A Forgotten Star to Remember: Kay Francis

francisopenerDepression-era star Kay Francis is on my radar these days. Recently, I had occasion to research one of her films, The White Angel; also, I inherited many of her movies from my movie-collecting friend who passed away earlier this year. While the name Kay Francis is probably familiar to movie buffs and avid TCM viewers, I am sure the average movie-goer is thinking, “Kay who?”

In the mid-1930s, Kay Francis was Warner Bros.’s highest paid actor. Signed to WB in 1932 after making 17 films for Paramount, she peaked in the early Depression era playing sharply dressed, sophisticated women who excelled in the game of romance. Sometimes her character suffered for love; sometimes, she caused the suffering of others. A typical storyline might find Francis straying in her marriage because her husband neglected her, as in Transgression. Or, any romance for her was simply doomed because she had a terminal illness, as in One Way Passage. Francis was renowned for her fashion sense, and part of her star image mandated that her characters wear the latest gowns, suits, and accessories. Her tall, sleek, model-like figure was tailor made for the long lines and dropped waists of 1930s clothing.

francis1929The milieu of many of Francis’s films was that of Café Society, where ladies of leisure toyed with good men’s affections, or well-bred women fell hopelessly in love with ruthless businessmen or careless cads. Francis was acquainted with Café Society, because she had married into at age 17. If past life experiences provide fodder for an actor to draw upon for emotionally compelling performances, then Kay Francis had plenty to choose from. The daughter of a singer-actress, Katherine Gibbs grew up in New York. She quit school in her last year to attend a secretarial college, landing a job as an assistant to Juliana Cutting. Cutting was famous for arranging social events, balls, and debutante debuts for blue bloods, which provided an opportunity for young Kay to meet wealthy bachelors from established families. In 1922, she married one—James Dwight Francis. Eighteen months later, the marriage was over, but hobnobbing with the elite has its advantages. After the marriage failed, one of James’s aunts took Kay to Europe.

In Paris, Kay became part of the Lost Generation, where she took up with a different “café society.” She haunted the sidewalk cafes and clubs, drinking the nights away with would-be poets and painters. Without a vocation or goal, Francis felt she was wasting her life, so she returned to New York. Using her ability to wear clothes (a skill she honed in Paris), and her mother’s experiences as her own, she talked her way into a part in a Broadway play, but the production folded in try-outs. She understudied with Katherine Cornell before finally landing a part in a version of Hamlet set in contemporary times.



While establishing an acting career, she earned money by modeling. The 1920s was a heyday for magazines and newspapers, which depended on illustrations for visuals.  Illustrators gained fans and followers, often becoming celebrities. Francis posed for many prominent illustrators, including Charles Baskerville who worked for Vanity Fair. After Francis became a star, she attracted the attention of illustrator James Montgomery Flagg, who drew the iconic WWI poster in which Uncle Sam points his finger directly at the viewer to declare, “I want you.” Flagg was enchanted with Francis and drew her on several occasions.

Ever enamored with the night life, Francis frequented the clubs and speakeasies of Manhattan almost every night till dawn, usually double-dating with her roommate Lois Long. The two were fond of Texas Guinan’s 300 Club, where the elite of Broadway and Tin Pan Alley could be found. Though it was Prohibition, the girls had little trouble finding liquor, often buying directly from Frank Costello, who at the time was working with Lucky Luciano for mob boss Joseph Masseria. Costello and Luciano supplied liquor to the clubs in Harlem, including Owney Madden’s famed Cotton Club. Francis and Long frequented an African American joint in Harlem called the Owl Club, where female singers picked up tips with their inner thighs, or other parts of their anatomy. One night, gangsters stormed into the tiny club with guns blazing. One of the two men escorting Francis and Long that night had the presence of mind to tip over a couple of tables and hustle the girls behind the tops. Kay Francis lived in the fast lane, which is a difficult road to travel, yet it leaves its mark in the form of a sophisticated world view and a broad range of experiences.



In 1928, Francis took a screen test for Paramount and appeared in a couple of films in New York before the studio sent her to Hollywood. Biographers and film scholars declare her best film to be Trouble in Paradise, which was made for Paramount. However, it was Warner Bros. that honed her image and made her a star. She exhibited chemistry with costar William Powell, and the two were paired for six films, including Jewel Robbery and One Way Passage. When she costarred in Living on Velvet with George Brent, WB liked the onscreen energy of its new stars and reteamed them for five more movies.  In 1936, Francis became WB’s highest paid actress.

