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The Info List - Bette Davis


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Ruth Elizabeth Davis (/ˈbɛti/; April 5, 1908 – October 6, 1989) was an American actress of film, television, and theater. Regarded as one of the greatest actresses in Hollywood history,[2] she was noted for her willingness to play unsympathetic, sardonic characters and was famous for her performances in a range of film genres, from contemporary crime melodramas to historical and period films, suspense horror and occasional comedies, although her greatest successes were her roles in romantic dramas.[3] After appearing in Broadway plays, Davis moved to Hollywood in 1930. However, her early films for Universal Studios
Universal Studios
(and as a loanout to other studios) were unsuccessful. She joined Warner Bros.
Warner Bros.
in 1932 and established her career with several critically acclaimed performances. In 1937, she attempted to free herself from her contract. Although she lost the well-publicized legal case against the studio, it marked the beginning of the most successful period of her career. Until the late 1940s, she was one of American cinema's most celebrated leading ladies, known for her forceful and intense style. Davis gained a reputation as a perfectionist who could be highly combative and confrontational. She clashed with studio executives and film directors as well as many of her co-stars. Her forthright manner, idiosyncratic speech and ubiquitous cigarette contributed to a public persona, which has often been imitated.[4] Davis was the co-founder of the Hollywood Canteen, and was the first female president of the Academy of Motion Picture Arts and Sciences. She won the Academy Award for Best Actress
Academy Award for Best Actress
twice, was the first person to accrue ten Academy Award
Academy Award
nominations for acting, and was the first woman to receive a Lifetime Achievement Award from the American Film Institute. Her career went through several periods of eclipse, and she admitted that her success had often been at the expense of her personal relationships. Married four times, she was once widowed and three times divorced, and raised her children as a single parent. Her final years were marred by a long period of ill health, but she continued acting until shortly before her death from breast cancer, with more than 100 film, television and theater roles to her credit. In 1999, Davis was placed second behind Katharine Hepburn
Katharine Hepburn
on the American Film Institute's list of the greatest female stars of classic Hollywood cinema.

Contents

1 Life and career

1.1 Background and early acting career (1908–1929) 1.2 Early years in Hollywood (1930–1936)

1.2.1 Legal case

1.3 Success with Warner Bros.
Warner Bros.
(1937–1941) 1.4 War effort and personal tragedy (1942–1944) 1.5 Professional setbacks (1945–1949) 1.6 Starting a freelance career (1949–1960) 1.7 Renewed success (1961–1970) 1.8 Later career (1971–1983) 1.9 Illness, conflict and death (1983–1989)

2 Reception and legacy 3 Academy Awards milestones 4 In popular culture

4.1 Music 4.2 Books 4.3 Films and television

5 Selected filmography 6 See also 7 References 8 Bibliography 9 External links

Life and career[edit] Background and early acting career (1908–1929)[edit] Ruth Elizabeth Davis, known from early childhood as "Betty", was born on April 5, 1908, in Lowell, Massachusetts, the daughter of Harlow Morrell Davis (1885–1938), a law student from Augusta, Maine, and subsequently a patent attorney, and Ruth Augusta (née Favór; 1885–1961), from Tyngsboro, Massachusetts.[5] Betty's younger sister was Barbara Harriet.[6] In 1915, Davis' parents separated, and Betty attended a Spartan boarding school called Crestalban in Lanesborough in the Berkshires.[7] In 1921, Ruth Davis moved to New York City with her daughters, where she worked as a portrait photographer. Betty changed the spelling of her name to "Bette" after Honoré de Balzac's La Cousine Bette.[8] Davis attended Cushing Academy, a boarding school in Ashburnham, Massachusetts, where she met her future husband, Harmon O. Nelson, known as "Ham". In 1926, she saw a production of Henrik Ibsen's The Wild Duck with Blanche Yurka
Blanche Yurka
and Peg Entwistle. Davis later recalled for Al Cohn
Al Cohn
of Newsday, "The reason I wanted to go into theater was because of an actress named Peg Entwistle."[9] She auditioned for admission to Eva Le Gallienne's Manhattan Civic Repertory, but was rejected by LeGallienne, who described her attitude as "insincere" and "frivolous".[10] Davis auditioned for George Cukor's stock theater company in Rochester, New York; although he was not very impressed, he gave Davis her first paid acting assignment—a one-week stint playing the part of a chorus girl in the play Broadway. In 1929, Davis was chosen by Blanche Yurka
Blanche Yurka
to play Hedwig, the character she had seen Entwistle play in The Wild Duck.[11] After performing in Philadelphia, Washington, and Boston, she made her Broadway debut in 1929 in Broken Dishes, and followed it with Solid South.[citation needed] Early years in Hollywood (1930–1936)[edit]

Davis in her film debut, Bad Sister (1931)

In 1930, Davis moved to Hollywood to screen test for Universal Studios. Davis and her mother traveled by train to Hollywood. She later recounted her surprise that nobody from the studio was there to meet her. In fact, a studio employee had waited for her but left because he saw nobody who "looked like an actress". She failed her first screen test, but was used in several screen tests for other actors. In a 1971 interview with Dick Cavett, she related the experience with the observation, "I was the most Yankee-est, most modest virgin who ever walked the earth. They laid me on a couch, and I tested fifteen men ... They all had to lie on top of me and give me a passionate kiss. Oh, I thought I would die. Just thought I would die."[12] A second test was arranged for Davis, for the 1931 film A House Divided. Hastily dressed in an ill-fitting costume with a low neckline, she was rebuffed by the director William Wyler, who loudly commented to the assembled crew, "What do you think of these dames who show their chests and think they can get jobs?"[13] Carl Laemmle, the head of Universal Studios, considered terminating Davis' employment, but cinematographer Karl Freund
Karl Freund
told him she had "lovely eyes" and would be suitable for Bad Sister (1931), in which she subsequently made her film debut.[14] Her nervousness was compounded when she overheard the chief of production, Carl Laemmle, Jr., comment to another executive that she had "about as much sex appeal as Slim Summerville", one of the film's co-stars.[15] The film was not a success, and her next role in Seed (1931) was too brief to attract attention.[citation needed] Universal Studios
Universal Studios
renewed her contract for three months, and she appeared in a small role in Waterloo Bridge (1931) before being lent to Columbia Pictures
Columbia Pictures
for The Menace and to Capital Films for Hell's House (all 1932). After one year, and six unsuccessful films, Laemmle elected not to renew her contract.[16] Davis was preparing to return to New York when actor George Arliss chose Davis for the lead female role in the Warner Bros.
Warner Bros.
picture The Man Who Played God (1932), and for the rest of her life, Davis credited him with helping her achieve her "break" in Hollywood. The Saturday Evening Post wrote, "she is not only beautiful, but she bubbles with charm" and compared her to Constance Bennett
Constance Bennett
and Olive Borden.[17] Warner Bros.
Warner Bros.
signed her to a five-year contract, and she remained with the studio for the next 18 years.[citation needed] Davis married Harmon Oscar Nelson on August 18, 1932, in Yuma, Arizona.[18] Their marriage was scrutinized by the press; his $100 a week earnings compared unfavorably with Davis' reported $1,000 a week income. Davis addressed the issue in an interview, pointing out that many Hollywood wives earned more than their husbands, but the situation proved difficult for Nelson, who refused to allow Davis to purchase a house until he could afford to pay for it himself.[19] Davis had several abortions during the marriage.[20]

As the shrewish Mildred in Of Human Bondage (1934)

After more than 20 film roles, the role of the vicious and slatternly Mildred Rogers in the RKO Radio production of Of Human Bondage (1934), a film adaptation of W. Somerset Maugham's novel, earned Davis her first major critical acclaim. Many actresses feared playing unsympathetic characters and several had refused the role, but Davis viewed it as an opportunity to show the range of her acting skills. Her co-star, Leslie Howard, was initially dismissive of her, but as filming progressed, his attitude changed and he subsequently spoke highly of her abilities. The director, John Cromwell, allowed her relative freedom: "I let Bette have her head. I trusted her instincts." She insisted that she be portrayed realistically in her death scene, and said, "the last stages of consumption, poverty, and neglect are not pretty and I intended to be convincing-looking."[21] The film was a success, and Davis' characterization won praise from critics, with Life writing that she gave "probably the best performance ever recorded on the screen by a U.S. actress".[22] Davis anticipated that her reception would encourage Warner Bros.
Warner Bros.
to cast her in more important roles and was disappointed when Jack L. Warner refused to lend her to Columbia Studios to appear in It Happened One Night and instead cast her in the melodrama Housewife.[23] When Davis was not nominated for an Academy Award
Academy Award
for Of Human Bondage, The Hollywood Citizen News questioned the omission and Norma Shearer, herself a nominee, joined a campaign to have Davis nominated. This prompted an announcement from the Academy president, Howard Estabrook, who said that under the circumstances "any voter ... may write on the ballot his or her personal choice for the winners", thus allowing, for the only time in the Academy's history, the consideration of a candidate not officially nominated for an award.[24] The uproar led, however, to a change in academy voting procedures the following year, wherein nominations were determined by votes from all eligible members of a particular branch, rather than by a smaller committee,[25] with results independently tabulated by the accounting firm Price Waterhouse.[26] Davis appeared in Dangerous (1935) as a troubled actress and received very good reviews. E. Arnot Robertson wrote in Picture Post:

I think Bette Davis
Bette Davis
would probably have been burned as a witch if she had lived two or three hundred years ago. She gives the curious feeling of being charged with power which can find no ordinary outlet.[27]

The New York Times
The New York Times
hailed her as "becoming one of the most interesting of our screen actresses."[28] She won the Academy Award
Academy Award
for Best Actress for the role but commented that it was belated recognition for Of Human Bondage, calling the award a "consolation prize".[29] For the rest of her life, Davis maintained that she gave the statue its familiar name of "Oscar" because its posterior resembled that of her husband, whose middle name was Oscar,[30][31] although, the Academy of Motion Picture Arts and Sciences officially makes reference to another story.[32] In her next film, The Petrified Forest
The Petrified Forest
(1936), Davis co-starred with Leslie Howard and Humphrey Bogart. Legal case[edit] Convinced that her career was being damaged by a succession of mediocre films, Davis accepted an offer in 1936 to appear in two films in Britain. Knowing that she was breaching her contract with Warner Bros., she fled to Canada to avoid legal papers being served on her. Eventually, Davis brought her case to court in Britain, hoping to get out of her contract.[33] She later recalled the opening statement of the barrister, Patrick Hastings, who represented Warner Bros.
Warner Bros.
Hastings urged the court to "come to the conclusion that this is rather a naughty young lady and that what she wants is more money." He mocked Davis' description of her contract as "slavery" by stating, incorrectly, that she was being paid $1,350 per week. He remarked, "if anybody wants to put me into perpetual servitude on the basis of that remuneration, I shall prepare to consider it." The British press offered little support to Davis and portrayed her as overpaid and ungrateful.[34] Davis explained her viewpoint to a journalist: "I knew that, if I continued to appear in any more mediocre pictures, I would have no career left worth fighting for."[35] her counsel presented the complaints—that she could be suspended without pay for refusing a part, with the period of suspension added to her contract, that she could be called upon to play any part within her abilities regardless of her personal beliefs, that she could be required to support a political party against her beliefs, and that her image and likeness could be displayed in any manner deemed applicable by the studio. Jack Warner testified and was asked, "Whatever part you choose to call upon her to play, if she thinks she can play it, whether it is distasteful and cheap, she has to play it?" Warner replied, "Yes, she must play it."[36] Davis lost the case and returned to Hollywood, in debt and without income, to resume her career. Olivia de Havilland
Olivia de Havilland
mounted a similar case in 1943 and won. Success with Warner Bros.
Warner Bros.
(1937–1941)[edit]

Davis in Jezebel (1938)

Davis began work on Marked Woman
Marked Woman
(1937), portraying a prostitute in a contemporary gangster drama inspired by the case of Lucky Luciano. For her performance in the film, she was awarded the Volpi Cup
Volpi Cup
at the 1937 Venice Film Festival.[37] Her next picture was Jezebel (1938), and during production, Davis entered a relationship with director William Wyler. She later described him as the "love of my life" and said that making the film with him was "the time in my life of my most perfect happiness".[38] The film was a success, and Davis' performance as a spoiled Southern belle
Southern belle
earned her a second Academy Award. This led to speculation in the press that she would be chosen to play a similar character, Scarlett O'Hara, in Gone with the Wind. Davis expressed her desire to play Scarlett, and while David O. Selznick
David O. Selznick
was conducting a search for the actress to play the role, a radio poll named her as the audience favorite. Warner offered her services to Selznick as part of a deal that also included Errol Flynn
Errol Flynn
and Olivia de Havilland, but Selznick did not consider Davis as suitable, and rejected the offer,[39] while Davis did not want Flynn cast as Rhett Butler. Newcomer Vivien Leigh
Vivien Leigh
was eventually cast as Scarlett O'Hara, while de Havilland landed a role as Melanie, and both of them were nominated for the Oscars, with Leigh winning. Jezebel marked the beginning of the most successful phase of Davis' career, and over the next few years, she was listed in the annual Quigley Poll of the Top Ten Money Making Stars, which was compiled from the votes of movie exhibitors throughout the U.S. for the stars who had generated the most revenue in their theaters over the previous year.[40] In contrast to Davis' success, her husband, Ham Nelson, had failed to establish a career for himself, and their relationship faltered. In 1938, Nelson obtained evidence that Davis was engaged in a sexual relationship with Howard Hughes
Howard Hughes
and subsequently filed for divorce, citing Davis' "cruel and inhuman manner."[41]

