Lucille Ball is More Than Just a TV Star — Your Inside Look at Her Life and Career Before ‘I Love Lucy’

Lucy Meets World

Lucille Desiree Ball was born August 6, 1911 in Jamestown, New York to parents Henry Durrell and Desiree “DeDe” Evelyn Ball. As Michael explains it, “Lucy’s early life is very tragic, which I guess is true of many people who become very well-known comedians. Her father was a telephone lineman and he dragged the family out from New York to Montana and then to New Jersey for his job. He died when she was 3 years old, an event that really scarred and colored most of her life, because her mother had to take care of the family. It was kind of a hardscrabble existence, but by all accounts she was a very joyous child. Or as much as she could be.”

“From there,” says Michael, “she got a love for the idea of being on stage. She loved to do plays. She would perform in her house; they had a curtain set up that separated the living room from the hall where you walked in, and she would put on shows. Everything was okay for a while, until her brother Fred got a .22 caliber rifle from their beloved grandfather at a birthday party. He accidentally shot it at one of the other kids they were playing with and that kid ended up seriously injured. After that, the grandfather was run out of Jamestown, so that’s why they moved all around. Later she came back and attended Jamestown High School, where she hung around with kind of a rough crowd.”

The Start of Her Career

In 1925, when Lucy was just 14, part of that rough crowd she hung out with was 21-year-old Johnny DeVita, a local hood. Her mother was completely against the relationship and, after about a year, scraped together the money to send her to the John Murray Anderson School for the Dramatic Arts in New York City, believing it would result in the end to the couple. She was right, though Lucy was far from encouraged by her instructors who felt she didn’t have the necessary talent. Needless to say, she tried to prove them wrong. In 1928, she returned to New York where she found work with fashion entrepreneur Hattie Carnegie as an in-house model, where she ended up dying her brown hair blonde. She was doing well for two years when she was sidelined by a bout of rheumatoid arthritis. “She was confined to a wheelchair,” Michael notes, “and had to learn to walk all over again, supposedly. And when she did, she went back to New York and tried to make it as a model.”

“The thing about Lucy,” he continues, “is that her personal quality enabled her to become a show business and, ultimately, world legend. That quality was perseverance, plus this never-say-die attitude and the desire to make something better of herself for her family so she could keep them together. From her father dying, she needed to have a family near her and not just her mother and brother, but her cousins and grandparents and whoever could be there. So that was a major impetus in her having a career, making money and keeping them together.”

Chesterfield Girl to Hollywood

In 1932 Lucy came back to New York where she tried to make it as an actress, working for Hattie Carnegie to make some money in the meantime, and finding herself on posters and billboards as one of the Chesterfield cigarette girls. “Lucy was down to almost nothing and living on — this is what she said — leftover New York diner coffee and donuts; she would wait for someone to leave and if they hadn’t finished their donuts, she would run over and grab it and pretend that she had left the tip. Or take the tip,” Michael notes. “What happened is that she ran into an agent on the street who spotted her and recognized her from the billboards and asked Lucy if she wanted to go to Hollywood. She did and started out as a bit player in dozens of movies. Usually her first movie is credited as 1933’s Roman Scandals, starring Eddie Cantor, but they’ve discovered earlier movies she had small parts in. She had no speaking parts in most of them and in others just a couple of lines. But she was always watching and learning from her fellow actors, from the crew, from the directors, the lighting people, the prop people and everyone else.”

A Pie in the Face Changes Everything

“The legend,” says Michael, “is that on Roman Scandals, one of the girls refused to take a mud pie in the face, fearing it would hide her beauty on screen. Well, Lucy stepped up and took her place. The director was Busby Berkeley who is said to have told Eddie Cantor to get that girl’s name; that she was the one who was going to make it. While you can’t deny that Lucy’s natural beauty at the time was her ace in the hole, Hollywood was, is and always will be filled with beauties ready for their close-ups. But Lucy was a comedian that combined looks and slapstick comedy so effectively. So her bit parts in movies turned into supporting parts and then starring roles in the late ’30s when she became known as the ‘Queen of the Bs.’ Along the way she began showing some real talent and eventually was signed with RKO.”