Ironically, in that same year, Francis’s career took a rapid downward turn and never recovered. After constructing her image as a sophisticated modern woman who struggled with romance and love, the studio cast her in lThe White Angel, a biopic of Florence Nightingale. Nightingale eschewed romance, never married, and insisted on wearing the long, drab-looking nurses’ uniform of the 19th century. Casting against a major star’s image sometimes works for a studio. In this case, it was a complete failure. Much of the blame was placed on Francis, and to this day, the primary comment made about The White Angel is that she was hopelessly miscast. However, biopics of the Golden Age are notorious for pious, earnest dialogue, swelling music, overwritten scripts, and overwrought performances. The White Angel suffered more than most from these conventions.


What WB did to Francis and her career after this film illustrates the dark side of the star system. It likely started with producer Hal Wallis who was profoundly disappointed in the box office failure of The White Angel. He was unhappy with director William Dieterle, blaming him for what he termed Francis’s emotionless performance. After that, she seemed to get little respect from the studio. She asked to star in a film called The Sisters, but the studio denied her request. She was promised Tovarich, but it went to freelancer Claudette Colbert. Francis then sued WB for breach of contract, but she withdrew the suit. WB assumed that Francis would ask for an early release from the studio, but she decided to wait out her contract. Harry Warner offered to buy out her contract several times, but she felt it was more financially prudent to collect her lucrative salary. The studio instigated a campaign of harassment and humiliation. Though they claimed there were no suitable projects for her, she was still required to report to the studio every day. They assigned Francis to do screen tests with newcomers, a task movie stars rarely did unless they had a stake in the unknown performer’s discovery. She was required to be on set by 9:00am, but she was deliberately not called until the afternoon. If she refused to cooperate, the studio was prepared to suspend her without pay. Other stars came to her defense, including Bette Davis and James Cagney, who personally appealed to Harry Warner. Their pleas fell on deaf ears. The low point came when WB denied Francis’s request to bring two guests to the commissary for lunch, deliberately humiliating her.

Two incidents prompted WB to cast her in upcoming films. Francis spread a rumor that she intended to write a book about her career when her contract expired, which shook up Harry and Jack Warner. Then, the entertainment press got wind of the studio’s treatment of Francis, who was a popular subject in the fanzines.  Unfortunately, she was cast in mediocre films and even handed over to the studio’s b-unit for King of the Underworld. Her billing was minimized, and studio insiders swore that someone at the top requested numerous script changes to include words in her dialogue with the letter “r.” Francis had worked hard in her early career to master a lisp, but she still had the occasional problem with the letter “r.” Supposedly, words like “moronic” were added to scripts to pressure her.



Free of WB in 1939, she freelanced for a few films, even signing a three-picture deal with Monogram that allowed her to coproduce. But, she had soured on Hollywood and spent most of WWII touring military bases for the USO. She returned to the stage after the war and concluded her career in the 1950s appearing on live television programming, which she hated. She died in 1968, leaving her modest fortune to Seeing Eye, Inc., which trained dogs for the blind.

Many Golden Age stars made guest appearances on television shows in the 1960s and 1970s (Love Boat, anyone?), showed up regularly on talk shows to reminisce about the glory days of Hollywood, or starred in musical revivals on Broadway and in Las Vegas, which introduced them to younger generations. But, Francis had become a recluse during the 1950s. At the height of her troubles with Warner Bros., and never one to play the publicity game, she told an interviewer, “I can’t wait to be forgotten.” She certainly got her wish. Film historians and biographers credit Turner Classic Movies with reviving some interest in her career, because they began to broadcast her films in the 1990s. But, Kay Francis lacks the name recognition among the general public that Davis, Hepburn, Crawford, Monroe, Bacall, and even Harlow have.

francisfanzineThose who have never heard of Kay Francis might ask, “Who cares? Why should we remember her?”  Aside from the perspective into the star system that her career provides, Kay Francis and her star image represent an interesting moment in Hollywood history. In the early 1930s, the studios recognized that the female audience was underserved. Not only were there a lot of female movie fans, but women in a family or in a couple often decided which movie to see. Studio execs began courting female stars in order to create stories centered around women, work, and romance (or, even sexuality in the pre-Code era).  Kay Francis embodied a version of the modern woman, who came of age during the liberated Jazz Age. Fanzines re-enforced Francis’s star image by emphasizing key parts of her life story—the mother who was an actress, a cosmopolitan upbringing, her fashion sense, and her time spent in Europe. The studios tailored film roles to Francis’s image, which meant they were creating depictions of modern women in the work place, women living independently of husbands and family, and women recognizing their sexuality. Even if the films ended conventionally, they offered female viewers stories centered around women’s problems, concerns, and issues.

In that regard, the films of Kay Francis are more relevant than today’s Hollywood movies in which women’s roles have been reduced to playing second fiddle and female characters are too often defined by their relationship to males.

