Norma Shearer was born Edith Norma Shearer on August 11th, 1902 in Westmount, a suburb of Montreal, Quebec Canada. Norma was the youngest daughter of Andrew Shearer a Scotsman and construction company executive, and Edith Fisher Shearer an English woman and descendent of a lineage of clergymen. She had an older sister Athole and one brother Douglas.

Norma's childhood was characterized by periods of illness and "bad colds" contrasted with periods of excessive energy. When feeling well Norma was constantly playing outdoors. Sports and socializing with boys were favorite pass-times. In her early teens she was considered a 'tom-boy' and on more than one occassion merited this title within her masculine circle. Years later Norma described her childhood as "a pleasant dream" and from all indications it clearly was. During these early years the Shearer family was quite comfortable socially and financialy.

Norma began singularizing herself in early adolescence, winning a beauty contest at age 15. With the encouragement of her mother, Norma joined a theatrical group, reciting plays by Robert W. Service, a personal favorite. Also like other young girls her age she enjoyed the movies, especially Pearl White's serial exploits. She even attempted to follow Miss White's automobile after a personal appearance in Montreal. By all accounts Norma was a high-spirited and pretty young girl who balanced her excessive tenacity with sincerity and modesty.

However like most happy times, they end as suddenly as they appear and for Norma the year '1920' was filled with sadness mingled with opportunity. Early that year the family's financial situation dimmed. Mr. Shearer was forced to economize the family budget due to severe business losses. The Shearers having sold their property and valuable possessions moved to a more moderate and affordable home in a less imposing neighborhood. The Shearers were a close family and in this crisis all members were expected to help and earn their daily bread. Norma quit school at 16, and began plugging sheet music. Mrs. Shearer worked in a department store, Athole found employment as an office clerk, and Douglas as an assistant technician with an electrical engineering firm.

After a brief time Mrs. Shearer realized there was little future for her daughters in Montreal outside of the mundane. Thus she decided to relocate to New York, in the hope of giving Norma and Athole opportunities to exploit their pretty looks and win a glamorous career in the theatre. By the winter of 1920 Mrs. Shearer, Norma and Athole arrived in New York City with only a few meager belongings and a small stack of reference letters addressed to various New York City theatrical producers, including the legendary Florenz Ziegfeld.

After settling into a small and run-down apartment buiding at 57th Street and 8th Avenue Mrs. Shearer found work at a local department store, while Norma and Athole pounded the pavement up and down Broadway. Norma's first visit was to Florenz Ziegfeld who, though polite, made it quite clear she was not the folly-girl type. Her legs were too short, at least for his chorus, her teeth needed straightening and her eye needed a cast removed. She was a bit dismayed at this matter of fact analysis, especially since she was considered a great beauty back home. However she later acquiesced as other producers confirmed Ziegfeld's negative opinion.

Norma, not being without motivation, began applying to motion picture agencies and won a spot as an extra for herself and Athole. She knew that they would be easily over-looked by the casting director unless they were able to stand out. Norma quickly began to cough and shuffle her feet, eventually attracting enough attention to have her and Athole chosen from among 50 aspirants.

Among the many films in which Norma appeared as an extra in this early period of her career was "Way Down East" directed by the great D.W. Griffith. One is hard pressed to find her in the sleigh scene (her only scene to make it past the final editing), but nonetheless Norma made her presence known to the director. He gave Norma little encouragement, though perceived her beauty.

At this time Norma supplimented her income and repitoire of experiences with modeling assignments. She became a favorite amoung a hand-full of advertising illustrators and soon her face began to appear along side rubber tires, house coats, and even on magazine covers. It was these experiences which enhanced her ability to strike impressive poses and reflect poignant facial expressions. The elements of the classic Shearer mystic began to emerge.

During this formation period Norma met and began to rely on the efforts and help of talent agent Edward Small. He was determined that she make a name for herself. To this end Small was effective in helping Norma win a part in two popular serials "The Stealers" and "The Leather Pushers." After acheiving some notice, the regularity and quality of her roles began to improve. It was also as a result fo these serials that the General Manager of Universal Studios on the West Coast, Irving Thalberg, perceived the seeds of her eventual stardom. However he was not able to succor her under contract until his move to the Mayer Company later that year. When he was able to find Norma, and make an offer, she signed a six-month contract at one hundred and fifty dollars per week including paid moving expences to the West Coast for herself, Athole and Mrs. Shearer.

