Carole Lombard
| Carole Lombard | |
|---|---|
Lombard in 1940
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| Born |
Jane Alice Peters October 6, 1908 Fort Wayne, Indiana, U.S. |
| Died | January 16, 1942 (aged 33) Mount Potosi, Nevada, U.S. |
| Cause of death | Plane crash |
| Occupation | Actress |
| Years active | 1921–1942 |
| Spouse(s) |
William Powell (m. 1931; div. 1933) Clark Gable (m. 1939) |
Carole Lombard (born Jane Alice Peters, October 6, 1908 – January 16, 1942) was an American film actress. She was particularly noted for her energetic, often off-beat roles in the screwball comedies of the 1930s. She was the highest-paid star in Hollywood in the late 1930s.
Lombard was born into a wealthy family in Fort Wayne, Indiana, but was raised in Los Angeles by her single mother. At 12, she was recruited by the film director Allan Dwan and made her screen debut in A Perfect Crime (1921). Eager to become an actress, she signed a contract with the Fox Film Corporation at age 16, but mainly played bit parts. She was dropped by Fox after a car accident left a scar on her face. Lombard appeared in 15 short comedies for Mack Sennett between 1927 and 1929, and then began appearing in feature films such as High Voltage and The Racketeer. After a successful appearance in The Arizona Kid (1930), she was signed to a contract with Paramount Pictures.
Paramount quickly began casting Lombard as a leading lady, primarily in drama films. Her fame increased when she married William Powell in 1931, but the pair divorced two years later. A turning point in Lombard's career came in 1934, when she starred in Howard Hawks' pioneering screwball comedy Twentieth Century. The actress found her niche in this genre, and continued to appear in films such as Hands Across the Table (1935) - forming a popular partnership with Fred MacMurray - My Man Godfrey (1936), for which she was nominated for the Academy Award for Best Actress, and Nothing Sacred (1937). During this period, Lombard married "the King of Hollywood," Clark Gable, and the pair was treated in the media as a celebrity supercouple. Keen to win an Oscar, at the end of the decade, Lombard began to move towards more serious roles. Unsuccessful in this aim, she returned to comedy in Alfred Hitchcock's Mr. & Mrs. Smith (1941) and Ernst Lubitsch's To Be or Not to Be (1942) – her final film role.
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