Lombard
Lombard/Lumbaart (WL), Lombard (EL)
Spoken in	Italy  Switzerland
Region	Italy:[1][2][3] Lombardy Piedmont Trentino Switzerland:[1][2][3] Canton Ticino Graubünden
Native speakers	3.5 million[4]  (2007)
Language family	Indo-European Italic Romance Western Romance Gallo-Iberian Gallo-Romance Gallo-Italic Lombard
Language codes
ISO 639-3	lmo
Linguasphere	51-AAA-oc & 51-AAA-od
This page contains IPA phonetic symbols in Unicode. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Unicode characters.

Lombard is a member of the Cisalpine or Gallo-Italic group within the Romance languages. It is spoken natively in Northern Italy (most of Lombardy and some areas of neighbouring regions, notably the eastern side of Piedmont) and Southern Switzerland (Ticino and Graubünden).

The two main varieties (Western Lombard language and Eastern Lombard language) show differences and are often, but not always, mutually comprehensible^{[citation needed]}.

Present situation[link]

Status[link]

Lombard is considered a minority language, structurally separated from Italian, by the Ethnologue reference catalogue and by the UNESCO Red Book on Endangered Languages. However, the Italian Republic and Swiss Confederation do not recognise Lombard speakers as a linguistic minority. This official line is the same as for most other minority languages in Italy,^[5] which are officially considered Italian dialects in spite of the fact that they belong to different sub-groups of the Romance language family, and in their historical development are in no way derivative of Italian ^[6][ (this fact being obscured to some extent by the use of Italian orthography to write these languages, and by influence from Italian^{[citation needed][dubious – discuss]}).

Speakers[link]

Lombard in Europe

Historically, the vast majority of Lombards spoke only Lombard,^[7] though strictly monolingual Lombard speakers are now for all practical purposes non-existent — with everyone in Italy and Switzerland being able to understand Italian, though a very small minority may be uncomfortable speaking it^{[citation needed]}. Surveys in Italy find that all Lombard speakers also speak Italian, and their command of each of the two languages varies according to their geographical position as well as their socio-economic situation, the most reliable predictor being the speakers' age.^[8]

Position on the Romance language tree[link]

From the point of view of language genealogy, Lombard and Italian are in some ways not as closely related, although both are neither Eastern nor Southern Romance^{[citation needed]}. Romansh, Friulian, French, Franco-Provençal, and Occitan are closer relatives of Lombard in many aspects than Italian^[9].

Varieties[link]

The varieties of the Italian cities of Milan, Varese, Como, Lecco, Lodi, Monza, Pavia and Mantua belong to the Western subgroup, while the ones of Bergamo, Brescia and Crema are Eastern.

All the varieties spoken in the Swiss areas (both in canton Ticino and canton Graubünden) are Western, while both Western and Eastern varieties are found in the Italian areas.

The varieties of the alpine valleys of Valchiavenna and Valtellina (province of Sondrio) and upper-Valcamonica (province of Brescia), together with the four Lombard valleys of Swiss canton Graubünden, although showing some peculiarities of their own and some traits in common with Eastern Lombard, should be considered as Western^{[citation needed]}. Also, dialects from the Piedmontese provinces of Verbano-Cusio-Ossola and Novara, and the Valsesia valley (province of Vercelli) are closer to Western Lombard than to Piedmontese.^{[citation needed]}

Literature[link]

(See Western Lombard literature ). The Lombard variety with the oldest literary tradition (dating back to the thirteenth century) is that of Milan, where nowadays Milanese, the native Lombard variety of the area, has almost completely been superseded by Italian due to the heavy influx of immigrants from other parts of Italy (Puglia, Sicily, Campania, etc.) during the fast industrialization after World War II. Ticinese is a comprehensive denomination for the Lombard varieties spoken in Swiss Canton Ticino (Tessin), while the Ticinese koiné is the Western Lombard koiné used by speakers of local dialects (particularly those diverging from the koiné itself) when communicating with speakers of other Lombard dialects of Ticino, Grigioni, or Italian Lombardy. This koiné is not very unlike Milanese and the varieties of the neighbouring provinces on the Italian side of the border.

