W. C. Fields
||This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. (December 2010)|
|W. C. Fields|
W. C. Fields, 1940
|Born||William Claude Dukenfield
January 29, 1880
Darby, Pennsylvania, U.S.
|Died||December 25, 1946
Pasadena, California, U.S.
|Forest Lawn Memorial Park, Glendale, California|
|Other names||Charles Bogle
Mahatma Kane Jeeves
|Occupation||Actor, comedian, juggler, writer|
|Spouse(s)||Harriet Hughes (m. 1900–46) (his death) 1 child
Bessie Poole (girlfriend) 1 child
Carlotta Monti (girlfriend)
|Children||William Claude Fields, Jr.
William Claude Dukenfield (January 29, 1880 – December 25, 1946), better known as W. C. Fields, was an American comedian, actor, juggler and writer. Fields' comic persona was a misanthropic and hard-drinking egotist, who remained a sympathetic character despite his snarling contempt for dogs, children, and women.
The characterization he portrayed in films and on radio was so strong it was generally identified with Fields himself. It was maintained by the publicity departments at Fields' studios (Paramount and Universal) and was further established by Robert Lewis Taylor's biography, W.C. Fields, His Follies and Fortunes (1949). Beginning in 1973, with the publication of Fields' letters, photos, and personal notes in grandson Ronald Fields' book W.C. Fields by Himself, it was shown that Fields was married (and subsequently estranged from his wife), and financially supported their son and loved his grandchildren.
- 1 Biography
- 2 On stage
- 3 Films
- 4 On radio
- 5 Final years
- 6 Death
- 7 Unrealized film projects
- 8 Influence and legacy
- 9 Filmography
- 10 References
- 11 Further reading
- 12 External links
Fields was born William Claude Dukenfield in Darby, Pennsylvania, the oldest child in a poor family. His father, James Lydon Dukenfield, was from an English family that emigrated to America from Sheffield, England in 1854. James Dukenfield served in Company M of the 72nd Pennsylvania Infantry Regiment in the American Civil War and was wounded in 1863. Fields' mother, Kate Spangler (née Felton), 15 years younger than her husband, was a Protestant of German ancestry. The 1876 Philadelphia City Directory lists James Dukenfield as a clerk. After marrying, he worked as an independent produce merchant and a part-time hotel-keeper.
Claude Dukenfield (as he was known) worked at the Strawbridge and Clothier department store and in an oyster house, before he ran away from home at age 11. Self-educated, he spent substantial time perfecting his juggling, practicing till his fingers bled. At age 15, he was performing a juggling act at church and theater shows, and entered vaudeville as a "tramp juggler" using the name W. C. Fields. He soon was traveling as "The Eccentric Juggler", and included amusing asides and increasing amounts of comedy into his act, becoming a headliner in North America and Europe. By the early 1900s, while touring, he was regularly called the world’s greatest juggler. In 1906, he made his Broadway debut in a musical comedy, The Ham Tree.
Fields embellished stories of his youth, but his home life seems to have been a reasonably happy one. His family supported his ambitions for the stage and saw him off on the train for his first stage tour. His father visited him for two months in England when Fields was performing there in music halls. His stage costume from 1915 onwards featured a top hat, cut-away coat and collar, and a cane—an appearance remarkably similar to the cartoon character Ally Sloper. Fields fancied himself a cartoonist in the early 1900s while he was traveling in Europe, and it is speculated[who?] that Ally Sloper may have been the inspiration for his costume. The Sloper character may in turn have been inspired by Dickens' Mr Micawber, whom Fields later played on film.
Fields was known among his friends as "Bill". Edgar Bergen called him Bill in the radio shows (while Charlie McCarthy called him many names). Fields played himself in Never Give a Sucker an Even Break, and his "niece" called him "Uncle Bill". (In one scene he introduced himself: "I'm W.C., uh, Bill Fields"). When he was portrayed in films as having a son, he often named the character "Claude", after his own son. He was sometimes billed in England as "Wm. C. Fields", because "W.C." is British slang for a water closet (toilet). His public use of initials was a commonplace formality of the era in which he grew up. "W.C. Fields" also fit more easily onto a marquee than "W.C. Dukenfield".
Fields married a fellow vaudevillian, chorus girl Harriet "Hattie" Hughes, on April 8, 1900. Their son, William Claude Fields, Jr., was born on July 28, 1904. Although Fields was "an avowed atheist [who] regarded all religions with the suspicion of a seasoned con man", he yielded to Hattie's wish to have their son baptized.
At the time Fields was away from Hattie on tour in England. By 1907, however, he and Hattie separated; she had been pressing him to stop touring and settle into a respectable trade, while he was unwilling to give up show business. Until his death, Fields continued to correspond with Hattie and voluntarily sent child-support payments.
