Marjorie Main

Marjorie Main

Hollywood's Queen of the Crusty Character

Marjorie Main (born Mary Tomlinson, 1890–1975) was a beloved American character actress known for her raspy voice, no-nonsense demeanor, and comedic timing. Raised in rural Indiana, she defied her conservative upbringing to pursue acting, first on stage, then in film.

Her breakout role came in Dead End (1937), and she gained fame at MGM in the 1940s. Main became iconic as Ma Kettle in The Egg and I (1947), earning an Oscar nomination and starring in nine spin-offs. She excelled in both comedy and drama, appearing in Meet Me in St. Louis, The Harvey Girls, and Friendly Persuasion.

Though private in her personal life, her roles resonated with audiences for their warmth and grit. She retired in the late 1950s and died of lung cancer in 1975. Her legacy endures as one of Hollywood’s most unforgettable character actresses.

Related

Meet Me in St. Louis - 1944

Marjorie Main (1890 – 1975)

Biography and Movie Career

Born Mary Tomlinson on February 24, 1890, in Acton, Indiana, Marjorie Main would go on to become one of Hollywood’s most beloved and distinctive character actresses. Known for her rough-edged, no-nonsense personas—often loud, homespun, and hilariously blunt—Main built a career that defied conventional standards of beauty and femininity in Hollywood. Yet beneath her gritty screen presence was a woman of depth, intellect, private sorrows, and unexpected warmth.

Early Life

Mary was the daughter of Samuel J. Tomlinson, a conservative minister in the Disciples of Christ Church, and Jennie McGaughey Tomlinson. Her upbringing was deeply religious and quite strict, rooted in Midwestern values. As a child, Mary was intelligent and sensitive, though often considered odd or eccentric. From a young age, she gravitated toward performance, finding solace in stories and characters that allowed her to express a broader emotional world than her sheltered upbringing permitted.

After graduating from Fairland High School in Indiana, she attended Franklin College, a small Christian institution, and later enrolled at the Hamilton School of Dramatic Expression in Lexington, Kentucky. Despite her father’s disapproval of acting as a profession, Mary forged ahead. To shield her family from the stigma of show business, she adopted the stage name Marjorie Main, inspired by a relative.

Stage and Vaudeville Years

Main began her career on the Chautauqua circuit and with stock theater companies, performing Shakespeare and other classics. She paid her dues in small towns, traveling constantly and appearing in everything from melodramas to vaudeville acts. Her Broadway debut came in 1916 with the play Cheating Cheaters. Over the next two decades, she became a regular on the New York stage, appearing in over 20 Broadway productions.

She achieved particular acclaim in the stage play Dead End (1935), where she played the hardened mother of a juvenile delinquent. It was a role that would later be her ticket into Hollywood.

Hollywood Career

Marjorie Main made her film debut in the early 1930s, initially appearing in small and often uncredited roles. Her sharp voice, angular face, and tough demeanor made her a natural for “hard-boiled” character parts. By the late 1930s, she was landing more significant roles in films like Dead End (1937) and The Women (1939).

In 1940, she signed a contract with MGM, which marked the beginning of her most prolific period. Main became a scene-stealer in supporting roles, often cast as eccentric aunts, housekeepers, or comic relief figures. Her performances in films such as Meet Me in St. Louis (1944), The Harvey Girls (1946), and Dark Command (1940) showcased her range and comedic timing.

However, it was the 1947 film The Egg and I, co-starring Claudette Colbert and Fred MacMurray, that catapulted her to iconic status. Her role as the irrepressible, unkempt Ma Kettle won her an Academy Award nomination for Best Supporting Actress. The public response was so enthusiastic that Universal Pictures launched a series of Ma and Pa Kettle films, in which she starred alongside Percy Kilbride. The series ran for nearly a decade and was instrumental in saving Universal from financial trouble.

Personal Life and Private Struggles

In 1921, Main married Dr. Stanley LeFevre Krebs, a psychologist and lecturer known for his writings on spiritualism and critical thinking. Their marriage was unconventional and reportedly somewhat distant; they lived apart for long periods due to work, and by most accounts, it was a marriage of mutual respect more than romantic attachment. Dr. Krebs died in 1935, and Main never remarried.