Davis with Errol Flynn
Errol Flynn
in The Private Lives of Elizabeth and Essex (1939)

Davis was emotional during the making of her next film, Dark Victory (1939), and considered abandoning it until the producer Hal B. Wallis convinced her to channel her despair into her acting. The film became one of the highest-grossing films of the year, and the role of Judith Traherne brought her an Academy Award
Academy Award
nomination. In later years, Davis cited this performance as her personal favorite.[42] She appeared in three other box-office hits in 1939: The Old Maid with Miriam Hopkins, Juarez with Paul Muni, and The Private Lives of Elizabeth and Essex with Errol Flynn. The last was her first color film and her only color film made during the height of her career. To play the elderly Elizabeth I of England, Davis shaved her hairline and eyebrows. During filming, she was visited on the set by the actor Charles Laughton. She commented that she had a "nerve" playing a woman in her sixties, to which Laughton replied, "Never not dare to hang yourself. That's the only way you grow in your profession. You must continually attempt things that you think are beyond you, or you get into a complete rut." Recalling the episode many years later, Davis remarked that Laughton's advice had influenced her throughout her career.[43] By this time, Davis was Warner Bros.' most profitable star and she was given the most important of their female leading roles. Her image was considered with more care; although she continued to play character roles, she was often filmed in close-ups that emphasized her distinctive eyes. All This and Heaven Too
All This and Heaven Too
(1940) was the most financially successful film of Davis' career to that point. The Letter (1940) was considered "one of the best pictures of the year" by The Hollywood Reporter, and Davis won admiration for her portrayal of an adulterous killer, a role originated by Katharine Cornell.[44] During this time, she was in a relationship with her former costar George Brent, who proposed marriage. Davis refused, as she had met Arthur Farnsworth, a New England innkeeper. Davis and Farnsworth were married at Home Ranch, in Rimrock, Arizona, in December 1940.[45]

Davis often played unlikable characters such as Regina Giddens in The Little Foxes (1941).

In January 1941, Davis became the first female president of the Academy of Motion Picture Arts and Sciences
Academy of Motion Picture Arts and Sciences
but antagonized the committee members with her brash manner and radical proposals. Davis rejected the idea of her being just "a figurehead only". Faced with the disapproval and resistance of the committee, Davis resigned, and was succeeded by her predecessor Walter Wanger.[46] Davis starred in three movies in 1941, the first being The Great Lie, opposite George Brent. It was a refreshingly different role for Davis, as she played a kind, sympathetic character. William Wyler
William Wyler
directed Davis for the third time in Lillian Hellman's The Little Foxes (1941), but they clashed over the character of Regina Giddens, a role originally played on Broadway by Tallulah Bankhead (Davis had portrayed in film roles initiated by Bankhead on the stage twice before, in Dark Victory
Dark Victory
and Jezebel). Wyler encouraged Davis to emulate Bankhead's interpretation of the role but Davis wanted to make the role her own. She received another Academy Award
Academy Award
nomination for her performance and never worked with Wyler again.[47] War effort and personal tragedy (1942–1944)[edit] Following the attack on Pearl Harbor, Davis spent the early months of 1942 selling war bonds. After Jack Warner criticized her tendency to cajole crowds into buying, she reminded him that her audiences responded most strongly to her "bitch" performances. She sold $2 million worth of bonds in two days, as well as a picture of herself in Jezebel for $250,000. She also performed for black regiments as the only white member of an acting troupe formed by Hattie McDaniel, which included Lena Horne
Lena Horne
and Ethel Waters.[48] At John Garfield's suggestion of opening a servicemen's club in Hollywood, Davis—with the aid of Warner, Cary Grant, and Jule Styne—transformed an old nightclub into the Hollywood Canteen, which opened on October 3, 1942. Hollywood's most important stars volunteered to entertain servicemen. Davis ensured that every night, a few important "names" would be there for the visiting soldiers to meet.[49] She appeared as herself in the film Hollywood Canteen
Hollywood Canteen
(1944), which used the canteen as the setting for a fictional story. Davis later commented, "There are few accomplishments in my life that I am sincerely proud of. The Hollywood Canteen
Hollywood Canteen
is one of them." In 1980, she was awarded the Distinguished Civilian Service Medal, the United States Department of Defense's highest civilian award, for her work with the Hollywood Canteen.[50]

Paul Henreid
Paul Henreid
is lighting a cigarette for Davis in Now, Voyager
Now, Voyager
(1942), one of her most iconic roles.

Davis showed little interest in the film Now, Voyager
Now, Voyager
(1942) until Hal Wallis advised her that female audiences needed romantic dramas to distract them from the reality of their lives. It became one of the best known of her "women's pictures". In one of the film's most imitated scenes, Paul Henreid
Paul Henreid
lights two cigarettes as he stares into Davis' eyes and passes one to her. Film reviewers complimented Davis on her performance, the National Board of Review commenting that she gave the film "a dignity not fully warranted by the script."[51] During the early 1940s, several of Davis' film choices were influenced by the war, such as Watch on the Rhine
Watch on the Rhine
(1943), by Lillian Hellman, and Thank Your Lucky Stars (1943), a lighthearted all-star musical cavalcade, with each of the featured stars donating their fees to the Hollywood Canteen. Davis performed a novelty song, "They're Either Too Young or Too Old", which became a hit record after the film's release. Old Acquaintance
Old Acquaintance
(1943) reunited her with Miriam Hopkins
Miriam Hopkins
in a story of two old friends who deal with the tensions created when one of them becomes a successful novelist. Davis felt that Hopkins tried to upstage her throughout the film. Director Vincent Sherman
Vincent Sherman
recalled the intense competitiveness and animosity between the two actresses, and Davis often joked that she held back nothing in a scene in which she was required to shake Hopkins in a fit of anger.[52] In August 1943, Davis' husband, Arthur Farnsworth, collapsed while walking along a Hollywood street and died two days later. An autopsy revealed that his fall had been caused by a skull fracture he had suffered two weeks earlier. Davis testified before an inquest that she knew of no event that might have caused the injury. A finding of accidental death was reached. Highly distraught, Davis attempted to withdraw from her next film Mr. Skeffington
Mr. Skeffington
(1944), but Jack Warner, who had halted production following Farnsworth's death, convinced her to continue. Although she had gained a reputation for being forthright and demanding, her behavior during filming of Mr. Skeffington
Mr. Skeffington
was erratic and out of character. She alienated Vincent Sherman
Vincent Sherman
by refusing to film certain scenes and insisting that some sets be rebuilt. She improvised dialogue, causing confusion among other actors, and infuriated the writer, Julius Epstein, who was called upon to rewrite scenes at her whim. Davis later explained her actions with the observation, "when I was most unhappy I lashed out rather than whined." Some reviewers criticized Davis for the excess of her performance; James Agee
James Agee
wrote that she "demonstrates the horrors of egocentricity on a marathonic scale;"[53] but despite the mixed reviews, she received another Academy Award
Academy Award
nomination.[citation needed] Professional setbacks (1945–1949)[edit]

In The Corn Is Green (1945): Despite the studio's suggestion that she play the role as a young woman, Davis (age 37) insisted on aging her appearance to fit the part.

In 1945, Davis married artist William Grant Sherry, who also worked as a masseur. She had been drawn to him because he claimed he had never heard of her and was, therefore, not intimidated by her.[54] The same year, Davis refused the title role in Mildred Pierce (1945),[55] a role for which Joan Crawford
Joan Crawford
won an Academy Award, and instead made The Corn Is Green (1945) based on a play by Emlyn Williams. Davis played Miss Moffat, an English teacher who saves a young Welsh miner (John Dall) from a life in the coal pits, by offering him education. The part had been played in the theatre by Ethel Barrymore but Warner Bros.
Warner Bros.
felt that the film version should depict the character as a younger woman. Davis disagreed, and insisted on playing the part as written and wore a gray wig and padding under her clothes, to create a dowdy appearance.[56] The film was well received by critics and made a profit of $2.2 million.[57] The critic E. Arnot Robertson observed:

Only Bette Davis...could have combated so successfully the obvious intention of the adaptors of the play to make frustrated sex the mainspring of the chief character's interest in the young miner.[58]

She concluded that "the subtle interpretation she insisted on giving" kept the focus on the teacher's "sheer joy in imparting knowledge".[58] Her next film, A Stolen Life (1946), was the only film that Davis made with her own production company, BD Productions.[59] Davis played dual roles, as twins. The film received poor reviews and was described by Bosley Crowther as "a distressingly empty piece;"[60] but, with a profit of $2.5 million, it was one of her biggest box office successes.[61] In 1947, the U.S. Treasury
U.S. Treasury
named Davis as the highest-paid woman in the country,[62] with her share of the film's profit accounting for most of her earnings. Her next film was Deception (1946), the first of her films to lose money.[63] Possessed (1947) had been tailor-made for Davis[64] and was to have been her next project after Deception. However, she was pregnant and went on maternity leave. Joan Crawford
Joan Crawford
played her role in Possessed and was nominated for an Academy Award
Academy Award
as Best Actress. In 1947, at the age of 39, Davis gave birth to a daughter, Barbara Davis Sherry (known as B.D.) and later wrote in her memoir that she became absorbed in motherhood and considered ending her career. As she continued making films, however, her relationship with her daughter B.D. began to deteriorate and her popularity with audiences was steadily declining.[65] Among the film roles offered to Davis following her return to film-making was Rose Sayer in The African Queen (1951). When informed that the film was to be shot in Africa, Davis refused the part, telling Jack Warner, "If you can't shoot the picture in a boat on the back lot, then I'm not interested." Katharine Hepburn
Katharine Hepburn
played the role and was nominated for an Academy Award
Academy Award
as Best Actress.[66] Davis was also offered a role in a film version of the Virginia Kellogg prison drama Women Without Men. Originally intended to pair Davis with Joan Crawford, Davis made it clear that she would not appear in any "dyke movie". It was filmed as Caged
Caged
(1950), and the lead roles were played by Eleanor Parker
Eleanor Parker
(who was nominated for an Academy Award
Academy Award
as Best Actress) and Agnes Moorehead.[67] She lobbied Jack Warner to make two films, Ethan Frome
Ethan Frome
and a biography of Mary Todd Lincoln; however, Warner vetoed each proposal.[citation needed]

Beyond the Forest
Beyond the Forest
(1949) was the last film Davis made for Warner Bros. after 17 years with the studio.

In 1948, Davis was cast in the melodrama Winter Meeting. Although she was initially enthusiastic, she soon learned that Warner had arranged for "softer" lighting to be used to disguise her age. She recalled that she had seen the same lighting technique "on the sets of Ruth Chatterton and Kay Francis, and I knew what they meant".[68] To add to her disappointment, she was not confident in the abilities of her leading man, James Davis in his first major screen role. She disagreed with changes made to the script because of censorship restrictions and found that many of the aspects of the role that had initially appealed to her had been cut. The film was later described by Bosley Crowther as "interminable", and he noted that "of all the miserable dilemmas in which Miss Davis has been involved ... this one is probably the worst". It failed at the box office and the studio lost nearly $1 million.[69] While making June Bride
June Bride
(1948), Davis clashed with co-star Robert Montgomery, later describing him as "a male Miriam Hopkins... an excellent actor, but addicted to scene-stealing."[70] The film marked her first comedy in several years and earned her some positive reviews, but it was not particularly popular with audiences and returned only a small profit. Despite the lackluster box office receipts from her more recent films, in 1949 she negotiated a four-film contract with Warner Bros.
Warner Bros.
that paid $10,285 per week and made her the highest-paid woman in the United States.[71] However, Jack Warner had refused to allow her script approval and cast her in Beyond the Forest
Beyond the Forest
(1949). Davis reportedly loathed the script and begged Warner to recast the role but he refused. After the film was completed, her request to be released from her contract was honored. The reviews of the film were scathing. Dorothy Manners, writing for the Los Angeles Examiner, described the film as "an unfortunate finale to her brilliant career." [72] Hedda Hopper
Hedda Hopper
wrote, "If Bette had deliberately set out to wreck her career, she could not have picked a more appropriate vehicle."[73] The film contained the line, "What a dump!," which became closely associated with Davis after it was referenced in Edward Albee's Who's Afraid of Virginia Woolf?, and impersonators began to use it in their acts. Starting a freelance career (1949–1960)[edit]

Davis posing as Margo Channing in a promotional image for All About Eve (1950): She is pictured with Gary Merrill, to whom she was married from 1950 to 1960 (her fourth and final husband).

