary Maguire and Constance Worth, the films she appeared in were quality films and she had credited roles in most. She worked with some of Hollywood’s leading players at this time, although Tom Vallance, her obituarist for “The Independent,” is correct in suggesting she was often consigned to “best friend” roles.
Unhappy with working for MGM, she negotiated a contract release. She then appeared in three films for independent Producer Hal Wallis – Love Letters (1945), The Searching Wind (1946) and Sorry Wrong Number (1948). Biographer Bernard Dick may be accurate when he suggests Wallis never intended to make a star of Shirley Ann, rather his need was for a talented actress with a faintly British accent who could also pass for an upper-class American. And although not paid at the same rate as Barbara Stanwyke or Burt Lancaster, she was still paid $US 1750 per week for her work on Sorry, Wrong Number according to Dick, the equivalent of $US 20,000 today.
Above: Blonded-up for Hollywood, Shirley Ann as Sally Hunt in the 1948 thriller Sorry, Wrong Number. Screen grab from the trailer, via Youtube. The film is still widely available.
In June 1946, Shirley Ann flew home to Australia for a visit to see her mother, and possibly also to convince her to move to the US. She was given a rousing welcome on arrival in Australia. The joy of her return disguised the fact that Shirley Ann and her mother had suffered some shocking news in late 1945. Her brother Roderick, who had been a Medic in the Australian 8th Division, had died as a prisoner of the Japanese in early 1945.
In early 1949 Shirley Ann married Edmund Angelo, a 36 year old theatre director and producer. In the same year, Angelo published a small book of his lectures on theatre-craft. He dedicated it to Shirley Ann, “whose brilliant artistry exemplifies what I have endeavored to express in this book.” However, the foreword by Shirley Ann makes it clear that the essays included were selected by her.
Above: Curtain – You’re On! by Edmund Angelo, with his portrait. It was dedicated to Shirley Ann, while she wrote the foreword. Author’s Collection.
She made one final film after this, with Angelo as director – a crime drama based on the boxing themed play “The Samson Slasher” – wisely re-titled Breakdown for the cinema. Angelo claimed it was made in just 11 days, on “a shoe-string budget,” and it ended up being shown as a B (supporting) feature. There was talk of further films being planned and more stage work, but the couple seem to have left Hollywood film-making behind soon after that.
Following Breakdown, Angelo threw his efforts into engineering and the US aerospace effort. It could be forgotten today just how exciting this period of development and space exploration was – starting in the late 1950s and culminating in the moon landing of July 1969. Shirley Ann spoke with some pride about his work as early as 1956.
Shirley Ann turned her attention to raising her three children and pursuing some of the other interests she had always had. From the early 1950s she was active in Zeta Phi Eta, an organisation of female leaders in the arts, communication and science fields, that still describes itself today as “a friendly society of service”. Much of her work appears to have revolved around fund-raising activities for social justice causes, particularly for disadvantaged children and those with speech difficulties. Meanwhile, the family lived comfortably at W.C.Fields’ former home at 2015 De Mille Drive in Los Angeles. One of Shirley Ann’s best known (of many) anecdotes was of meeting Fields whilst peeking at the property some years before. (see Los Angeles Times, 3 December 1972)
Above: Shirley Ann with her two sons Chris and Mark, photographed for the Australian Women’s Weekly 11 July 1956. Via the National Library of Australia’s Trove
She also continued to write poetry – her first collection – The Grieving Senses and Other Poems, was published in 1971. The US journal Poet Lore reported that her poetry “reflected a rare sensitivity to the things around her…”
Bind her close with roots of flowers
And leave her dreaming in the gloom
Where the light autumnal showers
Kiss the clover into bloom
Later life and visits to Australia
Shirley Ann returned to Australia in 1977, in part to appear in an episode of This is Your Life with Ken G Hall. It was her first visit since 1946 and again she was given a joyful welcome home, as she had been thirty years before. Her place as a living connection back to Australia’s fledgling film industry of the 1930s and to Hollywood’s Golden Age was well understood. She was interviewed at length and yet again on another visit in 1981. In 1986 she appeared in Andree Wright and Stewart Young’s documentary film about women in the Australian Cinema. Its title, Don’t Call Me Girlie, is part of the line she has in the film Dad and Dave Come to Town.
