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Mary Fields

Mary Fields (c. 1832 – December 5, 1914), known as Stagecoach Mary, was an African American frontierswoman and the first Black woman employed by the as a star route , delivering mail across rural from 1895 to 1903. Born into slavery in in the early 1830s, she was emancipated following the and later traveled west, where she worked with the Ursuline Sisters at St. Peter's Mission, tending gardens, hunting game, and freighting supplies before securing her historic postal role. Renowned for her physical strength, fearlessness in the face of bandits and harsh weather, and unyielding independence, Fields broke racial and gender barriers in the male-dominated Wild West, earning respect in communities like Cascade, , despite facing subtle and societal constraints. After her postal career, Fields operated a laundry and boardinghouse in Cascade into her later years, continuing to embody resilience by carrying a shotgun for protection and enjoying simple pleasures like flowers and caring for children, countering myths of her as solely a rough frontiersman. Her legacy endures as a symbol of Black female empowerment and perseverance on the American frontier, inspiring representations in literature, film, and local lore, including serving as the mascot for Cascade's baseball team long after her death.

Early life

Birth and adoption

Mary Field was born on June 10, 1909, in , , USA. Her biological parents are unknown, and she was given the birth name Olivia Rockefeller based on a note pinned to her clothing when she was abandoned as an infant outside the doors of a or orphanage in . No records of her biological family have been identified or made public.

Education and early interests

Mary Field was adopted and attended Brentwood Hall School in . There, she developed an interest in the , including skills in mimicking accents that later aided her acting career. Her early endeavors included participating in school plays and local theater productions, which fueled her ambition to enter the industry amid the Great Depression's challenges. With support from her adoptive family, these activities solidified her commitment to acting as she transitioned toward paid opportunities.

Acting career

Breakthrough in film

Mary Field entered Hollywood in 1937 by signing a contract with Warner Bros. Studios, a pivotal step that launched her professional acting career. This opportunity arose following an audition that showcased her potential as a supporting player in the studio's burgeoning roster of talent. Her debut came the same year in the historical adventure film The Prince and the Pauper, directed primarily by William Keighley with uncredited contributions from William Dieterle, where she portrayed the minor but memorable role of Mrs. Canty, the mother of the pauper Tom Canty. During her initial years from 1937 to 1940, Field's work consisted largely of uncredited bit parts and small supporting roles in major productions, reflecting the hierarchical structure of the where contract players honed their skills amid high-profile films. Representative examples include her uncredited appearance as Elsie's secretary in the comedy Call It a Day (1937) and credited roles such as Hester in the drama White Banners (1938) opposite , Myrtle Semple in the musical comedy Cowboy from Brooklyn (1938), and an uncredited bit part as Millie, Mrs. Updyke's maid, in the crime thriller (1938). These assignments often placed her in ensemble casts of historical dramas and genre pictures, allowing her to build a resume while adapting to the demands of on-screen performance, including dialogue delivery in an era dominated by sound films—a transition that her prior theatrical training facilitated effectively. By 1940, Field transitioned to more consistent supporting roles, marking a stabilization in her early career trajectory within the studio. Notable among these were her performances as Alice Chapman in the Western The Trail Blazers (1940) and a supporting part in the Revolutionary War drama The Howards of Virginia (1940) alongside , as well as Miss May in the musical Dancing Co-Ed (1939). Her experiences under directors like Dieterle during exposed her to the collaborative intensity of ' prestige projects, helping her navigate the competitive environment where bit players vied for visibility amid the era's production quotas and pressures.

