Leila Hyams

Born in New York on May 1, 1905, to vaudeville comedy performers John Hyams and Leila McIntyre, Leila appeared on-stage with her parents while still a child. As a teenager she worked as a model and became well known across the United States after appearing in a successful series of newspaper advertisements. This success led her to Hollywood.

She made her first film, Sandra, in 1924, and thirteen more supporting roles followed, and her looks and general professionalism led her to be taken seriously as an actress. By 1928 she was playing starring roles, achieving success in MGM's first talkie, Alias Jimmy Valentine (1928) opposite William Haines, Lionel Barrymore and Karl Dane. The following year she appeared as the female lead opposite Conrad Nagel in Tod Browning's The Thirteenth Chair, a role that offered her the chance to display her dramatic abilities as a murder suspect. The quality of her parts continued to improve as the decade turned, including a role as Robert Montgomery's sister in the prison drama The Big House (1930) with Chester Morris and Wallace Beery, for which Hyams once again received positive reviews. She also appeared earlier that year in The Bishop Murder Case starring Basil Rathbone.

Although she succeeded in films that required her to play pretty ingenues and developed into a capable dramatic actress in 1930's crime melodramas, she is perhaps best remembered for two early 1930's unique classics, working for Tod Browning again as the tough but vulnerable circus performer Venus in Freaks (1932), and as the heroine in Island of Lost Souls (1932). Leila was the original choice to play Jane in Tarzan the Ape Man (1932), but turned it down. The role was ultimately played by Maureen O'Sullivan.

She also appeared in the Jean Harlow film Red-Headed Woman (1932), the musical comedy The Big Broadcast (1932) with Bing Crosby, George Burns and Gracie Allen, and was praised for her comedic performance in Ruggles of Red Gap (1935) opposite Charles Laughton and Charlie Ruggles.

After twelve years and 52 films, Leila retired from acting in 1936 to concentrate on raising a family, but remained part of the Hollywood community. She was married to the agent Phil Berg from 1927 until her death on December 4, 1977.

Click on the images for a larger view.

Ad in a British Newspaper for Alias Jimmy Valentine, MGM's first talkie.

Publicity still for The Bishop Murder Case.

Frame captures from The Bishop Murder Case.

Frame captures from The Big House.

Leila got the role in the 1930 film Way For A Sailor when Edna Best fled Hollywood for the safety of London.

New Movie Magazine - June 1931

Screen Romances Album -1931


Movie Mirror - February1932
For the film Surrender.

Undated publicity still.

Frame captures from Freaks.

Freaks publicity still.

Freaks publicity still.

Photoplay - March 1932

New Movie Magazine - May 1932
Part of a summer fashion spread

New Movie Magazine - May 1932

Frame captures from Island of Lost Souls.

Frame captures from Red-Headed Woman.

Undated publicity still.

Undated publicity still.

Undated publicity still.

Leila Hyams - What do you think - Allure?

Covers, Touched And Untouched.

Here are some more wonderful covers from film magazines of the 20's and 30's. When I get these magazines, they often show their age with stains, tears, creases, fading, etc. I always clean them up before posting, as I have done here. However, I have left (for now) the June 1931 New Movie Magazine cover unretouched so you can see what I see before it goes under my Photoshop knife. To make up for the cover, I have included a number of inside pages, including a spread on swimwear our female readers may want to consider for this summer. Enjoy.

Click on the images for a larger view.

Marion Davies
Motion Picture Classic - February 1926
This issue is tabloid size. By the 1930's the publication was standard size.
Cover Artist: Leo Kober (1878-1931)

Olive Borden
Picture Play - February 1928
Artist: Modest Stein (1871-1958)

Bessie Love
Screen Book Magazine - July 1929
Artist: John Rolston Clark

Marion Davies
The New Movie Magazine - February 1931
Artist: Jules Erbit (1889-1968)

Janet Gaynor and Charles Farrell
Photoplay - April 1931
Artist: Earl Christy (1883-1961)

Lupe Velez
Picture Play - October 1931
Artist: Modest Stein

Barbara Stanwyck

The New Movie Magazine - January 1932
Artist: Penrhyn Stanlaws (1877 - 1957)

Greta Garbo

Modern Screen - April 1934
Artist: Rolf Armstrong (1899-1960)

Gloria Stuart
Picture Play - June 1934
Artist: Victor Tchetchet (1891 - 1974)

Constance Bennett

The New Movie Magazine - June 1931 (As purchased, awaiting restoration.)
Artist: Rolf Armstrong

Summer swimwear, 1931 style.

Carole Lombard
"...been getting a number of prominent roles lately." Ya Think?

Kay Francis
Has a contract with Warner Brothers that will eventually make her a star. A bold prediction.


An early shot of Marlene in the German film, Ships of Lost Men.
She had the lead female role.

Portrait of the perfect couple, at least from June 1929 to May 1933.

