Joan Leslie Early Hollywood career
What is an example of one of Joan's early roles?
What is an example of one of Joan Leslie's early roles?
In 1936, Leslie caught the attention of a talent scout from Metro-Goldwyn-Mayer (MGM) when the three Brodel sisters were performing in New York. She was given a six-month contract with the studio, earning $200 per week. While working at the studio, she attended MGM's Little Red Schoolhouse with other child actors like Mickey Rooney and Freddie Bartholomew.  Her first film role was in Camille (1936), a romantic drama starring Greta Garbo and Robert Taylor. She played Taylor's younger sister Marie Jeanette, but her speaking scenes were deleted and she was uncredited. MGM had trouble finding suitable roles for her, and she was let go by the studio along with Deanna Durbin. Leslie returned to New York, working on the radio and as a model. During this time, her older sister Mary was signed to Universal Studios. Leslie returned to Hollywood with the rest of her family, working for different studios as a freelancer. She mainly worked for RKO Pictures.  Leslie was selected to play a small role in Men with Wings (1938). While shooting the film, director William A. Wellman discovered that Leslie's mother had lied about her daughter's age and that she was only thirteen years old. For the remainder of the filming schedule, Wellman replaced her with Mary.  Leslie gained her first credited role in Winter Carnival (1939) as Betsy Phillips. She was chosen for the part because the director was searching for an actress with a southern accent. She was billed as Joan Brodel. Later that year, she co-starred with Jimmy Lydon in Two Thoroughbreds, in which she played the daughter of a horse owner.  At age 15, Leslie was selected by a group of Hollywood directors as one of 13 "baby stars of 1940." CANNOTANSWER
Camille
Joan Leslie (born Joan Agnes Theresa Sadie Brodel; January 26, 1925 – October 12, 2015) was an American actress and vaudevillian, who during the Hollywood Golden Age, appeared in such films as High Sierra, Sergeant York, and Yankee Doodle Dandy.

Early life
Joan Agnes Theresa Sadie Brodel was born on January 26, 1925, in Highland Park, Michigan, the youngest child of John and Agnes Brodel. John was a bank clerk and Agnes was a pianist.

Joan's two older sisters, Betty (born 1919) and Mary Brodel (1916–2015), shared their mother's musical interest and started to learn how to play instruments, such as the saxophone and the banjo, at an early age. They began performing in front of audiences in acts that included singing and dancing. Leslie joined the duo at two and a half years of age. She was soon able to play the accordion.

With her father losing his job in the mid-1930s, the Great Depression caused financial difficulties for the family. As a result, the three sisters entered show business as vaudeville performers to support the family. They began touring in Canada and the United States. Collectively, they were known as The Three Brodels. As an attempt to bypass child labor laws at the time, both Mary and Joan pretended to be older than they were. When Leslie was nine, she told child labor investigators that she was 16 years old. Joan proved to be the scene stealer of the three sisters because of her impersonations of figures such as Katharine Hepburn, Maurice Chevalier, and Jimmy Durante. Coming from a family of Irish ancestry, Leslie was raised as a Roman Catholic and attended Catholic schools in Detroit, Toronto, and Montreal.

Early Hollywood career
In 1936, 11-year-old Leslie caught the attention of a talent scout from Metro-Goldwyn-Mayer (MGM) when the three Brodel sisters were performing in New York. She was given a six-month contract with the studio, earning $200 per week. While working at the studio, she attended MGM's Little Red Schoolhouse with other child actors such as Judy Garland, Mickey Rooney, and Freddie Bartholomew.

Her first film role was in Camille (1936), a romantic drama starring Greta Garbo and Robert Taylor. She played Taylor's younger sister Marie Jeanette, but her speaking scenes were deleted and she was uncredited. MGM had trouble finding suitable roles for her, and she was let go by the studio along with Deanna Durbin. Leslie returned to New York, working on the radio and as a model. During this time, her older sister Mary was signed to Universal Studios. Leslie returned to Hollywood with the rest of her family, working for different studios as a freelancer. She mainly worked for RKO Pictures.

