Joan Crawford

Joan Crawford (born Lucille Fay LeSueur; March 23, 1904–1908 – May 10, 1977) was an American actress. She started her career as a dancer in traveling theatrical companies before debuting on Broadway. Crawford was signed to a motion-picture contract by Metro-Goldwyn-Mayer in 1925. Initially frustrated by the size and quality of her roles, Crawford launched a publicity campaign and built an image as a nationally known flapper by the end of the 1920s. By the 1930s, Crawford's fame rivaled MGM colleagues Norma Shearer and Greta Garbo. Crawford often played hardworking, young women who find romance and financial success. These "rags-to-riches" stories were well received by Depression-era audiences and were popular with women. Crawford became one of Hollywood's most prominent movie stars and one of the highest paid women in the United States, but her films began losing money. By the end of the 1930s, she was labeled "box office poison".

After an absence of nearly two years from the screen, Crawford staged a comeback by starring in Mildred Pierce (1945), for which she won the Academy Award for Best Actress. In 1955, she became involved with the Pepsi-Cola Company, through her marriage to company president Alfred Steele. After his death in 1959, Crawford was elected to fill his vacancy on the board of directors but was forced to retire in 1973. She continued acting in film and television regularly through the 1960s, when her performances became fewer; after the release of the horror film Trog in 1970, Crawford retired from the screen. She withdrew from public life and became increasingly reclusive until her death in 1977.

Crawford married four times. Her first three marriages ended in divorce; the last ended with the death of husband Al Steele. She adopted five children, one of whom was reclaimed by his birth mother. Crawford's relationships with her two older children, Christina and Christopher, were acrimonious. Crawford disinherited the two and, after Crawford's death, Christina published the tell-all memoir Mommie Dearest.

Early life

Born Lucille Fay LeSueur, of French-Huguenot, English, Dutch, and Irish ancestry in San Antonio, Texas, she was the youngest of two children of Thomas E. LeSueur (born January 2, 1867, in Tennessee; died January 1, 1938), a construction worker, and Anna Bell Johnson (died August 15, 1958), later known as Anna Cassin. Crawford's mother was likely under 20 when her first two children were born. Crawford had one half-sister, Daisy McConnell (1901–1904), and one brother, Hal LeSueur.

Thomas LeSueur abandoned the family when Lucille was ten months old, eventually resettling in Abilene, Texas, reportedly working in construction. In 1909, while working as a sales associate at Simpson's, Crawford's mother married Henry J. Cassin (1868–1922) in Fort Worth, who is incorrectly listed in the 1910 census as her second husband rather than her third. They lived in Lawton, Oklahoma, where Cassin ran the Ramsey Opera House, booking such diverse and noted performers as Anna Pavlova and Eva Tanguay. As a child, Crawford, who preferred the nickname "Billie", enjoyed watching vaudeville acts perform on the stage of her stepfather's theater. At that time, Crawford was reportedly unaware that Cassin, whom she called "Daddy", was not her biological father; her brother later told her the truth.

From childhood, Crawford's ambition was to be a dancer. One day, in an attempt to escape piano lessons, she leapt from the front porch of her home and cut her foot severely on a broken milk bottle. She had three surgeries to repair the damage, and for 18 months was unable to attend elementary school or continue dancing lessons.

In June 1917, the family moved to Kansas City, Missouri, after Cassin was accused of embezzlement; although acquitted, he was blacklisted in Lawton. After the move, Cassin, a Catholic, placed Crawford at St. Agnes Academy in Kansas City. When her mother and stepfather separated, she remained at school as a work student, where she spent far more time working, primarily cooking and cleaning, than studying. She later attended Rockingham Academy, also as a working student. While there, she began dating, and had her first serious relationship: a trumpet player, Ray Sterling, who reportedly inspired her to challenge herself academically.

In 1922, she registered at Stephens College in Columbia, Missouri, giving her year of birth as 1906. She attended Stephens for a few months and then withdrew after she realized that she was not ready for college. Due to her family's instability, Crawford's schooling never surpassed the primary level.