Davis filmed The Story of a Divorce (released by RKO Radio Pictures in 1951 as Payment on Demand). Shortly before filming was completed, producer Darryl F. Zanuck
Darryl F. Zanuck
offered her the role of the aging theatrical actress Margo Channing in All About Eve
All About Eve
(1950). Davis read the script, described it as the best she had ever read, and accepted the role. Within days, she joined the cast in San Francisco to begin filming. During production, she established what would become a lifelong friendship with her co-star, Anne Baxter, and a romantic relationship with her leading man, Gary Merrill, which led to marriage. The film's director, Joseph L. Mankiewicz, later remarked, "Bette was letter perfect. She was syllable-perfect. The director's dream: the prepared actress."[74] Critics responded positively to Davis' performance, and several of her lines became well-known, particularly "Fasten your seatbelts, it's going to be a bumpy night." She was again nominated for an Academy Award and critics such as Gene Ringgold described her Margo as her "all-time best performance."[75] Pauline Kael
Pauline Kael
wrote that much of Mankiewicz' vision of "the theater" was "nonsense" but commended Davis, writing "[the film is] saved by one performance that is the real thing: Bette Davis
Bette Davis
is at her most instinctive and assured. Her actress—vain, scared, a woman who goes too far in her reactions and emotions—makes the whole thing come alive."[76] Davis won a Best Actress award from the Cannes Film Festival, and the New York Film Critics Circle Award. She also received the San Francisco Film Critics Circle Award as "Best Actress", having been named by them as the "Worst Actress" of 1949 for Beyond the Forest. During this time, she was invited to leave her handprints in the forecourt of Grauman's Chinese Theatre.[citation needed] On July 3, 1950, Davis' divorce from William Sherry was finalized, and on July 28, she married Gary Merrill. With Sherry's consent, Merrill adopted B. D., Davis' daughter with Sherry. In January 1951, Davis and Merrill adopted a five-day-old baby girl they named Margot Mosher Merrill (born January 6, 1951),[77][78] after the character Margo Channing. Davis and Merrill lived with their three children on an estate on the coast of Cape Elizabeth, Maine. Davis, after semi-retirement in the mid-1950s, again starred in several movies during her time in Maine, including 1955's The Virgin Queen, in which she played Queen Elizabeth I.[79] The family traveled to England, where Davis and Merrill starred in a murder-mystery film, Another Man's Poison
Another Man's Poison
(1951). When it received lukewarm reviews and failed at the box office, Hollywood columnists wrote that Davis' comeback had petered out, and an Academy Award nomination for The Star (1952) did not halt her decline.[citation needed] Davis and Merrill adopted a baby boy, Michael (born January 5, 1952),[80] in 1952, and Davis appeared in a Broadway revue, Two's Company directed by Jules Dassin. She was uncomfortable working outside of her area of expertise; she had never been a musical performer and her limited theater experience had been more than 20 years earlier. She was also severely ill and was operated on for osteomyelitis of the jaw.[citation needed] Margot was diagnosed as severely brain-damaged due to an injury sustained during or shortly after her birth, and was placed in an institution around the age of 3. Davis and Merrill began arguing frequently, with B.D. later recalling episodes of alcohol abuse and domestic violence.[81] Few of Davis' films of the 1950s were successful, and many of her performances were condemned by critics. The Hollywood Reporter
The Hollywood Reporter
wrote of mannerisms "that you'd expect to find in a nightclub impersonation of [Davis]," while the London critic, Richard Winninger, wrote,

Miss Davis, with more say than most stars as to what films she makes, seems to have lapsed into egoism. The criterion for her choice of film would appear to be that nothing must compete with the full display of each facet of the Davis art. Only bad films are good enough for her.[82]

Her films of this period included The Virgin Queen (1955), Storm Center (1956), and The Catered Affair
The Catered Affair
(1956). As her career declined, her marriage continued to deteriorate until she filed for divorce in 1960. The following year, her mother died. During the same time, she tried television, appearing in three episodes of the popular NBC Western Wagon Train
Wagon Train
as three different characters in 1959 and 1961; her first appearance on TV had been February 25, 1956, on General Electric Theatre.[83] In 1960 Davis, a registered Democrat, appeared at the 1960 Democratic National Convention in Los Angeles, where she met future President John F. Kennedy, whom she greatly admired.[84] Outside of acting and politics, Davis was an active and practicing Episcopalian.[85] Renewed success (1961–1970)[edit]

Davis received her final Academy Award
Academy Award
nomination for her role as demented Baby Jane Hudson
Baby Jane Hudson
in What Ever Happened to Baby Jane? (1962), opposite Joan Crawford.

In 1961, Davis opened in the Broadway production The Night of the Iguana to mostly mediocre reviews, and left the production after four months due to "chronic illness". She then joined Glenn Ford
Glenn Ford
and Ann-Margret
Ann-Margret
for the Frank Capra
Frank Capra
film A Pocketful of Miracles
A Pocketful of Miracles
(1961) (a remake of Capra's 1933 film, Lady for a Day), based on a story by Damon Runyon. She accepted her next role, in the Grand Guignol
Grand Guignol
horror film What Ever Happened to Baby Jane? (1962) after reading the script and believing it could appeal to the same audience that had recently made Alfred Hitchcock's Psycho (1960) a success. She negotiated a deal that would pay her 10% of the worldwide gross profits, in addition to her salary. The film became one of the year's biggest successes.[86] Davis and Joan Crawford
Joan Crawford
played two aging sisters, former actresses forced by circumstance to share a decaying Hollywood mansion. The director, Robert Aldrich, explained that Davis and Crawford were each aware of how important the film was to their respective careers and commented, "It's proper to say that they really detested each other, but they behaved absolutely perfectly."[87] After filming was completed, their public comments against each other allowed the tension to develop into a lifelong feud. When Davis was nominated for an Academy Award, Crawford contacted the other Best Actress nominees (who were unable to attend the ceremonies) and offered to accept the award on their behalf should they win, which was exactly what happened when Anne Bancroft
Anne Bancroft
was announced as winner. Crawford accepted the award on Bancroft's behalf. Davis also received her only BAFTA Award nomination for this performance. Daughter Barbara (credited as B. D. Merrill) played a small role in the film and when Davis and she visited the Cannes Film Festival to promote it, she met Jeremy Hyman, an executive for Seven Arts Productions. After a short courtship, she married Hyman at the age of 16, with Davis' permission.

Davis and William Hopper
William Hopper
in the Perry Mason episode, "The Case of Constant Doyle" (January 31, 1963)

In October 1962, it was announced that four episodes of the CBS-TV series Perry Mason would feature special guest stars who would cover for Raymond Burr
Raymond Burr
during his convalescence from surgery. A Perry Mason fan, Davis was the first of the guest stars. "The Case of Constant Doyle" began filming on December 12, 1962,[88] and aired January 31, 1963.[89] In September 1962, Davis placed an advertisement in Variety under the heading of "Situations wanted—women artists", which read: "Mother of three—10, 11 & 15—divorcee. American. Thirty years experience as an actress in Motion Pictures. Mobile still and more affable than rumor would have it. Wants steady employment in Hollywood. (Has had Broadway.)"[90] Davis said that she intended it as a joke, and she sustained her comeback over the course of several years. Dead Ringer (1964) was a crime drama in which she played twin sisters. The film was based in a plot previously filmed in Mexico by Dolores del Rio.[91] Where Love Has Gone (1964) was a romantic drama based on a Harold Robbins
Harold Robbins
novel. Davis played the mother of Susan Hayward, but filming was hampered by heated arguments between Davis and Hayward.[92] Hush… Hush, Sweet Charlotte
Hush… Hush, Sweet Charlotte
(1964) was Robert Aldrich's follow-up to What Ever Happened to Baby Jane?, in which he planned to reunite Davis and Crawford, but when Crawford withdrew, allegedly due to illness, soon after filming began, she was replaced by Olivia de Havilland. The film was a considerable success and brought renewed attention to its veteran cast, which also included Joseph Cotten, Mary Astor, and Agnes Moorehead. The following year, Davis was cast as the lead in an Aaron Spelling sitcom, The Decorator.[93] A pilot episode was filmed, but was not shown, and the project was terminated. By the end of the decade, Davis had appeared in the British films The Nanny (1965), The Anniversary (1968), and Connecting Rooms
Connecting Rooms
(1970), but her career again stalled.[citation needed] Later career (1971–1983)[edit]

Davis and Elizabeth Taylor
Elizabeth Taylor
in late 1981 during a show celebrating Taylor's life

In the early 1970s, Davis was invited to appear in New York City, in a stage presentation, Great Ladies of the American Cinema. Over five successive nights, a different female star discussed her career and answered questions from the audience; Myrna Loy, Rosalind Russell, Lana Turner, Sylvia Sidney, and Joan Crawford
Joan Crawford
were the other participants. Davis was well received and was invited to tour Australia with the similarly themed, Bette Davis
Bette Davis
in Person and on Film, and its success allowed her to take the production to the United Kingdom.[94] In 1972, Davis played the lead role in two television films that were each intended as pilots for upcoming series for ABC and NBC, Madame Sin with Robert Wagner, and The Judge and Jake Wyler, with Joan Van Ark, but in each case, the network decided against producing a series. She appeared in the stage production, Miss Moffat, a musical adaptation of her film The Corn is Green, but after the show was panned by the Philadelphia
Philadelphia
critics during its pre-Broadway run, she cited a back injury and abandoned the show, which closed immediately. She played supporting roles in Comencini's Lo Scopone scientifico (1972) with the great Italian actor Alberto Sordi and Joseph Cotten, Burnt Offerings (1976), a Dan Curtis film, and The Disappearance of Aimee (1976), but clashed with Karen Black
Karen Black
and Faye Dunaway, the stars of the two latter respective productions, because she felt that neither extended her an appropriate degree of respect, and that their behavior on the film sets was unprofessional.[95] In 1977, Davis became the first woman to receive the American Film Institute's Lifetime Achievement Award. The televised event included comments from several of Davis' colleagues, including William Wyler, who joked that given the chance, Davis would still like to refilm a scene from The Letter to which Davis nodded. Jane Fonda, Henry Fonda, Natalie Wood, and Olivia de Havilland
Olivia de Havilland
were among the performers who paid tribute, with de Havilland commenting that Davis "got the roles I always wanted".[96] Following the telecast, she found herself in demand again, often having to choose between several offers. She accepted roles in the television miniseries The Dark Secret of Harvest Home (1978) and the theatrical film Death on the Nile (1978), an Agatha Christie
Agatha Christie
murder mystery. The bulk of her remaining work was for television. She won an Emmy Award
Emmy Award
for Strangers: The Story of a Mother and Daughter (1979) with Gena Rowlands, and was nominated for her performances in White Mama (1980) and Little Gloria... Happy at Last (1982). She also played supporting roles in two Disney films, Return from Witch Mountain (1978) and The Watcher in the Woods
The Watcher in the Woods
(1980).[citation needed] Davis' name became well-known to a younger audience when Kim Carnes' song " Bette Davis
Bette Davis
Eyes" (written by Jackie DeShannon) became a worldwide hit and the best-selling record of 1981 in the U.S., where it stayed at number one on the music charts for more than two months. Davis' grandson was impressed that she was the subject of a hit song and Davis considered it a compliment, writing to both Carnes and the songwriters, and accepting the gift of gold and platinum records from Carnes, and hanging them on her wall.[97][98] She continued acting for television, appearing in Family Reunion (1981) opposite her grandson J. Ashley Hyman, A Piano for Mrs. Cimino (1982) and Right of Way (1983) with James Stewart. In 1983, she was awarded the Women in Film Crystal Award.[99] Illness, conflict and death (1983–1989)[edit]

Davis (age 79) completed her final role in The Whales of August (1987), which brought her acclaim during a period in which she was beset with failing health and personal trauma.