Leslie was selected to play a small role in Men with Wings (1938). While shooting the film, director William A. Wellman discovered that Leslie's mother had lied about her daughter's age and that she was only 13 years old. For the remainder of the filming schedule, Wellman replaced her with Mary.

Leslie gained her first credited role in Winter Carnival (1939) as Betsy Phillips. She was chosen for the part because the director was searching for an actress with a southern accent. She was billed as Joan Brodel. Later that year, she co-starred with Jimmy Lydon in Two Thoroughbreds, in which she played the daughter of a horse owner.

At age 15, Leslie was selected by a group of Hollywood directors as one of 13 "baby stars of 1940." That same year, she appeared in the Warner Bros. film short, Alice in Movieland, about a starlet trying to make her mark in Hollywood. One of the first films directed by Jean Negulesco in Hollywood, it was based on a story by Ed Sullivan.

Success at Warner Bros.

Her big break came when she signed a contract with Warner Bros. in 1941. At the time, actress Joan Blondell's name was considered too similar, so Brodel's acting name was changed to Joan Leslie.

Two weeks later, the then-15-year-old actress was asked to do a screen test while unaware which movie it was for. She got the part because she could cry on cue. The movie was High Sierra (1941), starring Ida Lupino and Humphrey Bogart. Leslie played the crippled girl, Velma. Film critic Bosley Crowther wrote: "a newcomer named Joan Leslie handles lesser roles effectively."

Later that year, Warner Bros. produced a biopic of Alvin C. York, a decorated American World War I soldier, Sergeant York (also 1941), starring Gary Cooper. Jane Russell was initially suggested for the role of Gracie Williams, York's fiancée, but York wanted an actress who neither smoked nor drank. 16-year old Leslie eventually got the part. Sergeant York was a critical and financial success, becoming the highest-grossing movie of 1941. It received 11 Oscar nominations and Cooper won the Best Actor award.

Cooper (aged 40) was 24 years her senior. "Gary gave me a doll on the set," Leslie later told the Toronto Star. "That's how he saw me."

Leslie had a supporting role in The Male Animal (1942). She played Olivia de Havilland's younger sister, Patricia Stanley, a role Gene Tierney had played in the original Broadway production.

She auditioned for Paramount's Holiday Inn (1942), but Warner Bros. decided to cast her in Yankee Doodle Dandy (also 1942) with James Cagney. The film is a musical depicting the life of Broadway entertainer George M. Cohan. Leslie portrayed his girlfriend/wife Mary, an aspiring singer. The film received eight Oscar nominations, including a Best Actor award for James Cagney. By now, Leslie had become a star whose on-screen image was described as "sweet innocence without seeming too sugary."

Leslie was in four motion pictures released during 1943. The first was The Hard Way, starring Ida Lupino and Dennis Morgan. A New York Times reviewer described Leslie as "just as deft and versatile a lady as the character she is supposed to be." For the second, she was lent to RKO for The Sky's the Limit, starring with Fred Astaire. Leslie's character introduced the Harold Arlen-Johnny Mercer song "My Shining Hour". In the third movie, Leslie co-starred in the wartime motion picture This Is the Army  with Ronald Reagan. The fourth movie was Thank Your Lucky Stars.

She was considered for the role of Tessa in The Constant Nymph (also 1943), wherein she would play opposite Errol Flynn. Studio executive Jack L. Warner, though, felt she was unsuitable and the part went to Joan Fontaine. The Australian-born actor Flynn was rejected because the director wanted a British actor.

During World War II, she was a regular volunteer at the Hollywood Canteen, where she danced with servicemen and signed hundreds of autographs. She was featured with Robert Hutton, among many others, in the Warner Bros. film Hollywood Canteen (1944). Like most of the other Hollywood stars appearing in the film, she played herself, but the fictionalized plot had her falling in love with a soldier (played by Hutton) frequenting the canteen. Her sister, actress Betty Brodel, briefly played herself in the film as well. In 1946, an exhibitors' poll conducted by Motion Picture Herald voted Leslie the most promising star of tomorrow.