For the Love of Film (Noir) Film Preservation Blogathon

I find film noir is sometimes difficult to define, with a thin line existing between it and a crime drama, detective story, etc. The setting might be the lower depths of a city, or it may center around swank penthouses and high rollers. However, I think the dialogue as much as the location sets the scene and helps define a film as noir. Since this blog primarily centers on actresses, this post will take a look at lines spoken by or about female characters in a number of noir films. The images from the films have been grabbed from the scenes where the lines are delivered.

It should be clear from some of the lines spoken that many of these characters won't be reformed, rehabilitated, or restored. However, the films themselves are another matter, and many fine noir films have not yet been restored to their original pristine condition. This is where the blogathon comes in. We hope the readers of the great posts submitted to this year's event will donate whatever they can to help realize the goal of coming up with the funds to restore the noir classic, The Sound of Fury. The restoration is in part being undertaken by the the Film Noir Foundation, who needs your support. Just click and Donate to be one of the cool kids. To see all the great posts by bloggers participating in this event, go here or here for all the links.

Double click on the images for a larger view. Sorry about the inelegant way the sound clips are presented, but I haven't found a good solution yet for embedding sound clips. Enjoy.

Cry Danger – 1951

"I'm Darlene LaVonne." "I bet you are at that, dear."
Jean Porter and Dick Powell's retort.

Ace In The Hole – 1952

“I don't go to church. Kneeling bags my nylons.”
Jan Sterling (Lorraine Minosa) to Kirk Douglas.





The Big Combo – 1955

“What is there about a hoodlum that appeals to certain women?" "Hoodlums, detectives, a woman doesn't care how he makes his living, only how he makes love." Helene Stanton (Rita), and detective Cornel Wilde. BTW, Great opening music and quite a cast.





The Big Heat – 1953

"Hey, that's a nice perfume." "Something new, it attracts mosquitoes and repels men." "Doesn't work that way with me." "It's not supposed to." Exchange between Gloria Graham (Debby Marsh) and Lee Marvin.



The Big Heat – 1953

“We're sisters under the mink." Gloria to Jeanette Nolan.





Body and Soul – 1947

“Irma, are you decent?” Not particularly-bring him in.” Lilly Palmer (Peg Born), to roommate Virgina Gregg.





Hollow Triumph – 1948

"You're a bitter little lady." "It's a bitter little world." Joan Bennett's (Evelyn Hahn) retort to Paul Henreid.
PS- the Film Noir Foundation offers a T-Shirt with "It's a bitter little world." and the Foundation's logo. No noir fan should be without one.





Clash by Night – 1952

“What do you want Joe, my life's history? Here it is in four words: Big ideas, small results.” Barbara Stanwyck (Mae Doyle) to her brother.





Clash By Night – 1952

"When I want you to kiss me, I'll let you know. By special messenger!" Marilyn Monroe (Peggy) to Keith Andes. Love her tone on "By special messenger."





Crossfire – 1947

“What did your say your name was?” “Ginny – ‘cause I’m from Virginia.” Gloria Graham to To George Cooper.

Gilda – 1946
“If I’d been a ranch, they would have named me the Bar Nothing.” Rita Hayworth (Gilda) to Mark Roberts.





The Narrow Margin – 1952

“You make me sick to my stomach.” “Yeah? Well use your own sink.” Marie Windsor (Mrs. Neil) in retort to Charles McGraw.





I Wake Up Screaming – 1941

“Hotcakes and Coffee.” “Is that all?” “No, but the rest of it isn’t on the menu.” “You couldn’t afford it if it was.” Exchange between Carol Landis (Vickie Lynn) and Allyn Joslyn.





The Killing – 1956

“I know you like a book, you're a no good nosy little tramp. You’d sell out your own mother for a piece of fudge.” Sterling Hayden to Marie Windsor (Sherry Peatty)





Nocturne – 1946
“What's your name?” “Susan Flanders, I work here.” "As what?" "Housemaid."
Myrna Dell (Susan Flanders) and detective Walter Sande.





Pitfall – 1948

"Have you ever noticed if for some reason you want to feel completely out of step with the rest of the world, the only thing to do is sit around a cocktail lounge in the afternoon." Lisabeth Scott (Mona Stevens) to Dick Powell.

Scarlet Street – 1945
"Oh you idiot, how can a man be so dumb." "Kitty." "I've wanted to laugh in your face ever since I first met you. You're old, and ugly, and I'm sick of you -sick, sick, sick." Joan Bennett (Kitty March) and Edward G. Robinson.

They Drive By Night – 1940

"Hey waitress, this steak's tough." "Well, you can't send it back, you bit it." Ann Sheridan (Cassie Hartley) to patron.





The Underworld Story – 1950

"I never asked you for a nickel, baby, did I?" "You wouldn't have gotten it, You were never worth that much." Exchange between Dan Duryea co-worker Frances Chaney (Grace). Note: Frances Chaney was Lon Chaney's first wife and the mother of Lon Chaney Jr.



Don't forget, click and Donate any amount you can afford to help restore our noir heritage.