Alice Brady Movies

American actress Alice Brady first came to prominence in the silent films produced by World Studios, which was owned and operated by Brady's father, the influential theatrical producer William H. Brady. A star from her first film, As Ye Sow (1914), onward, she was applauded for her acting skills, though critics at the time noted that her somewhat offbeat facial features would be better suited to character roles than to ingenues. Brady devoted the 1920s to motherly and matronly portrayals on stage - which, as it turned out, were far more rewarding professionally than the heroines she'd played at World. Making her talking-picture debut in 1933's When Ladies Meet, Brady rapidly became one of Hollywood's most prolific portrayers of addlebrained society matrons and world-weary matriarchs. Her comic skills won her roles in such classics as My Man Godfrey (1936) and Three Smart Girls, but it was for her dramatic portrayal of the resilient, much-maligned Mrs. O'Leary in In Old Chicago (1938) that she won an Academy Award. Shortly after completing her work on John Ford's Young Mr. Lincoln (1939), Brady passed away at the age of 46. ~ Hal Erickson, All Movie Guide
1918  
 
Arlette (Alice Brady), the granddaughter of a Brittany innkeeper, falls in love with Richard Vale (Henry Clive), an aspiring artist who has come to the village. Also visiting is Prince Boissard (R. Payton Gibbs), an old roué who lusts after Arlette. The Prince is a patron of the arts, and he offers to help Vale out if Arlette will come to Paris and become his mistress. She agrees, but only if he works his magic on Vale first. He does as promised and calls on Arlette to keep her end of the bargain. But the night she is supposed to give herself to the Prince, his mistreated servant Sarthe (Edmund Pardo) decides to protect the girl and murders him. Arlette is then free to marry Vale. This picture was adapted from a play, The Red Mouse, by Henry J.W. Dam. ~ Janiss Garza, All Movie Guide

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1918  
 
A man is murdered at a roadhouse, and his widow, Sara Wrandall (Myrtle Stedman), is called to identify the body. There, she finds out that he had arrived the night before with a veiled woman, and when his body was found, the woman was gone. As she's driving back home, she sees an hysterical young female (Alice Brady) about to jump off a bridge. Instinctively knowing that she is the veiled woman, the widow saves her and takes her in. Sara has a plan for this woman, whose name is Hetty Castleton. The snooty Wrandall family was never nice to her, so she wants revenge. She tries to get it by throwing Hetty and Leslie, her late husband's brother (A.J. Herbert), together. Leslie does fall in love with Hetty, but Hetty loves an artist, Brandon Booth (Percy Marmont). While Sara is trying to carry out her scheme, the Wrandall family has been offering a ten thousand dollar reward to whoever can locate the murderer. Finally a detective hired by the elder Wrandall asserts that Sara killed her husband. Then Hetty tells the truth -- the whole truth. Mr. Wrandall had led Hetty to believe he was a single man, and when he lured her to the roadhouse, she had to kill him to defend her honor. The Wrandalls believe her. So Sara is left alone by her husband's family, and Hetty goes off to be with her artist. ~ Janiss Garza, All Movie Guide

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1918  
 
Having spent several years at World Films, the studio owned by her Broadway-producer father William A. Brady, Alice Brady took a step upward in the film world when she signed on with Lewis J. Selznick's Select Pictures. One of Brady's first Select endeavors was Woman and Wife, a sporadically literal adaption of Charlotte Bronte's Jane Eyre. After enduring a miserable boarding-school childhood, Jane Eyre (Brady) becomes the governess for the daughter of the mysterious, brooding Edward Rochester (Elliot Dexter). Though at first put off by Rochester's sullen truculence, Jane eventually falls in love with him, and he with her. But on the day of their wedding, it is revealed that Rochester's first wife, whom Jane has been led to believe is dead, is alive, albeit hopelessly insane and locked up in her husband's attic. The spectacular fire which highlighted the original novel (and all subsequent film versions of Jane Eyre) was absent from this production. Here, the first Mrs. Rochester accidentally drowns, clearing the path for a happy reunion between Jane and Rochester -- who, unlike his literary counterpart, is not temporarily blinded as punishment for his past sins. ~ Hal Erickson, All Movie Guide

