ࡱ> SURY i+bjbjzKzK @R! b! b #5&""8:\D*nw*y*y*y*y*y*y*$f,/R*"**$$$8w*$w*$$:q(,(PT'BV*(c**0*(.n/ n/(n/(|$**",*n/"B d:  KAY FRANCIS COLLECTION Register Series I. Diaries Series II. Correspondence Series III. Scrapbooks Processed and described by Joan I. Miller. Wesleyan Cinema Archives Middletown, CT Copyright (c) 2017 by the Wesleyan Cinema Archives No part of this work may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording, digitally, or otherwise, without the prior permission of the Wesleyan Cinema Archives. The Kay Francis Archive is the physical property of the Wesleyan Cinema Archives, ɫƵ, Middletown, CT. Literary rights, including copyright, belong to the author of the works, or their legal representatives. For further information, consult the staff. KAY FRANCIS BIOGRAPHICAL NOTE Kay Francis was born in Oklahoma City between 1899 and 1905. Francis gave various dates as her birth year, listing 1905, 1906, and even 1910. Publicity usually gave her year of birth as 1903. Various biographies have generally listed it as between 1899 and 1905. Her parents separated when she was very young, and she moved with her mother, Katherine Clinton, to New York, where Clinton returned to a stage career. Francis grew up in a succession of rooming houses, and she and her mother were poor. Francis attended school sporadically, but did enroll in the Katharine Gibbs School of Secretarial Training on Park Avenue in New York City when she was about 17. She married James Dwight Francis in 1922. The marriage ended in divorce, but led Francis to a stage career. Her first performance was in Shakespeares Hamlet in Modern Dress in 1925. She appeared in The School for Scandal (also 1925), and Venus in 1927. In 1928, she acted with Walter Huston in Elmer the Great on Broadway. Huston recommended her to Paramount, and she made two films at their Long Island studio: Gentlemen of the Press (Paramount, 1929), and The Cocoanuts (Paramount, 1929). By April 1929, Francis was in Hollywood (a second marriage to James Gaston in 1925 ended in divorce in 1927). Her first Hollywood film was Dangerous Curves (Paramount, 1929)with Clara Bow. Between 1929 and 1931, Francis made 21 films, including Street of Chance (Paramount, 1930), For the Defense (Paramount, 1930), Raffles (United Artists, 1930), and Ladies Man (Paramount, 1931) with actor William Powell as her most frequent co-star. She married Kenneth MacKenna in 1931, and shortly after, signed a contract with Warner Bros. (She and MacKenna divorced in 1934). In October 1932, Kay starred in One Way Passage (Warner Bros., 1932) with William Powell, which boosted her popularity to a peak, and cemented her reputation as Queen of the Warner Bros. Lot. Other films in 1932 included Trouble in Paradise (Paramount, 1932), directed by Ernst Lubitsch, Jewel Robbery (Warner Bros., 1932) again with Powell, and Cynara (United Artists, 1932) with Ronald Coleman. Kay Francis was the subject of hundreds of articles in the 1930s, and she appeared on the cover of more movie magazines between 1930 and 1937 than any adult performer (child actor Shirley Temple was on 138). She was also one of the best dressed women of Hollywood. Fashion Academy named her the Best Dressed Woman in America in 1936. Between 1933 and 1939, Kay starred in 26 films, including Mary Stevens, M.D. (Warner Bros., 1933), The House on 56th Street (Warner Bros., 1933), Mandalay (Warner Bros., 1934), Stranded (Warner Bros., 1935), Give Me Your Heart (Warner Bros., 1936), Stolen Holiday (Warner Bros., 1937), Secrets of an Actress (Warner Bros., 1938), and In Name Only (RKO, 1939). In Name Only was made at RKO since Francis left Warner Bros. in 1938. She complained about the roles given to her at Warners, and filed suit against the studio in 1937, claiming that the studio had put her in roles of inferior quality. An agreement was made that Francis contract would end in September 1938. She continued to collect her paycheck (she was Warners top paid actor with a salary of $209,100), and Warners continued to put her in poorly reviewed films until September 1938. Kay Francis continued to perform in films into the 1940s, including When the Daltons Rode (Universal, 1940), Charleys Aunt (20th Century-Fox, 1941), and Always in My Heart (Warner Bros., 1942). She also volunteered to help with the World War II war effort, and worked at the Long Beach Naval Auxiliary Canteen handing out cigarettes, games, books, magazines, refreshments, and