“Along the way,” he elaborates, “got what was going to be her own series of films playing a character named Annabel Allison, a dizzy actress whose press agent was always getting her into trouble. He was played by Jack Oakie, a friend of hers, who, after the second movie, which was a success in the late ’30s, apparently asked for a salary that was commensurate with the budget of the picture, because he was a better known star. So they couldn’t make any more, which was OK because, by then, Lucy was getting important parts in movies like Stage Door with Katharine Hepburn, Ginger Rogers and Eve Arden — which was probably Lucy’s best early movie.”

He points to 1940’s Dance, Girl, Dance as another example of her onscreen evolution. In it, Maureen O’Hara plays a dancer who wants to do ballet and Lucy’s character is a stripper named Bubbles. “It’s these two women who want to be dancers, but Lucy’s character basically just wants money. In the end, Bubbles ends up more famous as a stripper after she leaves the group they were a part of and Maureen O’Hara ends up being her stooge on stage in Vaudeville. It’s like she would come out and try and do ballet and the audience would laugh at her. Then Lucy would come out an do a strip and they’d start applauding. A very interesting script for 1940, directed by the first female director in Hollywood, Dorothy Arzner, and starring these two strong women. It was put in the National Registry of Film, so it’s considered an important movie.”

Another significant role was 1942’s The Big Street, which paired Lucy up with Henry Fonda. Describes Michael, “A hokey tale, but it got her a lot of notice and good reviews. MGM noticed and signed her in 1942 and for her first or second movie there, they changed her hair color. The guy who was the hair stylist at MGM, Sydney Guilaroff, was the first hairdresser to get screen credit. He is responsible for a lot of the famous women whose hair you may know from the ’40s, including Lucy. He said something like, ‘Her hair may be brown, but her spirit’s on fire.”

‘Technicolor Tessie’

Continues Michael, “So the idea is, ‘Let’s make her a redhead,’ and he came up with some crazy combination that resulted in a blazing red. The first couple of movies she made at MGM were both musicals and in 1943’s Best Foot Forward, she replaced a pregnant Lana Turner in what was a cute little movie. Lucy looked beautiful and was in color. In fact, that year she was nicknamed by the Hollywood crews ‘Technicolor Tessie,’ because she photographed so well. Unfortunately, MGM didn’t really know what to do with her either, a beautiful woman who was very funny. She ended up sitting around a lot waiting for the next picture. The only good thing that came out of that was that people like Buster Keaton and Harold Lloyd were also sitting around doing nothing. Buster Keaton, for example, schooled her on using props and Harold Lloyd, one of the greatest comedy directors in the world at the time, I’m sure gave her a ton of tips about being in front of the camera. The important thing is that no matter how bad the film was, Lucy always rose above the script.”

‘Dream Girl’

Significant in Lucy’s career is that in 1947, after she had left MGM, she went on a national tour of a play called Dream Girl, which, opines Michael, was tailor-made for the actress: “It was about a woman who fantasizes about her life and what it could be. So it’s a lot of vignettes and scenes in which this character fantasizes about these wacky situations. And it was a hit. But more importantly, it made Lucy realize that she responded best in front of a live audience. The feedback she got — the laughter, the applause — she liked much better than making movies.”

‘My Favorite Husband’

Following Dream Girl, Lucy found herself starring, from 1948 to 1951, on the radio show My Favorite Husband, in many ways an inspiration for I Love Lucy. It was billed as being about two people — a married couple — who live together and like it. “It ran for three years,” points out Michael, “and, of course, CBS wanted to take it to that new-fangled medium of television. Lucy was OK with that; she’d appeared as a guest star on TV in the late ’40s/early ’50s, but she insisted that her husband, Desi Arnaz, play her husband, even though he hadn’t on the radio show. What was happening is that she was in Hollywood while he was touring with his band all over the place. He had a reputation, as you may know, for catting around, and it was true, and Lucy wanted him home with her in Hollywood. As she put it, ‘You can’t have a baby over the phone; you can’t make a family over the phone.’ So that’s why she really wanted Desi tied down to this project. And CBS wasn’t sure that the public would accept Lucy, this all-American redheaded girl, as the wife of a Cuban guy. But both Lucy and Desi responded, ‘We’re married in real life, you know. So it does work.'” 