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1918  
 
The Knife was adapted from the same-named stage play by Eugene Walter. Alice Brady headed the cast as Southern belle Kate Tarleton, who comes to New York in search of her destiny. Unwise in the ways of the Wicked City, Kate is soon picked up by a no-good who plies her with drugs and then seduces her. Her hometown sweetheart is all for killing the man who "done her wrong" but is dissuaded by surgeon Robert Manning (Frank Morgan), who believes he can "cure" the caddish seducer via a radical form of brain surgery. Adding texture to the tale is the fact that Dr. Manning is the brother of his experimental patient. According to the trade magazine Variety, the harsher elements of the original stage play were toned down to accommodate the recently strengthened censorship limitations of the period. ~ Hal Erickson, All Movie Guide

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1918  
 
Alice Brady stars in this ordinary little programmer. Naive Doris Shaw (Brady) lives in a fishing village with her father, a religious fanatic. When artist Stuart Kendall (Crauford Kent) comes to the town, a romance develops between the two. But gossip forces Doris to leave home, so she goes to New York, where she and Kendall meet up once again. He puts her up in his studio so she can model for him and she goes along with it, not realizing that eventually there will be a price to pay. After seeing her picture in an advertisement, Westerner Jack Masterson (Curtis Cooksey) decides to meet her, and Doris falls in love with him. The jealous Kendall is determined to keep them apart so he surprises Doris with a wild party at the studio and tricks Masterson into showing up when it is at its rowdiest. Masterson walks out on Doris, who finally realizes that Kendall is a cad. She lets him have it verbally and Masterson overhears. She leaves town, but Masterson follows her onto the train and they are wed. ~ Janiss Garza, All Movie Guide

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1918  
 
Written by Edmund Goulding (who later went on to a substantial directing career), The Ordeal of Rosetta was tailor-made to the talents of Alice Brady, seen here in a dual role. The story begins in Italy, where Lola and Rosetta, the twin daughters of a professor, prepare to emigrate to America. Alas, their tiny village is rocked with an Earthquake, and the sisters are separated. Rosetta arrives in America alone, never giving up hope that she will someday relocate Lola. To supplement her income as a stenographer, Rosetta poses for a portrait artist, who capricious affixes her head to the body of a nude model. Outraged at being so obscenely misrepresented, Rosetta tells her life story to an inquiring reporter, only to end up falling in love with the man. Within a few months, Rosetta has become the author's mistress, assuming that he will eventually legitimize their relationship by marrying her. Instead, he becomes engaged to another, prompting Rosetta to commit suicide. Learning of this tragedy, the girl's twin sister Lola swears revenge against the author, and to achieve this she poses as a wealthy Countess, the better to lure the author into a death trap of her making. Lola succeeds in fulfilling her vendetta -- at which point the entire plot is revealed to be a nightmare experienced by the still-alive Rosetta! ~ Hal Erickson, All Movie Guide

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1918  
 
Even though Cynthia Maitland (Helen Montrose) throws wild parties and is having an affair with Boresky (Robert Cain), a cabaret dancer, her husband Arnold (H.E. Herbert) won't divorce her. He does go to the cabaret, however, intending to confront Boresky, who doesn't appear. But after a few glasses of wine, Maitland makes a cynical wager with his friend that every woman has her price. His friend suggests that he try dancer Flora Farnsworth (the film's star, Alice Brady, finally making her appearance), and Maitland puts her up in a nice apartment and pays for her singing lessons. Still, she won't succumb to him, and his admiration for her turns to love. He makes arrangements to desert his wife so that she will divorce him and he can marry Flora. But as he is about to depart, he is fatally wounded in a car crash. Before dying, however, he hands Flora evidence of his wife's unfaithfulness. Flora then becomes involved with Maitland's partner, Philip Standish (Mahlon Hamilton), who proposes marriage. Cynthia Maitland, who has discovered the wager and Flora's bills among her dead husband's effects, visits Flora and threatens her with exposure. Flora in turn brandishes the evidence of Cynthia's infidelity. Boresky has been dancing with Flora and is angry with her because her marriage will break up the act; with encouragement from Cynthia, he plans to replace the fake dagger in their dance with a real one that night. But before he can kill Flora, he is stopped by Standish. Defeated, Boresky stabs himself. This convoluted picture didn't do much for Alice Brady's film career. ~ Janiss Garza, All Movie Guide