clothing. In 1942-1943, she traveled with the USO to Bermuda and London, and on to Algiers and other locations in North Africaa trip of 37,500 miles and 125 performances. She acted in Four Jills in a Jeep (20th Century-Fox, 1944) with Carole Landis, Martha Raye, and Mitzi Mayfair, a film loosely based on the USO tour. She also appeared on the radio on Lux Radio Theatre, The Silver Theatre, The Jack Benny Program, The Cavalcade of America, Stage Door Canteen, and Command Performance. In 1945, she took Another USO tour, this time to Canada and Alaska. Francis last films were three she produced herself at Monogram StudioDivorce (Monogram, 1945), Allotment Wives (Monogram, 1945), and Wife Wanted (Monogram, 1946). By the mid-1940s, Francis was back in the theater. She toured in Windy Hill for eight months, and opened in State of the Union on Broadway in September 1946. She toured with theatrical productions for the next eight years, including The Last of Mrs. Cheyney, Let Us Be Gay, Goodbye, My Fancy, and Theatre. Always well-dressed, Fashion Academy named Kay Francis the Best Dressed Woman on Stage, in March 1947. Declining health plagued Francis the last years of her life, in part because of years of alcohol and tobacco abuse. She had a kidney and a lung removed, and was diagnosed with cancer. She underwent a mastectomy, and permanently retreated to her New York apartment. Kay Francis died in her apartment on August 26, 1968. Most of her $2 million dollar estate was left to the Seeing Eye, Inc., an organization that trains seeing-eye dogs for the blind. SCOPE AND CONTENT The Kay Francis Collection includes her personal diaries from 1922-1953, her personal scrapbooks from 1929-1947, and a small amount of personal correspondence, including contracts and business records. Series I, DIARIES, 1922-1953, are arranged chronologically. The diaries are written in pencil on small daily calendar sheets. Francis wrote a very few words about her day, and almost nothing about her film and theater performances. She sometimes wrote in shorthand (translations were made of the shorthand entries), when she had something very private to relate. The diaries provide some insight into her private life, her many relationships, and social interactions. There are 32 volumes of diaries. Series II, CORRESPONDENCE, includes a small amount of correspondence, some loose diary pages, and a small amount of material related to contracts and business. Because of its format, her Mexico Diary is included in this box. Series III, SCRAPBOOKS, are arranged chronologically. The Kay Francis scrapbooks were kept by her mother, Katherine Clinton. There are 48 scrapbooks which contain interviews with, and stories about Kay Francis, and pictures of Francis. All the material was clipped from magazines and newspapers, and rarely include the name of the magazine or newspaper, or the exact date of the article. Series I. Diaries Box 1 1922-1925 (4 volumes) Box 2 1926-1929 (4 volumes) Box 3 1930-1932 (3 volumes) Box 4 1933-1935 (3 volumes) Box 5 1936-1937 (2 volumes) Box 6 1938-1939 (2 volumes) Box 7 1940-1941 (2 volumes) Box 8 1942-1943 (2 volumes) Box 9 1944-1945 (2 volumes) Box 10 1946-1947 (2 volumes) Box 11 1948-1949 (2 volumes) Box 12 1950-1951 (2 volumes) Box 13 1952-1953 (2 volumes) Series II. Personal Correspondence Box 14 Folder 1 Personal Correspondence Folder 2 Loose Diary Pages Folder 3 Contracts and Business Records Folder 4 Mexico Diary Folder 5 Miscellaneous Series III. Scrapbooks The Scrapbooks are numbered beginning with volume 2. All volume numbers are in parentheses. With the exception of box 15 and 38, all boxes contain 2 scrapbooks. Box 15 1929 (2) Box 16 1930 (3), 1930-1932 (4) Box 17 1930 (5), 1931 (6) Box 18 1931 (7), 1931 (8) Box 19 1931 (9), 1931-1932 (10) Box 20 1932 (11), 1932 (12) Box 21 1932-1933 (13), 1934 (14) Box 22 1933 (15), 1933 (16) Box 23 1933 (17), 1934 (18) Box 24 1934 (19), 1934 (20) Box 25 1934 (21), 1934 (22) Box 26 1934-1935 (23), 1934 (24) Box 27 1935 (25), 1935 (26) Box 28 1935-1936 (27), 1935-1936 (28) Box 29 1936 (29), 1936 (30) Box 30 1936 (31), 1936-1937 (32) Box 31 1937 (33), 1937 (34) Box 32 1937 (35), 1937 (36) Box 33 1938 (37) 1938 (38) Box 34 1939 (39), 1938 (40) Box 35 1939 (41), 1940-1941 (42) Box 36 1941 (43), 1941 (44) Box 37 1942-1943 (45), 1942-1944 (47) Box 38 1945-1947 (48)     PAGE \* MERGEFORMAT 6 Francis Register February 2017 $%&'*sv    ! 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