Norma's first film experiences in Hollywoodland were not at all to her liking. She thought better parts were being given others and that her talents were underappreciated. With these thoughts in mind Norma began to consistently appeal to Mr. Thalberg for help and advise. Some of their meetings included loud tones and even tears. Norma was eventually told "you'll play the parts that are assigned to you, and we'll have no more about it." After this initial anxiety Norma developed a great admiration for Mr. Thalberg, and began to accept her assignments more easily, seeing them as stepping stones to better projects. These roles were seen as opportunities for essential experience and Thalberg's guidance as paternal and sincere.

In April 1924 just after the merger of Metro and Goldwyn with the Mayer Company Norma was given a part in their inaugural film "He Who Gets Slapped" starring the great Lon Chaney. Norma's career improved significantly by this film for it was an artistic and commercial success.

Until this time Norma tended to play 'country girls' or the 'girl next door'. But with her talent improving she was given roles more to her liking. For example "A Slave of Fashion" and "Pretty Ladies" provided her with stunning wardrobes and elegant make-up. She was begining to be cast as a beauty and enjoyed this sort of characterization.

In 1925 her brother Douglas came to California for a family visit and met with Louis B. Mayer. They discussed the potential development of sound accompaniment to film. Mayer was reluctant due to the perceived impracticality of the technology, but began to take a second look when Paramount installed a sound department in reaction to the success of the "The Jazz Singer." Mayer eventually sent Douglas to work at Bell Laboratories to learn all he could about this new technology and with his previous technical experience was eventually put in charge of organizing MGM's sound department. Douglas Shearer held the post of sound director for many years at MGM and distinguished himself on many occasions, often winning Academy Awards for technical excellence.

1927 brought not only sound to Norma's career but also better than usual roles. At this time she re-negotiated her salary to $1000.00 dollars per week with regular increases over five years up to $5000.00. Norma's relationship with Thalberg also became more intimate with the announcement of their engagement in January, 1927. They were married in September of 1929, after Norma's conversion to the Jewish faith. A step she felt was important to maintain peace and stability in her marriage and with her new in-laws.

Prior to nuptual celebrations Norma's first 'prestige' film was released. "The Student Prince of Old Heidleberg" starred her opposite the dashing Ramon Novarro and under the direction of the infamous Ernst Libitsch. This project became a great success and to this day rivals its 1954 remake in spite of the fact that it had no singing.

Norma and Irving honeymooned in Europe and enjoyed the change of envirnoment and perspective it permitted. Norma held this experience more intimately and upon her return to the U.S. appeared with a renewed air of grace and sophisitication.

When Norma returned to the studio she was greeted like royalty and presented with a new portable dressing room complete with a refrigerator, ironing board and other luxuries, as a gift fom Irving. It was this sort or 'special' treatment which merited her the title "The Queen of the lot" at MGM. Joan Craword was quoted saying "how can I compete with her (Norma), she sleeps with the boss!" And to this day Norma is still unfortuantely thought of as a lesser star, or talent, because of her marriage to Thalberg and all of the helps this allowed.

Norma's first sound picture was "The Trial of Mary Dugan." In true Sheareresque style she had her voice tested in preparation to ensure a successful transition to sound. It registered at bit high on some tones, but in all was pleasant and matched the public's estimation. The reviews for "The Trial of Mary Dugan" were very favorable. She was now becoming a full-fledged star, with recognition from her peers and adualtion from movie fans.

In her next series of films Norma's high society sophisticated style became more apparent. She even earned the Academy Award for best actress for her portrayle of an idealistic wife who watches her marriage fail due to male hypocrisy. "The Divorcee" starred her opposite Chester Morris.