Despite her famously loud and gruff on-screen persona, Main was known in private life to be shy, deeply spiritual, and something of a recluse. She never had children. After her husband's death, she developed close friendships, one of the most notable being with fellow actress Spring Byington. The two lived together for many years, and their companionship has led some modern historians to suggest the possibility of a romantic relationship, though Main herself remained intensely private on the matter.

A devout spiritual seeker, she became involved with the Moral Re-Armament Movement, a Christian spiritual revival group. She turned down many public appearances and rarely gave interviews, preferring a quiet life away from the spotlight. Her passions included classical music, poetry, and caring for her pets.

Retirement and Death

Marjorie Main officially retired from film in the late 1950s. Her final film role was in The Kettles on Old MacDonald's Farm (1957), the last of the Kettle series. She made a brief appearance on television in Wagon Train (1958) before stepping out of public life entirely.

Main spent her remaining years living modestly in Los Angeles, surrounded by books, pets, and a small circle of close friends. On April 10, 1975, she died of lung cancer at the age of 85. She was interred at Forest Lawn Memorial Park in the Hollywood Hills beside her husband.

Legacy

Marjorie Main’s legacy endures as one of classic Hollywood’s most recognizable and beloved character actresses. She brought warmth, humor, and grit to roles that might otherwise have been overlooked. Her portrayals of working-class women, often loud and bossy but always human, gave voice to an underrepresented segment of American life. She never conformed to Hollywood’s expectations of glamour, and in doing so, carved out a space for individuality and character over vanity.

Her enduring performance as Ma Kettle remains a cultural touchstone, but her broader body of work reveals a much richer and more nuanced talent. Off-screen, she was introspective and private, but on-screen, she was unforgettable.

Physical Characteristics

• ·  Height: Approximately 5 feet 10 inches (178 cm)
• ·  Build: Tall and angular, with a broad frame and strong posture.
• ·  Figure: Described as sturdy or matronly; not slender or curvaceous by Hollywood norms of the time.
• ·  Hair: Brown, usually worn in simple, functional styles for roles.
• ·  Eyes: Blue or grey-blue, often described as sharp or penetrating.
• ·  Voice: Deep, rasping, and uniquely expressive—arguably her most recognizable feature.

Marjorie Main Measurements

Estimated Measurements: Approximately 42-34-44 in (107-86-112 cm)

• Bust: Full and broad, consistent with her matronly roles
• Waist: Moderately defined, but not narrow by Hollywood standards
• Hips: Wide and proportionate to her tall, strong frame

Her Net Worth

Marjorie Main’s net worth—like many Golden‑Age character actresses—was never publicly detailed, so estimates vary. One recent estimate suggests she accumulated a substantial fortune:

Approximately $5 million, based on her long-running roles (especially the Ma and Pa Kettle series), prudent financial habits, and consistent work spanning stage, film, radio, and television

It's important to treat this figure as an approximation rather than hard fact. At the time of her death in 1975, $5 million would have represented considerable wealth, especially for a woman whose strength lay in character acting rather than blockbuster stardom. Much of her legacy remains centered on her enduring on-screen contributions—not her bank balance.

Marjorie Main Video Bio

The Art of Being Real: Marjorie Main’s Acting Style

Marjorie Main was not glamorous. She was not graceful, nor was she particularly soft-spoken. But what she was—in every role—was authentic, and that became the cornerstone of her enduring appeal. In an industry built on polish and perfection, Main brought a rough-hewn honesty to the screen that audiences found both refreshing and magnetic.

Earthy Realism and Physicality

Main’s performances were grounded in a physical authenticity that made her characters believable and relatable. She moved like someone who had spent her life working—shoulders forward, steps deliberate, gestures efficient. Whether playing a frontier wife, a cranky landlady, or the iconic Ma Kettle, she seemed like a woman who scrubbed her own floors and could chop wood if needed.

Her body language was blunt and unfussy. She rarely posed or played to the camera. Instead, she occupied space the way real people do, often slouching, folding her arms, or barking over her shoulder while leaving a room—details that made her scenes feel like eavesdropping on real life.