In 1983, after filming the pilot episode for the television series Hotel, Davis was diagnosed with breast cancer and underwent a mastectomy. Within two weeks of her surgery, she suffered four strokes which caused paralysis in the left side of her face and in her left arm, and left her with slurred speech. She commenced a lengthy period of physical therapy, and aided by her personal assistant, Kathryn Sermak, gained partial recovery from the paralysis. Even late in life, Davis smoked 100 cigarettes a day.[100] During this time, her relationship with her daughter, B. D. Hyman, deteriorated when Hyman became a born-again Christian and attempted to persuade Davis to follow suit. With her health stable, she traveled to England to film the Agatha Christie
Agatha Christie
mystery Murder with Mirrors (1985). Upon her return, she learned that Hyman had published a memoir, My Mother's Keeper, in which she chronicled a difficult mother-daughter relationship and depicted scenes of Davis' overbearing and drunken behavior.[citation needed] Several of Davis' friends commented that Hyman's depiction of events was not accurate; one said, "so much of the book is out of context." Mike Wallace
Mike Wallace
rebroadcast a 60 Minutes
60 Minutes
interview he had filmed with Hyman a few years earlier in which she commended Davis on her skills as a mother, and said that she had adopted many of Davis' principles in raising her own children. Critics of Hyman noted that Davis had financially supported the Hyman family for several years and had recently saved them from losing their house. Despite the acrimony of their divorce years earlier, Gary Merrill also defended Davis. Interviewed by CNN, Merrill said that Hyman was motivated by "cruelty and greed." Davis' adopted son, Michael Merrill, ended contact with Hyman and refused to speak to her again, as did Davis, who also disinherited her.[101]

Davis with President Ronald Reagan
Ronald Reagan
(her co-star in 1939's Dark Victory) in 1987, two years before her death

In her second memoir, This 'N That
This 'N That
(1987), Davis wrote, "I am still recovering from the fact that a child of mine would write about me behind my back, to say nothing about the kind of book it is. I will never recover as completely from B.D.'s book as I have from the stroke. Both were shattering experiences." Her memoir concluded with a letter to her daughter, in which she addressed her several times as "Hyman", and described her actions as "a glaring lack of loyalty and thanks for the very privileged life I feel you have been given". She concluded with a reference to the title of Hyman's book, "If it refers to money, if my memory serves me right, I've been your keeper all these many years. I am continuing to do so, as my name has made your book about me a success."[102] Davis appeared in the television film As Summers Die (1986) and Lindsay Anderson's film The Whales of August
The Whales of August
(1987), in which she played the blind sister of Lillian Gish. Though in poor health at the time, Davis memorized her own and everyone else's lines as she always had.[103] The film earned good reviews, with one critic writing, "Bette crawls across the screen like a testy old hornet on a windowpane, snarling, staggering, twitching—a symphony of misfired synapses."[104] Davis became an honouree of the Kennedy Center Honors for her contribution to films in 1987. Her last performance was the title role in Larry Cohen's Wicked Stepmother (1989). By this time, her health was failing, and after disagreements with Cohen, she walked off the set. The script was rewritten to place more emphasis on Barbara Carrera's character, and the reworked version was released after Davis' death.[100]

Tomb of Bette Davis

After abandoning Wicked Stepmother
Wicked Stepmother
and with no further film offers (though she was keen to play the centenarian in Craig Calman's The Turn Of The Century and worked with him on adapting the stage play to a feature-length screenplay), Davis appeared on several talk shows and was interviewed by Johnny Carson, Joan Rivers, Larry King, and David Letterman, discussing her career, but refusing to discuss her daughter. Her appearances were popular; Lindsay Anderson
Lindsay Anderson
observed that the public enjoyed seeing her behaving "so bitchy": "I always disliked that because she was encouraged to behave badly. And I'd always hear her described by that awful word, feisty."[105] During 1988 and 1989, Davis was honored for her career achievements, receiving the Kennedy Center Honor, the Legion of Honor
Legion of Honor
from France, the Campione d'Italia
Campione d'Italia
from Italy and the Film Society of Lincoln Center Lifetime Achievement Award. She appeared on British television in a special broadcast from the South Bank Centre, discussing film and her career, the other guest being the renowned Russian director, Andrei Tarkovsky. She collapsed during the American Cinema Awards in 1989 and later discovered that her cancer had returned. She recovered sufficiently to travel to Spain, where she was honored at the Donostia-San Sebastián International Film Festival, but during her visit, her health rapidly deteriorated. Too weak to make the long journey back to the U.S., she traveled to France, where she died on October 6, 1989, at 11:20 pm, at the American Hospital in Neuilly-sur-Seine. Davis was 81 years old. She was interred in Forest Lawn—Hollywood Hills Cemetery in Los Angeles, alongside her mother, Ruthie, and sister, Bobby, with her name in larger type size. On her tombstone is written: "She did it the hard way," an epitaph that she mentioned in her memoir Mother Goddam as having been suggested to her by Joseph L. Mankiewicz
Joseph L. Mankiewicz
shortly after they had filmed All About Eve.[106] Reception and legacy[edit] As early as 1936, Graham Greene
Graham Greene
summed Davis up:

Even the most inconsiderable film ... seemed temporarily better than they were because of that precise, nervy voice, the pale ash-blond hair, the popping, neurotic eyes, a kind of corrupt and phosphorescent prettiness .... I would rather watch Miss Davis than any number of competent pictures.[107]

In 1964, Jack Warner spoke of the "magic quality that transformed this sometimes bland and not beautiful little girl into a great artist",[106] and in a 1988 interview, Davis remarked that, unlike many of her contemporaries, she had forged a career without the benefit of beauty.[108] She admitted she was terrified during the making of her earliest films and that she became tough by necessity. "Until you're known in my profession as a monster, you are not a star," she said, "[but] I've never fought for anything in a treacherous way. I've never fought for anything but the good of the film."[109] During the making of All About Eve
All About Eve
(1950), Joseph L. Mankiewicz told her of the perception in Hollywood that she was difficult, and she explained that when the audience saw her on screen, they did not consider that her appearance was the result of numerous people working behind the scenes. If she was presented as "a horse's ass ... forty feet wide, and thirty feet high", that is all the audience "would see or care about".[110] While lauded for her achievements, Davis and her films were sometimes derided; Pauline Kael
Pauline Kael
described Now, Voyager
Now, Voyager
(1942) as a "shlock classic",[111] and by the mid-1940s her sometimes mannered and histrionic performances had become the subject of caricature. Edwin Schallert for the Los Angeles Times
Los Angeles Times
praised Davis' performance in Mr. Skeffington (1944), while observing, "the mimics will have more fun than a box of monkeys imitating Miss Davis", and Dorothy Manners at the Los Angeles Examiner said of her performance in the poorly received Beyond the Forest
Beyond the Forest
(1949), "no night club caricaturist has ever turned in such a cruel imitation of the Davis mannerisms as Bette turns on herself in this one." Time magazine noted that Davis was compulsively watchable even while criticizing her acting technique, summarizing her performance in Dead Ringer (1964) with the observation, "her acting, as always, isn't really acting: it's shameless showing off. But just try to look away!"[112] Davis attracted a following in the gay subculture and was frequently imitated by female impersonators such as Tracey Lee and Charles Pierce.[113] Attempting to explain her popularity with gay audiences, the journalist Jim Emerson wrote, "Was she just a camp figurehead because her brittle, melodramatic style of acting hadn't aged well? Or was it that she was 'Larger Than Life,' a tough broad who had survived? Probably some of both."[108] Her film choices were often unconventional: Davis sought roles as manipulators and killers in an era when actresses usually preferred to play sympathetic characters, and she excelled in them. She favored authenticity over glamour and was willing to change her own appearance if it suited the character.[109]

Davis' signature and handprints at Grauman's Chinese Theatre

As she entered old age, Davis was acknowledged for her achievements. John Springer, who had arranged her speaking tours of the early 1970s, wrote that despite the accomplishments of many of her contemporaries, Davis was "the star of the thirties and into the forties", achieving notability for the variety of her characterizations and her ability to assert herself, even when her material was mediocre.[114] Individual performances continued to receive praise; in 1987, Bill Collins analyzed The Letter (1940), and described her performance as "a brilliant, subtle achievement", and wrote, " Bette Davis
Bette Davis
makes Leslie Crosbie one of the most extraordinary females in movies."[115] In a 2000 review for All About Eve
All About Eve
(1950), Roger Ebert
Roger Ebert
noted, "Davis was a character, an icon with a grand style, so even her excesses are realistic."[116] In 2006, Premiere magazine ranked her portrayal of Margo Channing in the film as fifth on their list of "100 Greatest Performances of All Time", commenting, "There is something deliciously audacious about her gleeful willingness to play such unattractive emotions as jealousy, bitterness, and neediness."[117] While reviewing What Ever Happened to Baby Jane? (1962) in 2008, Ebert asserted that "no one who has seen the film will ever forget her."[118] A few months before her death in 1989, Davis was one of several actors featured on the cover of Life magazine. In a film retrospective that celebrated the films and stars of 1939, Life concluded that Davis was the most significant actress of her era, and highlighted Dark Victory (1939) as one of the most important films of the year.[119] Her death made front-page news throughout the world as the "close of yet another chapter of the Golden Age of Hollywood." Angela Lansbury
Angela Lansbury
summed up the feeling of those of the Hollywood community who attended her memorial service, commenting after a sample from Davis' films was screened, that they had witnessed "an extraordinary legacy of acting in the twentieth century by a real master of the craft" that should provide "encouragement and illustration to future generations of aspiring actors."[120] In 1977, Davis became the first woman to be honored with the AFI Life Achievement Award.[121] In 1999, the American Film Institute
American Film Institute
published its list of the "AFI's 100 Years...100 Stars," which was the result of a film-industry poll to determine the "50 Greatest American Screen Legends" in order to raise public awareness and appreciation of classic film. Of the 25 actresses listed, Davis was ranked at number two, behind Katharine Hepburn.[122] The United States Postal Service
United States Postal Service
honored Davis with a commemorative postage stamp in 2008, marking the 100th anniversary of her birth.[123] The stamp features an image of her in the role of Margo Channing in All About Eve. The First Day of Issue celebration took place September 18, 2008, at Boston
Boston
University, which houses an extensive Davis archive. Featured speakers included her son Michael Merrill and Lauren Bacall. In 1997 the executors of her estate, Merrill and Kathryn Sermak, her former assistant, established "The Bette Davis
Bette Davis
Foundation" which awards college scholarships to promising actors and actresses.[50] Academy Awards milestones[edit]

Davis in the trailer for Dark Victory
Dark Victory
(1939), in which she gave one of her 10 Oscar-nominated performances

In 1962, Bette Davis
Bette Davis
became the first person to secure 10 Academy Award nominations for acting. Since then only three people have surpassed this figure, Meryl Streep
Meryl Streep
(with 21 nominations and three wins), Katharine Hepburn
Katharine Hepburn
(12 nominations and four wins), and Jack Nicholson (12 nominations and three wins).[124] Steven Spielberg
Steven Spielberg
purchased Davis' Oscars for Dangerous (1935) and Jezebel (1938), when they were offered for auction for $207,500 and $578,000, respectively, and returned them to the Academy of Motion Picture Arts and Sciences.[125][126]

1934: Davis' performance in Of Human Bondage (1934) was widely acclaimed and when she was not nominated for an Academy Award, several influential people mounted a campaign to have her name included. The Academy relaxed its rules for that year (and the following year also) to allow for the consideration of any performer nominated in a write-in vote; therefore, any performance of the year was technically eligible for consideration. For a period of time in the 1930s, the Academy revealed the second- and third-place vote getters in each category, Davis placed third for best actress above the officially nominated Grace Moore. The academy's nomination and winner database notes this under the 1934 best actress category and under the Bette Davis search.

Year Category Film Result

1935 Best Actress Dangerous Won

1938 Jezebel

1939 Dark Victory Nominated

1940 The Letter

1941 The Little Foxes

1942 Now, Voyager

1944 Mr. Skeffington

1950 All About Eve

1952 The Star

1962 What Ever Happened to Baby Jane?

In popular culture[edit] Music[edit] Reference is made to Bette Davis
Bette Davis
in Bob Dylan's "Desolation Row", and in the song "Celluloid Heroes" by the Kinks. Kim Carnes' "Bette Davis Eyes" was the number-one single of 1981.[127] Davis is mentioned in the 1990 Madonna song "Vogue". She and Cary Grant, another famous actor of the silver-screen era, are mentioned in the song “Silver Screen Romance”, by American rock band Good Charlotte. She, along with Clark Gable
Clark Gable
and James Dean, are mentioned in the 1999 song Girl on TV by the boy band LFO.[128] Industrial Disease (1982) by Dire Straits refers to " Bette Davis
Bette Davis
knees". Books[edit] The feud between Davis and Joan Crawford
Joan Crawford
is depicted in Shaun Considine's 1989 book Bette and Joan: The Divine Feud. It was fueled by competition over film roles, Academy Awards, and Franchot Tone, Davis' co-star in 1935's Dangerous.[129] A book by her former assistant Kathryn Sermak, Miss D. and me : Live with the Invincible Bette Davis, was released in 2017. The book is about the period that Sermak worked for Davis as her personal assistant between the years 1979 till 1989. Films and television[edit] Susan Sarandon
Susan Sarandon
played Davis in the 2017 first season of the FX anthology television series Feud, subtitled Bette and Joan, which focused on the Davis–Crawford rivalry.[130][131] Selected filmography[edit] Main article: Bette Davis
Bette Davis
filmography