Later career
By 1946, Leslie was growing increasingly dissatisfied with the roles offered to her by the studio. She sought more serious and mature roles, and wanted to break out of her ingenue image, which was partly due to her young age. Her decision was also based on moral and religious grounds. With the help of her lawyer Oscar Cummings, she took Warner Bros. to court to get released from her contract.

In 1947, the Catholic Theater Guild gave Leslie an award because of her "consistent refusal to use her talents and art in film productions of objectionable character."

As a result of this, Jack Warner used his influence to blacklist her from other major Hollywood studios. In 1947, she signed a two-picture contract with the poverty row studio Eagle-Lion Films. The first one was Repeat Performance (1947), a film noir in which she played a Broadway actress. The other was Northwest Stampede (1948) in which she performed with James Craig.

After her contract with Eagle-Lion Films expired, she was cast in The Skipper Surprised His Wife (1950), appearing with Robert Walker. The film was distributed by MGM, the studio with which she began her film career in 1936.

In the early 1950s, Leslie chose to focus on raising her daughters, which resulted in a more irregular film career. In 1952, she signed a short-term deal with Republic Pictures, the low-budget studio that primarily produced Westerns. One of the films she made for Republic was Flight Nurse (1953). Leslie's character, Polly Davis, was based on the successful flight nurse Lillian Kinkella Keil's career in the Air Force. It was described by the newspaper Kingsport Times-News as a thrilling film that "honors the courageous women who performed miracles of mercy above the clouds in evacuation of wounded GIs from Korean battlefields." Her last film was The Revolt of Mamie Stover (1956), but she continued making sporadic appearances in television shows while her children were at school. She retired from acting in 1991, after appearing in the TV film Fire in the Dark.

Personal life
In March 1950, she married William Caldwell, an obstetrician. Their identical twin daughters, Patrice and Ellen, were born on January 7, 1951. Both daughters eventually became teachers.

Leslie was a Democrat who supported the campaign of Adlai Stevenson during the 1952 presidential election.

Leslie was in the business of designing clothes, with her own eponymous brand. William died in 2000. A year later, she founded the Dr. William G. and Joan L. Caldwell Chair in Gynecologic Oncology for the University of Louisville. Leslie was an adopted alumna of the university for over 32 years.
A devout Catholic, she was involved with charity work for the St. Anne's Maternity Home for more than 50 years.

Death
Leslie died on October 12, 2015, in Los Angeles, California. She was 90.

Awards and honors
On October 8, 1960, Joan Leslie received a star on the Hollywood Walk of Fame at 1560 Vine Street.
In 1999, she was one of the 250 actresses nominated for the American Film Institute's selection of the 25 greatest female screen legends to have debuted before 1950. 
On August 12, 2006, she received a Golden Boot Award for her contributions to Western television shows and movies.

Complete filmography
For TV movies, see the following section.

Television

Radio appearances

References

External links

 
 
 
 Joan Leslie at the American Film Institute

1925 births
2015 deaths
20th-century American actresses
Actresses from Detroit
American Roman Catholics
American child actresses
American film actresses
American television actresses
Articles containing video clips
Burials at Holy Cross Cemetery, Culver City
California Democrats
Metro-Goldwyn-Mayer contract players
Michigan Democrats
Vaudeville performers
Warner Bros. contract players
21st-century American women
Joan of Lorraine is a 1946 play-within-a-play by Maxwell Anderson.

Plot
It is about a company of actors who stage a dramatization of the story of Joan of Arc, and the effect that the story has on them. As in the musical Man of La Mancha, most of the actors in the drama play two or more roles.  

The main character is Mary Grey, the fictional star actress who portrays Joan. As the play begins, Mary Grey and the fictional director of the play-within-a-play, Jimmy Masters, are in conflict over how Joan is to be played. The conflict is resolved during the course of the play.