Following Edmond’s death in 1983, she remarried. She continued pushing personal boundaries until very late in life, writing poetry and lecturing on travel – for example being amongst the first Western wave of tourists into China and Tibet in the 1980s. We use the hyphenated term “Australian-American” often today, to describe Australian actors working in the US, probably because we cannot think of a more apt descriptor. In Shirley Ann’s case, she really did straddle two cultural environments with complete ease.
Much admired and always fondly remembered in Australia, she died in 2006, long after most of her Australian and Hollywood contemporaries.
March 2020 Updated September 2020
Note 1: The IMDB currently conflates Shirley Ann Richards with US-born actress Sally Ann Richards (1947-2005) – in doing so muddling up some of their appearances.
Note 2: The claim that Shirley Ann Richards “often appeared on TV” in the ’50s and ’60s appears to be another case of mistaken identity. The person referred to is almost certainly US-born Jazz Singer Ann Richards (1935-1982).
To Ms Marguerite Gillezeau, Archivist at Ascham School, for her assistance on Shirley Ann’s schooling, and alerting me to her first credited public performance in October 1933.
- Don’t Call Me Girlie (1986) Directed by Andree Wright and Stewart Young. Available from Ronin Films
- History of Australian Film 1896-1940, Part 3 “Now You’re Talking” (1979) Directed by Keith Gow. Film Australia
Film Clips @ Australian Screen, an NFSA website
- It Isn’t Done (1937) (3 clips).
- Lovers and Luggers (1937) (3 clips)
- Tall Timbers (1937) (3 clips)
- Dad and Dave Come to Town (1938) (3 clips)
- Ken Hall Interviews (3 clips)
- Shirley Ann interviewed on her return to Australia in 1946 (Cinesound Movietone newsreel)
- 100,000 Cobbers available from the Australian War Memorial
- Neil MacDonald. (1984) Interview with Shirley Ann Richards National Film and Sound Archive.
Hollywood Forever Family Memorial Site
- Edmund Angelo (1949) Curtain-You’re On! Murray & Gee Inc.
- Bernard F Dick (2004) Hal Wallis, Producer to the Stars. The University Press of Kentucky.
- Ken G Hall (1980) Australian Film, The Inside Story. Summit Books
- Andrew Pike and Ross Cooper (1980) Australian Films 1900-1977: A Guide to Feature production. Oxford University Press/ AFI.
- Ann Richards (1971) The Grieving Senses and Other Poems. Branden Press.
- Andree Wright (1986) Brilliant careers. Women in Australian Film. Pan Books.
Australian Dictionary of Biography
- Graham Shirley, ‘Hall, Kenneth George (Ken) (1901–1994)‘, Australian Dictionary of Biography, National Centre of Biography, Australian National University, published online 2018
- Heather Radi, ‘Preston Stanley, Millicent Fanny (1883–1955)‘, Australian Dictionary of Biography, National Centre of Biography, Australian National University, published first in hardcopy 1988
- Jennifer Radbourne, ‘Mahoney, William James (Will) (1894–1967)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, published first in hardcopy 2000
National Library of Australia, Trove
- Sydney Morning Herald, 27 October, 1933, Cast of Children.
- Smith’s Weekly, 10 Apr 1937; The Rise of Shirley Ann Richards.
- The Sydney Morning Herald, 18 Mar 1937; Amateurs carry on stage traditions.
- Table Talk, 28 Oct 1937; Cinesound School for Talent.
- Truth (Sydney), 23 Feb 1936; The Jottings of a Lady
- Evening News, 14 Aug 1919; Young Australia. Needs Virus of Self Reliance.
- The Sydney Morning Herald, 16 Sep 1944; Romance and Steel. Ann Richards’s role.
- The Age, 4 July 1946. Advice to would be film stars.
- The Canberra Times, 1 Jul 1977; An Australian star remembers
- The Monrovia News-Post. 1 July 1988: Actress to speak of China and Tibet.
- Tom Vallance Monday 4 September 2006 Ann Richards, Actress vivid in ‘best friend’ roles