He had another son, named William Rexford Fields Morris (born August 15, 1917), with girlfriend Bessie Poole. Bessie was an established Ziegfeld Follies performer and met Fields while performing in New York City at the famous Amsterdam Theater. Her beauty and quick wit attracted Fields, who was the featured act from 1916 until 1922. She was killed in a bar fight several years after their son's birth, leaving him to be raised in foster care, where he acquired the surname Morris from his foster mother. Fields sent voluntary support to young Bill in care of his foster mother until he graduated from high school, when he sent $300 as a gift.
Fields lived with Carlotta Monti (1907–1993) after they met in 1932, beginning a relationship that lasted until his death in 1946. Monti had small roles in two of Fields' films, and in 1971 wrote a biography, W.C. Fields and Me, then made into a motion picture at Universal Studios in 1976.
Fields was listed in the 1940 census as single and living at 2015 DeMille Drive (Cecil B. DeMille lived at 2000, the only other address on the street).
Fields and alcohol
Fields' screen character often expressed a fondness for alcohol, a prominent component of the Fields legend. Fields never drank in his early career as a juggler, because he did not want to impair his functions while performing. Eventually, the loneliness of constant travel prompted him to keep liquor in his dressing room as an inducement for fellow performers to socialize with him on the road. Only then did he begin drinking regularly. On movie sets Fields kept a vacuum flask of mixed martinis, which he euphemistically referred to as his "pineapple juice". During the filming of Tales of Manhattan, a prankster switched the contents of the flask with pineapple juice. Upon discovery, Fields was heard to yell, "Who put pineapple juice in my pineapple juice?"
Fields expressed his fondness for alcohol to Gloria Jean (playing his niece) in Never Give a Sucker an Even Break: "I was in love with a beautiful blonde once, dear. She drove me to drink. That's the one thing I am indebted to her for." Equally memorable was a line in the 1940 film My Little Chickadee: "Once, on a trek through Afghanistan, we lost our corkscrew...and were forced to live on food and water for several days!" The oft-repeated anecdote that Fields refused to drink water "because fish fornicate in it" is unsubstantiated.
In 1936, Fields' heavy drinking precipitated a significant decline in his health. By the following year he recovered sufficiently to make one last film for Paramount, The Big Broadcast of 1938, but his troublesome behavior kept producers away and he remained professionally idle until his debut on radio. By then, he was chronically ill, and suffering from delirium tremens.
Fields started as a juggler in vaudeville, appearing in the makeup of a genteel tramp with a scruffy beard and shabby tuxedo. He worked or manipulated cigar boxes, hats, and other objects in what appears to have been a unique and fresh act, parts of which are reproduced in some of his films. Fields confined his act to pantomime so he could play international theaters. He toured several continents as a world-class juggler and an international star. A good portion of his act is contained in The Old Fashioned Way.
In America, Fields found he could get more laughs by adding dialogue to his routines. He developed his trademark mumbling patter and sarcastic asides during this time. (According to the A&E Biography program about Fields (1994), when he was young his mother would sit with him on the front steps and mumble comments about the passersby.)
From 1916 to 1922, he starred on Broadway in Florenz Ziegfeld's Ziegfeld Follies revues. Therein, he delighted audiences with a wild billiards skit, complete with bizarrely shaped cues and a custom-built table used for a number of hilarious gags and surprising trick shots. His pool game is reproduced, in part, in some of his films, notably in Six of a Kind (1934).
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Fields starred in two short comedies, filmed in New York in 1915; his stage commitments prevented him from doing more movie work until 1924. He reprised his Poppy (1923) role in a silent-film adaptation, retitled Sally of the Sawdust (1925) and directed by D. W. Griffith, after which he starred in It's the Old Army Game (1926), which featured his friend Louise Brooks, later a screen legend for her role in G. W. Pabst's Pandora's Box (1929) in Germany. Fields' 1926 film included a silent version of the porch sequence which would one day be expanded in the sound film It's a Gift (1934). Fields wore a scruffy clip-on mustache in all of his silent films, discarding it after his first sound feature film, Her Majesty Love, his only Warner Brothers production.
Fields made four short subjects for comedy pioneer Mack Sennett in 1932 and 1933, distributed through Paramount Pictures. During this period, Paramount began featuring Fields in full-length comedies, and by 1934 he was a major movie star. It was for one of the films of this period (International House) that outtakes of one scene (Fields, and two other actors) allegedly recorded the only moving image record of the 1933 Long Beach earthquake. This footage was later revealed to have been faked as a publicity stunt for the movie.