Lucy & Desi

Pardon us while we do a kind of flashback within the flashback, in this case to 1940 and the movie Too Many Girls, which was the first time that Lucy and Desi actually met and worked together. “Actually,” Michael clarifies, “they met briefly before that in the RKO commissary. Maureen O’Hara wrote in her autobiography that she was having lunch with Lucy. They had just filmed a big fight scene between the two girls, and Lucy was made up with a black eye and all kinds of stuff. Desi Arnaz walked by and didn’t think much of her. But then, when he saw her all made up for her next picture, in which he costarred with her, called Too Many Girls, he was, like, ‘Wow, what a hunka woman!’ In any case, they got married soon after that, in November or December of 1940.”

“But they had problems from the beginning,” he adds. “Like I said, Desi was apart from Lucy a lot of times because of his band that traveled so much. Plus the drinking and the women and the jealousy and the arguments. They would argue, then make up and argue and then make up. It was an endless cycle. In fact, they had filed for divorce in 1944, but vacated the divorce decree by sleeping together. They were really, heavily, totally attracted to each other.”

‘I Love Lucy’

So with CBS wanting to turn My Favorite Husband into a TV sitcom, but not wanting Desi as the husband, he and Lucy came up with a pretty radical plan. Michael details, “They took it upon themselves to tour in a Vaudeville-type of show, which would be performed in front of audiences on stage before movies would start. This was just to prove how popular they were as a duo, and that’s where they worked out a lot of the routines that ended up being used on the first couple of seasons of I Love Lucy. So, yes, they were a success and CBS said, ‘Okay, Desi, you can play the part.’ It went on the air, was a huge hit almost from the get-go and the rest … is history.”

For a complete guide to Lucille Ball’s pre-I Love Lucy films, please scroll down.

‘Roman Scandals’ (1933)

Eddie Cantor plays a man who dreams that he’s back in the days of Ancient Rome where he’s immersed in a murder plot against the emperor. The film is actually a musical.

Lucy’s Early Uncredited Roles

The Bowery (1933), Broadway Through a Keyhole (1933), Blood Money (1933), Moulin Rouge (1934), Nana (1934), Hold That Girl (1934), Murder at the Vanities (1934), Bulldog Drummond Strikes Back (1934), The Affairs of Cellini (1934), Kid Millions (1934), Men of the Night (1934), Broadway Bill (1934), Jealousy (1934), Fugitive Lady (1934), Three Little Pigskins (1934), Behind the Evidence (1935), Carnival (1935), The Whole Town’s Talking (1935), Roberta (1935), I’ll Love You Always (1935), Old Man Rhythm (1935), Top Hat (1935), The Three Musketeers (1935), Muss ‘Em Up (1936) and Winterset (1936).

‘I Dream Too Much’ (1935)

A composer gets married while he’s drunk, and sobers up to realize what’s happened and wants out. But magic begins to happen when he hears his new wife sing.

‘Chatterbox’ (1936)

Aspiring actress Jenny Yates (Anne Shirley) finds herself in a play that she thinks is quite serious, though everyone around her treats as an exercise in camp. Supporting role for Lucy.

‘Follow the Fleet’ (1936)

A vehicle for Fred Astaire and Ginger Rogers about an attempt to rekindle a couple’s romance while he’s on liberty in San Francisco. Another supporting role for Lucy, who plays Kitty Collins. With Lucy inthe image above: Harriet Hilliard (center, aka Harriet Nelson, of The Adventures of Ozzie and Harriet fame) and future WWII pinup Betty Grable.

‘The Farmer in the Dell’ (1936)

A young woman (Jean Parker) is brought to Hollywood by her parents in the hope that she can become a movie star. Lucy is Gloria Wilson.

‘Bunker Bean’ (1936)

After visiting a fortune teller and being told that he comes from a bloodline that includes Napoleon and an Egyptian Pharaoh, a meek office clerk suddenly feels empowered in life. Lucy is Rosie Kelly.