There is extant literature in other varieties of Lombard, for example La masséra da bé, a theatrical work in early Eastern Lombard, written by Galeazzo dagli Orzi (1492 - ?) presumably in 1554.^[10]

Lombard in writing[link]

Lombard-speaking communities (or, more precisely, the small portion of their members who could read and write) have been using for centuries some form of Latin or Tuscan (later known as Italian) as the language of written communication, not developing a standard written Lombard variety.

A restaurant sign in Lombard, Poschiavo (GR), Switzerland

There is no generally recognised standard orthography^{[citation needed]}, but rather a few well-established conventions (like the one that word-final [t͡ʃ] and [k] should be written as -c and -ch respectively) and some competing traditions (e.g. [ø] and [y] are written oeu and u respectively according to the traditional Milanese orthography (well established in Milanese literature), while in Switzerland and in many Italian areas ö and ü are used respectively; this is also the most generalised trend nowadays).

The Town Hall sign in the local Lombard variety of Livigno (SO), Italy

The CDE - Centro di dialettologia e di etnografia of Bellinzona, Switzerland (cf. below) has devised a rather advanced orthographic system used in its publications. This system does not break with the established conventions and at the same time it is able to render the actual phonological structures rather faithfully. The CDE system, however, is flawed by some inherent deficiencies, in particular as far as prosody is concerned, and in some situations it fails to distinguish between long and short vowels (e.g. the syllable rhyme -asc is written identically in casc [kaʃ] 'leaf-bud' and masc [maːʃ] 'May', although the vowel is actually short in the former case and long in the latter).

An improved system trying to reconcile the main features of the CDE system with the necessary amendments was published in 2003 (cf. Bibliography). This is the system used in the present article. It is the only system proposed so far featuring a unified set of writing rules meant to cover all the Lombard varieties of both Switzerland and Italy. According to this system, the words for 'May' and 'leaf-bud' in the example above are spelled, respectively, maasc and casc.

Features[link]

This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (February 2011)

Note: unless otherwise specified, all examples below are forms common to most Western Lombard varieties, including the Ticinese koiné. The orthography is a compromise between traditional orthographies and a recently proposed unified system for all Lombard varieties, with phonetic transcriptions (when given) in IPA.^{[original research?]}

Phonetics and phonology[link]

Unlike most Romance languages, Lombard dialects have vowel quantity oppositions, e.g. paas [paːs] 'peace' vs. pass [pas] 'step', 'mountain pass'; ciapaa [t͡ʃaˈpaː] 'caught, got m.' vs. ciapà [t͡ʃaˈpa] 'to catch, get'.

The phoneme inventory of most Lombard varieties includes the front rounded vowels [y] and [ø].

Syntax and lexicon[link]

Another uncommon feature for a Romance language, possibly derived from Lombardic, is the extensive use of idiomatic phrasal verbs (verb-particle constructions) much in the same way as in English and other Germanic languages. E.g. trà 'to draw, to pull', trà via 'to waste, to throw away', trà sü 'to vomit, to throw up', trà fö(ra) 'to remove, to take away'; majà 'to eat', majà fö(ra) 'to squander'.

Usage[link]

Standard Italian is widely used in Lombard-speaking areas. However, the status of Lombard is quite different between the Swiss and Italian areas. This justifies the view that nowadays the Swiss areas have become the real stronghold of Lombard.

In Switzerland[link]

The LSI, published in 2004

In the Swiss areas, the local Lombard varieties are generally better preserved and more vital than in Italy. No negative feelings are associated with the use of Lombard in everyday life, even when interacting with complete strangers. Some radio and television programmes in Lombard, particularly comedies, are occasionally broadcast by the Swiss Italian-speaking broadcasting company. Moreover, it is not uncommon for people from the street to answer in Lombard in spontaneous interviews. Even some television ads in Lombard have been reported. The major research institution working on Lombard dialects is located in Bellinzona, Switzerland (CDE - Centro di dialettologia e di etnografia, a governmental (cantonal) institution); there is no comparable institution in Italy. In December 2004, the CDE released the LSI, a dictionary in 5 volumes covering all the Lombard varieties spoken in the Swiss areas. This is so far the most comprehensive Lombard language resource ever published (more than 4,500 pages and about 57,000 lexemes with over 190,000 spoken variants).

In Italy[link]

Today, in most urban areas of Italian Lombardy, people below forty years old speak almost exclusively Italian in their daily lives, because of schooling and television broadcasts in Italian. However, in Periferic Lombardy (Valtellina, Lake Como, Bergamo, Brescia, Lodi) Lombard language is still vital.

