Madge Evans

Madge Evans

Acting 1909-07-01 New York City, New York, USA

Lovely Madge Evans was the perennial nice girl in films of the 1930s. By then, she had been in front of the camera for many years, starting with Fairy Soap commercials at the age of two (she sat on a bar of soap holding a bunch of violets with the tag line reading "have you a little fairy in your home?"). 'Baby Madge' also lent her name to a children's hat company. In 1914, aged five, she was picked out by talent scouts to appear in the William Farnum movie The Sign of the Cross (1914), followed by The Seven Sisters (1915) with Marguerite Clark. By the end of the following year, she had amassed some twenty film credits, appearing with such noted contemporary stars as Pauline Frederick or Alice Brady. All of her early films were made on the East Coast, at studios in Ft.Lee, New Jersey. In 1917 (aged eight), Madge made her Broadway debut in 'Peter Ibbetson' with John Barrymore and Lionel Barrymore. She resumed her stage career in 1926 as an ingenue with 'Daisy Mayme' and the following year appeared with Billie Burke in Noel Coward's costume drama 'The Marquise' (1927). Her pleasing looks and personality soon attracted the attention of Hollywood and she was eventually signed by MGM in 1931. During the next decade, she appeared in several A-grade productions, notably as Lionel Barrymore's daughter in MGM's Dinner at Eight (1933) and as the dependable Agnes Wickfield in one of the best-ever filmed versions of David Copperfield (1935). She co-starred opposite James Cagney in the gangster movie The Mayor of Hell (1933), Spencer Tracy in The Show-Off (1934) and listened to Bing Crosby crooning the title song in Pennies from Heaven (1936). Madge received praise for her performance as the star of Beauty for Sale (1933) and The New York Times review of January 13 1934 described her acting in Fugitive Lovers (1934) (opposite Robert Montgomery ) as 'spontaneous and captivating'. Many of her 'typical American girl' roles did not allow her to express aspects of the greater acting range she undoubtedly possessed. Too often she was cast as the 'nice girl' - and those rarely make much of a dramatic impact. On the few occasions she was assigned the role of 'other woman' , such as the Helen Hayes-starrer What Every Woman Knows (1934), audiences found her character difficult to believe and disassociate from her all-round wholesome image. When her contract with MGM expired in 1937, Madge wound down her film career and, following her 1939 marriage, concentrated on being the wife of celebrated playwright Sidney Kingsley. She last appeared on stage in one of his plays, "The Patriots", in 1943.

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1975 Self (archive footage)
1950 Sylvia
1948
1948 Elizabeth Bennet
1948 Ann
1948 Elinor Dashwood
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1938 Anne Wesson
1938 Julie Armstrong
1937 Helen "Nell" O'Neill
1937 Patricia Booth
1936 Ann Chester
1936 Ann Devlin
1936 Susan Sprague
1936 Toni Adams
1935 Ruth McAllan
1935 Agnes Wickfield as a Woman
1935 Glenda Wynant
1935 Maxine Bennett
1935 Rosalind Rockwell
1935 Helen Sherwood
1934 Frances Clark
1934 Letty Morris
1934 Lady Sybil Tenterden
1934 Amy Fisher Piper
1934 Julie
1934 Lady Mary Fielding
1934 Mary Adams
1933 Paula Jordan
1933 Anne Ainsley
1933 Dorothy Griffith
1933 June Marcher
1933 Dorothy Mason
1933 Dorothy Day
1933 Claire
1933 Letty Lawson
1933 Joan
1932 Laura O'Neil
1932 Mary Blayne
1932 Rosalie
1932 Shirley
1931 Countess Vima Walden
1931 Barbara 'Babs' Grant
1931 Janice
1931 Anne
1931 Miss 'Missy' Ruby
1930 Helen
1924 Sylvia
1923 Lisbeth
1919 Child
1919 Madge Dow
1918 Ruth, as a Child
1918 Patty Barnes
1918 Eileen Homer
1918 Ruth Le Page - as a child
1918 Deanie Consadine
1918 Madge Lathrop
1918 Clarissa Leigh
1917 Self
1917 Marjorie
1917 Editha
1917 Mary Brian, age 8
1917 Francine - Age 7
1917 Constance
1916 Georgia Gwynne, as a girl
1916 Dot
1916 Nannie Stevens
1916 Bessie
1916 Betty
1916 Jane Baxter
1916 Little Emily
1915 Clara
1915 Jean as a Child