‘That Girl From Paris’ (1936)

A Parisian opera star leaves her groom at the alter and finds herself involved with an American band. Lucy plays their manager of sorts, Clair Williams.

Don’t Tell the Wife (1937): When a team of conmen attempts to sell stock in a worthless gold mine, they get their comeuppance. Lucy is Annie Howell.

‘Stage Door’ (1937)

As noted by Michael Karol earlier, this was an important one for Lucy as it deals with a number of aspiring actresses that live in the same boarding house. The cast includes Katharine Hepburn, Ginger Rogers and Eve Arden. Lucy is Judith Canfield.

‘Go Chase Yourself’ (1938)

Lucy gets costarring billing as Carol Meeley, whose associate at the bank finds himself involved in a bank robbery, though she is pretty clear with the police that he’s not smart enough to rob a bank. They think otherwise.

‘Joy of Living’ (1938)

A Broadway star (Irene Dunn) learns how to have fun for the first time when she is encouraged to disengage from her mooching family. Lucy is Salina Pine.

‘Having Wonderful Time’ (1938)

Ginger Rogers is Teddy Shaw, a bored New Yorker who attends a camp in the Catskill Mountains to try and relax, and ends up falling in love. Lucy is Miriam.

‘The Affairs of Annabel’ (1938)

Publicist Lanny Morgan (Jack Oakie) continually puts the studio’s biggest star (Lucy’s Annabel Allison) in harm’s way while attempting to get people to pay more and more attention to her.

‘Room Service’ (1938)

It’s the Marx Brothers and Lucy? Who cares about a plot?

‘The Affairs of Annabel’ (1938)

The returning Annabel finds herself pretending to be a maid to research her new role — a scheme cooked up by her publicist.

‘Next Time I Marry’ (1938)

Lucy takes the lead again as Nancy Crocker Fleming, who will only receive her inheritance if she marries a plain American rather than, as her family fears, a “foreign gigolo” after her money.

‘Beauty for the Asking’ (1939)

Although being rejected by her fiancee for another woman, Jean Russell (Lucy) still finds her life immersed in his when a beauty product they created takes off.

‘Twelve Crowded Hours’ (1939)

A more serious film, with Lucy as Paula Sanders, a woman who complicates an investigative reporter’s attempts to uncover a numbers racket.

‘Panama Lady’ (1939)

Lucy is Lucy, a burned out dance-hall girl in Panama who decides to accompany an oil driller into the jungle to get a taste of so-called real life.

‘Five Came Back’ (1939)

Yet another serious turn for Lucy as Peggy Nolan, one of the people involved in a plane crash from which those who are still alive have to make their way through the jungle and back to civilization.

That’s Right, You’re Wrong (1939): Screenwriters have a hard time coming up with a script that fits radio star Kay Kyser. Lucy is Sandra Sand.

‘The Marines Fly High’ (1940)

Lucy as Joan Grant finds herself in the middle of a romantic triangle with a pair of Marine lieutenants who are fighting bandits in South America.

‘You Can’t Fool Your Wife’ (1940)

Two roles for Lucy as Clara Fields Hinklin and Mercedes Vasquez in this romantic comedy.

‘Dance, Girl, Dance’ (1940)

Lucy costars with Maureen O’Hara in this film, the plot of which was discussed earlier by Michael Karol.

‘Too Many Girls’ (1940)

A comedy musical set at Pottawatomie College and the antics that go on there, but none of that is as important as the fact that this was the film that Lucy and Desi Arnaz first met each other and fell in love. They eloped later the same year.

‘A Girl, a Guy and a Gob’ (1941)

After meeting Stephen Herrick (Edmond O’Brien) at the opera, a woman named Dot (Lucy) shows up at his office the next day to be his secretary. Comedy and romance — with complications, naturally — ensue from there.

‘Look Who’s Laughing’ (1941)

More a vehicle for ventriloquist Edgar Bergen and puppet Charlie McCarthy than Lucy, who plays Julie Patterson.

‘Valley of the Sun’ (1942)

Army scout Johnny Ware (James Craig) escapes from his court martial in 1868 for helping Indians against those who would do them harm, and on that escape he encounters Lucy’s Christine Larson. Although it’s mostly a serious film, it does get somewhat comical towards the end.