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1917  
 
A Self Made Widow begins conventionally enough as farm girl Sylvia Smith (Alice Brady) is lured to the city by a smooth-talking gentleman, only to discover that said gentleman is already married. Too proud to return home and admit her foolishness, Sylvia remains in the Big City to face an uncertain future. But fortune smiles upon Sylvia when she comes across an apparent suicide note written by heartbroken millionaire Fitzhugh Castleton (John Bowers). With this note in hand, Sylvia poses as the Castleton's widow, thereby sidestepping the disgrace of being seduced and abandoned -- and incidentally falling heir to her "husband's" fortune. Inevitably, Castleton returns very much alive, but rather than eject Sylvia from his family mansion he falls in love with the pretty impostor and offers to become her husband for real. ~ Hal Erickson, All Movie Guide

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1917  
 
Alice Brady was the biggest star on the World Studio lot, and small wonder: her father, theatrical impresario William H. Brady, owned the place. But Alice was talented enough to survive in showbiz without the added boost of nepotism, as she proves in 1917's The Divorce Game. As indicated by the flippant title, this is a comedy, revolving around the marital misadventures of airheaded Alice and her French nobleman husband John Bowers. When wifey spends every penny in the house and then some, Bowers is forced to make a few momentous decisions. Frances Marion, later MGM's top scenarist, adapted The Divorce Game from Leo Dietrichstein's Gallic farce Mlle. Fifi. ~ Hal Erickson, All Movie Guide

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1917  
 
In reflection of the patriotic fervor attending America's entry into WWI, the World Film Corporation felt emboldened to serve up this filmed biography of legendary flagmaker Betsy Ross. Alice Brady, daughter of studio head William A. Brady, played the title role, while Betsy's mentor George Washington was portrayed by George MacQuarrie. Inasmuch as the story of Betsy Ross was largely a fabrication to begin with, the screenwriters had no qualms about concocting a romantic triangle involving Betsy, her sister Carissa (Lillian Cook), and their mutual sweetheart Clarence Vernon (Frank Mayo). Joseph Ashburn (John Bowers), who has a crush on Betsy, challenges Clarence to a duel and apparently kills his opponent, whereupon Ashburn adopts an assumed name and joins General Washington's army. Meanwhile, Clarence recovers from his wounds and rejoins his regiment in the British army. What happens next is eminently predictable, though one has to admit that it is heaps more exciting than watching Betsy Ross sewing the Stars and Stripes together for six reels. ~ Hal Erickson, All Movie Guide

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1917  
 
The "Maid of Belgium" is sad-eyed Adoree, played by Alice Brady. When her town is destroyed by the invading Germans during WWI, the shock causes Adoree to completely lose her memory. The girl is rescued from the rubble by Mr. and Mrs. Hudson (George MacQuarrie and Louise de Rigney), a wealthy American couple. Despite her newfound happiness, Adoree does not snap out of her near-catatonic amnesia and sits silently in her room pathetically clutching an old doll. It soon turns out that the heroine is expecting a baby. Upon the child's birth, it is promptly appropriated by the barren Mrs. Hudson, who claims that the baby is hers. Not wishing to be deprived of the only thing she genuinely loves, Adoree steals the baby and hides away on a remote island. Believing the child has been drowned, the grieving Hudsons arrange to dynamite the river in hopes of recovering the body. The sound of the explosion shocks Adoree back to her senses, and at long, long last she remembers that, just before the Germans marched in, she had been married to a prominent Belgian nobleman -- thereby "legitimizing" her baby and paving the way for a happy ending. ~ Hal Erickson, All Movie Guide

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1917  
 
A young Russian woman rises to become one of the world's most famous ballet dancers in this romantic silent drama. Her story begins as she, the lead dancer of the Imperial Ballet, becomes the love object of Russia's Grand Duke. They marry, but because the government disapproves of the union she is exiled to France, forcing her to leave her little daughter in the academy where she is raised by the head mistress. Under her loving guidance, this girl becomes world famous and begins touring. While dancing in Paris, she is kidnapped by a would-be suitor. Just as he is about to forcibly steal her virtue, the girl's mother appears and shoots the cad dead. When the Grand Duke learns of the shenanigans he rushes over before the police arrive and takes the rap for the murder. Fortunately, all is righted by the end, and the family finally comes back together. ~ Sandra Brennan, All Movie Guide