26 Responses A Forgotten Star to Remember: Kay Francis
Posted By LD : September 30, 2013 3:28 pm

Thank you for this post about Kay Francis. I had not seen her work or heard of her, for that matter, until I started watching TCM. I still have only seen a few of her films. The role I remember her for is the manipulative Maida in IN NAME ONLY. Apparently it was made for RKO after her trouble with WB started because Lombard supposedly had to help her get the role. Her treatment by WB doesn’t make sense assuming she could still generate money if she were allowed to do roles which played to her strengths. I don’t know if she ever wrote her book. Too bad if she didn’t.

Posted By Susan Doll : September 30, 2013 5:32 pm

LD: There are a couple of decent biographies of her, including one in which the authors had access to her diaries, which are wild. The best is called: Kay Francis: A Passionate Life and Career. Look for a couple of her movies to play on TCM in November.

Posted By robbushblog : September 30, 2013 6:47 pm

I’ve seen her in Trouble in Paradise and In Name Only. While I found her attractive (except for the eyebrows), I found her characters in both films to be rather cold and aloof, unlike her blond rivals in each film, who were (Miriam Hopkins and Carole Lombard) lovely and charming.

Posted By LD : September 30, 2013 7:09 pm

Susan-Thank you so much for the recommendation and the TCM info.

Posted By Susan Doll : September 30, 2013 9:40 pm

Rob: You are right; she could be a bit dispassionate. She liked that approach to acting — subtle and nuanced — which sometimes makes for cold characters. She is much more earnest in The White Angel, which is not really a good movie, though that is not her fault. And, her cool persona fits her character better in Secrets of an Actress, which I liked quite a bit. I have not seen this movie yet, but she is supposedly effective in Jewel Robbery with William Powell.

Posted By Doug : September 30, 2013 10:32 pm

Part of what keeps me coming back to this site is the free education about subjects I love and appreciate more as I learn.
Kay Francis has only been a name among many names; thank you, Susan, for sharing about this ‘forgotten’ star. I’m reading a bio of Will Rogers right now; I imagine that during his time in the Follies Ms. Francis may have been in the audience.
“Those who have never heard of Kay Francis might ask, “Who cares?”
Anyone sharing the screen with Powell or Warren Williams, any lady who ‘made it’ to the upper stratosphere in Hollywood deserves to be remembered.
As for the contretemps with the Warners-anyone who has ever gotten on the wrong side of a boss can relate to Ms. Francis.
The fact that she left money to that charity rather than building some monument to herself speaks to the quality of the person that she was.

Posted By Susan Doll : September 30, 2013 10:54 pm

Doug: Yes, my favorite fact about her was that she left her money to a worthy cause.

Posted By Richard Brandt : September 30, 2013 11:56 pm

Hard to do better than TROUBLE IN PARADISE. One reason Kay Francis might not be better known to today’s audiences is that her round face doesn’t meet contemporary standards of beauty, in the same way that the current crop of moviegoers probably wouldn’t consider Warren William a hunk! And so many of the movies that got frequent television play in the days before TCM came along were made after her heyday.

Posted By Christine in GA : October 1, 2013 9:34 am

Another great post, Susan, and a big “thank you” to you because I haven’t read much about Kay Francis, other than that she was noted for her wardrobe, a big star in the very early 1930s and had a free spirited sex life. I’d like to check out that biography. I think she was a fine actress with a distinctive and interesting look. Her pre-code films are definitely worth watching. She played independent women and she did look great in those clothes. ONE WAY PASSAGE and TROUBLE IN PARADISE are my favorites. It’s sad that Warners treated her so badly. TCM does play some of her movies – usually very early in the morning. Thanks again for bringing some deserved attention to this actress.

Posted By swac44 : October 2, 2013 12:08 pm

For a look at one of Flagg’s drawings of Kay, check out the top entry in this collection of his celebrity drawings:


Posted By Susan Doll : October 3, 2013 3:52 am

Swac44: Thanks for the link. I taught Flagg in my Hist. of Illustration class last spring and talked about his infatuation with Francis. There were over 100 students in the class; not one of them had heard of her.

Posted By skooter1 : October 3, 2013 7:55 pm

Susan: Many thanks for bringing up Kay Francis. She never ceases to fascinate me. I’ve read O’Brien’s bio and will read Kear’s eventually, both of which lean on her detailed diary which sex-wise, at least, was pretty remarkable considering the time (24 lovers by the age of 24; 10 abortions in her lifetime). Irregardless, she was special as she appeared to not have the star-power drive of Davis or Crawford, for instance. I can also recommend a go-to website of which I have no affiliation: http://www.kayfrancisfilms.com
My favorites are Confession, One-Way Passage (which was remade quite a few times-even Love Boat recycled the plot for one of its episodes) and Jewel Robbery (which would have been a hit had it been available during the Reefer Madness revival in the 60′s -it’s fun film regardless and Kay is terrific in it).
I always found the problem with her pronunciation of r’s’ a bit overblown, although she has funny bit with George Brent about it in one of her films and there’s a WB cartoon which mocks it pretty mercilessly, so there’s that. But the fact that she has a certain self-deprecating attitude about that and herself, for that matter, has always made her endearing to me.

