Gladys Cooper

A memorial service was held for her at St. Paul's Church, Covent Garden on 18th December 1971.

She was awarded the DBE (Dame Commander of the Order of the British Empire) in the 1967 Queen's Birthday Honours List for her services to drama.

Her last major film was My Fair Lady (1964) as Henry Higgins' mother. The year before she had played the part on TV.

Maugham and brought it to Broadway in October of that year where it ran through March of 1956.

When Enid Bagnold's "The Chalk Garden" opened in London in 1955, Cooper debuted as Mrs. St.

Played the mother of Professor Henry Higgins in a Hallmark Hall of Fame (1951) television version of Pygmalion and the movie version of the musical My Fair Lady (1964).

Through the 1950s and into the 1960s Cooper did a few films but was an especially familiar face on American TV in teleplays, a wide range of prime time episodic shows, and popular weird/sci-fi series: several Alfred Hitchcock Presents, Twilight Zone, and Outer Limits.

She returned to London stage work from 1947 and stayed for some early episodic British TV into 1950 before once again returning to the US, but was busy on both sides of the Atlantic until her passing.

Appeared with Jennifer Jones in three films: "The song of Bernadette" (1943), "Love letters" (1945), and "Madame Bovary" (1949).

Two years later she bit into the much more substantial role as Bette Davis' domineering and repressive mother in the classic Now, Voyager (1942) for which she received a well deserved Oscar nomination for Best Supporting Actress - the first of three.

She also debuted the role of Leslie Crosbie (the Bette Davis role in the 1940 film) in Maugham's "The Letter" in 1927.

That first film was also Alfred Hitchcock's first Hollywood directorial effort, Rebecca (1940). Her's was a small and light role as Laurence Olivier's gregarious sister, but she stood out all the same.

Though aristocratic elderly ladies was a role she revisited in various guises, Cooper was very busy through 1940s Hollywood.

She and it were a success, and she followed it with several plays through 1938, including "MacBeth". About this time Hollywood scouts caught wind of her, and she began her 30 odd years in American film.

In 1934 Cooper made her first sound picture in the UK and came to Broadway with "The Shining Hour" which she had been doing in London.

She wrote an autobiography (1931) followed by two biographies (1953 and 1979).

She took sole control from 1927 until other stage commitments in 1933.

In the film, the portrait prop of a fine lady over Higgins' fireplace is that of Cooper painted in 1922.

She was also doing plays, some producing of her own, and a few more films in the early 1920s. It was actually about this time that she achieved major stage actress success. She appeared in W.

Somerset Maugham's "Home and Beauty" in London in 1919 and triumphed in her 1922 appearance in Arthur Wing Pinero's "The Second Mrs. Tanqueray". It was ironic that writer Aldous Huxley criticized her performance in "Home and Beauty" as "too impassive, too statuesque, playing all the time as if she were Galatea, newly unpetrified and still unused to the ways of the living world. " On the other hand, Maugham himself applauded her for "turning herself from an indifferent actress (at the start of her career) to an extremely competent one".

She had roles in a few other movies in 1916 and 1917. But in the latter year she joined Frank Curzon to co-manage the Playhouse Theatre. This was a decidedly new direction for a woman of the period.

In the meantime she sampled the early British silent film industry starting in 1913 with The Eleventh Commandment (1913).

Her more concerted stage work began in 1911 in a production of Oscar Wilde's comedy "The Importance of Being Ernest" which was followed quickly with other roles.

She came to the London stage in 1906 in "The Belle of Mayfair", and in 1907 took a departure from the legitimate stage to become a member of Frank Curzon's famous Gaiety Girls chorus entertainments at The Gaiety theater.

Gladys Cooper was the daughter of journalist William Frederick Cooper and his wife Mabel Barnett. As a child she was very striking and was used as a photographic model beginning at six years old. She wanted to become an actress and started on that road in 1905 after being discovered by Seymour Hicks to tour with his company in "Bluebell in Fairyland".

From the craze for post cards with photos of actors - that ensued between about 1890 and 1914 - Cooper became a popular subject of maidenly beauty with scenes as Juliet and many others. During World War I her popularity grew into something of pin-up fad for the British military.

Daughter of Charles (1844-1939) and Mabel (née Barnett) Cooper (1861-1944).