Shirley Ann Richards (1917-2006) – “This is not a laughing matter and don’t call me girlie!”

 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.

Truth Feb 1936By 1936, Table Talk was able to introduce her to readers, commenting on her  “lovely complexion and teeth…”  They also reported that she was an “excellent fencer and swimmer.” She was “very well read, being extremely fond of poetry… completely unpolluted; doesn’t drink or smoke; has splendid self-possession, but is always completely natural.” Some of these comments were true, even if they were all courtesy PR from Ken Hall’s Cinesound Studios, who had put Shirley Ann under long term contract as quickly as they could. Film historians Andrew Pike and Ross Cooper credit Cinesound’s “Talent School” for refining her skills.

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.

Shirley Ann Richards 1936 via Mitchell Library

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.

TT on stage

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.

L&L1   L&L2

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.

Dr Gillespie 1  Dr Gillespie 2

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 felta 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.”

Ann Richards postcard006

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 WallisLove 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.

Sorry wrong number
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.

Curtain - You're On! cover

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.


After Hollywood

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)

Shirley Ann 1956
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…”


Rebirth”

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.

Nick Murphy
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).


Special Thanks
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.


Further Reading

Documentary films

  • 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

Youtube

Audio Interviews

Hollywood Forever Family Memorial Site

Text

  • 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

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

Newspapers.com

  • The Monrovia News-Post. 1 July 1988: Actress to speak of China and Tibet.

The Independent

Enid Bennett (1893-1969) – The Australian who kept her accent

Above: Enid Bennett in Fred Niblo’s Strangers of the Night (1923). She was at the height of her Hollywood popularity. Sadly it is a lost film. Via Wikipedia Commons. See below for full length photo.

The 5 second version

Born Enid Eulalie Bennett, York, Western Australia, Australia, 15 July 1893,
Died Malibu, California, USA 14 May, 1969. Busy on stage in Australia 1910-1915. Also appeared in Fred Niblo’s two Australian films before working in the US. Most active in Hollywood between 1917-1927, during which time she gained great attention. Some later minor roles in sound films and worked until her death for the Christian Science Church. Married to Fred Niblo 1918-48.

Enid Bennett, a young Australian who arrived in the US with Fred Niblo and Josephine Cohan in June 1915, hardly qualifies as “a forgotten Australian actor.” She received widespread publicity in the early 1920s and was, at the time, one of Hollywood’s premier stars. Many of her films still exist and she has been the subject of numerous biographies since her death in 1969. However, there are several special reasons for including her on this website.

Although most famous as a silent star, what interests this writer is her accent, as evidenced by her voice in the talkies she appeared in between 1931 and 1941. It is not the broad and theatrical accent often heard when an “Australian voice” is used in Hollywood films, but the authentic accent of many middle class Australians living on the coastal fringe.

Why accents evolve and vary as they do is well beyond the scope of this article, but it is safe to note that Bennett’s accent is a feature of her ethnicity, social standing and education. Desley Deacon has also established that middle class girls like Bennett often attended schools of acting and elocution as a first step on the path to acting on stage and screen. Yet her accent is clearly still one of middle Australia.

It is also notable that Enid Bennett plays essentially the same role in all these films – usually an earnest and thoroughly decent mother figure. Here are some examples:


The Big Store (1941)

In this well known Marx Brothers comedy,  Bennett plays an unnamed store clerk in the millinery department. Nasty Miss Peggy Arden (played by Marion Martin) makes life very hard for her. (Harpo Marx then plays a clever trick on Miss Peggy – which is the point of the scene.)

The Big Store 1941
Above: Screen grab of 48 year old Enid Bennett in her final film role – the Marx Brothers film The Big Store, of 1941. The film is widely available on DVD. Author’s collection.