A Voice Like Gravel and Gunpowder

Main's voice was unmistakable: rasping, throaty, often loud, and tinged with a Midwestern twang. It wasn’t classically “beautiful,” but it was deeply expressive. Her vocal delivery had a rhythm all its own—part scolding, part sermon, part barnyard bark. It conveyed weariness, suspicion, humor, and tenderness, often all at once.

This voice became her calling card. Whether delivering a caustic one-liner or yelling for someone to “get in here this instant!”, Main’s vocal presence alone could define a scene. Yet, for all its roughness, her voice could also soften into something unexpectedly gentle, revealing the emotional layers beneath her gruff exterior.

Timing and Comedy

Marjorie Main possessed impeccable comic timing, rooted not in punchlines but in character-based humor. She didn’t tell jokes; she was the joke—but never in a way that made her the butt of it. Her humor emerged from personality: misplaced confidence, world-weary sarcasm, blunt observations about others’ foolishness.

In the Ma and Pa Kettle films, her delivery was delightfully dry and matter-of-fact, especially when reacting to absurd situations with exasperated realism. She played well off more theatrical or “refined” co-stars by anchoring their energy with her grounded presence.

A Master of the "Type" Without Being Trapped by It

Main was often cast in character roles: the tough matron, the pioneer woman, the no-nonsense cook or landlady. But rather than becoming a cliché, she gave these roles emotional integrity. Even when playing broadly comic figures like Ma Kettle, she resisted the urge to mug for the camera or parody rural life.

Her characters were rarely glamorous, but they were human—and through subtle shifts of tone or facial expression, she revealed their inner lives: frustration, longing, pride, even loneliness. That’s what made her so effective in dramas like Friendly Persuasion or The Women.

Duality: Tough Shell, Tender Core

One of the defining features of Marjorie Main’s acting was her ability to balance harshness with heart. She could storm into a room like a cyclone, barking orders or slamming a pot on the stove, only to reveal moments later a deep compassion or vulnerability. Her characters were seldom polished, but they were protective, resilient, and often loving in their own rough-edged way.

This duality gave her roles emotional weight. Audiences laughed at her antics, yes—but they also rooted for her, trusted her, and remembered her long after the movie ended.

Memorable Movie Quotes

As Ma Kettle (The Egg and I, Ma and Pa Kettle series)

• “I ain’t one to complain… but I do anyway.”
  – A classic Ma Kettle line, summing up her ornery charm.
• “Pa, stop fiddlin’ with that contraption and get the cow outta the kitchen!”
  – From one of the Kettle films, capturing her bossy, practical style.
• “Work? That’s your department, Pa. Mine’s worryin’.”
  – A line that made audiences laugh—and recognize their own relatives.
• “That’s the trouble with city folk—they’re always trying to improve things that ain’t broke.”
  – A subtle jab at modernity that still resonates.

Behind-the-Scenes and Personal Reflections

Though Main rarely gave personal interviews and kept a low profile, a few quotes about her work and life survive:

• “They gave me a mop and told me to be funny. So I was.”
  – Reportedly how she described her early film roles.
• “I'm not a pretty woman. I never was. But they knew I could play one hell of a mother.”
  – A candid reflection on Hollywood typecasting.
• “What I am on the screen is what most people secretly are inside.”
  – A perceptive comment on her characters’ emotional honesty.

Awards and Recognition of Marjorie Main

Academy Award Nomination

• 1948 – Best Supporting Actress for The Egg and I (1947)
  • This nomination came for her breakout performance as Ma Kettle, a no-nonsense rural matriarch. The role was originally a supporting character but proved so popular that it led to the creation of the Ma and Pa Kettle film series. Her performance was widely praised for its comedic timing and authenticity.

Golden Globe Nomination

• 1957 – Best Supporting Actress – Motion Picture for Friendly Persuasion (1956)
  • In this drama directed by William Wyler, Main played The Widow Hudspeth, a devout and fiery Quaker woman. The film itself was nominated for multiple Oscars and showcased her ability to bring comic edge and emotional depth to a more dramatic story.

