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    • 1920s
      • The Los Angeles Examiner (July 6, 1927)
      • “Three Comedy Units Underway at Sennett Studio” (The Los Angeles Times, July 17, 1927)
      • “Cheek Scar Value Put Up to Judge” (The Los Angeles Times, October 13, 1927)
      • “Suit Over Scar on Girl Settled” (The Los Angeles Times, October 15, 1927)
      • “A Teddy-Made Actress” (Motion Picture, May 1929)
      • “Lombard – Unlimited” (Screenland, September 1929)
    • 1930s
      • “Another Three Cheers” (Picture Play, December 1930)
      • “Home Town Stories of the Stars” (New Movie Magazine, September 1931)
      • “What About Carole Lombard?” (Screenland, June 1931)
      • “Why Carole Lombard Changed Her Mind” (Photoplay, September 1931)
      • “Why I Married Bill Powell” (Motion Picture, December 1931)
      • The New Mr. and Mrs. (Screenland, October 1931)
      • “A Heart-to-Heart Letter to Carole Lombard and Clark Gable” (Screen Guide, November 1936)
      • “Carole Lombard – The Tempo of the 20th Century” (Broadway and Hollywood Movies, June 1934)
      • “How Carole Lombard Plans a Party” (Photoplay, February 1935)
      • “How Sylvia Changed ‘Carole of the Curves’ to Svelte Carole Lombard!” (Photoplay, April 1933)
      • “Latest about Lombard” (Screenland, December 1934)
      • “Merrily She Rolls Along” (Screenland, October 1935)
      • “Sincerely — Carole Lombard” (Silver Screen, July 1935)
      • “The Evolution of a Wow!” (Movie Mirror, December 1936)
      • “The Utterly Balmy Home Life of Carole Lombard” (Motion Picture magazine, February 1937)
      • “Tripping to New York with Carole Lombard” (Silver Screen, April 1935)
      • “‘There are 7 Kinds of Love’ says Carole Lombard to Gladys Hall” (Photoplay, October 1933)
      • “Be Modern or Be a Wallflower…says Carole Lombard” (Modern Screen, August 1935)
      • “Carole and Bill Together Again!” (Screenland, July 1936)
      • “Carole Lombard Discusses — A Woman’s Dangerous Age” (Hollywood, November 1935)
      • “Carole Lombard tells: ‘How I Live by a Man’s Code'” (Photoplay, September 1937)
      • “How Will the Gable-Lombard Romance End?” (Hollywood, June 1937)
      • “She Gets Away With Murder” (Photoplay, March 1938)
      • “The Real Low-Down on Lombard” (Picture Play, January 1937)
      • “What’s Become of the Good Scout?” (Modern Screen, July 1938)
      • “Bored and Rumors” (Hollywood, December 1937)
      • “Can the Gable-Lombard Love Story Have a Happy Ending?” (Photoplay, May 1938)
      • “Lombard – As She Sees Herself” (Motion Picture, November 1938)
      • “A Loud Cheer for the Screwball Girl” (LIFE, October 13, 1938)
      • “Carole Lombard: ‘Every Actor Should Take at Least One Week’s Whirl at Publicity'” (The Hollywood Reporter, October 24, 1938)
      • “Hollywood’s Unmarried Husbands and Wives” (Photoplay, January 1939)
      • “Lombard Unlimited” (Radio Mirror, April 1939)
      • “The Clark Gables at Home” (Screenland, August 1939)
      • “What’s the Matter with Lombard?” (Modern Screen, September 1939)
      • “Will Clark Gable Ever Marry Carole Lombard?” (Motion Picture, February 1939)
      • “Blonde Beauty Grows Up” (Photoplay, May 1939)
      • “Our Home, Our Work – and Children” (Movie Mirror, November 1939)
    • 1940s
      • “Subject: Lombard” (Photoplay, January 1940)
      • “‘Help Kill Crazy Rumors about Me!’ says Carole Lombard (Mrs. Clark Gable)” (Screenland, May 1940)
      • “At Home with the Gables” (Modern Screen, August 1940)
      • “It Looked Good for a Laugh at the Time” (Silver Screen, January 1941)
      • “Selznick vs. Lombard” (Motion Picture Herald, February 1 1941)
      • “The Girl Who Learned How to Dress” (Photoplay, February 1941)
      • “The Secret of Lombard’s Success” (Modern Screen, October 1940)
      • “The Gags of the Gables…Like Crazy!” (Photoplay, April 1941)
    • Posthumous
      • “Nation Mourns Lombard Death” (The Exhibitor, January 1942)
      • “Goodbye, Carole” (Modern Screen, April 1942)
      • “A Letter to Heaven” (Screenland, April 1942)
      • “Bond Sale Up to 35 Million for Sept 16” (Motion Picture Daily, September 18 1942)
      • “The Story Gable Wouldn’t Tell” (Modern Screen, November 1942)
      • “What the Loss of Carole Lombard Means to Clark Gable” (Photoplay, April 1942)
      • “Why Gable Wants to Fight” (Motion Picture, October 1942)