This is due to a number of historical and social reasons: its usage has been historically discouraged by Italian politicians, probably as it was regarded as an obstacle to the attempt to create a 'national identity', to the point that speaking a non-standard variety was considered a sign of poor schooling or low social status^{[citation needed]}. Presently the political party most supportive of Lombard (and of the varieties of Northern Italy in general) is the Northern League^{[citation needed]} (in the past, on the other hand, the leftist parties were the ones giving support to local varieties^{[citation needed]}); for this reason, speaking a dialect of certain non-Italian minority languages might be politically controversial in Italy.^{[citation needed]}

A certain revival of the use of Lombard has been observed in the last decade, when the use of Lombard has become a way to express one's local identity and to distance oneself from Mediterranean-oriented mainstream Italian culture; the popularity of modern artists singing their lyrics in some Lombard variety (in Italian "rock dialettale", the most well-known of such artists being Davide Van de Sfroos) is also a relatively new but growing phenomenon involving both the Swiss and Italian areas.

See also[link]

• Eastern Lombard
• Emiliano-Romagnolo
• Gallo-Italic of Sicily
• La Spezia-Rimini Line
• Languages of Europe
• Ligurian language (Romance)
• List of languages in Europe
• Padania
• Lombardy
• Piedmontese
• Pierre Bec
• Diachronics of plural inflection in the Gallo-Italian languages
• Romance plurals
• Venetian language
• Western Lombard

References[link]

Bibliography[link]

• Bernard Comrie, Stephen Matthews, Maria Polinsky (eds.), The Atlas of languages: the origin and development of languages throughout the world. New York 2003, Facts On File. p. 40.
• Brevini, Franco - Lo stile lombardo: la tradizione letteraria da Bonvesin da la Riva a Franco Loi / Franco Brevini - Pantarei, Lugan - 1984 (Lombard style: literary tradition from Bonvesin da la Riva to Franco Loi )
• Glauco Sanga: La lingua Lombarda, in Koiné in Italia, dalle origini al 500 (Koinés in Italy, from the origin to 1500), Lubrina publisher, Bèrghem.
• Claudio Beretta: Letteratura dialettale milanese. Itinerario antologico-critico dalle origini ai nostri giorni - Hoepli, 2003.
• G. Hull: the linguistic unity of northern Italy and Rhaetia, PhD thesis, University of Sidney West, 1982
• Jørgen G. Bosoni: «Una proposta di grafia unificata per le varietà linguistiche lombarde: regole per la trascrizione», in Bollettino della Società Storica dell’Alta Valtellina 6/2003, p. 195-298 (Società Storica Alta Valtellina: Bormio, 2003). A comprehensive description of a unified set of writing rules for all the Lombard varieties of Switzerland and Italy, with IPA transcriptions and examples.
• NED Editori: I quatter Vangeli de Mattee, March, Luca E Gioann - 2002.
• Stephen A. Wurm: Atlas of the World’s Languages in Danger of Disappearing. Paris 2001, UNESCO Publishing, p. 29.
• Studi di lingua e letteratura lombarda offerti a Maurizio Vitale, (Studies in Lombard language and literature) Pisa: Giardini, 1983
• A cura di Pierluigi Beltrami, Bruno Ferrari, Luciano Tibiletti, Giorgio D'Ilario: Canzoniere Lombardo - Varesina Grafica Editrice, 1970.

External links[link]

Lombard language edition of Wikipedia, the free encyclopedia

• Learn Lombard online
• Learn Lombard Italian site
• Centro di dialettologia e di etnografia del Cantone Ticino.
• Repubblica e Cantone Ticino Documenti orali della Svizzera italiana. (Italian)
• Istituto di dialettologia e di etnografia valtellinese e valchiavennasca.
• Lombard language at Ethnologue (16th ed., 2009)
• LSI - Lessico dialettale della Svizzera italiana.
• RTSI: Acquarelli popolari, some video and audio documents (interviews, recordings, etc. of writers from Ticino) in Ticinese varieties (please notice that the metalanguage of this site is Italian, and that some of the interviews are in Italian rather than in Ticinese Lombard).
• UNESCO Red Book on Endangered Languages: Europe. Potentially endangered languages, where Lombard is classified as a potentially endangered language.
• VSI - Vocabolario dei dialetti della Svizzera italiana.