Posted By The View Beyond Parallax… more reads for week of October 4 | Parallax View : October 4, 2013 5:44 pm

[...] Susan Doll charts the unfairly shortened career arc of Kay Francis, from model to movie star to victim of an embittered fight with a short-sighted, vengeful studio. [...]

Posted By Doug : October 5, 2013 4:41 pm

Still fitfully working my way through the book, “Complicated Women” about the stars in ‘pre-code’ Hollywood. Kay Francis is mentioned quite a bit, as is fitting.

Posted By Barry Lane : October 7, 2013 12:48 am

The spin is completely nonsensical. She was paid a lot of money, could have settled, but chose not to do so. And, the part she played as Cary Grant’s wife in In Name Only, is strictly of the supporting variety. Unattractive and unsympathetic. It was no favor and that she ended at Monogram says it all. There is no logical reason that this wealthy woman could not have taken the buy out and gone on her way to oblivion a little earlier. This is simply anti-corporate spin. Davis, Cagney and Lombard did not run anything. We don’t know what they thought. Nor is it relevant.

Posted By Sherry G : October 7, 2013 2:42 pm

I really enjoyed this article about Kay Francis. I had heard her name mentioned by my elders growing up, but never saw her in a movie until TCM began playing her films. I love her 30s films and if I see her name on the billing, I’m going to watch it if I haven’t already seen it. Thanks for a great article, Susan.

Posted By Lisa W. : October 7, 2013 6:40 pm

Thank you for the great portrait of Ms. Francis’ career. She was unknown to me and I’m glad to understand more about her and how her career was fashioned and played out.
I cannot imagine a large studio today being interested in creating meaningful stories about women and I appreciate your pro-female profiles very much. Too many female actors have not been given their due and I appreciate your education in this regard!

Posted By Susan Doll : October 8, 2013 12:42 am

Thank you Sherry and Lisa. Kay Francis had an interesting life and career, despite its ups and downs. I am currently watching my new stash of Francis films. Sometimes she is better than other times, but I like her take on the modern woman, circa 1930s.

Posted By george : October 15, 2013 8:45 pm

I recently watched FOR THE DEFENSE (Paramount, 1930), with Francis and William Powell. Very well directed by John Cromwell, and surprisingly modern in its clear-eyed, unsentimental view of how the law works. The low-key acting of Powell and Francis helps.

People who think early talkies are creaky antiques should know about this movie. You can find it on YouTube.

Posted By Jorge Suárez : May 9, 2015 8:35 pm

When in Miami I saw (TCM) a Kay Francis movie (Man Wanted), it was quite a surprise: good actress, lot of personality and a certain “class”. So I start looking information about her. Now,thanks for this column. Hope to see more Kay Francis movies. I bought It´s a Date.

Posted By Cheryl : December 23, 2016 2:48 pm

Does anyone know where I can buy the Kay Francis film, My Bill? Such a cute movie…but doesn’t seem to be anywhere.

Posted By Cheryl : December 23, 2016 2:50 pm

I just clicked the “Notify Me”, if anyone has an answer on how to find the Kay Francis movie, My Bill.

Posted By Susan Doll : December 26, 2016 1:20 pm


I am not sure where to find a copy of My Bill, but perhaps try a website called Loving the Classics. Also, I thought TCM recently aired it earlier in December. I could be wrong; maybe confusing it with another film.

Posted By Jennifer : February 27, 2018 4:57 pm

Thank you for a very interesting post.

My first Kay Francis movie was In Name Only with Cary Grant and Carole Lombard. In the movie Grant is a loveless marriage to Kay Francis’ well acted controlling and manipulative character. I first saw In Name Only on TV in the 1980s. Around that time but after I saw Francis play Jo in Little Men and I loved her in that role.

It was years later on TMC that I discovered Pre-Code films and learned that neither of these parts really represented Kay Francis’ typical role. She quickly became one of my favorite Pre-Code actresses.

I always found it sad that her later roles were so lackluster. Your article helps fill in the story of why that was.

Posted By George : February 28, 2018 4:10 pm

Jennifer, if you like Kay Francis, check out Karina Longworth’s podcast episode about her. ONE WAY PASSAGE has my favorite Francis performance (and one of William Powell’s best, too).


Posted By Steve : June 17, 2018 2:11 pm

I have recently discovered Kay Francis as well. I am reading ‘I Can’t Wait to be Forgotten’ and it is a great biography. The first movie I saw her in was ‘Little Men’, which was I think a B movie, but very good. I think she was way ahead of her time. It was a shame how they treated her after she made so much money for them. Glad to see so many of us are helping resurrect her career.

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