(July 10, 1899 - January 9, 1936)

Known as "the great lover," he rivaled even the great Rudolph Valentino as a box office draw. Though he was often cited as one of the high profile examples of an actor who was unsuccessful in making the transition to talkies, his decline as a star in fact had as much to do with studio politics and money as did the sound of his screen voice.

Born John Cecil Pringle in Logan, Utah to stock company actor parents, he struggled through a childhood of abuse and neglect before coming to Hollywood as a teenager. He first found work as an extra with the Thomas Ince Studios, and soon became a favorite of Maurice Tourneur, who also hired him to write and direct several pictures. He quickly rose through the ranks, building his reputation as an actor in such films as Heart o' the Hills opposite Mary Pickford. In 1921, Gilbert signed a three year contract with Fox Film Corporation, where he was cast as a romantic leading man.

In 1924, he moved to Metro-Goldwyn-Mayer, where he became a full-fledged star with such high-profile films as His Hour directed by King Vidor and written by Elinor Glyn; He Who Gets Slapped (1924), co-starring Lon Chaney, Sr. and Norma Shearer, and directed by Victor Sjöström; and The Merry Widow (1925) directed by Erich von Stroheim and co-starring Mae Murray. In 1925, Gilbert was once again directed by Vidor in the war epic The Big Parade, which became the second highest grossing silent film in cinema history. His performance in this film made him a major star. The following year, Vidor reunited Gilbert with two of his co-stars from that picture, Renée Adorée and Karl Dane, for the film La Bohème which also starred Lillian Gish.

In 1926, Gilbert made Flesh and the Devil, his first film with Greta Garbo. They soon began a very public relationship, much to the delight of their fans. Gilbert planned to marry her, but Garbo changed her mind and never showed up for the ceremony. Despite their rocky off-screen relationship, they continued to generate box-office revenue for the studio, and MGM paired them in two more silents Love (1927), a modern adaptation of Anna Karenina, and A Woman of Affairs (1928). The former film was slyly advertised by MGM as "Garbo and Gilbert in 'Love'".

Throughout his time at MGM, Gilbert frequently clashed with studio head Louis B. Mayer over creative, social and financial matters. One crucial event occurred on September 8, 1926. While guests were waiting for Garbo to show up for a proposed double wedding ceremony -- Garbo and Gilbert with the director King Vidor and his fiancee, actress Eleanor Boardman -- Mayer allegedly made a crude remark about Garbo to the distraught Gilbert that caused him to fly into a rage and he physically attacked the mogul. Rumor had it that after that event, Gilbert's career began its downward slide. This story has been disputed by some historians, despite its having been reported over a period of twenty years by one major eyewitness, the other bride, Eleanor Boardman who described Mayer's final look at Gilbert as "terrifying". Gilbert did have a powerful supporter in production head Irving Thalberg. The two were old friends and Thalberg made efforts to reinvigorate Gilbert's career, but Thalberg's failing health probably limited such efforts.

With the coming of sound, John Gilbert first spoke in the all-talking musical Hollywood Revue of 1929. He appeared in a Romeo and Juliet Technicolor sequence along with Norma Shearer in which they first played the part straight and then modernized it. Reviewers for the film did not note any problems with Gilbert's voice at this time and, in fact, some praised it. Gilbert's career faltered mainly due to the quality of the projects he was given -- though it is certainly true that his light tenor voice and precise stage diction did not match his dashing screen persona, or what his many fans had imagined him to sound like.

According to film reviews of the day, audiences actually laughed at Gilbert's overly ardent love-making in his first all-talking feature His Glorious Night (1929). Like a number of other romance-oriented early talkies, the dialogue was unintentionally ludicrous and the film played more like a comedy gone bad than a romantic drama. In one scene, Gilbert keeps kissing his leading lady while saying over and over again "I love you". This scene was famously later parodied in the MGM musical Singin' in the Rain (1952) where a preview of the fictional The Dueling Cavalier flops disasterously.

Although Gilbert was given better roles in his later films, his career never recovered from this disaster. The film was released throughout the country to laughing audiences and his image as a great lover was tarnished. His Glorious Night has never been shown on television by Turner Entertainment due to the fact that MGM sold the rights to Paramount for a remake, and Universal -- which currently owns the rights to all pre-1948 Paramount films -- has not done anything with it.

In 1932 MGM made the film Downstairs from Gilbert's original story, in which Gilbert played against type as a scheming, blackmailing chauffeur. The film was well received by critics, but did nothing to restore Gilbert's popularity. Shortly after making the film he married co-star Virginia Bruce; the couple divorced in 1934.

Gilbert starred opposite Garbo for the last time in Queen Christina (1933) directed by Rouben Mamoulian. Garbo was top-billed and Gilbert's name beneath the title. Although his scenes with Garbo are excellent the picture failed to revive his career, with his next film, The Captain Hates the Sea, being his last.

John Gilbert has a star on the Hollywood Walk of Fame at 1755 Vine Street and in 1994, he was honored with his image on a United States postage stamp designed by caricaturist Al Hirschfeld.