Celebrity Info
This blonde leading lady of the 1930s, Mae Clarke, began her career as a cabaret dancer and Broadway actress before making her mark in Hollywood. Though often described as attractive yet unremarkable in appearance, Clarke stayed incredibly busy during her first decade in films—especially when it came to sharing the screen with powerhouse performers. And speaking of powerhouses, Mae Clarke found herself on the receiving end of James Cagney’s famously explosive energy more than once. In The Public Enemy (1931), the film that catapulted Cagney to stardom, Mae Clarke delivered one of cinema’s most iconic moments: the shocking grapefruit-in-the-face scene. Then, just a couple years later in Lady Killer (1933), Clarke was literally dragged across the room by her hair—again, courtesy of Cagney’s fiery character.
But it wasn’t just human co-stars who put Mae Clarke through the wringer. Horror fans might remember her as the ill-fated bride carried off by Frankenstein’s monster—yes, Boris Karloff hoisted her over his shoulder on her wedding day in James Whale’s brilliant 1931 adaptation. That same year, Whale entrusted Mae Clarke with a far more nuanced and emotionally demanding role in Waterloo Bridge. In this original screen version of Robert Sherwood’s play—later remade with Vivien Leigh and then Leslie Caron—Mae Clarke shone as a young woman driven into prostitution during World War I. Her performance was both delicate and powerful, proving she was much more than just a victim in slapstick or horror scenes.
From the 1940s onward, though, Mae Clarke’s roles became increasingly limited, mostly appearing in supporting parts. Still, her contributions to early sound cinema remain unforgettable. Whether enduring physical drama or delivering heartfelt tragedy, Mae Clarke left a lasting impression—one that continues to resonate with classic film enthusiasts today.
Mae Clarke’s most acclaimed work in movies, films, or music is widely recognized as Singin’ in the Rain (1952), which remains a classic favorite among audiences. On the other hand, her least appreciated piece tends to be Not as a Stranger (1955), which didn’t quite resonate as strongly with critics or viewers. While Mae Clarke has been part of various projects throughout her career, these two titles often stand out when discussing her filmography.
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