|Countries||United States of America|
|Occupations||Actor Film producer Model Stage actor Television actor Film actor|
|A.K.A.||Marion Goddard Levy|
|Birth||June 3, 1920 (Queens)|
|Death||April 23, 1990 (Ronco sopra Ascona)|
Paulette Goddard (born Marion Levy; June 3, 1910 – April 23, 1990) was an American actress, a child fashion model and a performer in several Broadway productions as a Ziegfeld Girl; she became a major star of Paramount Pictures in the 1940s. Her most notable films were her first major role, as Charlie Chaplin's leading lady in Modern Times, and Chaplin's subsequent film The Great Dictator. She was nominated for an Academy Award for Best Supporting Actress for her performance in So Proudly We Hail! (1943). Her husbands included Chaplin, Burgess Meredith, and Erich Maria Remarque.
Goddard was the daughter of Joseph Russell Levy (1881–1954), the son of a prosperous Jewish cigar manufacturer from Salt Lake City, and her mother Alta Mae Goddard (1887–1983), who was of Episcopalian English heritage. They married in 1908 and separated while their daughter was very young, although the divorce did not become final until 1926. According to Goddard, her father left them, but according to J.R. Levy, Alta absconded with the child. Goddard was raised by her mother, and did not meet her father again until the late 1930s, after she had become famous.
In a 1938 interview published in Collier's, Goddard claimed Levy was not her biological father. In response, Levy filed a suit against his daughter, claiming that the interview had ruined his reputation and cost him his job, and demanded financial support from her. In a December 17, 1945, article written by Oliver Jensen in Life, Goddard admitted to having lost the case and being forced to pay her father $35 a week.
To avoid a custody battle, her mother and she moved often during her childhood, even relocating to Canada at one point. Goddard began modelling at an early age to support her mother and herself, working for Saks Fifth Avenue and Hattie Carnegie, and others. An important figure in her childhood was her great-uncle, Charles Goddard, the owner of the American Druggists Syndicate. He played a central role in Goddard's career, introducing her to Broadway impresario Florenz Ziegfeld.
In 1926, she made her stage debut as a dancer in Ziegfeld's summer review, No Foolin', which was also the first time that she used the stage name Paulette Goddard. Ziegfeld hired her for another musical, Rio Rita, which opened in February 1927, but she left the show after only three weeks to appear in the play The Unconquerable Male, produced by Archie Selwyn. It was, however, a flop and closed after only three days following its premiere in Atlantic City.
Soon after the play closed, Goddard was introduced to Edgar James, president of the Southern Lumber Company, located in Asheville, North Carolina, by Charles Goddard. Aged 17, considerably younger than James, she married him on June 28, 1927 in Rye, New York. It was a short marriage, and Goddard was granted a divorce in Reno, Nevada, in 1929, receiving a divorce settlement of $375,000.
Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks (1929), and George Fitzmaurice's drama The Locked Door (1929).
Following her divorce, she briefly visited Europe before returning to Hollywood in late 1930 with her mother. Her second attempt at acting was no more successful than the first, as she landed work only as an extra.
In 1930, she signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in Whoopee! (1930). She also appeared in City Streets (1931) Ladies of the Big House (1931) and The Girl Habit (1931) for Paramount, Palmy Days (1931) for Goldwyn, and The Mouthpiece (1932) for Warners.
Goldwyn and she did not get along, and she began working for Hal Roach Studios, appearing in a string of uncredited supporting roles for the next four years, including Show Business (1932), Young Ironsides (1932), Pack Up Your Troubles (1932) (with Laurel and Hardy), and Girl Grief with Charley Chase.
Goldwyn used Goddard in The Kid from Spain (1932), The Bowery (1933), Roman Scandals (1933), and Kid Millions (1934).
The year she signed with Goldwyn, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press. It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his next box office hit, Modern Times, in 1936. Her role as "The Gamin", an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship".
David O. Selznick & MGM
Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (1938) before Selznick lent her to MGM to appear in two films.
The first of these, Dramatic School (1938), co-starred Luise Rainer, but the film received mediocre reviews and failed to attract an audience.
Her next film, The Women (1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, the film's supporting role of Miriam Aarons was played by Goddard. Pauline Kael later wrote of Goddard, "she is a stand-out. She's fun."
Selznick was pleased with Goddard's performances, particularly her work in The Young at Heart, and considered her for the role of Scarlett O'Hara. Initial screen tests convinced the director George Cukor and him that Goddard would require coaching to be effective in the role, but that she showed promise, and she was the first actress given a Technicolor screen test.
