Marjorie Rambeau - Private Life

Private Life

Rambeau was married three times but bore no children:

  • The first was in 1913 to Canadian writer, actor, and director Willard Mack. They divorced in 1917.
  • She then married another actor, Hugh Dillman McGaughey, in 1919. They divorced in 1923. Dillman later married Anna Thompson Dodge, widow of automobile magnate Horace Elgin Dodge, Sr., and one of the wealthiest women in the world.
  • Rambeau's last marriage was to Francis Asbury Gudger in 1931, with whom she remained until his death in 1967. Gudger was from Asheville, North Carolina. In the winters they often stayed there, and in the summer they lived in Sebring, Florida. His previous wife was killed in an automobile accident in Tampa two years before, but Rambeau and Gudger had been sweethearts years before when the former was the "toast of Broadway".

She died at her home in Palm Springs, California and was buried in the Desert Memorial Park.

Read more about this topic:  Marjorie Rambeau

Famous quotes containing the words private life, private and/or life:

    In private life he was good-natured, chearful, social; inelegant in his manners, loose in his morals. He had a coarse, strong wit, which he was too free of for a man in his station, as it is always inconsistent with dignity. He was very able as a minister, but without a certain elevation of mind necessary for great good, or great mischief.
    Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)

    One key, one solution to the mysteries of the human condition, one solution to the old knots of fate, freedom, and foreknowledge, exists, the propounding, namely, of the double consciousness. A man must ride alternately on the horses of his private and public nature, as the equestrians in the circus throw themselves nimbly from horse to horse, or plant one foot on the back of one, and the other foot on the back of the other.
    Ralph Waldo Emerson (1803–1882)

    Human life itself may be almost pure chaos, but the work of the artist—the only thing he’s good for—is to take these handfuls of confusion and disparate things, things that seem to be irreconcilable, and put them together in a frame to give them some kind of shape and meaning. Even if it’s only his view of a meaning. That’s what he’s for—to give his view of life.
    Katherine Anne Porter (1890–1980)