Ann Dvorak

2.1. Birth and Childhood

Ann Dvorak was born Anna McKim on August 2, 1911, in New York City. She was the only child of silent film actress Anna Lehr and actor/director Edwin McKim. Her parents separated in 1916 and officially divorced in 1920. Following their divorce, Dvorak did not see her father again for 13 years, until she made a public appeal to the press to help locate him.

2.2. Education

During her time in New York, Dvorak attended St. Catherine's Convent. Later, after her family moved to California, she continued her education at the Page School for Girls in Hollywood.

2.3. Early Career Beginnings

Dvorak made her initial foray into the film industry at a very young age. Her film debut occurred when she was just five years old in the 1916 silent film version of Ramona, where she was credited as "Baby Anna Lehr." She continued to appear in children's roles in films such as The Man Hater (1917) and Five Dollar Plate (1920). After these early appearances, she temporarily stopped acting in films. In the late 1920s, Dvorak returned to the film industry, working as an assistant choreographer for Sammy Lee at MGM. During this period, she gradually began to appear in films again, typically uncredited, often as a chorus girl or in minor bit parts.

3.1. Early Career and Debut

After her initial childhood film roles, Ann Dvorak's early adult career was characterized by uncredited appearances. While working as an assistant choreographer at MGM, she started taking on small parts, frequently appearing as a chorus girl or in minor roles without screen credit. This period served as a stepping stone, allowing her to gain experience and visibility within the film industry.

3.2. Breakthrough in Pre-Code Cinema

Dvorak's career took a significant turn when her friend, actress Karen Morley, introduced her to the influential millionaire film producer Howard Hughes. Hughes recognized her potential and began to groom her as a dramatic actress. This led to her breakthrough in several impactful pre-Code films, where her performances garnered critical attention.

In 1932, she achieved notable success in Scarface, where she played the role of Cesca Camonte, the sister of Paul Muni's character. The same year, she delivered a memorable performance as the doomed and unstable Vivian Revere in Three on a Match, starring alongside Bette Davis and Joan Blondell.

Her other significant pre-Code roles in 1932 included The Crowd Roars with James Cagney and Sky Devils opposite Spencer Tracy. These roles solidified her reputation as a compelling dramatic actress.

3.3. Leading Lady in the 1930s

Throughout the 1930s, Ann Dvorak became a popular leading lady for Warner Bros.. She was widely recognized for her distinctive style and elegance, which made her a sought-after presence on screen. During this period, she appeared in a multitude of contemporary romances and melodramas, showcasing her versatility and ability to captivate audiences in a variety of dramatic roles.

3.4. Contractual Challenges and Freelance Career

Dvorak's career at Warner Bros. faced significant challenges due to contractual disputes. On March 17, 1932, at the age of 19, she eloped with Leslie Fenton, her English co-star from The Strange Love of Molly Louvain. They embarked on a year-long honeymoon, a decision that put her in breach of her contractual obligations to the studio. This led to a period of extensive litigation and pay disputes. During this time, Dvorak discovered that she was earning the same amount of money as the young actor who played her son in Three on a Match. Ultimately, she completed her contract under a permanent suspension, which then led her to work as a freelancer. Although she continued to find regular work, the quality of the scripts she received declined sharply after this period.

3.5. Later Film Appearances and British Work

In her later career, Ann Dvorak continued to appear in films, including her role as secretary Della Street to Donald Woods' Perry Mason in The Case of the Stuttering Bishop (1937). She and her then-husband, Leslie Fenton, traveled to England, where Dvorak actively supported the war effort by working as an ambulance driver. During her time in England, she also acted in several British films. Upon her return to American cinema, she appeared as a saloon singer in Abilene Town (1946), alongside Randolph Scott and Edgar Buchanan. The following year, she demonstrated her comedic talents with an assured performance in Out of the Blue (1947).

3.6. Broadway Debut and Final Roles

In 1948, Ann Dvorak made her only appearance on Broadway in the play The Respectful Prostitute. She continued to act in films for a few more years, taking on her final roles before officially retiring from the screen in 1952.

4.1. Marriages and Relationships

Ann Dvorak's marriage to Leslie Fenton concluded with their divorce in 1946. In 1947, she entered into her second marriage with Igor Dega, a Russian dancer who had briefly performed with her in the film The Bachelor's Daughters. However, this marriage was short-lived, ending in divorce two years later. In 1952, Dvorak married her third and final husband, Nicholas Wade. She remained married to Wade until his death in 1975. Ann Dvorak had no children from any of her marriages.

4.2. Later Life and Retirement

Following her retirement from acting in 1952, Ann Dvorak embraced a quieter life. In 1959, she and her husband, Nicholas Wade, relocated to Hawaii, a place she had always cherished. She lived out her final years there, away from the spotlight of Hollywood.

7.1. Feature Films

7.2. Short Subjects

• The Five Dollar Plate (1920)
• The Doll Shop (1929) as One of the Dolls (uncredited)
• Manhattan Serenade (1929) as Chorus Girl (uncredited)
• The Song Writers' Revue (1930) as Member of the Chorus (uncredited)
• The Flower Garden (1930) as Member of Chorus
• Pirates (1930) as Chorus Girl (uncredited)
• The Snappy Caballero (1931)
• A Trip Thru a Hollywood Studio (1935) as Herself (uncredited)