Major film roles and typecasting

During the 1940s and early 1950s, Mary Field appeared in numerous supporting roles that showcased her versatility within the constraints of Hollywood's character acting ecosystem. Her performances often featured in ensemble casts of major studio productions, where she brought subtle depth to peripheral figures, earning a reputation for reliability among directors and co-stars. Field's initial studio contract, secured in the late 1930s, paved the way for these opportunities, allowing her to contribute to high-profile films across Warner Bros. and other major studios. Field was frequently typecast as "plain Jane" spinsters, maternal figures, or comic relief characters, reflecting the era's limited archetypes for non-lead actresses. Common roles included nosy maids, prudish secretaries, shop clerks, librarians, and nurses, often infused with a mix of comic timing and poignant vulnerability that distinguished her from more stereotypical portrayals. This typecasting, while confining, highlighted her skill in elevating brief appearances; for instance, in Ball of Fire (1941), she played the eccentric Miss Totten, a wealthy patron whose quirky demeanor added levity to the screwball comedy ensemble led by Gary Cooper and Barbara Stanwyck. Her work in Warner Bros. dramas like Jezebel (1938), where she appeared uncredited as a woman at the Olympus Ball, and Mrs. Miniver (1942), as the uncredited Miss Spriggins in the wartime family saga, exemplified her ability to provide grounded support amid star-driven narratives. In holiday classic (1947), Field portrayed the Dutch girl's adopted mother in an uncredited role, contributing to the film's warm, ensemble charm in a memorable scene at department store that underscored themes of belief and community. She appeared in an uncredited role as a nurse in The Other Love (1947) alongside . These roles in RKO and , including appearances alongside in films like (1938), solidified her as a dependable ensemble player whose understated presence enhanced the emotional texture of classic storytelling. Despite the repetition of spinsterly or maternal tropes, Field's interpretations often carried a unique individuality, blending humor and to avoid one-dimensionality, as noted in contemporary reviews of her reliable contributions to the industry's output.

Transition to television

As film opportunities diminished in the early 1950s due to the decline of the Hollywood studio system and the concurrent rise of television broadcasting, Mary Field transitioned to the small screen, beginning with guest roles in anthology series. Her earliest television appearances included four episodes of Chevron Theatre in 1952–1953, where she portrayed supporting characters in dramatic stories, marking her adaptation to the episodic format that emphasized quick character development over the sustained narratives of feature films. This shift aligned with broader industry changes, as studios lost control over talent contracts following the 1948 Paramount Decree, prompting many character actors like Field to seek work in the burgeoning TV market. Field amassed approximately 20 television credits over the decade, often reprising her film-honed typecasting as kindly, no-nonsense women—such as townsfolk, wives, and matronly figures—in Westerns and family dramas. She appeared in multiple episodes of Gunsmoke during the 1950s and 1960s, including as Minerva Cobb in "Till Death Do Us Part" (1960) and Clara Ott in "Coventry" (1962), embodying resilient frontier women amid the show's tales of moral dilemmas in . Similarly, she featured in at least two episodes of Wagon Train from 1957 onward, playing supporting pioneer roles like Mrs. Gillespie in "The Horace Best Story" (1959), which allowed her to leverage her experience with ensemble casts from B-movies. Other notable anthology appearances included six episodes of Topper (1953–1955) as Thelma Gibney, Henrietta Topper's friend, two on The Loretta Young Show (1953–1962), and single outings on Mr. Adams and Eve (1957) and The Pepsi-Cola Playhouse (1954). Field's final role came in 1963 as Sister Agnes, a Roman Catholic nun, in the CBS series Going My Way, a gentle comedy-drama inspired by the 1944 film. After 26 years in the industry, she retired from acting that year, influenced by ageism against women over 50 and the evolving demands of television production, which favored younger talent and more dynamic formats. Her television work, while not leading, sustained her career by capitalizing on the medium's demand for familiar, reliable supporting players from the film era.

Personal life

Marriages and family

Mary Field's first marriage was to Allan Douglas in the early ; the couple divorced by the mid-, and no children resulted from the union. In the late , she married Walters II, with whom she remained until his death in 1982; this was her only subsequent marriage. Field and Walters had two children—a son named Walters III and a daughter named Susana Walters—both born in the 1950s. The family resided in , where Field balanced her commitments with raising her children; limited public information exists regarding the parenting challenges she encountered during this period.

Retirement and later residence

Following her retirement from in 1963, Mary Field relocated to , where she resided quietly with her husband for nearly two decades. During this period, she engaged in community activities, including involvement with the Hollywood Church of , and focused on personal pursuits away from the entertainment industry. After her husband's death in 1982, Field moved to , to live with her daughter Susana Kerstein and son-in-law Bob Kerstein, where she enjoyed interactions with her extended family, including grandchildren, in her remaining years.

Death and legacy

Circumstances of death

Mary Field died on June 12, 1996, two days after her 87th birthday, at her home in , from complications of a . No prolonged illness had been reported prior to the . She lived there with her , , and was survived by them and two grandchildren. She was cremated, and her ashes were given to her .