Karina Lombard
Lombard in 2011 at the Cabourg Film festival
Born	Katrina Lombard (1969-01-21) January 21, 1969 (age 43) Tahiti, French Polynesia

Karina Lombard (born January 21, 1969) is a French-American^[1] actress and singer.

Early life[link]

Lombard was born in Tahiti. Her mother, Nupuree Lightfoot, is a medicine woman of the Lakota Nation and was an immigrant living in Tahiti. Her father, Henry Lombard, a banker, is a European aristocrat of Russian, Italian and Swiss descent. Lombard is a naturalized U.S. citizen but when she was one year old, her parents separated and her father took Karina and her four siblings, Helen, Inez, Charles and Denise, to live at his estate in Barcelona, Spain. She went on to attend a number of Swiss boarding schools, including in Lausanne, where she has said that "being American Indian meant being treated like a savage".

Over the years she gained proficiency in Spanish, English, Italian, French and German.^[2] She came to New York when she was 18 and began modeling and studied acting.

Career[link]

Lombard's major break in modeling came about due to a Calvin Klein photo shoot with a Native American theme. One of her photographs was chosen to be a billboard ad. Her photographs appeared in Elle and Vogue.^[2]

Her first film role was as a princess in L'île (The Island).^[2] As an actress her first major film was Wide Sargasso Sea in 1993 followed by The Firm. She then went on to appear in the 1994 film Legends of the Fall, followed by Last Man Standing in 1996 alongside Bruce Willis.^[2] In the 2000s she moved into television, appearing on the first season of The L Word and also in The 4400. She reprised her role as Marina Ferrer in the first episode of Season Four of The L Word and made one more brief appearance later that season as an actress auditioning for Jenny's film Lez Girls. Lombard also made a cameo appearance in the 2008 series finale.

Lombard portrayed the recurring character Geneviève on FX's Rescue Me.

Her theatre training and stage experience primarily comes from New York City's Gallery Theatre, the Neighborhood Playhouse, the Lee Strasberg Theatre Institute and the Actors Studio.^[1] She has worked as a composer for the Cirque du Soleil and done a photo shoot for Playboy magazine.^[3]

Filmography[link]

References[link]

External links[link]

• Karina Lombard at the Internet Movie Database
• Karina Lombard Music on Myspace

Carole Lombard
Born	Jane Alice Peters (1908-10-06)October 6, 1908 Fort Wayne, Indiana
Died	January 16, 1942(1942-01-16) (aged 33) Mount Potosi, Nevada
Cause of death	Plane crash
Resting place	Forest Lawn Memorial Park, Glendale, California
Occupation	Actress
Years active	1921–1942
Spouse	William Powell (m. 1931–1933; divorced) Clark Gable (m. 1939–1942; her death)

Carole Lombard (October 6, 1908 – January 16, 1942) was an American actress.^[1] She is particularly noted for her comedic roles in the screwball comedies of the 1930s. She is listed as one of the American Film Institute's greatest stars of all time and was the highest-paid star in Hollywood in the late 1930s, earning around US$500,000 per year^{[citation needed]} (more than five times the salary of the US President). Lombard's career was cut short when she died at the age of 33 in a plane crash while returning from a World War II Bond tour.

Queen of the 1930s screwball comedies, she personified the anxiety of a nervous age. Graham Greene praised the "heartbreaking and nostalgic melodies" of her faster-than-thought delivery. "Platinum blonde, with a heart-shaped face, delicate, impish features and a figure made to be swathed in silver lamé, she wriggled expressively through such classics of hysteria as Twentieth Century and My Man Godfrey."^[2]

Ancestry and early life[link]

Lombard was born Jane Alice Peters in Fort Wayne, Indiana. Her parents were Frederick C. Peters (1875–1935) and Elizabeth Knight (1877 – January 16, 1942). Her paternal grandfather, John Claus Peters, was the son of German immigrants, Claus Peters and Caroline Catherine Eberlin.^{[citation needed]} On her mother's side, she was a descendant of Thomas Hastings who came from the East Anglia region of England to the Massachusetts Bay Colony in 1634.^[3] Lombard was the youngest of three children, having two older brothers, Fred C. Peters Jr. and Stuart Peters. She spent her early childhood in a sprawling, two-story house at 704 Rockhill Street in Fort Wayne, near the St. Mary's River. Her father had been injured during a work-related accident and was left with constant headaches which caused him to burst out in paroxysms of anger which disturbed the family. Lombard's parents divorced and her mother took the three children to Los Angeles in 1914, where Lombard attended Virgil Jr. High School and then Fairfax High School. She was elected May Queen in 1924. She quit school to pursue acting full-time but eventually graduated from Fairfax in 1927.^[4] Lombard was a second generation Bahá'í who formally enrolled in 1938.^[5]