Strike Up the Band (1940)

Mickey Rooney and Judy Garland star in this cheerful Busby Berkeley musical. In this scene Bennett is welcoming Jimmy, although he soon learns he is not allowed to play at her daughter Barbara’s birthday.

strike up the band

Above: This is Rooney as Jimmy Connors, with Enid Bennett playing Mrs Morgan and June Preisser as her daughter Barbara Morgan. Strike Up The Band, 1940. Author’s collection.

Meet Dr Christian (1939)

This is the first of six Dr Christian films made between 1939 and 1941, starring (and partly written by) Danish actor Jean Hersholt, as the sensible small town Doctor. Enid Bennett plays the Mayor’s wife, but her role is not reprised in the later films. In this scene she is talking to her husband.

Enid Bennett in Meet Dr Christian

Above: Screen grab of Enid Bennett as Mrs Hewitt in Meet Dr Christian. This film is widely available, and apparently now  in the public domain. Author’s Collection.

Waterloo Bridge (1931)

Waterloo Bridge was based on the play of the same name by Robert Sherwood. In this scene Mrs Wetherby (Enid Bennett) welcomes her son Roy’s new girlfriend Myra (Mae Clarke) and insists she stays, not yet knowing she is really a prostitute. When Myra admits this later to Mrs Wetherby, she is unbelievably nice about it, although naturally she doesn’t think marriage is a good idea.

waterloo bridge 1931

Above: Screen grab of Enid Bennett from Waterloo Bridge (1931). The film is still available from TCM. Author’s Collection.

Skippy (1931)

Director Norman Taurig won the Academy Award for Best Director for this film. Jackie Cooper‘s character might be regarded as tiresome today, but in 1931 the film was immensely popular. Enid Bennett plays Skippy’s mother and Dr Herbert Skinner’s wife. A sequel was made with many of the actors reprising their roles, including Bennett.

This is a sound clip from the beginning of the film, where the Skinners are having breakfast while Skippy is still lying in bed upstairs pretending to get dressed.

Skippy 1931, Breakfast scene
Above: Screen grab of Willard Robertson and Enid Bennett as Skippy’s parents, in the breakfast scene that begins the film. Skippy is available from TCM. Author’s Collection

Did she retire? Well, not exactly. By 1930, Enid Bennett was an active Christian Scientist, in company with many Hollywood actors – including Mary Pickford, Joan Crawford, Ginger Rogers and Dick Powell.

She remained so to the end of her life, and there is plenty of evidence she devoted much of her time and expertise in front of the camera and microphone in the cause of the church, particularly after the death of her first husband Fred Niblo, in 1948. She regularly appeared on radio and TV, sometimes credited as Enid Bennett Niblo, hosting short Christian Science programs on healing, including Light of Faith and How Christian Science heals. She died in May 1969.

Melbourne Age Aug 18 1956
Above: The Melbourne Age, 18 August 1956, reporting on Enid’s work as a Christian Scientist but already seriously muddled up about her connection to Australia. (If she ever lived in St Kilda, Melbourne it wasn’t for very long.) Via newspapers.com

In case you don’t know who she was !

Below: Enid Bennett photographed by May and Mina Moore, C 1910, about the time she began to develop a reputation in Australia.  State Library of Victoria, via National Library of Australia’s Trove. 

enid bennet about 1910She was born Enid Eulalie Bennett to Francis Bennett and Nellie nee Walker at York, Western Australia in 1893. She had an older brother  – Francis Reginald (born 1891) and a younger sister Marjorie Esme (born 1896). Having attempted to open his own school in the inland town of York, about 100 kms east of Perth , Western Australia, her father Francis Bennett became the founding Principal of Guildford Grammar School in 1896. It wasn’t for very long unfortunately. He apparently took his own life in 1898 while suffering the increasingly debilitating effects of locomotor ataxia. Nellie, who seems to have been the school matron, then married the school’s new Principal Alexander D Gillespie in 1898. Two children were born of this union – Catherine Fanny (born 1901) and Alexander David (born 1903). But Gillespie also died only a few years later.