Bad Sister (1931) Parachute Jumper
Parachute Jumper
(1933) Of Human Bondage (1934) Dangerous (1935) The Petrified Forest
The Petrified Forest
(1936) Marked Woman
Marked Woman
(1937) Jezebel (1938) Dark Victory
Dark Victory
(1939) The Old Maid (1939) The Private Lives of Elizabeth and Essex
The Private Lives of Elizabeth and Essex
(1939) Juarez (1939) All This, and Heaven Too
All This, and Heaven Too
(1940) The Letter (1940) The Little Foxes (1941) The Great Lie
The Great Lie
(1941) The Man Who Came to Dinner (1942) In This Our Life
In This Our Life
(1942) Now, Voyager
Now, Voyager
(1942) Watch on the Rhine
Watch on the Rhine
(1943) Old Acquaintance
Old Acquaintance
(1943) Mr. Skeffington
Mr. Skeffington
(1944) A Stolen Life (1946) Deception (1946) Winter Meeting
Winter Meeting
(1948) Beyond the Forest
Beyond the Forest
(1949) All About Eve
All About Eve
(1950) The Star (1952) The Virgin Queen (1955) The Catered Affair
The Catered Affair
(1956) Pocketful of Miracles
Pocketful of Miracles
(1961) What Ever Happened to Baby Jane? (1962) Hush… Hush, Sweet Charlotte
Hush… Hush, Sweet Charlotte
(1964) Dead Ringer (1964) The Nanny (1965) Madame Sin (1972) Burnt Offerings (1976) Death on the Nile (1978) Strangers: The Story of a Mother and Daughter (1979) The Watcher In The Woods (1980) The Whales of August
The Whales of August
(1987) Wicked Stepmother
Wicked Stepmother
(1989)

See also[edit]

Motion Picture Production Code
Motion Picture Production Code
(Hays Code)

References[edit]

^ Ed Sikov (30 September 2008). Dark Victory: The Life of Bette Davis. Henry Holt and Company. p. 11. ISBN 978-0-8050-8863-2.  ^ " Bette Davis
Bette Davis
Biography".  ^ Michele Bourgoin, Suzanne (1998). Encyclopedia of World Biography. Gale. p. 119. ISBN 0-7876-2221-4.  ^ Jung, E. Alex. " Susan Sarandon
Susan Sarandon
on Feud and Why Everyone Gets So Mad at Her About Politics". Vulture. Retrieved 2017-03-08.  ^ ancestry.com Massachusetts 1840–1915 birth records, page 448 of book registered in Somerville ^ ancestry.com Massachusetts Birth Records 1840–1915 page 1235 ^ Sikov (2007), pp. 14–15 ^ Chandler (2006), p. 34 ^ "Bette Davis: I'm Liberated Because of Belief in Myself". Newsday. 11 November 1976.  ^ Spada (1993), p. 40 ^ Zeruk, James (2013). Peg Entwistle
Peg Entwistle
and the Hollywood Sign Suicide: A Biography. McFarland & Company, Inc. p. 70. ISBN 978-0-7864-7313-7.  ^ Stine (1974), pp. 2–3 ^ Chandler (2006), p. 68 ^ Chandler (2006), p. 67 ^ Stine (1974), p. 10 ^ "Davis, Bette: Centennial (1908–1989): Part One Emanuel Levy". emanuellevy.com. Retrieved 2017-03-08.  ^ Stine (1974), p. 20 ^ Yuma, Arizona
Yuma, Arizona
Marriage Applications, 1932 Aug–Nov ^ Spada (1993), pp. 94–98 ^ Moseley, Roy. Bette Davis. Lexington: University of Kentucky Press, 2003. p. 103. ^ Spada (1993), pp. 102–07 ^ Ringgold (1966), p. 57 ^ Chandler (2006), p. 102 ^ Wiley (1987), p. 55 ^ Spada (1993), p. 107 ^ Wiley (1987), p. 58 ^ Picture Post, 2 November 1946, as quoted in Noble, Peter (1948). Bette Davis: A Biography. London: Skelton Robinson.  ^ Ringgold (1966), p. 65 ^ Baxter, John (1968). Hollywood in the Thirties. London: A. Zwemmer Limited. p. 128. ISBN 0-498-06927-3.  ^ Sikov (2007), p. 80 ^ Chandler (2006), pp. 101, 263 ^ "Oscar Statuette". Oscars.org Academy of Motion Picture Arts and Sciences. 2014-07-25. Retrieved 2017-03-08.  ^ Sperling, Millner, and Warner, pp. 219–21. ^ Spada (1993), pp. 124–25 ^ Stine (1974), p. 68 ^ Spada (1993), p. 127 ^ "The awards of the Venice Film Festival". La Biennale di Venezia. Retrieved 2011-12-14.  ^ Chandler (2006), p. 121 ^ Haver (1980), p. 243 ^ "The 2006 Motion Picture Almanac, Top Ten Money Making Stars". Quigley Publishing Company. Archived from the original on January 14, 2013. Retrieved 2008-08-24.  ^ Spada, James (1993). More Than a Woman. Little, Brown and Company. pp. 144–148. ISBN 0-316-90880-0.  ^ Chandler (2006), p. 131 ^ Chandler (2006), p. 141 ^ Ringgold (1966), p. 105 ^ "Reading Eagle – Google News Archive Search". Retrieved 2014-10-03.  ^ Bianco, Marcie. "How Bette Davis
Bette Davis
Became a Hollywood Icon By Refusing to Conform at Every Turn". HWD. Retrieved 2017-10-23.  ^ Miller, Gabriel (2013). William Wyler: The Life and Films of Hollywood's Most Celebrated Director. Lexington: University Press of Kentucky. ISBN 978-0-8131-4209-8.  ^ Spada (1993), pp. 191–92 ^ Spada (1993), pp. 191–93 ^ a b " Bette Davis
Bette Davis
official site". Estate of Bette Davis. Archived from the original on 2008-07-23. Retrieved 2008-08-24.  ^ Ringgold (1966), p. 120 ^ Spada (1993), pp. 198–200 ^ Spada (1993), pp. 218–25 ^ Spada (1993), pp. 254–55 ^ Spada (1993), p. 247 ^ Spada, p. 227 ^ Spada, p. 229 ^ a b Ringgold, p. 133 ^ Sikov, p. 250 ^ Ringgold, p. 135 ^ Spada, p. 238 ^ Stine, p. 197 ^ Spada (1993), p. 241 ^ Bret (2006), p. 168 ^ Spada (1993), pp. 246–47 ^ Considine (2000), p. 225 ^ Bret (2006), p. 176 ^ Spada (1993), p. 250 ^ Spada (1993), pp. 250–51 ^ Chandler (2006), pp. 247–48 ^ Spada (1993), p. 257 ^ Ringgold (1966), p. 143 ^ Spada (1993), p. 285 ^ Staggs (2000), p. 80 ^ Ringgold (1966), p. 150 ^ Kael (1982), p. 13 ^ "Notable American Women".  ^ "Arabella Spotlight".  ^ Barker, Matt. "Bette's Maine Interlude" (PDF). Portland Monthly. Portland Magazine. Retrieved 11 August 2017.  ^ "Fade to Black".  ^ Spada (1993), pp. 310–15 ^ Carr (1979), p. 193 ^ " Bette Davis
Bette Davis
Debut," Broadcasting-Telecasting, 2 January 1956, 81. http://americanradiohistory.com/Archive-BC/BC-1956/1956-01-02-BC.pdf ^ "» Ronald Reagan
Ronald Reagan
& Bette Davis: Politically Oppositional Co-Stars Carl Anthony Online". carlanthonyonline.com.  ^ Starr, Kevin (28 November 2002). "The Dream Endures: California Enters the 1940s". Oxford University Press – via Google Books.  ^ Spada (1993), pp. 353–55 ^ Guiles (1995), p. 186 ^ Adams, Val (October 30, 1962). " Bette Davis
Bette Davis
Hired for 'Perry Mason'". The New York Times. Retrieved 2016-08-29.  ^ "Perry Mason, Season 6 (CBS) (1962–63)". Classic TV Archive. Retrieved 2016-08-29.  ^ "Situations wanted—women artists". Variety. 21 September 1962.  ^ Chandler (2006), p. 324 ^ Spada (1993), p. 376 ^ Terrace, Vincent (1997). Experimental television, test films, pilots, and trial series. McFarland. p. 135. ISBN 0-7864-0178-8. Retrieved 2009-08-19.  ^ Chandler (2006), pp. 258–59 ^ Spada (1993), pp. 414 (Karen Black), 416 (Faye Dunaway) ^ Spada (1993), p. 424 ^ Davis (1987), p. 112 ^ The women of Warner Brothers: the ... Books.google.com. 2002. ISBN 978-0-7864-1137-5. Retrieved 2010-04-14.  ^ "Past Recipients: Crystal Award". Women In Film. Archived from the original on July 24, 2011. Retrieved May 10, 2011.  ^ a b Cohen, Larry (July 2012). "I Killed Bette Davis". Film Comment.  ^ Spada (1993), pp. 451–57 ^ Davis (1987), pp. 10, 197–98 ^ "Placating the Stars of 'Whales'". The New York Times. 22 October 1987.  ^ "Grand Old Lillian Gish
Lillian Gish
Makes a Big Splash in the Whales of August".  ^ Spada (1993), p. 472 ^ a b Stine (1974), prologue ix ^ "The Cinema » 19 Jun 1936 » The Spectator Archive".  ^ a b Emerson, Jim. "Meeting Miss Davis". Jeeem's Cinepad. Archived from the original on May 12, 2008. Retrieved 2008-08-24.  ^ a b Shipman (1988), p. 13 ^ Spada (1993), p. 272 ^ Kael (1982), p. 421 ^ Ringgold (1966), p. 178 ^ "Charles Pierce as Bette Davis". Bochynski.com. Retrieved 2008-08-24.  ^ Springer (1978), p. 81 ^ Collins (1987), p. 135 ^ Ebert, Roger (2000-06-11). "Review of All About Eve". RogerEbert.com. Retrieved 2008-08-24.  ^ "100 Greatest Performances of All Time". Premiere. April 2006.  ^ Ebert, Roger (2008-02-16). "What Ever Happened to Baby Jane? (1962)". RogerEbert.com. Retrieved 2011-12-29.  ^ "Hollywood 1939–1989, Today's Stars Meet the Screen Legends." Life Magazine Spring 1989. ^ Spada (1993), pp. 480–81 ^ Sikov (2007), p. 405 ^ "AFI's 100 Years, 100 Stars, Greatest Film Star Legends". American Film Institute. Archived from the original on August 22, 2008. Retrieved 2008-08-24.  ^ " Bette Davis
Bette Davis
Stars in 2008 Postage Stamps". Fox News. 2007-12-27. Retrieved 2008-08-24.  ^ "Persons with 5 or More Acting Nominations" (PDF). Academy of Motion Picture Arts and Sciences. Archived from the original (PDF) on 22 January 2016. Retrieved 10 December 2015.  ^ "Classic Movie Scrapbook: Dangerous." Reel Classics.com. Accessed May 24, 2008. ^ "Spielberg buys Bette Davis' Oscar." BBC.co.uk. July 20, 2001. Accessed May 24, 2008. ^ "Top 100 Songs of 1981 – Billboard Year End Charts". bobborst.com. Retrieved April 15, 2017.  ^ "LFO - Girl On Tv Lyrics - SongMeanings". SongMeanings.  ^ Rorke, Robert. "Why Bette Davis
Bette Davis
and Joan Crawford's Feud Lasted a Lifetime". The New York Post. Retrieved February 26, 2017.  ^ Wagmeister, Elizabeth. "Feud: Ryan Murphy Lands Third FX Anthology With Susan Sarandon, Jessica Lange". Variety. Retrieved May 5, 2016.  ^ Birnbaum, Debra (January 12, 2017). "FX Sets Premiere Dates for Feud, The Americans, Archer". Variety. Retrieved January 12, 2017. 

Bibliography[edit]

Bret, David (2006). Joan Crawford: Hollywood Martyr. Carroll & Graf Publishers. ISBN 978-0-7867-1868-9.  Carr, Larry (1979). More Fabulous Faces: The Evolution and Metamorphosis of Bette Davis, Katharine Hepburn, Dolores del Rio, Carole Lombard
Carole Lombard
and Myrna Loy. Doubleday and Company. ISBN 0-385-12819-3.  Chandler, Charlotte (2006). The Girl Who Walked Home Alone: Bette Davis, A Personal Biography. Simon and Schuster. ISBN 978-0-7432-6208-8.  Collins, Bill (1987). Bill Collins Presents "The Golden Years of Hollywood". The MacMillan Company of Australia. ISBN 0-333-45069-8.  Considine, Shaun (2000). Bette and Joan: The Divine Feud. Backinprint.com. ISBN 978-0-595-12027-7.  Davis, Bette (1962). The Lonely Life: An Autobiography. New York: G. P. Putnam's Sons. ISBN 978-0-425-12350-8. OCLC 387221.  Davis, Bette; Michael Herskowitz (1987). This 'N That. G. P. Putnam's Sons. ISBN 0-345-34453-7.  Guiles, Fred Lawrence (1995). Joan Crawford, The Last Word. Conrad Goulden Books. ISBN 1-85793-268-4.  Haver, Ronald (1980). David O. Selznick's Hollywood. Bonanza Books. ISBN 0-517-47665-7.  Kael, Pauline (1982). 5001 Nights at the Movies. Zenith Books. ISBN 0-09-933550-6.  Ringgold, Gene (1966). The Films of Bette Davis. Cadillac Publishing Co. ISBN 0-8065-0953-8.  Sermak, Kathryn (2017) Miss D. and me : Life with the Invincible Bette Davis. Hachette Books Shipman, David (1988). Movie Talk. St. Martin's Press. ISBN 0-312-03403-2.  Sikov, Ed (2007). Dark Victory: The Life of Bette Davis. Henry Holt and Company. ISBN 0-8050-7548-8.  Spada, James (1993). More Than a Woman. Little, Brown and Company. ISBN 0-316-90880-0.  Sperling, Cass Warner; Milner, Cork Milner; Warner, Jack Jr. (1998). Hollywood Be Thy Name: The Warner Brothers Story. Prima Publishing. ISBN 0-8131-0958-2.  Springer, John; Jack Hamilton (1978). They Had Faces Then. Citadel Press. ISBN 0-8065-0657-1.  Staggs, Sam (2000). All About "All About Eve". St. Martin's Press. ISBN 0-312-27315-0.  Stine, Whitney; Bette Davis
Bette Davis
(1974). Mother Goddam: The Story of the Career of Bette Davis. W.H. Allen and Co. Plc. ISBN 1-56980-157-6.  Wiley, Mason; Damien Bona (1987). Inside Oscar: The Unofficial History of the Academy Awards. Ballantine Books. ISBN 0-345-34453-7.  Zeruk, James (2014). Peg Entwistle
Peg Entwistle
and the Hollywood Sign Suicide: A Biography. McFarland & Co. ISBN 978-0-7864-7313-7. 