Career[link]

In the classic screwball comedy My Man Godfrey (1936)

Lombard made her film debut at the age of twelve after she was seen playing baseball in the street by director Allan Dwan; he cast her as a tomboy in A Perfect Crime (1921). In the 1920s, she worked in several low-budget productions credited as Jane Peters, and later as Carol Lombard. Her friend Miriam Cooper helped Lombard land small roles in her husband Raoul Walsh's films.^[6] In 1925, she was signed as a contract player with Fox Film Corporation (which merged with Daryl Zanuck's Twentieth Century Productions in 1935). She also worked for Pathé Exchange and appeared as one of Mack Sennett's Bathing Beauties in 1928.^[7] She quickly became a well-known actress and made a smooth transition to sound films, starting with High Voltage (1929). In 1930, she won a contract with Paramount Pictures after having been dropped from both Twentieth Century and Pathé Exchange.

Lombard achieved a few minor successes in the early 1930s. In 1930's Safety in Numbers with Charles "Buddy" Rogers and 1932's No Man of Her Own with Clark Gable, but she was continually cast in second-rate films. It was not until 1934 that her career began to take off. That year, director Howard Hawks encountered Lombard at a party and became enamored with her saucy personality, thinking her just right for his latest project. He hired her for Twentieth Century, alongside stage legend John Barrymore. Lombard was at first intimidated by Barrymore, but the two quickly developed a good working rapport. The film bolstered Lombard's reputation immensely and brought her a level of fame that her previously lackluster career had denied her.

In Vigil in the Night (1940)

Also in 1934, she starred in Bolero with George Raft and it was for this film that she turned down the role of Ellie Andrews in It Happened One Night.^[8] In 1935 she starred in Mitchell Leisen's Hands Across the Table which helped to establish her reputation as a top comedy actress. 1936 proved to be a big year for Lombard with her casting in the screwball comedy My Man Godfrey alongside ex-husband William Powell who refused to do the film unless Carole was cast opposite him. Although divorced, Lombard and Powell remained close until her death. Her performance earned Lombard an Academy Award nomination for Best Actress. It was followed by Nothing Sacred in 1937, casting her opposite Fredric March and under the direction of William A. Wellman. It was Lombard's only film in Technicolor and was regarded a critical and commercial smash. Nothing Sacred put Lombard at the top of the Hollywood tier and established her as one of the highest paid actresses in the business.

In 1938, Lombard suffered a flop with Fools for Scandal and moved on to dramatic films for the next few years. In 1939, Lombard took roles opposite James Stewart in producer David O. Selznick's Made for Each Other (1939) and Cary Grant in In Name Only (1939). She also starred in the dramatic Vigil in the Night in 1940.

Audiences did not respond as well to Lombard in dramatic roles and she made a return to comedy, teaming with director Alfred Hitchcock in Mr. & Mrs. Smith (1941). The film gave Lombard's career a much needed boost and she followed her success with what proved to be her last film, and one of her most successful, To Be or Not to Be (1942).

Personal life[link]

As Hazel Flagg in one of her personal favorites, Nothing Sacred (1937)

In October 1930, Lombard met William Powell. They had worked together in the films Man of the World and Ladies' Man. Unlike many of Lombard's other suitors at the time, Powell was urbane and sophisticated. He also appreciated her blunt personality and bawdy sense of humor. They married on June 26, 1931. Lombard commented to fan magazines that she did not believe their sixteen-year age difference would present a problem, but friends felt they were ill-suited, as Lombard had an extroverted personality while Powell was more reserved. They divorced in 1933, but remained good friends and worked together without acrimony, notably in My Man Godfrey.

In 1934, following her divorce from Powell, Lombard moved into a house on Hollywood Boulevard. She lived with a friend from the days of Mack Sennett, Madalynne Fields, who became Lombard's personal secretary and whom Lombard called "Fieldsie." Lombard became known as one of Hollywood's great hostesses for her outrageous parties with unconventional themes. During this time she carried on relationships with actors Gary Cooper and George Raft, as well as the screenwriter Robert Riskin.