Enid Bennett’s career can be traced through early performances first in Western Australia and then under the tutelage of Julius Knight. In 1910 visiting US performer Katherine Gray had also encouraged her to pursue a career on stage. In the eastern states she performed in Everywoman with British actress Hilda Spong and another up and coming Australian, Dorothy Cumming, in 1911. However, her major breakthrough was to find work with Fred Niblo and his wife Josephine Cohan, on their extended tour of Australia. About the same time Nellie moved the family back to Sydney, where she had been born, eventually settling down in Rose Bay. 

Below left: Enid Bennett as featured in a US comedy she performed with Niblo, Excuse Me.  From “The Lone Hand”, 1 August 1913. Centre Fred Niblo and right Josephine Cohan. Prompt Scrapbook, Vol 10- 1. via the National Library of Australia’s Trove.

Lone Hand 1913FRed Niblo Prompt scrapbook   Josephine Cohan


Niblo was effusive about the Australian performers in his company, and young Enid Bennett in particular. In early 1915 he told Perth’s Sunday Times; Miss Enid Bennett is a splendid actress, and the Perth people will watch her career with interest and pride,” noting how well she had filled in for Josephine Cohan when she was (often) indisposed. The Niblo-Cohan troupe traveled Australia for three years, despite Josephine’s declining health. In June 1915 Niblo, Cohan and 22 year old Enid packed up and headed for the US on the Matson liner Ventura. Before they departed, Niblo quickly made two filmed versions of popular plays for J.C.Williamson’s – Get Rich Quick Wallingford and Officer 666.  According to film historians Andrew Pike and Ross Cooper, the surviving reels of Officer 666 “reveal a crude production doggedly faithful to the stage.” These were Niblo’s first efforts as a director – he was to significantly refine his skills in Hollywood. Watch a clip from Officer 666 here

Soon after arriving in the US, Enid Bennett appeared in a supporting role in Henry Arthur Jones‘ comedy Cock O’ The Walk, a vehicle for popular comedian Otis Skinner being performed in east coast US cities, including New York. At about the same time she also appeared in her first film, A Princess of the Dark for Thomas H. Ince and Triangle Studios.

A princess of the dark

Above: Thomas Ince marketing his latest star in March 1916. “El Paso Times”, 2 March 1916. Some commentaries incorrectly date this to a release in 1917. Via Newspapers.com

Enid Bennett first play in US

Above: Enid Bennett in her first US play, Cock O’ the Walk, with Janet Dunbar and Rita Otway, in early 1916. Author’s Collection

Enid’s sister Marjorie was to claim that the family pressured her to join Enid in the US, to keep her company.  But the early years in Hollywood appear to have a degree of excitment about them even if the transition to work in the US was tough. Sylvia Bremer‘s biographer Ralph Marsden reproduces one photo showing a happy Bremer, Enid and Marjorie Bennett swimming at California’s Arrowhead Springs, in 1917. According to Theatre historian Desley Deacon, the success of these young Australian women inspired others, including Judith Anderson.

In Australia in late 1917 Nellie, Catherine and Alexander received some catastrophic news. The family’s oldest son, Frank Reginald, had been killed in fighting at Passchendaele, Belgium on 9 October 1917, not long after being promoted to Lieutenant. Nellie’s few letters held in Frank’s Australian military file reflect the deep grief the family must have felt. Soon after, Nellie and Enid’s two step-siblings packed up and departed for the US on the SS Ventura.

Enid and Fred Niblo married in late February 1918 – his first wife Josephine Cohan had died in July 1916. The impending wedding was almost certainly the main reason for the Bennett family’s arrival in the US a few months before. But there the family stayed, all building careers for themselves in the US. For a few years in the early 1920s, Catherine enjoyed a career in comedy films, often with Monty Banks. Alexander Bennett is reported to have become an accountant. Marjorie, the reluctant actress, would eventually build a remarkable career in Hollywood character roles from the late 1940s, after a long career on stage, including two years performing back in Australia (1921-23).