On August 25th, 1930 Norma gave birth to Irving Thalberg Jr., her first child. After rumours of her retirement faded Norma starred in mostly sophisticated adult melodramas. She was also playing opposite the most attractive and popular leading men of the time. Robert Montgomery was her playboy lover, Leslie Howard the ever-loving boy-next-door, Herbert Marshall her long suffering husband, and Clark Gable the bad-boy.

It was in these films that Norma achieved the screen persona most remembered today. She was the epitome of cultured style and sophisticated class, mixed with a hint of sexual 'umph' balanced with feminine charms. In her films of the early 30's Norma played a free-spirited devil-may-care rich girl who often times, in her naivete, goes too far, eventually realizing that she was mislead by empty values and false ideals.

There is admittedly, in these plots, a dragging force of conventionality, but Norma renders them credible by her refusal to take her characterizations consciously serious. Norma's interpretations also display a greater control. For example, in her love scenes with Clark Gable in "A Free Soul" it is Norma who both entices him with her outstrethed arms saying "men of action are better in action...c'mon put em (his arms) around me" and later it is also she who ignores his threats and leaves him after realizing he is nothing more than a common gangster. Gable's character for all its strength and power is helpless while Norma both takes him and leaves him as she pleases. Norma interpreted this 'modern' woman perfectly. With the addition of her chic style and elegance Norma became all the rage amongst the more serious-minded film audiences.

At this time Norma decided to appear less frequently in flims but in better quality and prestigious projects. Thus she won the lead in the experimental film "Strange Interlude," the beautifully filmed "Smiling Through" and two other period films "The Barrets of Wimpole Street" and "Romeo and Juliet."

In June 1935, just prior to the production of "Romeo and Juliet" Norma gave birth to her second and last child Katherine. She was, at this time, devoting more energy to her children and husband whose health was becoming less stable.

A month after "Romeo and Juliet" opened, Irving Thalberg died of a heart attack at the age of 37. Miss Shearer went into mourning and suffered from bronchial pnemonia. Her illness was so seriously that rumors were circulating that she may not survive. After her eventual recovery however, she had planned to retire from the screen but because of her prior commitment to appear in "Marie Antoinette," and all the legal problems associated with the resolution of Irving's estate, Norma decided to renew her contract at $150,000 per picture for 6 films in 2 years.

"Marie Antoinette" was one of MGM's most costly and ambitious projects to date with thousands of dollars and years of preparations already invested. Beautiful costumes had been made especially for Norma as well as elaborate sets rivaling Versailles in grandeur and oppulence. Sydney Franklin was chosen to direct, however he was eventually replaced by W.S. Van Dyke. One can only assume that the money, time and interest in this project was diminishing and that Mayer wanted the project completed as soon as possible. There was talk of the picture being filmed in colour, which would take advantage of the elaborate costume and set preparations but the idea was scrapped due to increased expenses and technical uncertainty. But what we are left with is not at all un-appealing. Norma's acting is effective, though one finds the love relationship between Norma and Tyrone Power unlikely in its depth and profundity simply because of the hurriedness of their scenes.

Some consider "Marie Antoinette" to be Norma's best performance. Her ability to act credible in period films made her a likely candidate for Scarlet in "Gone With The Wind." The part was certainly hers for the taking if she really wanted it, but being undecided she let her fan clubs dictate her choice. One can only imagine what beauty and passion Norma would have given to Scarlet had she and George Cukor teamed for its production.

After "Marie Antionette" Norma appeared a third and final time with Clark Gable in the anti-war film "Idiots Delight." By this time he was the big star, but Norma still had her name first on the marquee. "Idiot's Delight" was a very theatrical picture which allowed Norma the ability to be as flamboyant as she liked and gave her liscence to over-act to her contentment. A skill which many critics thought came to her with extreme ease .

Miss Shearer's next film and last important picture was "The Women." She was able to hold her own professionally in the company of both Roslind Russell and Joan Crawford. In fact she clearly came out the winner as her character begins to fight back against the circumstances which attempt to ruin her marriage. Norma shows a still great beauty in this film, making one wonder why any husband would 'step-out' with Joan Crawford when they could return home to La Norma?

