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Jill Esmond

Jill Esmond (January 26, 1908 – July 28, 1990) was a British actress.

Esmond was born in London, England, the daughter of stage actors Henry V. Esmond and Eva Moore. While her parents toured with theatre companies, Esmond spent her childhood in boarding schools until she decided at the age of fourteen to become an actress. She made her stage debut playing Wendy to Gladys Cooper's Peter Pan but her success was shortlived. When her father died suddenly in 1922 Esmond returned to school and at the time considered abandoning her ambition to act.

After reassessing her future and coming to terms with her father's death she studied with the Royal Academy of Dramatic Art in London, and returned to the West End stage in 1924. In 1925, she starred with her mother in a play Mary, Mary Quite Contrary, and after a few more successful roles, won critical praise for her part as a young suicide in Outward Bound.

In 1928 she appeared in the production of Bird in the Hand where she met fellow cast member Laurence Olivier for the first time. In his autobiography Olivier later wrote that he was smitten with Esmond, and that her cool indifference to him did nothing but further his ardour. When Bird in the Hand was being staged on Broadway, Esmond was chosen to join the American production - but Olivier was not. Determined to be near Esmond he travelled to New York where he found work as an actor. Esmond won rave reviews for her performance. Olivier continued to follow Esmond, and after proposing to her several times, she agreed and the couple were married in 1930. Returning to the United Kingdom she made her film debut with a starring role in an early Alfred Hitchcock film The Skin Game (1931), and over the next few years appeared in several British and Hollywood films, including Thirteen Women (1932). She also appeared in two Broadway productions with Olivier - Private Lives in 1931 with Noel Coward and Gertrude Lawrence, and The Green Bay Tree in 1933. Her career continued to ascend while Olivier's own career languished, but when his career began to show promise after a couple of years, she began to refuse roles.

Esmond withstood the publicity of Olivier's affair with Vivien Leigh and did not seek a divorce. Pressed by Olivier, who was anxious to marry Leigh, she eventually agreed and they were divorced in 1940. She returned briefly to acting and appeared in such popular films as Journey for Margaret, The Pied Piper and Random Harvest (all 1942) and The White Cliffs of Dover (1944). She starred in the Broadway production of The Morning Star in 1942, a production noted for the acting debut of Gregory Peck. Her acting appearances grew more sporadic with the passage of time and she made her final film appearance in 1955.

In her later years, Esmond discussed the bitterness she still felt towards Olivier and her feeling that she had sacrificed her career so that he could further his own, only to find herself cruelly discarded. She did not remarry, and died in Wimbledon, London.

Since the deaths of Esmond and Olivier, biographers have written that Olivier was bisexual for his entire life, and that his marriage with Esmond was convenient for both of them, as she was also bisexual. The biographies describe the marriage as a relatively happy one, based on mutual respect and affection and their shared love of theatre. They write that Esmond's feelings of betrayal were genuine despite the unconventional nature of the marriage.


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They write that Esmond's feelings of betrayal were genuine despite the unconventional nature of the marriage. She is perhaps best known to modern audiences as the wife of Miles Archer in The Maltese Falcon. The biographies describe the marriage as a relatively happy one, based on mutual respect and affection and their shared love of theatre. She also appeared in Madame X in 1937, The Roaring Twenties in 1939, The Way of All Flesh in 1946 and The Best Years of Our Lives in 1951. Since the deaths of Esmond and Olivier, biographers have written that Olivier was bisexual for his entire life, and that his marriage with Esmond was convenient for both of them, as she was also bisexual. In 1936 she was nominated for an Academy Award for Best Actress for Valiant Is the Word for Carrie. She did not remarry, and died in Wimbledon, London. Born Gladys Anna Clare in Patten, Maine, she starred on the stage in the 1920s, although she had made several films in the early part of that decade. But it wasn't until 1934 that she started becoming noticed for her film work.

In her later years, Esmond discussed the bitterness she still felt towards Olivier and her feeling that she had sacrificed her career so that he could further his own, only to find herself cruelly discarded. Gladys George (September 13, 1900 - December 8, 1954) was an American actress. Her acting appearances grew more sporadic with the passage of time and she made her final film appearance in 1955. She starred in the Broadway production of The Morning Star in 1942, a production noted for the acting debut of Gregory Peck. She returned briefly to acting and appeared in such popular films as Journey for Margaret, The Pied Piper and Random Harvest (all 1942) and The White Cliffs of Dover (1944).

Pressed by Olivier, who was anxious to marry Leigh, she eventually agreed and they were divorced in 1940. Esmond withstood the publicity of Olivier's affair with Vivien Leigh and did not seek a divorce. Her career continued to ascend while Olivier's own career languished, but when his career began to show promise after a couple of years, she began to refuse roles. She also appeared in two Broadway productions with Olivier - Private Lives in 1931 with Noel Coward and Gertrude Lawrence, and The Green Bay Tree in 1933.

Returning to the United Kingdom she made her film debut with a starring role in an early Alfred Hitchcock film The Skin Game (1931), and over the next few years appeared in several British and Hollywood films, including Thirteen Women (1932). Olivier continued to follow Esmond, and after proposing to her several times, she agreed and the couple were married in 1930. Esmond won rave reviews for her performance. Determined to be near Esmond he travelled to New York where he found work as an actor.

When Bird in the Hand was being staged on Broadway, Esmond was chosen to join the American production - but Olivier was not. In his autobiography Olivier later wrote that he was smitten with Esmond, and that her cool indifference to him did nothing but further his ardour. In 1928 she appeared in the production of Bird in the Hand where she met fellow cast member Laurence Olivier for the first time. In 1925, she starred with her mother in a play Mary, Mary Quite Contrary, and after a few more successful roles, won critical praise for her part as a young suicide in Outward Bound.

After reassessing her future and coming to terms with her father's death she studied with the Royal Academy of Dramatic Art in London, and returned to the West End stage in 1924. When her father died suddenly in 1922 Esmond returned to school and at the time considered abandoning her ambition to act. She made her stage debut playing Wendy to Gladys Cooper's Peter Pan but her success was shortlived. While her parents toured with theatre companies, Esmond spent her childhood in boarding schools until she decided at the age of fourteen to become an actress.

Esmond and Eva Moore. Esmond was born in London, England, the daughter of stage actors Henry V. Jill Esmond (January 26, 1908 – July 28, 1990) was a British actress.