Hollywood Walk of Fame

• 1960 – Star on the Hollywood Walk of Fame
  • Category: Motion Pictures
  • Address: 6241 Hollywood Blvd, Los Angeles, CA
  • This honor recognized her significant contribution to film, particularly as a beloved character actress during the Golden Age of Hollywood.

Industry Recognition and Cultural Impact

While she did not receive a wide array of competitive awards (not uncommon for character actors of her era), Marjorie Main was widely acknowledged by peers, critics, and audiences for her unique screen presence. Her cultural impact was especially marked in:

• Universal Pictures’ financial success: Her role as Ma Kettle was instrumental in sustaining the studio through a difficult financial period in the late 1940s and early 1950s.
• Pioneering representation of rural American women: She became an enduring archetype of the strong, plainspoken, salt-of-the-earth woman.
• Fan following: Her portrayal of Ma Kettle earned her an enduring fan base that lasted decades beyond her retirement.

Posthumous Recognition

• Film retrospectives: TCM and other classic film outlets often feature Marjorie Main in retrospectives, particularly her work with MGM and Universal.
• Critical reevaluation: In recent years, scholars and critics have revisited her work as an example of how female character actors brought dimension and humanity to supporting roles.

Marjorie Main Movies

1931

• A House Divided – Main’s first screen appearance: an extra at a wedding.

1932

• Broken Lullaby, Hot Saturday – Small, uncredited roles in drama and romance.

1933–1934

• Appeared in early shorts and features such as Crime Without Passion and Music in the Air, playing supporting roles—an uncredited wardrobe woman and Anna respectively

1937 (Breakthrough Year)

• Love in a Bungalow – Town gossip Miss Emma Bisbee.
• Stella Dallas – Matronly Mrs. Martin.
• Dead End – Played Baby Face Martin’s hardened mother; reprised her famed Broadway role
• The Man Who Cried Wolf, The Wrong Road, Boy of the Streets, The Shadow – Variety of character parts.

1938

• Appeared mostly in uncredited character roles: landlady, matron, aunt, in films like Test Pilot, Romance of the Limberlost, and Prison Farm

1939

• The Women – Played ranch owner Lucy, reprising her stage role.
• Other roles: landlady Mrs. Dolley in Another Thin Man, Miss Carey in Two Thoroughbreds.

1940

• Signed with MGM; roles include Mrs. Cantrell in Dark Command and cook Nora in Turnabout. Starred as Mehitabel in Wyoming

1941

• Extensive work: Barnacle Bill (Marge Cavendish), The Shepherd of the Hills (Granny Becky), Honky Tonk, The Wild Man of Borneo and more

1942–1943

• Shared screentime with Wallace Beery in Jackass Mail and Bad Bascomb. Supporting roles in The Bugle Sounds, Tish, Heaven Can Wait, and Johnny Come Lately

1944–1946

• Featured as Katie in Meet Me in St. Louis (1944), cook Sonora Cassidy in The Harvey Girls (1946), alongside roles in Gentle Annie, Undercurrent, The Show-Off

1947–1948 (Breakout Role)

• The Egg and I – Debut as Phoebe "Ma" Kettle; earned Academy Award nomination
• Also starred in Abbott & Costello film The Wistful Widow of Wagon Gap and Feudin’, Fussin’ and A‑Fightin’ (1948).

1949–1957 (Ma and Pa Kettle Series)

• Ma and Pa Kettle (1949)
• Ma and Pa Kettle Go to Town (1950)
• Ma and Pa Kettle Back on the Farm (1951)
• Ma and Pa Kettle at the Fair (1952)
• Ma and Pa Kettle on Vacation (1953)
• Ma and Pa Kettle at Home (1954)
• Ma and Pa Kettle at Waikiki (1955)
• The Kettles in the Ozarks (1956)
• The Kettles on Old MacDonald’s Farm (1957, final film)

Other Standouts (1950–1956)

• Summer Stock (1950) – played Esme in MGM’s musical.
• Mrs. O’Malley and Mr. Malone (1950) – comedic murder mystery.
• Mr. Imperium, The Law and the Lady, It’s a Big Country, The Belle of New York, Fast Company, The Long, Long Trailer, Rose Marie, Ricochet Romance, and Friendly Persuasion (1956) as the Widow Hudspeth earning a Golden Globe nod