Norma Shearer's next series of films were of a rather low quality. That is, the story lines were weak and tired. The production values of coarse were extremely high and excellent, for Norma always had a watchful eye on her surroundings, seeking perfection. Years later however Norma realized that she let her desire to complete her contract commitments override her professional choices. During this period Norma starred twice with Robert Taylor. They made a perfect match, though the circumstances of their films were weak.

The stress and anxiety Norma was experiencing in her personal life at this time was beginning to appear professionally in not only choices to appear in rather tired films, but also in her reluctance to appear in very good and important films. By the end of her career Norma had passed up" Pride and Prejudice", "Susan and God," "Mrs. Miniver," "Now Voyager" and "Gone With The Wind." Many a career was begun or significantly enhanced by her rejections. An explanation of these unfortunate refusals is that Norma was more concerned with the raising of her children and provding them with a stable home. She was also experiencing a period of loneliness mingled with the anxieties of gowing older. Being both mother and father left little time for movie-star and socialite.

At this time there were rumours of initimate friendships with Tyrone Power and George Raft, but the one was too young and confused while the other was already married and of a shady background. Norma had always been a romantic, but these sentiments had always been punctuated with an ever present realism. Thus it is not suprising that though she was in great personal need, she kept herself from a bad match.

After the completion of her last film "Her Cardboard Lover" Norma went on holiday to Sun Valley Idaho with her children. There she met and eventually married ski instructor and real estate promoter Martin Arrouge. Though there was a slight discrepancy in their age and social status (Norma was 14 years his senior) deep love and commitment were apparent. They were married in 1942 after her conversion to Roman Catholicism. This time a choice unmotivated by external considerations but rather a gesture of personal faith and commitment.

Norma's happiness at this time was interupted by her father's death in 1944 and her mother's in 1958. Both were struggling with periods of mental as well as physical exhaustion for some time prior to their deaths.

There was talk of Norma re-appearing on the screen, but nothing came of it as the company planning the film disolved. She began a new phase in her life devoted entirely to her husband and children, as well as helping promising actors and actresses. She helped establish the careers of both Robert Evans and Janet Leigh during the 1950's.

The only news to surface about Miss Shearer after her retirement was that she was happy and well, still lovingly married to Martin and socializing within a close circle of friends. Norma and Martin were once spotted by a journalist in the mid 70's holding hands while shopping in Beverly Hills. This is clearly an indication that Norma found contentment in her later years.

In the last few years of her life it has been reported that Norma lived at The Motion Picture Retirement Home due to extreme ill health. It has also been written that she had succumbed to Alzhiemer's disease or some form of senility and was very much incoherent towards the end of her life. It is hard to believe that she could have been reduced to such a state, for she was the very epitome of intelligence, health and beauty. Her persoanlity and style revealed themselves as components of an inner calm and strength, to believe that these qualities of character could ever have decayed is difficult to accept.

The public, and movie fans inparticular, share the fault of tending to deny the humanitiy of their idols. In doing this they loose a key point of appreciation, for the glamour and perfection the stars exhibit is the work of years of commitment and sacrifice. Norma's final demise exhibits that she was like us in fragility and weakness, but unlike us in the drive to display and live perfection. If it is true that she lived her last years in confusion and dependancy it merely shows that she should be all the more valued for taking a simple human life to such a level of sophistication and grace.

Norma Shearer's persona may likely never become a cultural icon as has those of Jean Harlow or Greta Garbo. This is because she both lived an irreproachable life, deprived of scandals and enemies and also because the values of chic femininity and soignee beauty have disappeared from among the aspirations of common women nor appreciated by men. Perhaps when such conditions change Norma Shearer will again be remembered.

J.R. Parrish and R.L. Bowers, "The MGM Stock Company" (1973)

Jacobs, Jack and Myron Braum, "The Films of Norma Shearer" South Brunswick: A.S. Barnes, c1976), ISBN:0498015521.

Quirk, Lawrence J., "Norma: The Story of Norma Shearer" (new York: St. Martin's Press, c1988), ISBN:0312047987.

Lambert, Gavin., "Norma Shearer: a Life" (New York: Knopf: Distributed by Random House, 1990), ISBN: 0394551583.