Production

Ingrid Bergman was the star of the original production, playing both Joan and Mary Grey, the fictional star actress who portrays her. Other notable actors who appeared in this production were Joseph Wiseman and Sam Wanamaker.

Awards

Ingrid Bergman won a Tony Award for this performance — one of the first such awards ever given.

Adaptation

In 1948, an adaptation of Joan of Lorraine was filmed in Technicolor as Joan of Arc. This film also starred Ingrid Bergman, but it did not use the play-within-a-play framework. Instead, it made the story a straightforward account of Joan's life, omitting the fictional acting company altogether. 

Anderson's dialogue for the story of Joan was not only retained, but, in collaboration with Andrew Solt, expanded with additional scenes involving historical characters who do not appear in the original play. For her performance, Ingrid Bergman was nominated for an Academy Award, but lost out to Jane Wyman in Johnny Belinda.

External links

1946 plays
Plays by Maxwell Anderson
Works about Joan of Arc
Plays based on real people A role (also rôle or social role) is a set of connected behaviors, rights, obligations, beliefs, and norms as conceptualized by people in a social situation. It is an expected or free or continuously changing behavior and may have a given individual social status or social position. It is vital to both functionalist and interactionist understandings of society. Social role theory posits the following about social behavior:

 The division of labour in society takes the form of the interaction among heterogeneous specialized positions, we call roles.
 Social roles included appropriate and permitted forms of behavior and actions that recur in a group, guided by social norms, which are commonly known and hence determine the expectations for appropriate behavior in these roles, which further explains the place of a person in the society.
 Roles are occupied by individuals, who are called actors. 
When individuals approve of a social role (i.e., they consider the role legitimate and constructive), they will incur costs to conform to role norms, and will also incur costs to punish those who violate role norms.
 Changed conditions can render a social role outdated or illegitimate, in which case social pressures are likely to lead to role change.
 The anticipation of rewards and punishments, as well as the satisfaction of behaving pro-socially, account for why agents conform to role requirements.

The notion of the role can be and is examined in the social sciences, specifically economics, sociology and organizational theory.

Definition 
Stanley Wasserman and Katherine Faust cautioned that "there is considerable disagreement among social scientists about the definitions of the related concepts of social position, social status, and social role." They note that while many scholars differentiate those terms, they can define those terms in a way that clashes with the definitions of another scholar; for example they state that "[Ralph] Linton uses the term 'status' in a way that is identical to our use of the term "position".

Determinants and characteristics
Roles may be achieved or ascribed or they can be accidental in different situations. An achieved role is a position that a person assumes voluntarily which reflects personal skills, abilities, and effort. An ascribed role is a position assigned to individuals or groups without regard for merit but because of certain traits beyond their control, and is usually forced upon a person.

Roles can be semi-permanent ("doctor", "mother", "child"), or they can be transitory. A well-known example is the sick role as formulated by Talcott Parsons in the late 1940s. In the transitory "sick role", a person is exempted from their usual roles, but is expected to conform to transitory behavioral standards, such as following doctors' orders and trying to recover.

For many roles, individuals must meet certain conditions, biological or sociological. For instance, a boy cannot ordinarily take the biological role of mother. Other roles require training or experience. For instance, in many cultures doctors must be educated and certified before practicing medicine.

Role development can be influenced by a number of additional factors, including social, genetic predisposition, cultural or situational.
Societal influence: The structure of society often forms individuals into certain roles based on the social situations they choose to experience. Parents enrolling their children in certain programs at a young age increases the chance that the child will follow that role.
Genetic predisposition: People take on roles that come naturally to them. Those with athletic ability generally take on roles of athletes. Those with mental genius often take on roles devoted to education and knowledge. This does not mean that people must choose only one path, each individual can reprise multiple roles (i.e. Evelyn can be the point guard on the basketball team and the editor of her school newspaper).
Cultural influence: Different cultures place different values on certain roles based on their lifestyle. For instance, soccer players are regarded higher in European countries than in the United States, where soccer is less popular.
Situational influence: Roles can be created or altered based on the situation a person is put in outside their own influence. An example of this is students blaming failure on situational factors like "the test wasn't fair" and this effects their role as a student.