‘The Big Street’ (1942)

A tragic — and melodramatic — love story between nightclub singer Gloria Lyons (Lucy) and busboy Little Pinks (Henry Fonda).

‘Seven Days’ Leave’ (1942)

To receive a $100,000 inheritance from his great-grandfather, soldier Johnny Grey must forget the woman he loves and marry the descendent of his great-grandfather’s Civil War enemy. While attempting to come up with a temporary answer, he falls into the arms of that descendant: Terry Havelock-Allen (Lucy).

‘Du Barry Was a Lady’ (1943)

Definitely another bizarre one, this time involving a night club coatroom attendant (Red Skelton) in love with singer May Daly (Lucy), who for some reason dreams he’s French King Louis XV and that May is now Madame Du Barry.

‘Thousands Cheer’ (1943)

Lucy has a small role as herself in this comedy musical drama starring Gene Kelly as soldier and former acrobat Eddie Marsh who falls for his colonel’s daughter, Kathryn Jones (Kathryn Grayson).

‘Best Foot Forward’ (1943)

A musical comedy in which Lucy, again, plays herself, accepting a cadet’s invitation to a military academy’s senior prom, believing that this is going to help her career.

‘Meet the People’ (1944)

Actress Julie Hampton (Lucy) agrees to help stage a musical tribute to the war industry with a shipyard worker (Dick Powell), though complications arise.

‘Without Love’ (1945)

Lucy has a supporting role in this Spencer Tracy/Katharine Hepburn film about a couple entering a loveless marriage, but gradually developing feelings for each other. It’s a romantic comedy.

‘The Dark Corner’ (1946)

Kathleen Stewart (Lucy) is secretary to a man who has been framed for murder, and does her best to prove his innocence. A film-noir crime drama.

‘Two Smart People’ (1946)

Lucy’s still in crime drama mode with this one, playing Ricki Woodner, who gets involved with a criminal who has stolen $500,000 in bonds.

‘Easy to Wed’ (1946)

Van Johnson is Williams Stevens Chandler, a reporter for a newspaper facing a serious libel case. To protect his employer, he attempts to attack the character of the woman threatening them (played by Lucy). It sounds serious, but it’s a comedy romance. Go figure.

‘Lover Come Back’ (1946)

When she discovers her husband (George Brent) is cheating on her, wife Kay Williams (Lucy) seeks some gentle, relatively speaking, revenge.

‘Lured’ (1947)

And Lucy’s back into film-noir (interesting how often she switched back and forth from comedy to drama in her early days). When a friend of hers in London is one of a number of victims of a serial killer, the police enlist the aid of Sandra Carpenter to help lure him out of hiding.

‘Her Husband’s Affairs’ (1947)

There are complications — naturally — when a scientist invents a means of removing old, thinning hair and replace it with thick new hair.

‘Sorrowful Jones’ (1949)

A bookie named Sorrowful Jones (Bob Hope) suddenly finds himself the caretaker of a little girl when her father disappears. Lucy is nightclub singer Gladys O’Neill, who is dating Sorrowful’s boss.

‘Miss Grant Takes Richmond’ (1949)

A newly hired dumb secretary (Lucy) working for a bookie masquerading as a Realtor (William Holden) causes unintended hilarious troubles for her employer.

‘Easy Living’ (1949)

Lucy is the football team secretary in love with a halfback (Victor Mature), who has a heart condition and a nagging wife (Lizabeth Scott) who will settle for nothing less than the best.

‘Fancy Pants’ (1950)

The reteaming of Lucy and good friend Bob Hope in a comedy musical western about mistaken identity.

‘The Fuller Brush Girl’ (1950)

Lucy and Eddie Albert are workers at a shipping firm who find themselves pulled into a murder investigation that involves a hired killer and a stripper.

‘The Magic Carpet’ (1951)

The son of a physician, Abdullah (John Agar) has no idea that he is the Caliph of Islam, but he finds himself drawn into a possible rebellion in his country involving a magic carpet and the princess Narah (Lucy).