Pickford's win for Best Actress caused enough whispering and malicious gossip among Academy members, to institute a change to the voting rules.  For the next five years, voting on nominations and on the ultimate winner, would be determined by the entire Academy membership.  

The next year saw a win for another Hollywood bright light, Norma Shearer. Shearer beat out second time nominee, Ruth Chatteron, Gloria Swanson, and Greta Garbo, amidst rumors that her studio, MGM, had sent out memos to its stable of stars to vote in her favor. 

Like Pickford, Montreal born Norma Shearer was a silent film star.  Her transition to talking pictures seemed to go a little bit smoother, perhaps because she hadn't built up the reputation that Pickford had in silent pictures, and maybe, and not hindered by the fact that her husband, Irving Thalberg, was one of the most successful film producers of the day. 

The Divorcee was Shearer's fourth talkie, and it was a hit with audiences and critics, alike.  A 1930 article in Liberty Magazine said, "The acting throughout is fine, and although Norma Shearer is not so beautiful here as she usually is, she gives more to the part of Jerry than she has ever given to a characterization before."  Photoplay captured the spirit of the times with "You won't forget this picture and you'll undoubtedly go home and have a good long talk with your spouse. But more important, you'll be amused and held spellbound until the last reel. Don't miss it."

Despite good reviews, and great success, Shearer's performance was overshadowed that year by another silent star, who was making her first talking picture.  Amidst headlines that read, Garbo Talks!  Greta Garbo appeared in the critical and box office smash, Anna Christie.  

Shearer's triumph was marred by gossip, including a campaign of coercion by MGM, which was never proven.  Part of the criticism for Shearer's win may have been over the fact that she was nominated that year for two performances.  The other film, Their Own Desire, was light weight fare that even Shearer, herself, was openly critical of.  

Joan Crawford's famous line "What do you expect?  She sleeps with the boss,"  seemed to be the last word on the subject.  Shearer never responded to the criticism, maintaining a graciousness throughout her career, that became her trademark.  

Meanwhile, the Academy was under continued scrutiny, that came to a boil in 1934 when Bette Davis failed to garner a nomination for Of Human Bondage.  Frank Capra quickly reinstituted the old system, whereby a committee would determine the final nominees in each category.

Mary Pickford faded from view shortly after her Best Actress win.  She did a couple of other films, including Taming of the Shrew, which proved her ability to hold her own in the talkies.  Soon after, however, she left acting, appearing publicly, only on rare occasions.   Fearing that people would laugh at her work, Pickford bought out the rights to most of her films and refused any distribution of them.  She hid behind the gates of Pickfair, living out the remainder of her life with regret over her fading image.  In 1975, the Academy saw fit to honor her with a lifetime achievement award.  The sight of the aged star, accepting from her home, brought many in the audience to tears.  

Meanwhile, for Shearer, she managed to prove that her success was no fluke, and that she was more than just Irving Thalberg's pretty wife.  She held her own in prestige pictures that he produced, garnering another four nominations.  Thalberg died suddenly in 1936, and while the tragedy was devastating for Shearer,  she continued to work on popular pictures, including Marie Antoinette, and The Women (with Joan Crawford).

Shearer retired from acting in the early forties, and while spotted by the paparazzi occasionally throughout the years, she, like Pickford, never returned to acting.


One of the most interesting books about cinema that I have read in the past several years, has been Mick LaSalle's book, Complicated Women.  The book explores the role o women in film prior to, and after the Production Code was put into effect.  

The book discusses in great detail, the career of Norma Shearer, who today is relatively unknown, except among serious film buffs.  LaSalle claims that Shearer's pre-code films, such as Riptide and the Divorcee, 'told audiences that the loving wife and the proper society gal was, sexually a loose cannon'.

 

  

It was only a matter of time for Norma! 
Pre-Hayes code Norma, plays Jerry, a recently divorced woman, looking for a new romance.
Robert Montgomery thinks that Norma is a 'fascinating wench'!
Fiancé Ted, played by Chester Morris, presents her with an engagement ring.
Norma is jealous when another woman is looking at Chester.
An angry and drunken Norma cozies up with Robert Montgomery.
Norma recieves a telegram that her beloved Chester will be returning home shortly.
Chester returns, not suspecting Norma's infidelities.
Robert calls, urging Norma to keep their affair a secret.
A drunken Chester causes a scene at a wedding, after learning of Norma's infidelities.
Mary pines for her dead lover.
 
A jaded Norma hits rockbottom as a two time loser!
 

Several Norma Shearer films are available on VHS, including these:

 cover cover

cover cover