Roles are also frequently interconnected in a role set, that complement of role-relationships in which persons are involved by virtue of occupying a particular social status. For example, a high school football player carries the roles of student, athlete, classmate, etc. Another example of a role is "an individual in the role of a parent is expected to care for their child and protect them from harm".

Role theory 

Role theory is the sociological study of role development, concerned with explaining what forces cause people to develop the expectations of their own and others' behaviors. According to sociologist Bruce Biddle (1986), the five major models of role theory include:
Functional Role Theory, which examines role development as shared social norms for a given social position. These social positions may include leadership.
Symbolic Interactionist Role Theory, which examines role development as the outcome of individual interpretation of responses to behavior,
Structural Role Theory, which emphasises the influence of society rather than the individual in roles and utilizes mathematical models,
Organizational Role Theory, which examines role development in organizations, and
Cognitive Role Theory, which is summarized by Flynn and Lemay as "the relationship between expectations and behaviors"

Role in functionalist and consensus theory
The functionalist approach to role theory, which is largely borrowed from anthropology, sees a "role" as the set of expectations that society places on an individual. By unspoken consensus, certain behaviors are deemed "appropriate" and others "inappropriate". For example, an appropriate doctor dresses fairly conservatively, asks a series of personal questions about one's health, touches one in ways that would normally be forbidden, writes prescriptions, and shows more concern for the personal wellbeing of his or her clients than is expected of, say, an electrician or a shopkeeper.

"Role" is what the doctor does (or, at least, is expected to do) while status is what the doctor  is; in other words, "status" is the position an actor occupies, while "role" is the expected behavior attached to that position.  Roles are not limited to occupational status, of course, nor does the fact that one is cast in the role of "doctor" during working hours prevent one from taking on other roles at other times: husband/wife, friend, father/mother, and so on.

Role in interactionist or social action theory
In interactionist social theory, the concept of role is crucial. The interactionist definition of "role" pre-dates the functionalist one. A role, in this conception, is not fixed or prescribed but something that is constantly negotiated between individuals in a tentative, creative way. Philosopher George Herbert Mead explored roles in his seminal 1934 work, Mind, self and society. Mead's main interest was the way in which children learn how to become a part of society by imaginative role-taking, observing and mimicking others. This is always done in an interactive way: it's not meaningful to think of a role for one person alone, only for that person as an individual who is both co-operating and competing with others. Adults behave similarly: taking roles from those that they see around them, adapting them in creative ways, and (by the process of social interaction) testing them and either confirming them or modifying them. This can be most easily seen in encounters where there is considerable ambiguity, but is nevertheless something that is part of all social interactions: each individual actively tries to "define the situation" (understand their role within it); choose a role that is advantageous or appealing; play that role; and persuade others to support the role.

Social norms theory
Social norms theory states that much of people's behavior is influenced by their perception of how other members of their social group behave. When individuals are in a state of deindividuation, they see themselves only in terms of group identity, and their behavior is likely to be guided by group norms alone. But while group norms have a powerful effect on behavior, they can only guide behavior when they are activated by obvious reminders or by subtle cues. People adhere to social norms through enforcement, internalization, the sharing of norms by other group members, and frequent activation. Norms can be enforced through punishment or reward. Individuals are rewarded for living up to their roles (i.e. students getting an "A" on their exam) or punished for not completing the duties of their role (i.e. a salesman is fired for not selling enough product).

Social norm theory has been applied as an environmental approach, with an aim of influencing individuals by manipulating their social and cultural environments. It has been widely applied using social marketing techniques. Normative messages are designed for delivery using various media and promotional strategies in order to effectively reach a target population. Social norms theory has also been successfully applied through strategies such as curriculum infusion, creating press coverage, policy development, and small group inventions.