Also during 1934, Lombard met and began a serious affair with crooner Russ Columbo. Columbo reportedly proposed marriage, but was killed in a freak shooting accident at the age of 26. To reporters, Lombard said Columbo was the love of her life.

Lombard's most famous relationship came in 1936 when she became involved with actor Clark Gable. They had worked together previously in 1932's No Man of Her Own, but at the time, Lombard was still happily married to Powell and knew Gable to have the reputation of a roving eye. They were indifferent to each other on the set and did not keep in touch. Alas unbeknownst to each other they had worked as extras on a silent film, Fox's 1926 epic The Johnstown Flood but she was still Jane Peters and little more than a curvy teenager.

It was not until 1936, when Gable and Lombard reunited at the Mayfair Ball, of which Lombard was hostess, that their romance began to take off. Gable, however, was married at the time to oil heiress Ria Langham, and the affair was kept quiet. The situation proved a major obstacle in Gable accepting the role of Rhett Butler in Gone with the Wind, as MGM head Louis B. Mayer sweetened the deal for a reluctant Clark Gable by giving him enough money to settle a divorce agreement with Langham and marry Lombard. Gable divorced Langham on March 7, 1939 and proposed to Lombard in a telephone booth at the Brown Derby.

On March 29, 1939, during a break in production on Gone with the Wind, Gable and Lombard drove out to Kingman, Arizona and were married in a quiet ceremony with only Gable's press agent, Otto Winkler, in attendance. They bought a ranch previously owned by director Raoul Walsh in Encino, California and lived a happy, unpretentious life, calling each other "Ma" and "Pa" and raising chickens and horses. They also attempted to have children but were not successful.

Off-screen, Lombard was much loved for her down-to-earth personality and well known for an earthy sense of humor and use of blue language. Friends of Lombard's included Alfred Hitchcock, Marion Davies, William Haines, Jean Harlow, Fred MacMurray, Cary Grant, Jack Benny, Jorge Negrete, William Powell, and Lucille Ball.

Death[link]

When the US entered World War II at the end of 1941, Lombard traveled to her home state of Indiana for a war bond rally with her mother, Bess Peters, and Clark Gable's press agent, Otto Winkler. After raising over $2 million in defense bonds, Lombard addressed her fans, saying: "Before I say goodbye to you all, come on and join me in a big cheer! V for Victory!" Lombard, anxious to return home to husband Clark Gable, wanted to take a plane instead of a train. Her mother and Winkler were both afraid of flying. They begged her to take the train. Lombard said they would flip a coin, heads the train, tails the plane. The coin came up tails.^[9]

On January 16, 1942, Lombard, her mother, and Winkler boarded a Transcontinental and Western Air DC-3 airplane to return to California. After refueling in Las Vegas, TWA Flight 3 took off and 23 minutes later, crashed into "Double Up Peak" near the 8,300 ft (2,500 m) level of Mount Potosi, 32 statute miles (51 km) southwest of Las Vegas. All 22 aboard, including 15 army servicemen, were killed instantly.

On January 18, 1942, Jack Benny did not perform his usual program, both out of respect for Lombard and grief at her death. Instead, he devoted his program to an all-music format.

Shortly after her death at the age of 33, Gable (who was inconsolable and devastated by her loss) joined the United States Army Air Forces. After officer training, Gable headed a six-man motion picture unit attached to a B-17 bomb group in England to film aerial gunners in combat, flying five missions himself. Gable attended the launch of the Liberty ship SS Carole Lombard on January 15, 1944.

Lombard's final film, To Be or Not to Be (1942), directed by Ernst Lubitsch and co-starring Jack Benny, a satire about Nazism and World War II, was in post-production at the time of her death. The film's producers decided to cut part of the film in which Lombard's character asks, "What can happen on a plane?" as they felt it was in poor taste, given the circumstances of her death.

At the time of her death, Lombard had been scheduled to star in the film They All Kissed the Bride; when production started, her role was given to Joan Crawford. Crawford donated all of her pay for this film to the Red Cross.

Lombard is interred at the Forest Lawn Memorial Park Cemetery in Glendale, California. The name on her crypt marker is Carole Lombard Gable. Although Gable remarried, he was interred next to her when he died in 1960. Bess Peters was also interred beside her daughter.

