For someone that was as present in films as Leila was in the late 1920s and early 1930s, it’s hard to imagine that she could fall into obscurity with the passing years. Unfortunately, that did seem to happen. Hopefully with our book and continued efforts, we will undo that. However, let’s suppose that she didn’t retire from making movies in 1936. Could she have gone down in history as a superstar?
We have our own opinions about why she chose to retire (which we won’t discuss in the interest of objectivity). But again, had she not stopped, how famous would she have become?
In 1930 alone, Leila made a staggering amount of films for MGM. She was like their go-to girl, a dependable and strong actress who could carry any role she was given. The vast majority, those unfamiliar with her as a whole, was introduced to her talents after Freaks. There’s no doubt about it. The film was so scandalous that they couldn’t help but notice everyone who was part of it. Despite the fact that she was a frequent co-star of William Haines, himself an MGM favorite, she always fell behind the headliners of the era. The 30s propelled her into the fast lane of cinema. She made films every single year from 1930 until her departure in 1936. It’s conceivable that she would’ve continued making films every single year into the 1940s. Who knows what could’ve happened then? She may have become a Film Noir favorite or a musical queen. Her singing in Ruggles of Red Gap has become a favorite among fans. Leila was praised in many newspaper articles for her pleasant speaking voice, and her parents were both singers on the Broadway stage. We’re of the opinion that her creative plug was pulled much too early. She could’ve broken out and become an icon.
I have always been a fond admirer of Leila Hyams ever since I saw her in Red Headed Woman and Island of Lost Souls.
I agree with the assessment that she was more than competent as an actor and deserved better opportunities.
However, when I look at evaluate Hyams’ blonde looks and lady-like screen image, I feel that she was “trapped” and probably wasted at MGM, where there were too many actresses in her mold. She is very much of the period and contained within patriarchal notions of womanhood. Leila’s type/image does not easily transcend the ages.
Leila, unfortunately, shares too many qualities with the likes of Madge Evans, Karen Morley, Dorothy Jordan, Lois Moran, Sally Eilers, Virginia Bruce, and later Cecilia Parker—all of whom MGM maintained in their stable of interchangeable blonde leading ladies, often cast as demure “props” for their virile or debonair leading men. Such a situation also meant that Leila had to regularly compete with many of these popular studio contractees for the same type or quality roles. A tough situation when “fresh faces” are always in demand and are just as disposable.
What is disappointing about Leila’s career and so many other 1930s actresses is that sense of waste caused by tunnel vision of male film producers, unimaginative casting and the limitations of the studio system for women actors. Once pigeonholed in the standard “leading lady” mold, such women could not always break out for bigger and more versatile roles. It was a career fate suffered by such charmers and excellent actresses as Mary Brian, Constance Cummings, Frances Dee, Ann Dvorak, Mae Clarke, Marguerite Churchill, Gloria Stuart, Fay Wray, Jane Wyatt and Rose Hobart, all of whom met similar frustrations and stagnation, never achieving superstardom at the various studios they toiled for.
As a screen personality, Leila was perhaps not dynamic or brassy enough a la Harlow, Katherine Hepburn or Bette Davis for the kinds of roles that would launch them as screen icons. I don’t know if I could imagine Leila playing the assertive/trangressive characters of Red Dust (‘32), Christopher Strong (‘33) or Of Human Bondage(‘34),could you…?
If The Wonder of Women (1929) were available for viewing, it might be interesting to see Leila counter cast as the Vamp – sophisticated “other woman”. It becomes difficult to fully assess her image and acting versatility when most her films remain unavailable.
It would be interesting to compare and contrast Leila’s oeuvre and career fortunes with other MGM types in contextualizing her persona within the 30s studio system and for a sense of her overall contribution.
Joseph Worrell
Joseph,
Thank you for commenting! I agree, much of Leila’s cinematic misfortune was the result of poor scripts and a lack of opportunity. As you mentioned, I would also love to see Wonder of Women. To my knowledge, it IS in existence though. See below:
Wonder of Women
1929) American
B&W : 95 minutes
Directed by Clarence Brown
Cast: Lewis Stone [Stephen Trombolt], Leila Hyams [Karen], Peggy Wood [Brigitte], Harry Myers [Bruno Heim], Sarah Padden [Anna], George Fawcett [doctor], Blanche Frederici [housekeeper], Wally Albright Jr. [Wulle-Wulle], Carmencita Johnson [Lottie], Anita Fremault (Anita Louise) [Lottie], Dietrich Haupt [Kurt], Ulrich Haupt [Kurt], Russ Columbo
Metro-Goldwyn-Mayer Pictures Corporation production; distributed by Metro-Goldwyn-Mayer Distributing Corporation. / Scenario by Bess Meredyth, from the novel Die Frau des Steffen Trombolt (The Wife of Stephen Trombolt) by Hermann Sudermann. Production design by Cedric Gibbons. Costume design by David Cox and Howard Greer. Assistant director Charles Dorian. Cinematography by Merritt B. Gerstad. Sound by Douglas Shearer and Ralph Shugart. Intertitles by Marian Ainslee. Edited by William LeVanway. Music by William Axt, Arthur Lange and Sam Wineland. / Standard 35mm spherical 1.37:1 format. / [?] Silent film, with talking sequences, synchronized music and sound effects?
Survival Status: Print exists.
So it’s possible that we may very well get to see Leila as the vamp. It would be extremely interesting.
You mentioned that Leila suffered the same fate as many other MGM actresses. I would agree with you there. However, I based this original post on her personal potential, regardless of how she was treated by MGM. You’re right, they did hold her back, along with many other actresses. I believe, though, that most of her work is available. I personally have about 22 of her films, and I know that a great deal more have surviving prints. They just haven’t been restored and released. That is the main purpose of the DVD petition, which I’ll hope you’ll sign if you haven’t.
If we have the chance to get a better perspective on her body of work, we may very well find her to be a hidden diamond. It’s obvious that I feel that way about her and her work already. I just hope to expose her to many other people. Thanks again! I found your comment to be very insightful!
Gary