The theory of planned behavior
People display reactance by fighting against threats to their freedom of action when they find norms inappropriate. Attitudes and norms typically work together to influence behavior (directly or indirectly). The theory of planned behavior intentions are a function of three factors: attitudes about the behavior, social norms relevant to the behavior, and perceptions of control over the behavior. When attitudes and norms disagree, their influence on behaviour will depend on their relative accessibility.

Team role theory
As described in Working in Groups by Engleberg and Wynn, team role theory is when "members assume roles that are compatible with their personal characteristics and skills". Meredith Belbin, a psychologist, first explored the concept of team-role theory in the 1970s when he and his research team went about observing teams and wanted to find out what made teams work and what did not. According to Belbin and his research team "the research revealed that the difference between success and failure for a team was not dependent on factors such as intellect, but more on behavior". They began to identify separate clusters of behaviors and found that behavior was more influential on a team than anything else. These separate clusters of behaviors are known as the "Team Roles".  The nine "team roles" are as follows: coordinator/chairperson, shaper, innovator, resource investigator, monitor/evaluator, implementer, teamworker, completer/finisher, and specialist.

Role conflict  

There are situations where the prescribed sets of behavior that characterise roles may lead to cognitive dissonance in individuals. Role conflict is a special form of social conflict that takes place when one is forced to take on two different and incompatible roles at the same time. An example of role conflict is a father, who is a baseball coach, that is torn between his role as a father by wanting to let his son be the pitcher and his role as a coach who should let the more experienced pitcher play.

Role confusion 
Role confusion occurs in a situation where an individual has trouble determining which role he or she should play, but where the roles are not necessarily incompatible. For example, if a college student attending a social function encounters his teacher as a fellow guest, he will have to determine whether to relate to the teacher as a student or a peer.

Role enhancement 
Role enhancement or role enrichment refers to a situation in which roles which are held by a person are compatible and moreover enacting one role has beneficial spillover effects on the enactment of the other role. An example of role enhancement is a nurse who assists a patient in improving relationships by "clarifying and supplementing specific role behaviors". Some evidence indicates that role conflict and role enhancement can occur simultaneously, and further evidence suggests that mental health correlates with low role conflict and high role enhancement. Also certain personality traits, in particular traits linked to perceiving and seeking greater levels of support, are associated with lower inter-role conflict and increase inter-role enrichment.

Role strain 
Role strain is "the incompatibility among roles corresponding to a single status". An example of role strain is "a student who is torn between the obligations of school, their parents, and their job". This is role strain because the status of being a student comes with multiple responsibilities that make it difficult to handle all at the same time.

Gender roles 

Gender roles are "sets of behavioral norms assumed to accompany one's status as male or female". Gender roles are "one of the most popular strains of thought to evolve from role theory" because it can be applied to one's status as a male or female in everyday life. It has been argued that gender "constitutes as a master status" because the status of gender holds a power in society. An example of gender role is baby boys being associated with the color blue and baby girls being associated with the color pink. As people get older, women are traditionally assigned the role of being a stay at home mom and men are assigned the role of being the breadwinner of the family.

See also

Character mask
Conflict theory
Gender role
Sick role
Purpose in life
Role-playing
Role engulfment
Role model
Role suction
Social position
Social status
Master status
Achieved status
Ascribed status
Stereotypes
Transactional analysis
The Fundamentals of Social Roles

References

Bibliography 

Chandler, Daniel. "Television and Gender Roles". 
Goldhagen, Daniel Jonah. Hitler's Willing Executioners: Ordinary Germans and the Holocaust. Vintage Books, New York. 1996.

Main Frame: Strategies for Generating Social Norms News. 2002. 

Time Life. The Twisted Dream. Time Life, Alexandria, Virginia. 1990.

External links

 
Sociological terminology
Role theory
Identity (social science)