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1917  
 
Compiled by the National Association of the Motion Picture Industry and distributed to theaters across the United States, National Association's All-Star Picture, features selected scenes from various popular films, offering glimpses of many of the biggest stars of the day. Included are clips of Charlie Chaplin, Francis X. Bushman, Douglas Fairbanks, and many others. ~ All Movie Guide

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1917  
 
Although Ellen Franklin (Alice Brady) consents to marry John Locke (David Powell), she's reluctant to have a family since, for three generations, the women in her family have died in childbirth. Because of her attitude, she and Locke become estranged and he renews contact with an old flame, now a widow with a young daughter named Constance (Madge Evans). One day Constance meets Ellen when she is looking for Locke. Ellen drives the little girl towards home, but gets in an automobile accident. Both of them wind up in a hospital, which catches fire. Ellen risks her life to save Constance and return her to her mother. After that, her attitude about motherhood softens and she is reunited with Locke. ~ Janiss Garza, All Movie Guide

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1917  
 
Alice Brady plays a farm girl who marries the son of her next-door neighbor. Her dreams of a gay social whirl are shattered when her husband takes a job as a railway station agent in a lonely prairie outpost. Desperate for companionship, she begins an affair with the railroad president's son, unaware at first that her lover is likewise married. Leaving her husband, Brady heads to Chicago, hoping that her new sweetheart will find her a job. He does, but only so he can keep her "in reserve" whenever his wife is out of town. Upon discovering that her protector is a philanderer, Brady tries to escape his clutches, but he refuses to let her go. The heroine is rescued by the unexpected appearance of her own husband, who thoroughly trounces the lover and forgives his wife all past indiscretions. ~ Hal Erickson, All Movie Guide

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1917  
 
Because of her father's death at the hands of Russian soldiers, Ilda Barosky (Alice Brady) carries a grudge against the government. Her brother, Ivan (Norbert Wicki), has more than a grudge -- he's a revolutionary. He secretly marries Olga (Lillian Cook), the daughter of Constantine Karischeff, the minister of police (J. Herbert Frank). Meanwhile, Alexis Nazimoff (John Bowers) romances Ilda. Olga and Alexis's parents, unaware of all these happenings, try to arrange a marriage between them, but when they ask Ilda to play "God Save the Czar" on her violin at the betrothal party, she refuses and is whipped in front of the gathering. All hell breaks loose; Alexis, Ilda and Olga wind up being accused of being in league with the revolutionaries and sent to Siberia. Ilda gets a pardon, but since she wants to stay with Alexis, she has Olga leave in her place. The couple are about to be shot when they, too, are pardoned. They come home, and their families are all reconciled. This picture (based on a play by H. Grattan Donnelly and Sidney R. Ellis) came out just as the overthrow of the Russian government was reaching its full completion, and as a result, it was out of date almost upon its release. ~ Janiss Garza, All Movie Guide

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1917  
 
Alice Brady plays the lead in this adaptation of Frou Frou. Frou Frou (Brady) agrees to marry the man chosen by her father, the Marquis de Sartorys (George MacQuarrie), even though she knows her sister Louise (Gerda Holmes) loves him. But Frou Frou is a frivolous girl, and when Louise comes to visit, she ultimately takes her sister's place. Finally Frou Frou sees the error of her ways, but when her husband won't take her back, she runs off with the Comte de Valreas (Edward Langford). Eventually de Sartorys follows and kills de Valreas in a duel. Then Frou Frou comes back home to beg her husband's forgiveness before she dies. ~ Janiss Garza, All Movie Guide

