Louise Beavers

In 1976 she, along with Josephine Baker and Canada Lee were posthumously inducted into the Black Filmmakers Hall of Fame.

She lost her fight on October 26, 1962, at age 60 following a heart attack.

Appeared as a contestant on a 1961 episode of the Groucho Marx TV series "You Bet Your Life".

Her last few films, which included The Goddess (1958), All the Fine Young Cannibals (1960) and the Bob Hope comedy The Facts of Life (1960) were typical stereotypes and unmemorable.

In 1957, she made her professional stage debut in San Francisco with the short-lived play "Praise House" as a caregiver who extols the Bible through song.

In The Jackie Robinson Story (1950), she offered lovely moments as the baseball star's mother.

Although film offers dried up in the 1950s, Louise managed to transfer her talents to the new TV medium, and was one of a number of character actresses hired to play the wise-cracking, problem-solving maid Beulah (1950) during its run. "Beulah" was one of the first sitcoms to star a black actor. She also had a recurring role in Disney's "The Swamp Fox".

A long time bachelor lady who finally married in the 1950s, the short, heavyset actress was plagued by health issues in later years, her obesity and diabetes in particular.

Blandings Builds His Dream House (1948) with Cary Grant and Myrna Loy.

Five years later her close friend Hattie McDaniel would become the first black actor to not only earn an Oscar nomination but capture the coveted trophy as well for her subordinate role in Gone with the Wind (1939). Despite their individual triumphs, both ladies continued in stereotyped roles.

Occasionally Louise was rewarded with such Hollywood "A" treats as Made for Each Other (1939) with Carole Lombard, Holiday Inn (1942) starring Bing Crosby, and especially Mr.

It wasn't until Louise's triumphant role in Fannie Hurst's classic soaper Imitation of Life (1934) that a film of major significance offered a black role of meaning, substance and humanity. Louise's servile role as housekeeper Delilah, who works for single white mother Claudette Colbert, was a poignant and touching, three-dimensional character that had its own dramatic story. Brilliantly handling the heartbreaking co-plot of an appeasing single parent whose light-skinned daughter (played by Fredi Washington) went to cruel and desperate lengths to pass for white. While Louise certainly championed in the role and managed to steal the lion's share of reviews right from under the film's superstar, the movie triggered major controversy and just as many complaints as compliments from black and white viewers. This certainly did not help what could have been a major, positive shift in black filmmaking. Instead, for the next two or more decades Louise was again forced back to secondary status. Ms.

1930s and 1940s film actress Louise Beavers was merely one of a dominant gallery of plus-sized and plus-talented African-American character actresses forced to endure blatant, discouraging and demeaning stereotypes during Depression-era and WWII Hollywood.

Following scene-grabbing maid roles to such stars as Mary Pickford in Coquette (1929) Linda Watkins in Good Sport (1931), Mae West in She Done Him Wrong (1933), Constance Bennett in What Price Hollywood? (1932) and Jean Harlow in Bombshell (1933), Louise received the role of her career. Her poignant story line and final death scene deserved an Oscar nomination and many insiders took her snub as deliberate and prejudicial.

A talent agent spotted her and gave her a more noticeable role in Uncle Tom's Cabin (1927). She went on to gain even more visibility, but was invariably stuck in the background cooking or cleaning after the leads. Despite this her beaming smile and good nature paid off.

By 1924 she was performing as an extra or walk-on in between her chores.

Beavers was born in Cincinnati, Ohio, on March 8, 1902 and moved with her family to the Los Angeles area at age 11. A student at Pasadena High School and a choir member at her local church, her mother, a voice teacher, trained Louise for the concert stage but instead the young girl joined an all-female minstrel company called "Lady Minstrels" and even hooked up for a time on the vaudeville circuit. A nursing career once entertained was quickly aborted in favor of acting. Her first break of sorts was earning a living as a personal maid and assistant to Paramount star Leatrice Joy (and later actress Lilyan Tashman).