Career impact and recognition

Mary Field is recognized as a quintessential character actress of , embodying everyday American women—such as maids, nurses, secretaries, and housewives—in over 100 film and television projects spanning to the . Her portrayals contributed to the authenticity of ensemble casts in numerous classics, highlighting the resilience and relatability of ordinary characters amid dramatic narratives. Field's cultural impact endures through iconic minor roles in enduring films, including her uncredited appearance as the Dutch girl's adopted mother in (1947), a scene central to the film's holiday legacy and annual viewings. She also supported wartime morale efforts with her uncredited role as Miss Spriggins in (1942), a Best Picture Oscar winner that bolstered Allied spirits during . During her lifetime, Field received no major awards, a common oversight for non-lead performers in the studio era despite her prolific output. Posthumously, her work has garnered limited but growing acknowledgment in film scholarship, though it remains underrepresented in major retrospectives owing to her supporting status; her television Western roles in series like and hold untapped potential for archival rediscovery.

Filmography

Selected film credits

Mary Field appeared in approximately 103 films during her career, primarily in supporting roles, many uncredited, spanning from 1937 to the 1950s. Her screen debut came in (1937), where she portrayed Mrs. Canty, the devoted mother of the pauper , in William A. Keighley's adaptation of Mark Twain's novel starring as Miles Hendon and as the title characters. In (1938), Field had an uncredited appearance as a woman at the Olympus Ball, contributing to the atmospheric Southern society scenes in William Wyler's drama led by as the headstrong Julie Marsden and as Preston Dillard. A standout credited performance was as Miss Totten, one of the straitlaced librarians aiding the professors in their quest for modern slang, in Howard Hawks's (1941), co-starring as Professor Bertram Potts and as nightclub singer Sugarpuss O'Shea. In the Academy Award-winning wartime drama (1942), she appeared uncredited as Miss Spriggins, a minor villager amid , in William Wyler's film headlined by as the resilient title character and as her husband Clem. Field played the Dutch Girl's Adopted Mother in an uncredited role in the beloved holiday film (1947), directed by , where she appears in a touching scene affirming belief in alongside stars , John Payne, and as . Additional significant credits include Shadows on the Stairs (1941), as the credited Phoebe St. John Snell in D. Ross Lederman's mystery thriller with Heather Angel and investigating a murder; Ministry of Fear (1944), an uncredited bit part in Fritz Lang's suspenseful adaptation of Graham Greene's novel starring as a man ensnared in ; Life with Father (1947), as the credited maid Nora in Michael Curtiz's comedy based on Clarence Day's stories, featuring and ; and Out of the Past (1947), an uncredited role as Marny, the diner owner, in Jacques Tourneur's classic with as a haunted by his past alongside and .

Television appearances

Mary Field's television career began in the early 1950s and provided a significant extension to her acting life beyond feature films, allowing her to continue portraying roles in episodic formats until her retirement in 1963. With approximately 25 television credits, primarily in Westerns and family dramas aired on and , she often played matronly figures, housewives, or supporting community members, drawing on her established screen persona. Her most notable recurring work came in Western series. In Gunsmoke (CBS, 1955–1975), Field appeared in at least two episodes as various matrons during the late 1950s and early 1960s. She portrayed Minerva Cobb, a long-suffering wife enduring domestic abuse, in "Till Death Do Us" (Season 5, Episode 19, aired January 16, 1960), where the plot centers on a attempted murder tied to her plight. In "Coventry" (Season 7, Episode 24, aired March 17, 1962), she played Clara Ott, a local storekeeper caught in a community's ostracism of an acquitted killer. Field also featured in (NBC/ABC, 1957–1965), embodying pioneer women in the rugged frontier narratives. A key appearance was as Mrs. Gillespie in "The Horace Best Story" (Season 4, Episode 2, aired October 5, 1960), involving the assembly of a in and themes of organization and departure. Earlier in her TV tenure, she guested in anthology and comedy series. In Topper (CBS, 1953–1955), Field played Thelma Gibney, a friend of the protagonist's wife, in "The Spinster" (Season 1, Episode 6, aired November 13, 1953). On (NBC, 1953–1961), she appeared as Helen Merchant in the holiday-themed "Time and Yuletide" (Season 2, Episode 16, aired December 19, 1954), set in a and where characters seek companionship during the season. In the sitcom Mr. Adams and Eve (CBS, 1957–1958), Field portrayed Mrs. Palmer in "The Stunt Man" (Season 2, Episode 35, aired May 27, 1958), a lighthearted story involving a party and a stunt-related mishap among celebrities. Field's final television role marked a departure into dramatic religious themes. In Going My Way (ABC, 1962–1963), she appeared as Sister Agnes, a supportive , across six episodes from 1962 to 1963, contributing to stories exploring , , and personal redemption in a parish setting.

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