External links[edit]

Wikimedia Commons has media related to Bette Davis.

Wikiquote has quotations related to: Bette Davis

Official website[permanent dead link], operated by the Estate of Bette Davis Bette Davis
Bette Davis
at AllMovie Bette Davis
Bette Davis
at the Internet Broadway Database
Internet Broadway Database
Bette Davis
Bette Davis
on IMDb Bette Davis
Bette Davis
at the TCM Movie Database Bette Davis
Bette Davis
at TVGuide.com Portraits from "The Little Foxes", 1941 by Ned Scott "Bette Davis". Find a Grave. Retrieved 2015-06-21.  Kathryn Sermak recounts living with Bette Davis, interview October, 2017, News-Sentinel, accessed October 25, 2017.

Non-profit organization positions

Preceded by Walter Wanger President of Academy of Motion Pictures, Arts and Sciences 1941 Succeeded by Walter Wanger

Awards for Bette Davis

v t e

Academy Award
Academy Award
for Best Actress

1928–1950

Janet Gaynor
Janet Gaynor
(1928) Mary Pickford
Mary Pickford
(1929) Norma Shearer
Norma Shearer
(1930) Marie Dressler
Marie Dressler
(1931) Helen Hayes
Helen Hayes
(1932) Katharine Hepburn
Katharine Hepburn
(1933) Claudette Colbert
Claudette Colbert
(1934) Bette Davis
Bette Davis
(1935) Luise Rainer
Luise Rainer
(1936) Luise Rainer
Luise Rainer
(1937) Bette Davis
Bette Davis
(1938) Vivien Leigh
Vivien Leigh
(1939) Ginger Rogers
Ginger Rogers
(1940) Joan Fontaine
Joan Fontaine
(1941) Greer Garson
Greer Garson
(1942) Jennifer Jones
Jennifer Jones
(1943) Ingrid Bergman
Ingrid Bergman
(1944) Joan Crawford
Joan Crawford
(1945) Olivia de Havilland
Olivia de Havilland
(1946) Loretta Young
Loretta Young
(1947) Jane Wyman
Jane Wyman
(1948) Olivia de Havilland
Olivia de Havilland
(1949) Judy Holliday
Judy Holliday
(1950)

1951–1975

Vivien Leigh
Vivien Leigh
(1951) Shirley Booth
Shirley Booth
(1952) Audrey Hepburn
Audrey Hepburn
(1953) Grace Kelly
Grace Kelly
(1954) Anna Magnani
Anna Magnani
(1955) Ingrid Bergman
Ingrid Bergman
(1956) Joanne Woodward
Joanne Woodward
(1957) Susan Hayward
Susan Hayward
(1958) Simone Signoret
Simone Signoret
(1959) Elizabeth Taylor
Elizabeth Taylor
(1960) Sophia Loren
Sophia Loren
(1961) Anne Bancroft
Anne Bancroft
(1962) Patricia Neal
Patricia Neal
(1963) Julie Andrews
Julie Andrews
(1964) Julie Christie
Julie Christie
(1965) Elizabeth Taylor
Elizabeth Taylor
(1966) Katharine Hepburn
Katharine Hepburn
(1967) Katharine Hepburn
Katharine Hepburn
/ Barbra Streisand
Barbra Streisand
(1968) Maggie Smith
Maggie Smith
(1969) Glenda Jackson
Glenda Jackson
(1970) Jane Fonda
Jane Fonda
(1971) Liza Minnelli
Liza Minnelli
(1972) Glenda Jackson
Glenda Jackson
(1973) Ellen Burstyn
Ellen Burstyn
(1974) Louise Fletcher
Louise Fletcher
(1975)

1976–2000

Faye Dunaway
Faye Dunaway
(1976) Diane Keaton
Diane Keaton
(1977) Jane Fonda
Jane Fonda
(1978) Sally Field
Sally Field
(1979) Sissy Spacek
Sissy Spacek
(1980) Katharine Hepburn
Katharine Hepburn
(1981) Meryl Streep
Meryl Streep
(1982) Shirley MacLaine
Shirley MacLaine
(1983) Sally Field
Sally Field
(1984) Geraldine Page
Geraldine Page
(1985) Marlee Matlin
Marlee Matlin
(1986) Cher
Cher
(1987) Jodie Foster
Jodie Foster
(1988) Jessica Tandy
Jessica Tandy
(1989) Kathy Bates
Kathy Bates
(1990) Jodie Foster
Jodie Foster
(1991) Emma Thompson
Emma Thompson
(1992) Holly Hunter
Holly Hunter
(1993) Jessica Lange
Jessica Lange
(1994) Susan Sarandon
Susan Sarandon
(1995) Frances McDormand
Frances McDormand
(1996) Helen Hunt
Helen Hunt
(1997) Gwyneth Paltrow
Gwyneth Paltrow
(1998) Hilary Swank
Hilary Swank
(1999) Julia Roberts
Julia Roberts
(2000)

2001–present

Halle Berry
Halle Berry
(2001) Nicole Kidman
Nicole Kidman
(2002) Charlize Theron
Charlize Theron
(2003) Hilary Swank
Hilary Swank
(2004) Reese Witherspoon
Reese Witherspoon
(2005) Helen Mirren
Helen Mirren
(2006) Marion Cotillard
Marion Cotillard
(2007) Kate Winslet
Kate Winslet
(2008) Sandra Bullock
Sandra Bullock
(2009) Natalie Portman
Natalie Portman
(2010) Meryl Streep
Meryl Streep
(2011) Jennifer Lawrence
Jennifer Lawrence
(2012) Cate Blanchett
Cate Blanchett
(2013) Julianne Moore
Julianne Moore
(2014) Brie Larson
Brie Larson
(2015) Emma Stone
Emma Stone
(2016) Frances McDormand
Frances McDormand
(2017)

v t e

AFI Life Achievement Award

John Ford
John Ford
(1973) James Cagney
James Cagney
(1974) Orson Welles
Orson Welles
(1975) William Wyler
William Wyler
(1976) Bette Davis
Bette Davis
(1977) Henry Fonda
Henry Fonda
(1978) Alfred Hitchcock
Alfred Hitchcock
(1979) James Stewart
James Stewart
(1980) Fred Astaire
Fred Astaire
(1981) Frank Capra
Frank Capra
(1982) John Huston
John Huston
(1983) Lillian Gish
Lillian Gish
(1984) Gene Kelly
Gene Kelly
(1985) Billy Wilder
Billy Wilder
(1986) Barbara Stanwyck
Barbara Stanwyck
(1987) Jack Lemmon
Jack Lemmon
(1988) Gregory Peck
Gregory Peck
(1989) David Lean
David Lean
(1990) Kirk Douglas
Kirk Douglas
(1991) Sidney Poitier
Sidney Poitier
(1992) Elizabeth Taylor
Elizabeth Taylor
(1993) Jack Nicholson
Jack Nicholson
(1994) Steven Spielberg
Steven Spielberg
(1995) Clint Eastwood
Clint Eastwood
(1996) Martin Scorsese
Martin Scorsese
(1997) Robert Wise
Robert Wise
(1998) Dustin Hoffman
Dustin Hoffman
(1999) Harrison Ford
Harrison Ford
(2000) Barbra Streisand
Barbra Streisand
(2001) Tom Hanks
Tom Hanks
(2002) Robert De Niro
Robert De Niro
(2003) Meryl Streep
Meryl Streep
(2004) George Lucas
George Lucas
(2005) Sean Connery
Sean Connery
(2006) Al Pacino
Al Pacino
(2007) Warren Beatty
Warren Beatty
(2008) Michael Douglas
Michael Douglas
(2009) Mike Nichols
Mike Nichols
(2010) Morgan Freeman
Morgan Freeman
(2011) Shirley MacLaine
Shirley MacLaine
(2012) Mel Brooks
Mel Brooks
(2013) Jane Fonda
Jane Fonda
(2014) Steve Martin
Steve Martin
(2015) John Williams
John Williams
(2016) Diane Keaton
Diane Keaton
(2017) George Clooney
George Clooney
(2018)

v t e

Cannes Film Festival
Cannes Film Festival
Award for Best Actress

1946–1975

Michèle Morgan
Michèle Morgan
(1946) Isa Miranda
Isa Miranda
(1949) Bette Davis
Bette Davis
(1951) Lee Grant
Lee Grant
(1952) Shirley Booth
Shirley Booth
(1953) cast of Bolshaya Semya (1955) Susan Hayward
Susan Hayward
(1956) Giulietta Masina
Giulietta Masina
(1957) Bibi Andersson
Bibi Andersson
/ Eva Dahlbeck
Eva Dahlbeck
/ Barbro Hiort af Ornäs / Ingrid Thulin (1958) Simone Signoret
Simone Signoret
(1959) Melina Mercouri
Melina Mercouri
/ Jeanne Moreau
Jeanne Moreau
(1960) Sophia Loren
Sophia Loren
(1961) Katharine Hepburn
Katharine Hepburn
/ Rita Tushingham
Rita Tushingham
(1962) Marina Vlady
Marina Vlady
(1963) Anne Bancroft
Anne Bancroft
/ Barbara Barrie
Barbara Barrie
(1964) Samantha Eggar
Samantha Eggar
(1965) Vanessa Redgrave
Vanessa Redgrave
(1966) Pia Degermark
Pia Degermark
(1967) Vanessa Redgrave
Vanessa Redgrave
(1969) Ottavia Piccolo
Ottavia Piccolo
(1970) Kitty Winn (1971) Susannah York
Susannah York
(1972) Joanne Woodward
Joanne Woodward
(1973) Marie-José Nat
Marie-José Nat
(1974) Valerie Perrine
Valerie Perrine
(1975)

1976–2000

Dominique Sanda
Dominique Sanda
/ Mari Törőcsik
Mari Törőcsik
(1976) Shelley Duvall
Shelley Duvall
/ Monique Mercure (1977) Jill Clayburgh
Jill Clayburgh
/ Isabelle Huppert
Isabelle Huppert
(1978) Sally Field
Sally Field
(1979) Anouk Aimée
Anouk Aimée
(1980) Isabelle Adjani
Isabelle Adjani
(1981) Jadwiga Jankowska-Cieślak
Jadwiga Jankowska-Cieślak
(1982) Hanna Schygulla
Hanna Schygulla
(1983) Helen Mirren
Helen Mirren
(1984) Norma Aleandro
Norma Aleandro
/ Cher
Cher
(1985) Barbara Sukowa
Barbara Sukowa
/ Fernanda Torres
Fernanda Torres
(1986) Barbara Hershey
Barbara Hershey
(1987) Barbara Hershey
Barbara Hershey
/ Jodhi May / Linda Mvusi
Linda Mvusi
(1988) Meryl Streep
Meryl Streep
(1989) Krystyna Janda
Krystyna Janda
(1990) Irène Jacob
Irène Jacob
(1991) Pernilla August
Pernilla August
(1992) Holly Hunter
Holly Hunter
(1993) Virna Lisi
Virna Lisi
(1994) Helen Mirren
Helen Mirren
(1995) Brenda Blethyn
Brenda Blethyn
(1996) Kathy Burke (1997) Élodie Bouchez
Élodie Bouchez
/ Natacha Régnier
Natacha Régnier
(1998) Séverine Caneele
Séverine Caneele
/ Émilie Dequenne
Émilie Dequenne
(1999) Björk
Björk
(2000)