Awards and honors[link]

In 1999, the American Film Institute ranked Lombard 23rd on its list of the 50 greatest American female screen legends. She received one Academy Award for Best Actress nomination, for My Man Godfrey. She has a star on the Hollywood Walk of Fame, at 6930 Hollywood Blvd.

Lombard's Fort Wayne childhood home has been designated a historic landmark. The city named the nearby bridge over the St. Mary's River the Carole Lombard Memorial Bridge.

Portrayals[link]

She has been played by:

• Jill Clayburgh in Gable and Lombard (1976)
• Sharon Gless in Moviola: The Scarlett O'Hara War (1980)
• Denise Crosby in Malice in Wonderland (1985)
• Anastasia Hille in RKO 281 (1999)
• Vanessa Gray in Lucy (2003)

Filmography[link]

Features[link]

• A Perfect Crime (1921)
• Gold Heels (1924)
• Dick Turpin (1925)
• Marriage in Transit (1925)
• Gold and the Girl (1925)
• Hearts and Spurs (1925)
• Durand of the Bad Lands (1925)
• The Plastic Age (1925)
• Ben-Hur (1925)
• The Road to Glory (1926)
• The Johnstown Flood (1926)
• The Fighting Eagle (1927)
• My Best Girl (1927)
• The Divine Sinner (1928)
• Power (1928)
• Me, Gangster (1928)
• Show Folks (1928)
• Ned McCobb's Daughter (1928)
• High Voltage (1929)
• Big News (1929)
• The Racketeer (1929)
• The Arizona Kid (1930)
• Safety in Numbers (1930)
• Fast and Loose (1930)
• It Pays to Advertise (1931)
• Man of the World (1931)
• Ladies' Man (1931)
• Up Pops the Devil (1931)
• I Take This Woman (1931)
• No One Man (1932)
• Sinners in the Sun (1932)
• Virtue (1932)
• No More Orchids (1932)
• No Man of Her Own (1932)
• From Hell to Heaven (1933)
• Supernatural (1933)
• The Eagle and the Hawk (1933)
• Brief Moment (1933)
• White Woman (1933)
• Bolero (1934)
• We're Not Dressing (1934)
• Twentieth Century (1934)
• Now and Forever (1934)
• Lady by Choice (1934)
• The Gay Bride (1934)
• Rumba (1935)
• Hands Across the Table (1935)
• Love Before Breakfast (1936)
• The Princess Comes Across (1936)
• My Man Godfrey (1936)
• Swing High, Swing Low (1937)
• Nothing Sacred (1937)
• True Confession (1937)
• Fools for Scandal (1938)
• Made for Each Other (1939)
• In Name Only (1939)
• Vigil in the Night (1940)
• They Knew What They Wanted (1940)
• Mr. & Mrs. Smith (1941)
• To Be or Not to Be (1942)

Short subjects[link]

• Smith's Pony (1927)
• Gold Digger of Weepah (1927)
• The Girl from Everywhere (1927)
• Run, Girl, Run (1928)
• The Beach Club (1928)
• Smith's Army Life (1928)
• The Best Man (1928)
• The Swim Princess (1928)
• The Bicycle Flirt (1928)
• The Girl from Nowhere (1928)
• His Unlucky Night (1928)
• Smith's Restaurant (1928)
• The Campus Vamp (1928)
• Motorboat Mamas (1928)
• Hubby's Weekend Trip (1928)
• The Campus Carmen (1928)
• Matchmaking Mamma (1929)
• Don't Get Jealous (1929)
• Hollywood on Parade No. 11 (1933)
• Hollywood on Parade No. A-12 (1933)
• The Fashion Side of Hollywood (1935)
• Screen Snapshots Series 16, No. 3 (1936)
• Breakdowns of 1938 (1938)
• Hollywood Goes to Town (1938)
• Screen Snapshots Series 18, No. 9 (1939)

References[link]

External links[link]

Biography portal

Wikimedia Commons has media related to: Carole Lombard

Wikiquote has a collection of quotations related to: Carole Lombard

• Carole Lombard at the Internet Movie Database
• Carole Lombard at the TCM Movie Database
• Carole Lombard
• Photographs and bibliography
• The Carole Lombard Photo Archives
• Descendants of Thomas Hastings website
• Descendants of Thomas Hastings on Facebook
• "The house on Carole Lombard's street"