Born: Oct 15, 1892 in Washington, District Of Columbia
Died: Feb 21, 1985 in San Francisco, California
Occupation: Actor
Active: teens-'40s
Major Genres: Comedy, Comedy Drama
Career Highlights: Ninotchka, The Royal Family of Broadway, Claudia
First Major Screen Credit: Polly with a Past (1920)
Biography
A comedienne on vaudeville in pre-World War I days, Ina Claire made only a few films during the silent era (beginning with The Puppet Crown, 1915), instead concentrating on her stage work. She was featured in the Ziegfeld Follies of 1915 and 1916, appeared for two years as the star of The Gold Diggers, and developed into a Broadway favorite in the '20s. On Broadway she was the "queen of high comedy," a sophisticated blonde with verve and panache. She returned to the screen shortly after the advent of sound in The Awful Truth (1929). Her bubbly comedic style was employed in a handful of other movies in the '30s and '40s; her last appearance was as Dorothy McGuire's courageous, doomed mother in Claudia (1943). She retired from the stage in 1954. She was married to screen idol John Gilbert from 1929-31. ~ All Movie Guide
Born Ina Fagan in Washington, D.C., Claire began her career appearing in vaudeville. She performed on Broadway in the musicals Jumping Jupiter and The Quaker Girl (both 1911) and Lady Luxury sophisticated comedienne, and starred on Broadway in plays by some of the leading comic dramatists of the 1920s, 30s, and 40s, including the roles of Jerry Lamarr in Avery Hopwood's The Gold Diggers (1919), Mrs. Cheyney in Frederick Lonsdale's The Last of Mrs. Cheyney (1925), Lady George Grayston in W. Somerset Maugham's Our Betters (1928), and Enid Fuller in George Kelly's The Fatal Weakness.
Her last stage appearance was as Lady Elizabeth Mulhammer in T. S. Eliot's The Confidential Clerk (1954). She was particularly identified with the high comedies of S. N. Behrman, and created the female leads in three of his plays: Biography (1934), End of Summer (1936), and The Talley Method (1941). of her, Behrman wrote, "Her readings were translucent, her stage presence encompassing. The flick of an intonation deflated pomposity. She never missed a nuance."[1] Critic J. Brooks Atkinson praised Claire for her "refulgent comic intelligence.[2]