2001–present

Isabelle Huppert
Isabelle Huppert
(2001) Kati Outinen (2002) Marie-Josée Croze
Marie-Josée Croze
(2003) Maggie Cheung
Maggie Cheung
(2004) Hana Laszlo
Hana Laszlo
(2005) Penélope Cruz
Penélope Cruz
/ Carmen Maura
Carmen Maura
/ Lola Dueñas
Lola Dueñas
/ Chus Lampreave
Chus Lampreave
/ Blanca Portillo / Yohana Cobo
Yohana Cobo
(2006) Jeon Do-yeon
Jeon Do-yeon
(2007) Sandra Corveloni (2008) Charlotte Gainsbourg
Charlotte Gainsbourg
(2009) Juliette Binoche
Juliette Binoche
(2010) Kirsten Dunst
Kirsten Dunst
(2011) Cristina Flutur / Cosmina Stratan (2012) Bérénice Bejo
Bérénice Bejo
(2013) Julianne Moore
Julianne Moore
(2014) Emmanuelle Bercot
Emmanuelle Bercot
/ Rooney Mara
Rooney Mara
(2015) Jaclyn Jose (2016) Diane Kruger
Diane Kruger
(2017)

v t e

Cecil B. DeMille
Cecil B. DeMille
Award

Cecil B. DeMille
Cecil B. DeMille
(1952) Walt Disney
Walt Disney
(1953) Darryl F. Zanuck
Darryl F. Zanuck
(1954) Jean Hersholt
Jean Hersholt
(1955) Jack L. Warner
Jack L. Warner
(1956) Mervyn LeRoy
Mervyn LeRoy
(1957) Buddy Adler (1958) Maurice Chevalier
Maurice Chevalier
(1959) Bing Crosby
Bing Crosby
(1960) Fred Astaire
Fred Astaire
(1961) Judy Garland
Judy Garland
(1962) Bob Hope
Bob Hope
(1963) Joseph E. Levine
Joseph E. Levine
(1964) James Stewart
James Stewart
(1965) John Wayne
John Wayne
(1966) Charlton Heston
Charlton Heston
(1967) Kirk Douglas
Kirk Douglas
(1968) Gregory Peck
Gregory Peck
(1969) Joan Crawford
Joan Crawford
(1970) Frank Sinatra
Frank Sinatra
(1971) Alfred Hitchcock
Alfred Hitchcock
(1972) Samuel Goldwyn
Samuel Goldwyn
(1973) Bette Davis
Bette Davis
(1974) Hal B. Wallis
Hal B. Wallis
(1975) Walter Mirisch (1977) Red Skelton
Red Skelton
(1978) Lucille Ball
Lucille Ball
(1979) Henry Fonda
Henry Fonda
(1980) Gene Kelly
Gene Kelly
(1981) Sidney Poitier
Sidney Poitier
(1982) Laurence Olivier
Laurence Olivier
(1983) Paul Newman
Paul Newman
(1984) Elizabeth Taylor
Elizabeth Taylor
(1985) Barbara Stanwyck
Barbara Stanwyck
(1986) Anthony Quinn
Anthony Quinn
(1987) Clint Eastwood
Clint Eastwood
(1988) Doris Day
Doris Day
(1989) Audrey Hepburn
Audrey Hepburn
(1990) Jack Lemmon
Jack Lemmon
(1991) Robert Mitchum
Robert Mitchum
(1992) Lauren Bacall
Lauren Bacall
(1993) Robert Redford
Robert Redford
(1994) Sophia Loren
Sophia Loren
(1995) Sean Connery
Sean Connery
(1996) Dustin Hoffman
Dustin Hoffman
(1997) Shirley MacLaine
Shirley MacLaine
(1998) Jack Nicholson
Jack Nicholson
(1999) Barbra Streisand
Barbra Streisand
(2000) Al Pacino
Al Pacino
(2001) Harrison Ford
Harrison Ford
(2002) Gene Hackman
Gene Hackman
(2003) Michael Douglas
Michael Douglas
(2004) Robin Williams
Robin Williams
(2005) Anthony Hopkins
Anthony Hopkins
(2006) Warren Beatty
Warren Beatty
(2007) Steven Spielberg
Steven Spielberg
(2009) Martin Scorsese
Martin Scorsese
(2010) Robert De Niro
Robert De Niro
(2011) Morgan Freeman
Morgan Freeman
(2012) Jodie Foster
Jodie Foster
(2013) Woody Allen
Woody Allen
(2014) George Clooney
George Clooney
(2015) Denzel Washington
Denzel Washington
(2016) Meryl Streep
Meryl Streep
(2017) Oprah Winfrey
Oprah Winfrey
(2018)

v t e

Primetime Emmy Award
Emmy Award
for Outstanding Lead Actress in a Limited Series or Movie

Judith Anderson
Judith Anderson
(1954) Mary Martin
Mary Martin
(1955) Claire Trevor
Claire Trevor
(1956) Polly Bergen
Polly Bergen
(1957) Julie Harris (1959) Ingrid Bergman
Ingrid Bergman
(1960) Judith Anderson
Judith Anderson
(1961) Julie Harris (1962) Kim Stanley
Kim Stanley
(1963) Shelley Winters
Shelley Winters
(1964) Lynn Fontanne
Lynn Fontanne
(1965) Simone Signoret
Simone Signoret
(1966) Geraldine Page
Geraldine Page
(1967) Maureen Stapleton
Maureen Stapleton
(1968) Geraldine Page
Geraldine Page
(1969) Patty Duke
Patty Duke
(1970) Lee Grant
Lee Grant
(1971) Glenda Jackson
Glenda Jackson
(1972) Susan Hampshire
Susan Hampshire
/ Cloris Leachman
Cloris Leachman
(1973) Cicely Tyson
Cicely Tyson
/ Mildred Natwick
Mildred Natwick
(1974) Katharine Hepburn
Katharine Hepburn
/ Jessica Walter
Jessica Walter
(1975) Susan Clark
Susan Clark
/ Rosemary Harris
Rosemary Harris
(1976) Sally Field
Sally Field
/ Patty Duke
Patty Duke
(1977) Joanne Woodward
Joanne Woodward
/ Meryl Streep
Meryl Streep
(1978) Bette Davis
Bette Davis
(1979) Patty Duke
Patty Duke
(1980) Vanessa Redgrave
Vanessa Redgrave
(1981) Ingrid Bergman
Ingrid Bergman
(1982) Barbara Stanwyck
Barbara Stanwyck
(1983) Jane Fonda
Jane Fonda
(1984) Joanne Woodward
Joanne Woodward
(1985) Marlo Thomas
Marlo Thomas
(1986) Gena Rowlands
Gena Rowlands
(1987) Jessica Tandy
Jessica Tandy
(1988) Holly Hunter
Holly Hunter
(1989) Barbara Hershey
Barbara Hershey
(1990) Lynn Whitfield
Lynn Whitfield
(1991) Gena Rowlands
Gena Rowlands
(1992) Holly Hunter
Holly Hunter
(1993) Kirstie Alley
Kirstie Alley
(1994) Glenn Close
Glenn Close
(1995) Helen Mirren
Helen Mirren
(1996) Alfre Woodard
Alfre Woodard
(1997) Ellen Barkin
Ellen Barkin
(1998) Helen Mirren
Helen Mirren
(1999) Halle Berry
Halle Berry
(2000) Judy Davis
Judy Davis
(2001) Laura Linney
Laura Linney
(2002) Maggie Smith
Maggie Smith
(2003) Meryl Streep
Meryl Streep
(2004) S. Epatha Merkerson
S. Epatha Merkerson
(2005) Helen Mirren
Helen Mirren
(2006) Helen Mirren
Helen Mirren
(2007) Laura Linney
Laura Linney
(2008) Jessica Lange
Jessica Lange
(2009) Claire Danes
Claire Danes
(2010) Kate Winslet
Kate Winslet
(2011) Julianne Moore
Julianne Moore
(2012) Laura Linney
Laura Linney
(2013) Jessica Lange
Jessica Lange
(2014) Frances McDormand
Frances McDormand
(2015) Sarah Paulson
Sarah Paulson
(2016) Nicole Kidman
Nicole Kidman
(2017)

v t e

Honorary César

1976–2000

Ingrid Bergman
Ingrid Bergman
(1976) Diana Ross
Diana Ross
(1976) Henri Langlois
Henri Langlois
(1977) Jacques Tati
Jacques Tati
(1977) Robert Dorfmann (1978) René Goscinny
René Goscinny
(1978) Marcel Carné
Marcel Carné
(1979) Charles Vanel
Charles Vanel
(1979) Walt Disney
Walt Disney
(1979) Pierre Braunberger (1980) Louis de Funès
Louis de Funès
(1980) Kirk Douglas
Kirk Douglas
(1980) Marcel Pagnol
Marcel Pagnol
(1981) Alain Resnais (1981) Georges Dancigers (1982) Alexandre Mnouchkine (1982) Jean Nény (1982) Andrzej Wajda
Andrzej Wajda
(1982) Raimu
Raimu
(1983) René Clément
René Clément
(1984) Georges de Beauregard (1984) Edwige Feuillère
Edwige Feuillère
(1984) Christian-Jaque (1985) Danielle Darrieux
Danielle Darrieux
(1985) Christine Gouze-Rénal (1985) Alain Poiré (1985) Maurice Jarre
Maurice Jarre
(1986) Bette Davis
Bette Davis
(1986) Jean Delannoy
Jean Delannoy
(1986) René Ferracci (1986) Claude Lanzmann
Claude Lanzmann
(1986) Jean-Luc Godard
Jean-Luc Godard
(1987) Serge Silberman (1988) Bernard Blier
Bernard Blier
(1989) Paul Grimault
Paul Grimault
(1989) Gérard Philipe
Gérard Philipe
(1990) Jean-Pierre Aumont
Jean-Pierre Aumont
(1991) Sophia Loren
Sophia Loren
(1991) Michèle Morgan
Michèle Morgan
(1992) Sylvester Stallone
Sylvester Stallone
(1992) Jean Marais
Jean Marais
(1993) Marcello Mastroianni
Marcello Mastroianni
(1993) Gérard Oury
Gérard Oury
(1993) Jean Carmet
Jean Carmet
(1994) Jeanne Moreau
Jeanne Moreau
(1995) Gregory Peck
Gregory Peck
(1995) Steven Spielberg
Steven Spielberg
(1995) Lauren Bacall
Lauren Bacall
(1996) Henri Verneuil
Henri Verneuil
(1996) Charles Aznavour
Charles Aznavour
(1997) Andie MacDowell
Andie MacDowell
(1997) Michael Douglas
Michael Douglas
(1998) Clint Eastwood
Clint Eastwood
(1998) Jean-Luc Godard
Jean-Luc Godard
(1998) Pedro Almodóvar
Pedro Almodóvar
(1999) Johnny Depp
Johnny Depp
(1999) Jean Rochefort
Jean Rochefort
(1999) Josiane Balasko
Josiane Balasko
(2000) Georges Cravenne
Georges Cravenne
(2000) Jean-Pierre Léaud
Jean-Pierre Léaud
(2000) Martin Scorsese
Martin Scorsese
(2000)

2001–present

Darry Cowl (2001) Charlotte Rampling
Charlotte Rampling
(2001) Agnès Varda
Agnès Varda
(2001) Anouk Aimée
Anouk Aimée
(2002) Jeremy Irons
Jeremy Irons
(2002) Claude Rich
Claude Rich
(2002) Bernadette Lafont
Bernadette Lafont
(2003) Spike Lee
Spike Lee
(2003) Meryl Streep
Meryl Streep
(2003) Micheline Presle
Micheline Presle
(2004) Jacques Dutronc
Jacques Dutronc
(2005) Will Smith
Will Smith
(2005) Hugh Grant
Hugh Grant
(2006) Pierre Richard
Pierre Richard
(2006) Marlène Jobert
Marlène Jobert
(2007) Jude Law
Jude Law
(2007) Jeanne Moreau
Jeanne Moreau
(2008) Roberto Benigni
Roberto Benigni
(2008) Dustin Hoffman
Dustin Hoffman
(2009) Harrison Ford
Harrison Ford
(2010) Quentin Tarantino
Quentin Tarantino
(2011) Kate Winslet
Kate Winslet
(2012) Kevin Costner
Kevin Costner
(2013) Scarlett Johansson
Scarlett Johansson
(2014) Sean Penn
Sean Penn
(2015) Michael Douglas
Michael Douglas
(2016) George Clooney
George Clooney
(2017) Penélope Cruz
Penélope Cruz
(2018)

v t e

Film Society of Lincoln Center
Film Society of Lincoln Center
Gala Tribute Honorees

