All articles and pages may contain affiliate links. You can read our disclosure policy here. Edward G Robinson

Filmography

1930

Young Man of Manhattan
Queen High
The Sap from Syracuse
Follow the Leader

 

1931

Honor Among Lovers
The Tip-Off
Suicide Fleet

 

1932

Carnival Boat
The Tenderfoot
The Thirteenth Guest
Hat Check Girl
You Said a Mouthful

 

1933

42nd Street
Broadway Bad
Gold Diggers of 1933
Professional Sweetheart
A Shriek in the Night
Don’t Bet on Love
Sitting Pretty
Flying Down to Rio
Chance at Heaven
Rafter Romance

 

1934

Finishing School
Twenty Million Sweethearts
Change of Heart
Upperworld
The Gay Divorcee
Romance in Manhattan

 

1935

Roberta
Star of Midnight
Top Hat
In Person

 

1936

Follow the Fleet
Swing Time

 

1937

Shall We Dance
Stage Door

 

1938

Having Wonderful Time
Vivacious Lady
Carefree

 

1939

The Story of Vernon and Irene Castle
Bachelor Mother
Fifth Avenue Girl

 

1940

Primrose Path
Lucky Partners
Kitty Foyle

 

1941

Tom, Dick and Harry

 

1942

Roxie Hart
Tales of Manhattan
The Major and the Minor
Once Upon a Honeymoon

 

1943

Tender Comrade

 

1944

Lady in the Dark
I’ll Be Seeing You

 

1945

Week-End at the Waldorf

 

1946

Heartbeat
Magnificent Doll

 

1947

It Had to Be You

 

1949

The Barkleys of Broadway

 

1950

Perfect Strangers

 

1951

Storm Warning
The Groom Wore Spurs

 

1952

We’re Not Married!
Monkey Business
Dreamboat

 

1953

Forever Female

 

1954

Black Widow
Twist of Fate

 

1955

Tight Spot

 

1956

The First Traveling Saleslady
Teenage Rebel

 

1957

Oh, Men! Oh, Women!

 

1964

Quick, Let’s Get Married!

 

1965

Harlow

Awards

She was nominated for and won one Academy Award for Best Actress in a Leading Role for Kitty Foyle (1940)

Part of the joy of dancing is conversation. Trouble is, some men can’t talk and dance at the same time. ~ Ginger Rogers

Ginger Rogers: Learn more about her, review her filmography and more

Actress, Biographies

Ginger Rogers’ first movie roles were in a trio of short films made in 1929—Night in the Dormitory, A Day of a Man of Affairs, and Campus Sweethearts. In 1930, she was signed by Paramount Pictures to a seven-year contract.

Rogers soon got herself out of the Paramount contract—under which she had made five feature films at Astoria Studios in Astoria, Queens—and moved with her mother to Hollywood. When she got to California, she signed a three-picture deal with Pathé Exchange. She made feature films for Warner Bros., Monogram, and Fox in 1932. She then made a significant breakthrough as Anytime Annie in the Warner Brothers film 42nd Street (1933). She went on to make a series of films with Fox, Warner Bros. (Gold Diggers of 1933), Universal, Paramount, and RKO Radio Pictures.

She was partnered with Fred Astaire in 1933 and from 1933 to 1939, they made nine musical films at RKO: Flying Down to Rio (1933), The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), Carefree (1938), and The Story of Vernon and Irene Castle (1939). The Barkleys of Broadway (1949) was produced later at MGM. They revolutionized the Hollywood musical, introducing dance routines of unprecedented elegance and virtuosity, set to songs specially composed for them by the greatest popular song composers of the day.

Both before and immediately after her dancing and acting partnership with Fred Astaire ended, Rogers starred in a number of successful non-musical films. Stage Door (1937) demonstrated her dramatic capacity, as the loquacious yet vulnerable girl next door, a tough-minded, theatrical hopeful, opposite Katharine Hepburn. Successful comedies included Vivacious Lady (1938) with James Stewart, Fifth Avenue Girl (1939), where she played an out-of-work girl sucked into the lives of a wealthy family, and Bachelor Mother (1939), with David Niven, in which she played a shop girl who is falsely thought to have abandoned her baby.

In 1941, Rogers won the Academy Award for Best Actress for her role in 1940’s Kitty Foyle. She enjoyed considerable success during the early 1940s, and was RKO’s hottest property during this period. In Roxie Hart (1942), based on the same play which served as the template for the later musical Chicago, Rogers played a wisecracking wife on trial for a murder her husband committed.

In Primrose Path (1940), directed by Gregory La Cava, she played a prostitute’s daughter trying to avoid the fate of her mother. Further highlights of this period included Tom, Dick, and Harry, a 1941 comedy in which she dreams of marrying three different men; I’ll Be Seeing You (1944), with Joseph Cotten; and Billy Wilder’s first Hollywood feature film: The Major and the Minor (1942), in which she played a woman who masquerades as a 12-year-old to get a cheap train ticket and finds herself obliged to continue the ruse for an extended period.

Becoming a free agent, Rogers made hugely successful films with other studios in the mid-’40s, including Tender Comrade (1943), Lady in the Dark (1944), and Week-End at the Waldorf (1945), and became the highest-paid performer in Hollywood. However, by the end of the decade, her film career had peaked. Arthur Freed reunited her with Fred Astaire in The Barkleys of Broadway in 1949, when Judy Garland was unable to appear in the role.

Rogers’s film career entered a period of gradual decline in the 1950s, as parts for older actresses became more difficult to obtain, but she still scored with some solid movies. She starred in the noir, anti-Ku Klux Klan film by Warner Bros., Storm Warning (1950) with Ronald Reagan and Doris Day,  and in Monkey Business (1952) with Cary Grant and Marilyn Monroe, directed by Howard Hawks. In the same year, she also starred in We’re Not Married!, also featuring Marilyn Monroe, and in Dreamboat. She played the female lead in Tight Spot (1955), a mystery thriller, with Edward G. Robinson. After a series of unremarkable films, she scored a great popular success on Broadway in 1965, playing Dolly Levi in the long-running Hello, Dolly!.

From the 1950s onward, Rogers made occasional appearances on television. She made her last public appearance on March 18, 1995, when she received the Women’s International Center (WIC) Living Legacy Award. For many years, Rogers regularly supported, and held in-person presentations, at the Craterian Theater, in Medford, where she had performed in 1926 as a vaudevillian. The theater was comprehensively restored in 1997 and posthumously renamed in her honor as the Craterian Ginger Rogers Theater.

She died at her Rancho Mirage home on April 25, 1995, at the age of 83. An autopsy concluded that the cause of death was a heart attack. She was cremated and her ashes interred in the Oakwood Memorial Park Cemetery in Chatsworth, California,

In Our Bookstore

Ginger: My Story