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1916  
 
As Viola Donizetti, a woman who apparently has more sex appeal than she can handle, Alice Brady somehow manages to rise above a feebleminded story. Although Viola is in love with Tony (William Raymond), her father (George D. Melville) insists that she marry a wealthy man of his acquaintance. The man's brutal nature repels her, and she follows Tony to America. She is met at the docks by Tony's cousin (John Warwick) who takes her to a room and tries to have his way with her. She fights him off and runs away. Eventually, she becomes a maid for Mr. Sharpless (Tom McGrath), but then his son Gowfrey (Bert Rooney) tries to force himself on her. When she resists, she is fired. Viola meets a lawyer, Collingswood (Eric Blind) who gives her an apartment and fancy clothes and treats her nicely. She then finds out that there's also a Mrs. Collingswood (Lillian Concord). At last, she and Tony meet up again and they obtain a hotel room, number 47, as their bridal suite. While Tony goes off to find a priest, Collingswood, who has fallen on hard times, rents out room 48. He leaves a suicide note saying that the woman in 47 can explain why he died and then shoots himself. This causes a big scandal, and a reporter shows Tony the suicide note. But the priest convinces him to forget about it and marry Viola anyway. ~ Janiss Garza, All Movie Guide

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1916  
 
This comedy-drama, based on a popular play of the era by George Broadhurst, is the classic story of a poor girl who marries a millionaire. But the millionaire, Robert Stafford (Montagu Love), is an alcoholic who, after one of his nights of heavy drinking, asserts that he "bought and paid for" Virginia, his wife (Alice Brady). Virginia finds his inebriation unbearable and decides her comfortable life isn't worth the suffering, so she leaves him. It takes a lot of effort on the part of Virginia's brother-in-law James (Frank Conlan) and his wife Fanny (Josephine Drake) to get the couple back together. ~ Janiss Garza, All Movie Guide

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1916  
 
Actress Alice Brady was the star player at the World Film Studios, which was as much due to her versatility as to the fact that her father William Brady ran the studio. In Ballet Girl, she plays a carnival performer who aspires to better things in life. Her big break in the ballet world finally arrives, but it's at the expense of her romance with Robert Frazer. Brady rises to fame as prima ballerina "La Syrena," and it isn't until the very last scene that we know the outcome of her "career vs. love" dilemma. Ballet Girl was based on Compton MacKenzie's novel Carnival; its director was George Irving, later a busy movie character actor of the 1930s. ~ Hal Erickson, All Movie Guide

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1916  
 
1916  
 
Long before she became a top character actress, Alice Brady was the in-house ingenue for the World Film Manufacturing Company. The fact that Brady's father, theatrical producer William H. Brady, was the head man at World might have been a contributing factor to the actress' prolific output for the studio. In The Gilded Cage, Alice plays Princess Honore, who falls in love with a handsome prince who doesn't know her true identity (nor does she know his). Scripted by Frances Marion from a story by J. I. Clarke, the film was sort of a distaff version of The Prisoner of Zenda. If Gilded Cage ever becomes available again, it might be interesting to find out why Clara Whipple's character was named "Lesbia the Goose Girl"! ~ Hal Erickson, All Movie Guide

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1916  
 
Dwight Tilton's novel Miss Petticoats was visualized on-screen by director Harley Knoles, a British expatriate briefly working at World's New Jersey studios. Alice Brady played the titular heroine, whose real name is Agatha. The film's storyline accommodated a rich variety of contrasting types, ranging from a wealthy matriarch, to a capricious minister, to a humble mill worker, to a salty sailor. "Miss Petticoats" takes her sweet time but eventually chooses the "right" man from a crowd of candidates. Reportedly, the film was an improvement over the stage version of Tilton's novel. ~ Hal Erickson, All Movie Guide

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1916  
 
Taking the rap for her sister, who spent the night with a lecherous travelling salesman, Jane Lawson (Alice Brady) is booted out of her family home. She relocates to New York and takes a job at the very store where the troublesome salesman is employed. Catching the eye of the boss' son, Jane marries him, only to find out that her new husband is a drink-sodden jellyfish. He heads to Alaska for a "rest cure," with the salesman -- who turns out not to be such a bad guy -- financing the trip. Unable to straighten himself out, Jane's husband ends up as the guest of honor at a lynching party. Though understandably upset by her hubby's demise, our heroine is comforted by the fact that the salesman is now in love with her, an affection she willingly reciprocates. "Tangled" is right. ~ Hal Erickson, All Movie Guide

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