Fred Niblo’s first US directing experience was The Marriage Ring, with Enid in a leading role, in 1918. He had learned a lot since the days of his Australian film experience; he went on to direct until the early 1930s and the first years of sound film. Kevin Brownlow has documented Niblo’s work on one of his most famous films – Ben Hur, a Tale of the Christ made in 1925. Like Enid, he also took on small acting roles in sound films later in life. He died in 1948.

Enid Bennett was busy – her most prolific period was the ten years between 1917-1927. There were some stand-out roles in films that still survive. These included Robin Hood in 1922 with Douglas Fairbanks, The Sea Hawk with fellow Australian Mark McDermott, and The Red Lily with Ramon Novarro, both in 1924, the latter also being directed by Niblo.

Enid and Fred had three children in the 1920s – Loris, Peter and Judith. They also parented Niblo’s son Fred Junior, from his marriage with Josephine. Late in life, Enid married family friend and former film director Sidney Franklin. But Enid Bennett’s ashes were interned next to Fred Niblo’s after her sudden death in May 1969.

Marjorie Bennett outlived all her siblings. She died in Hollywood in 1982, working almost to the end of her life.

1923 comedy silence of the night

Above – The author’s favourite photo of Enid Bennett as  she appeared in Fred Niblo’s Strangers of the Night (1923). Via Wikipedia Commons  (which has more than 50 public domain images of her).

Nick Murphy
February 2020

Further Reading

Online

  • Film – Robin Hood 1922 – on Youtube and Internet Archive
  • Film clip –Officer 666 National Film and Sound Archive
  • National Library of Australia – Trove.
    • May and Mina Moore Collection
    • The Daily News, 3 Aug 1910. Page 3
    • The Lone Hand, 1 August 1913. Pages 326-7
    • The Leader, (Vic) 30 Dec 1911. Page 27
    • Sunday Times  21 Mar 1915. Page 25
    • The Catholic Paper – Freeman’s Journal, 10 Dec 1931. Page 3
    • The Age, 18 August 1956. Page 11
  • Peter Niblo (2006) –Remembering My Father, Fred Niblo  The Silents are Golden website
  • Australian Live Performance Database
    AusStage – Enid Bennett
    Austage – Majorie Bennett
  • Newspapers.com
    • Boston Globe. 13 July 1916. (This extraordinary newspaper article attributes Josephine Cohan’s death to “Too much dancing” rather than heart disease, which it was)
    • New York Tribune. 2 August 1915. P9
    • El Paso Times 2 March 1916 P9
    • Los Angeles Times. 30 Oct 1935. P13

Text

  • Kevin Brownlow (1968) The Parade’s Gone By. University of California Press.
  • Desley Deacon (2008) “Cosmopolitans at Home: Judith Anderson and the American aspirations of J C Williamson’s Stock Company Members” in Robert Dixon, Veronica Kelly (Eds) Impact of the Modern: Vernacular Modernities in Australia 1870s-1960s. University of Sydney.
  • Desley Deacon (2013) Australasian Journal of Victorian Studies. Vol 18, No 1 “From Victorian Accomplishment to Modern Profession: Elocution Takes Judith Anderson, Sylvia Bremer and Dorothy Cumming to Hollywood, 1912-1918
  • Desley Deacon (2019) Judith Anderson: Australian Star, First Lady of the American Stage. Kerr Publishing.
  • Al Kemp, Tina Kemp (2002) Enid Bennett A Forgotten Star : Life of a Jazz Actress
    Pen Productions Media/Publishing. [Book could not be sourced for this narrative]
  • Ralph Marsden (2016) Who was Sylvia? An autobiography of Sylvia Breamer. Screencrafts Productions.
  • Andrew Pike and Ross Cooper (1980) Australian Film 1900-1977. Oxford University Press
  • Hal Porter (1965) Stars of Australian Stage and Screen. Rigby
  • Scott Wilson (2016) Resting Places: The Burial Sites of More Than 14,000 Famous Persons.  Third Edition. McFarland and Co.