Shabannie's video: Tribute to Jean Arthur

Jean Arthur (October 17, 1900 – June 19, 1991) was an American actress and a major film star of the 1930s and 1940s. Arthur had feature roles in three Frank Capra films: Mr. Deeds Goes to Town (1936), You Can't Take It With You (1938), and Mr. Smith Goes to Washington (1939), films that championed the "everyday heroine." Arthur was nominated for an Academy Award for Best Actress in 1944 for her performance in The More the Merrier (1943). James Harvey wrote in his recounting of the era, "No one was more closely identified with the screwball comedy than Jean Arthur. So much was she part of it, so much was her star personality defined by it, that the screwball style itself seems almost unimaginable without her." She has been called "the quintessential comedic leading lady." Her last film performance was the memorable, and distinctly non–comedic, rancher's wife in George Stevens' Shane in 1953. To the public, Arthur was known as a reclusive woman. News magazine Life observed in a 1940 article: "Next to Garbo, Jean Arthur is Hollywood's reigning mystery woman." As well as recoiling from interviews, she avoided photographers and refused to become a part of any kind of publicity. With the rise of the talkies in the late 1920s, Arthur was among the many silent screen actors of Paramount Pictures initially unwilling to adapt to sound films. Upon realizing that the craze for sound films was not a phase, she met with sound coach Roy Pomeroy. It was her distinctive, throaty voice – in addition to some stage training on Broadway in the early 1930s – that eventually helped make her a star in the talkies. However, it initially prevented directors from casting her in films. In her early talkies, this "throaty" voice is still missing, and it remains unclear whether it has not yet emerged or whether she hid it. Her all-talking film debut was The Canary Murder Case (1929), in which she co-starred opposite William Powell and Louise Brooks. Arthur only impressed a few with the film, and later claimed that at the time she was a "very poor actress ... awfully anxious to improve, but ... inexperienced so far as genuine training was concerned." In the early years of talking pictures, Paramount was known for contracting Broadway actors with experienced vocals and impressive background references. Arthur was not among these actors, and struggled for recognition in the film industry. Her personal involvement with rising Paramount executive David O. Selznick – despite his relationship with Irene Mayer Selznick – proved substantial; she was put on the map and became selected as one of the WAMPAS Baby Stars in 1929. Following a silent B-western called Stairs of Sand (1929), she received some positive notices when she played the female lead in the lavish production of The Mysterious Dr. Fu Manchu (1929). Arthur was given more publicity assignments, with which she went along, even though she immediately disliked posing for photographers and giving interviews. Through Selznick, Arthur received her "best role to date" opposite famous sex symbol Clara Bow in the early sound film The Saturday Night Kid (1929). Of the two female leads, Arthur was thought to have "the better part", and director Edward Sutherland claimed that "Arthur was so good that we had to cut and cut to keep her from stealing the picture" from Bow. While some argued that Bow resented Arthur for having the "better part", Bow encouraged Arthur to make the most of the production. Arthur later praised her working experience with Bow: "[Bow] was so generous, no snootiness or anything. She was wonderful to me." The film was a moderate success, and The New York Times wrote that the film would have been "merely commonplace, were it not for Jean Arthur, who plays the catty sister with a great deal of skill." Following a role in Halfway to Heaven (1929) opposite popular actor Charles Rogers (of which Variety opined that her career could be heading somewhere if she acquired more sex appeal), Selznick assigned her to play William Powell's wife in Street of Chance (1930). She did not impress the film's director John Cromwell, who advised the actress to move back to New York, because she would not make it in Hollywood. By 1930, her relationship with Selznick had ended, causing her career at Paramount to slip. Following a string of "lifeless ingenue roles" in mediocre films, she debuted on stage in December 1930 with a supporting role in Pasadena Playhouse's ten-day run production of Spring Song. Back in Hollywood, Arthur saw her career deteriorating, and she dyed her hair blonde in an attempt to boost her image and avoid comparison with more successful actress Mary Brian. Her effort did not pay off: when her three-year contract at Paramount expired in mid-1931, she was given her release with an announcement from Paramount that the decision was due to financial setbacks caused by the Great Depression.