Russell Birdwell, the head of Selznick's publicity department, had strong misgivings about Goddard. He warned Selznick of the "tremendous avalanche of criticism that will befall us and the picture should Paulette be given this part...I have never known a woman, intent on a career dependent upon her popularity with the masses, to hold and live such an insane and absurd attitude towards the press and her fellow man as does Paulette Goddard...Briefly, I think she is dynamite that will explode in our very faces if she is given the part."
Selznick remained interested in Goddard, and after he had been introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh".
After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. It has been suggested that Goddard lost the part because Selznick feared that questions surrounding her marital status with Charlie Chaplin would result in scandal. However, Selznick was aware that Leigh and Laurence Olivier lived together, as their respective spouses had refused to divorce them, and in addition to offering Leigh a contract, he engaged Olivier as the leading man in his next production Rebecca (1940). Chaplin's biographer Joyce Milton wrote that Selznick was worried about legal issues by signing her to a contract that might conflict with her pre-existing contracts with the Chaplin studio.
Goddard signed a contract with Paramount Pictures and her next film, The Cat and the Canary (1939) with Bob Hope, was a turning point in the careers of both actors. They promptly were re-teamed in The Ghost Breakers (1940).
Goddard starred with Chaplin again in his 1940 film The Great Dictator. The couple split amicably soon afterward, and Goddard allegedly obtained a divorce in Mexico in 1942, with Chaplin agreeing to a generous settlement.
At Paramount, Goddard was used by Cecil B. De Mille in the action epic North West Mounted Police (1940), playing the second female lead.
Goddard made Pot o' Gold (1941), a comedy with James Stewart, then supported Charles Boyer and Olivia de Havilland in Hold Back the Dawn (1941), from a script by Wilder and Brackett, directed by Mitchell Leisen.
Goddard was teamed with Hope for a third time in Nothing But the Truth (1942), then made The Lady Has Plans (1942), a comedy with Ray Milland.
She did Reap the Wild Wind (1942), playing the lead, a Scarlett O'Hara type character. Co-starring Milland and John Wayne, it was a huge hit.
Goddard did The Forest Rangers (1942). One of her better-remembered film appearances was in the variety musical Star Spangled Rhythm (1943), in which she sang "A Sweater, a Sarong, and a Peekaboo Bang" with Dorothy Lamour and Veronica Lake. She and Milland did The Crystal Ball (1943).
Goddard received one Oscar nomination for Best Supporting Actress for the 1943 film So Proudly We Hail!.
Goddard was teamed with MacMurray in Standing Room Only (1944) and Sonny Tufts in I Love a Soldier (1944). She was one of many Paramount stars in Duffy's Tavern (1945).
Goddard's most successful film was Kitty (1945), in which she played the title role.
In The Diary of a Chambermaid (1946), Goddard starred with Burgess Meredith, to whom she was married at the time, under the direction of Jean Renoir. It was made for United Artists.
At Paramount she did Suddenly It's Spring (1947) and De Mille's Unconquered (1947). During the Hollywood Blacklist, when she and blacklisted husband Meredith were mobbed by a baying crowd screaming "Communists!" on their way to a premiere, Goddard is said to have turned to her husband and said, "Shall I roll down the window and hit them with my diamonds, Bugsy?"
In 1947, she made An Ideal Husband in Britain for Alexander Korda, and was accompanied on a publicity trip to Brussels by Clarissa Spencer-Churchill, niece of Sir Winston Churchill and future wife of future Prime Minister Anthony Eden.
Goddard and her husband were among several stars in On Our Merry Way (1948).
At Paramount, she did two movies with MacDonald Carey: Hazard (1948) and Bride of Vengeance (1949). She then left the studio.
In 1949, she formed Monterey Pictures with John Steinbeck.
Goddard starred in Anna Lucasta (1949), then went to Mexico for The Torch (1950).
In England, she was in Babes in Bagdad (1952), then she went to Hollywood for The Girl in Room 17 (1953), Sins of Jezebel (1953), Paris Model (1953), and Charge of the Lancers (1954).
Her last starring roles were the English production A Stranger Came Home (known as The Unholy Four in the United States).
Goddard began appearing in summer stock and on television, guest starring on episodes of Sherlock Holmes, an adaptation of The Women, this time playing the role of Sylvia Fowler The Errol Flynn Theatre, The Joseph Cotten Show, and The Ford Television Theatre.
She was in an episode of Adventures in Paradise and a TV version of The Phantom.
After her marriage to Erich Maria Remarque, Goddard largely retired from acting and moved to Ronco sopra Ascona, Switzerland.
In 1964, she attempted a comeback in films with a supporting role in the Italian film Time of Indifference, which was her last feature film.
After Remarque's death in 1970, she made one last attempt at acting, when she accepted a small role in an episode of The Snoop Sisters (1972) for television.