Charlie Chaplin
Charlie Chaplin
(1972) Fred Astaire
Fred Astaire
(1973) Alfred Hitchcock
Alfred Hitchcock
(1974) Joanne Woodward
Joanne Woodward
and Paul Newman
Paul Newman
(1975) George Cukor
George Cukor
(1978) Bob Hope
Bob Hope
(1979) John Huston
John Huston
(1980) Barbara Stanwyck
Barbara Stanwyck
(1981) Billy Wilder
Billy Wilder
(1982) Laurence Olivier
Laurence Olivier
(1983) Claudette Colbert
Claudette Colbert
(1984) Federico Fellini
Federico Fellini
(1985) Elizabeth Taylor
Elizabeth Taylor
(1986) Alec Guinness
Alec Guinness
(1987) Yves Montand
Yves Montand
(1988) Bette Davis
Bette Davis
(1989) James Stewart
James Stewart
(1990) Audrey Hepburn
Audrey Hepburn
(1991) Gregory Peck
Gregory Peck
(1992) Jack Lemmon
Jack Lemmon
(1993) Robert Altman
Robert Altman
(1994) Shirley MacLaine
Shirley MacLaine
(1995) Clint Eastwood
Clint Eastwood
(1996) Sean Connery
Sean Connery
(1997) Martin Scorsese
Martin Scorsese
(1998) Mike Nichols
Mike Nichols
(1999) Al Pacino
Al Pacino
(2000) Jane Fonda
Jane Fonda
(2001) Francis Ford Coppola
Francis Ford Coppola
(2002) Susan Sarandon
Susan Sarandon
(2003) Michael Caine
Michael Caine
(2004) Dustin Hoffman
Dustin Hoffman
(2005) Jessica Lange
Jessica Lange
(2006) Diane Keaton
Diane Keaton
(2007) Meryl Streep
Meryl Streep
(2008) Tom Hanks
Tom Hanks
(2009) Michael Douglas
Michael Douglas
(2010) Sidney Poitier
Sidney Poitier
(2011) Catherine Deneuve
Catherine Deneuve
(2012) Barbra Streisand
Barbra Streisand
(2013) Rob Reiner
Rob Reiner
(2014) Robert Redford
Robert Redford
(2015) Morgan Freeman
Morgan Freeman
(2016) Robert De Niro
Robert De Niro
(2017) Helen Mirren
Helen Mirren
(2018)

v t e

Kennedy Center Honorees (1980s)

1980

Leonard Bernstein James Cagney Agnes de Mille Lynn Fontanne Leontyne Price

1981

Count Basie Cary Grant Helen Hayes Jerome Robbins Rudolf Serkin

1982

George Abbott Lillian Gish Benny Goodman Gene Kelly Eugene Ormandy

1983

Katherine Dunham Elia Kazan Frank Sinatra James Stewart Virgil Thomson

1984

Lena Horne Danny Kaye Gian Carlo Menotti Arthur Miller Isaac Stern

1985

Merce Cunningham Irene Dunne Bob Hope Alan Jay Lerner
Alan Jay Lerner
& Frederick Loewe Beverly Sills

1986

Lucille Ball Hume Cronyn
Hume Cronyn
& Jessica Tandy Yehudi Menuhin Antony Tudor Ray Charles

1987

Perry Como Bette Davis Sammy Davis Jr. Nathan Milstein Alwin Nikolais

1988

Alvin Ailey George Burns Myrna Loy Alexander Schneider Roger L. Stevens

1989

Harry Belafonte Claudette Colbert Alexandra Danilova Mary Martin William Schuman

Complete list 1970s 1980s 1990s 2000s 2010s

v t e

New York Film Critics Circle Award for Best Actress

Greta Garbo
Greta Garbo
(1935) Luise Rainer
Luise Rainer
(1936) Greta Garbo
Greta Garbo
(1937) Margaret Sullavan
Margaret Sullavan
(1938) Vivien Leigh
Vivien Leigh
(1939) Katharine Hepburn
Katharine Hepburn
(1940) Joan Fontaine
Joan Fontaine
(1941) Agnes Moorehead
Agnes Moorehead
(1942) Ida Lupino
Ida Lupino
(1943) Tallulah Bankhead
Tallulah Bankhead
(1944) Ingrid Bergman
Ingrid Bergman
(1945) Celia Johnson
Celia Johnson
(1946) Deborah Kerr
Deborah Kerr
(1947) Olivia de Havilland
Olivia de Havilland
(1948) Olivia de Havilland
Olivia de Havilland
(1949) Bette Davis
Bette Davis
(1950) Vivien Leigh
Vivien Leigh
(1951) Shirley Booth
Shirley Booth
(1952) Audrey Hepburn
Audrey Hepburn
(1953) Grace Kelly
Grace Kelly
(1954) Anna Magnani
Anna Magnani
(1955) Ingrid Bergman
Ingrid Bergman
(1956) Deborah Kerr
Deborah Kerr
(1957) Susan Hayward
Susan Hayward
(1958) Audrey Hepburn
Audrey Hepburn
(1959) Deborah Kerr
Deborah Kerr
(1960) Sophia Loren
Sophia Loren
(1961) No Award (1962) Patricia Neal
Patricia Neal
(1963) Kim Stanley
Kim Stanley
(1964) Julie Christie
Julie Christie
(1965) Elizabeth Taylor/ Lynn Redgrave
Lynn Redgrave
(1966) Edith Evans
Edith Evans
(1967) Joanne Woodward
Joanne Woodward
(1968) Jane Fonda
Jane Fonda
(1969) Glenda Jackson
Glenda Jackson
(1970) Jane Fonda
Jane Fonda
(1971) Liv Ullmann
Liv Ullmann
(1972) Joanne Woodward
Joanne Woodward
(1973) Liv Ullmann
Liv Ullmann
(1974) Isabelle Adjani
Isabelle Adjani
(1975) Liv Ullmann
Liv Ullmann
(1976) Diane Keaton
Diane Keaton
(1977) Ingrid Bergman
Ingrid Bergman
(1978) Sally Field
Sally Field
(1979) Sissy Spacek
Sissy Spacek
(1980) Glenda Jackson
Glenda Jackson
(1981) Meryl Streep
Meryl Streep
(1982) Shirley MacLaine
Shirley MacLaine
(1983) Peggy Ashcroft
Peggy Ashcroft
(1984) Norma Aleandro
Norma Aleandro
(1985) Sissy Spacek
Sissy Spacek
(1986) Holly Hunter
Holly Hunter
(1987) Meryl Streep
Meryl Streep
(1988) Michelle Pfeiffer
Michelle Pfeiffer
(1989) Joanne Woodward
Joanne Woodward
(1990) Jodie Foster
Jodie Foster
(1991) Emma Thompson
Emma Thompson
(1992) Holly Hunter
Holly Hunter
(1993) Linda Fiorentino (1994) Jennifer Jason Leigh
Jennifer Jason Leigh
(1995) Emily Watson
Emily Watson
(1996) Julie Christie
Julie Christie
(1997) Cameron Diaz
Cameron Diaz
(1998) Hilary Swank
Hilary Swank
(1999) Laura Linney
Laura Linney
(2000) Sissy Spacek
Sissy Spacek
(2001) Diane Lane
Diane Lane
(2002) Hope Davis
Hope Davis
(2003) Imelda Staunton
Imelda Staunton
(2004) Reese Witherspoon
Reese Witherspoon
(2005) Helen Mirren
Helen Mirren
(2006) Julie Christie
Julie Christie
(2007) Sally Hawkins
Sally Hawkins
(2008) Meryl Streep
Meryl Streep
(2009) Annette Bening
Annette Bening
(2010) Meryl Streep
Meryl Streep
(2011) Rachel Weisz
Rachel Weisz
(2012) Cate Blanchett
Cate Blanchett
(2013) Marion Cotillard
Marion Cotillard
(2014) Saoirse Ronan
Saoirse Ronan
(2015) Isabelle Huppert
Isabelle Huppert
(2016) Saoirse Ronan
Saoirse Ronan
(2017)

v t e

Saturn Award for Best Supporting Actress

Ida Lupino
Ida Lupino
(1974/75) Bette Davis
Bette Davis
(1976) Susan Tyrrell
Susan Tyrrell
(1977) Dyan Cannon
Dyan Cannon
(1978) Veronica Cartwright
Veronica Cartwright
(1979) Eve Brent
Eve Brent
(1980) Frances Sternhagen
Frances Sternhagen
(1981) Zelda Rubinstein
Zelda Rubinstein
(1982) Candy Clark (1983) Polly Holliday
Polly Holliday
(1984) Anne Ramsey
Anne Ramsey
(1985) Jenette Goldstein (1986) Anne Ramsey
Anne Ramsey
(1987) Sylvia Sidney
Sylvia Sidney
(1988) Whoopi Goldberg
Whoopi Goldberg
(1989/90) Mercedes Ruehl
Mercedes Ruehl
(1991) Isabella Rossellini
Isabella Rossellini
(1992) Amanda Plummer
Amanda Plummer
(1993) Mia Sara (1994) Bonnie Hunt
Bonnie Hunt
(1995) Alice Krige
Alice Krige
(1996) Gloria Stuart
Gloria Stuart
(1997) Joan Allen
Joan Allen
(1998) Patricia Clarkson
Patricia Clarkson
(1999) Rebecca Romijn-Stamos (2000) Fionnula Flanagan
Fionnula Flanagan
(2001) Samantha Morton
Samantha Morton
(2002) Ellen DeGeneres
Ellen DeGeneres
(2003) Daryl Hannah
Daryl Hannah
(2004) Summer Glau
Summer Glau
(2005) Famke Janssen
Famke Janssen
(2006) Marcia Gay Harden
Marcia Gay Harden
(2007) Tilda Swinton
Tilda Swinton
(2008) Sigourney Weaver
Sigourney Weaver
(2009) Mila Kunis
Mila Kunis
(2010) Emily Blunt
Emily Blunt
(2011) Anne Hathaway
Anne Hathaway
(2012) Scarlett Johansson
Scarlett Johansson
(2013) Rene Russo
Rene Russo
(2014) Jessica Chastain
Jessica Chastain
(2015) Tilda Swinton
Tilda Swinton
(2016)

v t e

Volpi Cup
Volpi Cup
for Best Actress

1934–1968

Katharine Hepburn
Katharine Hepburn
(1934) Paula Wessely
Paula Wessely
(1935) Annabella (1936) Bette Davis
Bette Davis
(1937) Norma Shearer
Norma Shearer
(1938) Luise Ullrich
Luise Ullrich
(1941) Kristina Söderbaum
Kristina Söderbaum
(1942) Anna Magnani
Anna Magnani
(1947) Jean Simmons
Jean Simmons
(1948) Olivia de Havilland
Olivia de Havilland
(1949) Eleanor Parker
Eleanor Parker
(1950) Vivien Leigh
Vivien Leigh
(1951) Ingrid Bergman
Ingrid Bergman
(1952) Lilli Palmer
Lilli Palmer
(1953) Maria Schell
Maria Schell
(1956) Dzidra Ritenberga (1957) Sophia Loren
Sophia Loren
(1958) Madeleine Robinson (1959) Shirley MacLaine
Shirley MacLaine
(1960) Suzanne Flon
Suzanne Flon
(1961) Emmanuelle Riva
Emmanuelle Riva
(1962) Delphine Seyrig
Delphine Seyrig
(1963) Harriet Andersson
Harriet Andersson
(1964) Annie Girardot
Annie Girardot
(1965) Natalya Arinbasarova
Natalya Arinbasarova
(1966) Shirley Knight
Shirley Knight
(1967) Laura Betti
Laura Betti
(1968)

1983–present

Darling Légitimus
Darling Légitimus
(1983) Pascale Ogier
Pascale Ogier
(1984) Valeria Golino
Valeria Golino
(1986) Kang Soo-yeon (1987) Isabelle Huppert/ Shirley MacLaine
Shirley MacLaine
(1988) Peggy Ashcroft/ Geraldine James (1989) Gloria Münchmeyer
Gloria Münchmeyer
(1990) Tilda Swinton
Tilda Swinton
(1991) Gong Li
Gong Li
(1992) Juliette Binoche/ Anna Bonaiuto
Anna Bonaiuto
(1993) Maria de Medeiros/ Vanessa Redgrave
Vanessa Redgrave
(1994) Sandrine Bonnaire/Isabelle Huppert/ Isabella Ferrari
Isabella Ferrari
(1995) Victoire Thivisol (1996) Robin Tunney
Robin Tunney
(1997) Catherine Deneuve
Catherine Deneuve
(1998) Nathalie Baye
Nathalie Baye
(1999) Rose Byrne
Rose Byrne
(2000) Sandra Ceccarelli (2001) Julianne Moore
Julianne Moore
(2002) Katja Riemann
Katja Riemann
(2003) Imelda Staunton
Imelda Staunton
(2004) Giovanna Mezzogiorno
Giovanna Mezzogiorno
(2005) Helen Mirren
Helen Mirren
(2006) Cate Blanchett
Cate Blanchett
(2007) Dominique Blanc
Dominique Blanc
(2008) Kseniya Rappoport
Kseniya Rappoport
(2009) Ariane Labed
Ariane Labed
(2010) Deanie Ip (2011) Hadas Yaron
Hadas Yaron
(2012) Elena Cotta
Elena Cotta
(2013) Alba Rohrwacher
Alba Rohrwacher
(2014) Valeria Golino
Valeria Golino
(2015) Emma Stone
Emma Stone
(2016) Charlotte Rampling
Charlotte Rampling
(2017)

Authority control

WorldCat Identities VIAF: 73883840 LCCN: n50035515 ISNI: 0000 0003 6864 426X GND: 118524038 SELIBR: 388497 SUDOC: 029451094 BNF: cb12107559b (data) BIBSYS: 90815544 MusicBrainz: c340b14b-f290-4354-8736-16271d67a378 NLA: 35033818 NKC: ola2002159100 BNE: XX1044

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