      • “Clark Gable’s Haunted Love Life” (Silver Screen, August 1955)
      • “Carole Lombard – the Perfect Realist” (The Stars, 1962)
      • “Carole Lombard: Hollywood’s Leading Hostess” (American Movie Classics, June 1992)
  • Films
    • Silent Films
      • A Perfect Crime (Allan Dwan, 1921)
      • Gold Heels (W.S. Van Dyke, 1924)
      • Dick Turpin (John G. Blystone, 1925)
      • Marriage in Transit (Roy William Neill, 1925)
      • Hearts and Spurs (W.S. Van Dyke, 1925)
      • Durand of the Badlands (Lynn Reynolds, 1925)
      • The Road to Glory (Howard Hawks, 1926)
      • Smith’s Pony (Alfred J. Goulding, 1927)
      • A Gold Digger of Weepah (Harry Edwards, 1927)
      • My Best Girl (Sam Taylor, 1927)
      • The Girl from Everywhere (Edward F. Cline, 1927)
      • Run, Girl, Run (Alfred J. Goulding, 1928)
      • The Beach Club (Harry Edwards, 1928)
      • Smith’s Army Life (Alfred J. Goulding, 1928)
      • The Best Man (Harry Edwards, 1928)
      • The Swim Princess (Alfred J. Goulding, 1928)
      • The Bicycle Flirt (Harry Edwards, 1928)
      • His Unlucky Night (Harry Edwards, 1928)
      • Smith’s Restaurant (Phil Whitman, 1928)
      • The Divine Sinner (Scott Pembroke, 1928)
      • The Girl from Nowhere (Harry Edwards, 1928)
      • The Campus Carmen (Alfred J. Goulding, 1928)
      • Power (Howard Higgin, 1928)
      • Me, Gangster (Raoul Walsh, 1928)
      • Motorboat Mamas (Harry Edwards/Phil Whitman, 1928)
      • Show Folks (Paul L. Stein, 1928)
      • Hubby’s Weekend Trip (Harry Edwards, 1928)
      • The Campus Vamp (Harry Edwards, 1928)
      • Ned McCobb’s Daughter (William J. Cowen, 1928)
      • Matchmaking Mamma (Harry Edwards, 1929)
      • Don’t Get Jealous (Phil Whitman, 1929)
    • Sound Films
      • High Voltage (Howard Higgin, 1929)
      • Big News (Gregory La Cava, 1929)
      • The Racketeer (Howard Higgin, 1929)
      • The Arizona Kid (Alfred Santell, 1930)
      • Safety in Numbers (Victor Schertzinger, 1930)
      • Fast and Loose (Fred C. Newmeyer, 1930)
      • It Pays to Advertise (Frank Tuttle, 1931)
      • Man of the World (Richard Wallace, 1931)
      • Ladies’ Man (Lothar Mendes, 1931)
      • Up Pops the Devil (A. Edward Sutherland, 1931)
      • I Take This Woman (Marion Gering, 1931)
      • No One Man (Lloyd Corrigan, 1932)
      • Sinners in the Sun (Alexander Hall, 1932)
      • Virtue (Edward Buzzell, 1932)
      • No More Orchids (Walter Lang, 1932)
      • No Man of Her Own (Wesley Ruggles, 1932)
      • From Heaven to Hell (Erle C. Kenton, 1933)
      • Supernatural (Victor Halperin, 1933)
      • The Eagle and the Hawk (Stuart Walker, 1933)
      • Brief Moment (David Burton, 1933)
      • White Woman (Stuart Walker, 1933)
      • Bolero (Wesley Ruggles, 1934)
      • We’re Not Dressing (Norman Taurog, 1934)
      • Twentieth Century (Howard Hawks, 1934)
      • Now and Forever (Henry Hathaway, 1934)
      • Lady by Choice (David Burton, 1934)
      • The Gay Bride (Jack Conway, 1934)
      • Rumba (Marion Gering, 1935)
      • Hands Across the Table (Mitchell Leisen, 1935)
      • Love Before Breakfast (Walter Lang, 1936)
      • The Princess Comes Across (William K. Howard, 1936)
      • My Man Godfrey (Gregory La Cava, 1936)
      • Swing High, Swing Low (Mitchell Leisen, 1937)
      • Nothing Sacred (William A. Wellman, 1937)
      • True Confession (Wesley Ruggles, 1937)
      • Fools for Scandal (Mervyn LeRoy, 1938)
      • Made for Each Other (John Cromwell, 1939)
      • In Name Only (John Cromwell, 1939)
      • Vigil In The Night (George Stevens, 1940)
      • They Knew What They Wanted (Garson Kanin, 1940)
      • Mr. & Mrs. Smith (Alfred Hitchcock, 1941)
      • To Be or Not To Be (Ernst Lubitsch, 1942)
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The Screwball Girl

Preserving the life and legacy of Carole Lombard

1920s

  • Excerpt from Louella Parsons’ syndicated column (The Los Angeles Examiner, July 1927)
  • “Three Comedy Units Underway at Sennett Studio” (The Los Angeles Times, July 1927)
  • “Cheek Scar Value Put Up to Judge” (The Los Angeles Times, October 1927)
  • “Suit Over Scar on Girl Settled” (The Los Angeles Times, October 1927)
  • “A Teddy-Made Actress” (Motion Picture, May 1929)
  • “Lombard – Unlimited” (Screenland, September 1929)

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