Upon Remarque's death, Goddard inherited much of his money and several important properties across Europe, including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword among the old Hollywood élite. During the 1980s, she became a fairly well known (and highly visible) socialite in New York City, appearing covered with jewels at many high-profile cultural functions with several well-known men, including Andy Warhol, with whom she sustained a friendship for many years until his death in 1987.
Goddard underwent invasive treatment for breast cancer in 1975, successfully by all accounts. On April 23, 1990, she died from heart failure while under respiratory support due to emphysema, aged 79, at her home in Switzerland. She is buried in Ronco Village Cemetery, next to Remarque and her mother.
Goddard married the much older lumber tycoon Edgar James on June 28, 1927, when she was 16 years old; the couple moved to North Carolina. They separated two years later and divorced in 1932.
In 1932, Goddard began a relationship with Charlie Chaplin. She later moved into his home in Beverly Hills. They were reportedly married in secret in Canton, China, in June 1936. Aside from referring to Goddard as "my wife" at the October 1940 premiere of The Great Dictator, neither Goddard nor Chaplin publicly commented on their marital status. On June 4, 1942, Goddard was granted a Mexican divorce from Chaplin.
In 1958, Goddard married author Erich Maria Remarque. They remained married until Remarque's death in 1970.
Goddard had no children. In October 1944, she suffered the miscarriage of a son with Burgess Meredith.
Arguably, Goddard's foremost legacies remain her two feature films with Charles Chaplin, Modern Times and The Great Dictator, and a large donation to a prominent American educational institution. Goddard, whose own formal education did not go beyond high school, bequeathed US$20 million to New York University (NYU) in New York City.
This contribution was also in recognition of her friendship with the Indiana-born politician and former NYU President John Brademas. Goddard Hall, a residence hall for NYU freshman in Greenwich Village, is named in her honor. Efforts to raise CHF 6.2M ($7M) to purchase and save Remarque and Goddard's villa from demolition are underway, proposing to transform the Casa Monte Tabor into a museum and home to an artist-in-residence program, focused on creativity, freedom, and peace.
Goddard was portrayed by Gwen Humble in the made-for-TV movie Moviola: The Scarlett O'Hara War (1980), by Diane Lane in the 1992 film Chaplin, and by actress Natalie Wilder in the 2011 play Puma, written by Julie Gilbert, who also wrote Opposite Attraction: The Lives of Erich Maria Remarque and Paulette Goddard.
|1929||Berth Marks||Train passenger||Short subject|
|1929||The Locked Door||Girl on rum boat||Uncredited|
|1931||City Streets||Dance extra||Uncredited|
|1931||The Girl Habit||Lingerie salesgirl|
|1931||Palmy Days||Goldwyn Girl||Uncredited|
|1931||Ladies of the Big House||Inmate in midst of crowd||Uncredited|
|1932||The Mouthpiece||Blonde at party||Uncredited|
|1932||Show Business||Blonde train passenger||Uncredited|
|1932||Young Ironsides||Herself, Miss Hollywood||Uncredited|
|1932||Pack Up Your Troubles||Bridesmaid||Uncredited|
|1932||The Kid from Spain||Goldwyn Girl||Uncredited|
|1933||Hollywood on Parade No. B-1||Herself||Short subject|
|1933||The Bowery||Blonde who announces Brodie's jump||Uncredited|
|1933||Hollywood on Parade No. B-5||Herself||Short subject|
|1933||Roman Scandals||Goldwyn Girl||Uncredited|
|1934||Kid Millions||Goldwyn Girl||Uncredited|
|1936||Modern Times||Ellen Peterson – A Gamine|
|1936||The Bohemian Girl||Gypsy vagabond||Uncredited|
|1938||The Young in Heart||Leslie Saunders|
|1939||The Women||Miriam Aarons|
|1939||The Cat and the Canary||Joyce Norman|
|1940||The Ghost Breakers||Mary Carter|
|1940||The Great Dictator||Hannah|
|1940||Screen Snapshots: Sports in Hollywood||Herself||Short subject|
|1940||North West Mounted Police||Louvette Corbeau||Alternative titles: Northwest Mounted Police|