Career

1924–1925: Early career

Under the name Lucille LeSueur, Crawford began dancing in the choruses of traveling revues, and was spotted dancing in Detroit by producer Jacob J. Shubert. Shubert put her in the chorus line for his 1924 show, Innocent Eyes, at the Winter Garden Theatre on Broadway in New York City. While appearing in Innocent Eyes, Crawford met a saxophone player named James Welton. The two were allegedly married in 1924, and lived together for several months, although this supposed marriage was never mentioned in later life by Crawford.

Crawford wanted additional work, and approached Loews Theaters publicist Nils Granlund. Granlund secured a position for her with singer Harry Richman's act and arranged for her to do a screen test, which he sent to producer Harry Rapf in Hollywood. Rapf notified Granlund on December 24, 1924, that Metro-Goldwyn-Mayer (MGM) had offered Crawford a contract at $75 a week. Granlund immediately wired Crawford, who had returned to her mother's home in Kansas City, with the news; she borrowed $400 for travel expenses.

Credited as Lucille LeSueur, her first film was Lady of the Night in 1925, as the body double for Norma Shearer, MGM's most popular female star. She also appeared in The Circle and Pretty Ladies (both 1925), starring comedian ZaSu Pitts. This was soon followed by equally small and unbilled roles in two other 1925 silent films: The Only Thing, and The Merry Widow.

MGM publicity head Pete Smith recognized her ability to become a major star, but felt her name sounded fake; he told studio head Louis B. Mayer that her last name, LeSueur, reminded him of a sewer. Smith organized a contest called "Name the Star" in Movie Weekly to allow readers to select her new stage name. The initial choice was "Joan Arden", but after another actress was found to have prior claim to that name, the alternative surname "Crawford" became the choice. She later said that she wanted her first name to be pronounced Jo-Anne, and that she hated the name Crawford because it sounded like "crawfish", but also admitted she "liked the security" that went with the name.

1925–1928: Self-promotion and early successes

Growing increasingly frustrated over the size and quality of the parts she was given, Crawford embarked on a campaign of self-promotion. As MGM screenwriter Frederica Sagor Maas recalled, "No one decided to make Joan Crawford a star. Joan Crawford became a star because Joan Crawford decided to become a star." She began attending dances in the afternoons and evenings at hotels around Hollywood and at dance venues on the beach piers, where she often won dance competitions with her performances of the Charleston and the Black Bottom.

Her strategy worked and MGM cast her in the film where she first made an impression on audiences, Edmund Goulding's Sally, Irene and Mary (1925). From the beginning of her career, Crawford considered Norma Shearer – the studio's most-popular actress – her professional nemesis. Shearer was married to MGM Head of Production Irving Thalberg; hence, she had the first choice of scripts, and had more control than other stars in what films she would and would not make. Crawford was quoted to have said: "How can I compete with Norma? She sleeps with the boss!"

Crawford was named one of 1926's WAMPAS Baby Stars, along with Mary Astor, Dolores del Río, Janet Gaynor, and Fay Wray, among others. That same year, she co-starred in Paris with Charles Ray. Within a few years, she became the romantic lead to many of MGM's top male stars, including Ramón Novarro, John Gilbert, William Haines, and Tim McCoy.

Crawford appeared as a skimpily clad young carnival assistant in The Unknown (1927), starring Lon Chaney, Sr. as a carnival knife thrower with no arms who hopes to marry her. She stated that she learned more about acting from watching Chaney work than from anyone else in her career. "It was then", she said, "I became aware for the first time of the difference between standing in front of a camera, and acting." Also in 1927, she appeared alongside her close friend, William Haines, in Spring Fever, which was the first of three movies the duo made together.

In 1928, Crawford starred opposite Ramón Novarro in Across to Singapore, but it was her role as Diana Medford in Our Dancing Daughters (1928) that catapulted her to stardom. The role established her as a symbol of modern 1920s-style femininity who rivaled Clara Bow, the original It girl, and Hollywood's foremost flapper. A stream of hits followed Our Dancing Daughters, including two more flapper-themed movies, in which Crawford embodied for her legion of fans (many of whom were women) an idealized vision of the free-spirited, all-American girl.