The Scarlet Riders
|1940||Second Chorus||Ellen Miller|
|1941||Pot o' Gold||Molly McCorkle||Alternative titles: The Golden Hour|
Jimmy Steps Out
|1941||Hold Back the Dawn||Anita Dixon|
|1941||Nothing But the Truth||Gwen Saunders|
|1942||The Lady Has Plans||Sidney Royce|
|1942||Star Spangled Rhythm||Herself|
|1942||Reap the Wild Wind||Loxi Claiborne||Alternative title: Cecil B. DeMille's Reap the Wild Wind|
|1942||The Forest Rangers||Celia Huston Stuart|
|1943||The Crystal Ball||Toni Gerard|
|1943||So Proudly We Hail!||Lt. Joan O'Doul||Nominated — Academy Award for Best Supporting Actress|
|1944||Standing Room Only||Jane Rogers/Suzanne|
|1944||I Love a Soldier||Evelyn Connors|
|1946||The Diary of a Chambermaid||Célestine||Producer (Uncredited)|
|1947||Suddenly, It's Spring||Mary Morely|
|1947||Unconquered||Abigail "Abby" Martha Hale|
|1947||An Ideal Husband||Mrs. Laura Cheveley||Alternative title: Oscar Wilde's An Ideal Husband|
|1948||On Our Merry Way||Martha Pease|
|1948||Screen Snapshots: Smiles and Styles||Herself||Short subject|
|1949||Bride of Vengeance||Lucretia Borgia|
|1949||Anna Lucasta||Anna Lucasta|
|1949||A Yank Comes Back||Herself||Uncredited|
|1950||The Torch||María Dolores Penafiel||Associate producer|
Alternative title: Bandit General
|1952||Babes in Bagdad||Kyra|
|1953||Vice Squad||Mona Ross||Alternative title: The Girl in Room 17|
|1953||Sins of Jezebel||Jezebel|
|1953||Paris Model||Betty Barnes||Alternative title: Nude at Midnight|
|1954||Charge of the Lancers||Tanya|
|1954||A Stranger Came Home||Angie||Alternative title: The Unholy Four|
|1964||Time of Indifference||Mariagrazia||Alternative titles: Les Deux Rivales|
|1951||Four Star Revue||Guest actress||Episode #1.41|
|1952||The Ed Sullivan Show||Herself||2 episodes|
|1953||Ford Theatre||Nancy Whiting||Episode: "The Doctor's Downfall"|
|1954||Sherlock Holmes||Lady Beryl||Episode: "The Case of Lady Beryl"|
|1955||Producers' Showcase||Sylvia Fowler||Episode: "The Women"|
|1957||The Errol Flynn Theatre||Rachel||Episode: "Mademoiselle Fifi"|
|1957||The Joseph Cotten Show: On Trial||Dolly||Episode: "The Ghost of Devil's Island"|
|1957||Ford Theatre||Holly March||Episode: "Singapore"|
|1959||Adventures in Paradise||Mme. Victorine Reynard||Episode: "The Lady from South Chicago"|
|1959||What's My Line?||Guest panelist||November 29, 1959 episode|
|1961||The Phantom||Mrs. Harris||TV movie|
|1972||The Snoop Sisters||Norma Treet||TV movie|
Alternative title: Female Instinct (last acting role and last live appearance on celluloid)
(Source: unless otherwise noted.)
|1939||Lux Radio Theatre||Episode: "Front Page Woman"|
|1939||The Campbell Playhouse||Episode: "Algiers"|
|1940||The Gulf Screen Guild Theatre||Episode: "The Firebrand"|
|1941||The Gulf Screen Guild Theatre||Episode: "Destry Rides Again"|
|1941||Lux Radio Theatre||Episode: "Hold Back the Dawn"|
|1941||Cavalcade of America||Episode: "The Gorgeous Hussy"|
|1941||Screen Guild Players||Frenchy||Episode: "Destry Rides Again"|
|1942||Philip Morris Playhouse||Episode: "They All Kissed the Bride"|
|1942||The Screen Guild Theater||Episode: "Parent by Proxy"|
|1942||The Screen Guild Theater||The night club queen||Episode: "Ball of Fire"|
|1942||The Screen Guild Theater||Episode: "Torrid Zone"|
|1942||Lux Radio Theatre||Episode: "North West Mounted Police"|
|1942||The Screen Guild Theater||Episode: "Ball of Fire"|
|1943||Lux Radio Theatre||Episode: "Reap the Wild Wind"|
|1943||Lux Radio Theatre||Episode: "So Proudly We Hail!"|
|1944||The Screen Guild Theater||Episode: 'I Love You Again"|
|1944||Lux Radio Theatre||Episode: "Standing Room Only"|
|1944||The Screen Guild Theater||Episode: "You Belong to Me"|
|1945||Harold Lloyd Comedy Theatre||Episode: "Standing Room Only"|
|1945||Theatre Guild on the Air||Episode: "At Mrs. Beam's"|
|1947||Lux Radio Theatre||Episode: "Kitty"|
|1947||Hollywood Players||Episode: "5th Ave. Girl"|
|1948||The Screen Guild Theater||Episode: "Suddenly It's Spring"|
|1952||Philip Morris Playhouse||Episode: "The Romantic Years"|
|1952||Broadway Playhouse||Standing Room Only|