He often contributed to the scripts of his films, under unusual pseudonyms such as the seemingly prosaic "Charles Bogle", which appeared on most of his films in the 1930s; "Otis Criblecoblis", which contains an embedded homophone for "scribble"; and "Mahatma Kane Jeeves", a play on Mahatma and a phrase an aristocrat might use when about to leave the house: "My hat, my cane, Jeeves". In features such as It's a Gift and Man on the Flying Trapeze, he is reported to have written or improvised more or less all of his own dialogue and material, leaving story structure to other writers.
In his films, he often played hustlers, carnival barkers and card sharps, spinning yarns and distracting his marks. He had an affection for unlikely names and many of his characters bore them. Some examples are:
- "Larson E. [read "Larceny"] Whipsnade" (You Can't Cheat an Honest Man);
- "Egbert Sousé" [pronounced 'soo-ZAY', but pointing toward "souse", a synonym for a drunk] (The Bank Dick);
- "Ambrose Wolfinger" [pointing toward "Wolf-whistling"] (Man on the Flying Trapeze); and,
- "The Great McGonigle" (The Old-Fashioned Way).
In addition to playing a hustler, Fields was fond of casting himself as a victim: a hapless householder under the thumb of his shrewish wife and/or mother-in-law. His 1934 classic It's a Gift included his stage sketch of trying to escape his nagging family by sleeping on the back porch and being bedeviled by noisy neighbors and salesmen. That film, along with films such as You're Telling Me! and Man on the Flying Trapeze, ended happily with a windfall profit that restored his standing in his screen families.
Although lacking formal education, he was well read and a lifelong admirer of author Charles Dickens, whose characters' unusual names inspired Fields to do likewise for his various characters. He achieved a career ambition by playing the character Mr. Micawber, in MGM's David Copperfield in 1935. In 1936, Fields re-created his signature stage role in Poppy for Paramount Pictures.
Fields had a small cadre of supporting players that he employed in several films:
- Elise Cavanna, whose onscreen interplay with Fields was compared (by William K. Everson in The Art of W.C. Fields (1967)) to that between Groucho Marx and Margaret Dumont
- Jan Duggan, an "oldish" woman (actually about Fields' age who played small roles as a widow type. It was of her character that Fields said in The Old Fashioned Way, "She's all dressed up like a well-dressed grave".
- Kathleen Howard, as a nagging wife or antagonist
- Baby LeRoy, as a preschool child fond of playing pranks on Fields' characters
- Franklin Pangborn, a fussy, ubiquitous character actor who played in several Fields films, most memorably as J. Pinkerton Snoopington in The Bank Dick
- Alison Skipworth, as his wife (although 16 years his senior), usually in a supportive role rather than the stereotypical nag
- Grady Sutton, typically a country bumpkin type, as a foil or an antagonist to Fields' character
- Bill Wolfe, as a gaunt-looking character, usually a Fields foil
- Tammany Young, as a dim-witted, unintentionally harmful assistant, who appeared in seven Fields films until his sudden death from heart failure in 1936
Fields' renewed popularity from his radio broadcasts with Bergen & McCarthy earned him a contract with Universal Pictures in 1939. His first feature for Universal, You Can't Cheat an Honest Man, carried on the Fields-McCarthy rivalry. In 1940, Fields made My Little Chickadee, with Mae West, and The Bank Dick, perhaps his best-known film, in which he has the following exchange with bartender Shemp Howard:
- Fields: "Was I in here last night, and did I spend a $20 bill?"
- Shemp: "Yeah."
- Fields: "Oh boy, what a load that is off my mind... I thought I'd lost it!"
Fields fought with studio producers, directors, and writers over the content of his films. He was determined to make a movie his way, with his own script and staging, and his choice of supporting players. Universal finally gave him the chance, and the resulting film, Never Give a Sucker an Even Break (1941), is a masterpiece of absurd humor in which Fields appeared as himself, "The Great Man". Universal's singing star Gloria Jean played opposite Fields, and his cronies Leon Errol and Franklin Pangborn served as his comic foils. But the film Fields delivered was so surreal that Universal recut and reshot parts of it, then quietly released both the film and Fields.
Sucker was his last starring film. By then he was heavier and less mobile than at the peak of his film career during 1934–1935, when he was reasonably fit and trim.
Fields completed a scene for the 20th Century Fox film Tales of Manhattan (1942), in which he played an eccentric professor hired by Margaret Dumont to give a temperance lecture to a gathering of high society swells. This scene was cut from the film before release, supposedly due to running time. It was found in the vaults at Fox in the mid-1990s and was included in the video and DVD releases of the movie. The scene features an Italian clothier played by Phil Silvers and later a temperance meeting with society people at the home of a rich woman, Margaret Dumont, in which Fields finds that the punch has been spiked, resulting in a room full of drunken guests and a very happy Fields.
While Fields was inactive in film due to extended illness, he recorded a brief speech for a radio broadcast. His familiar, snide drawl registered so well with listeners that he quickly became a popular guest on network radio shows. One of his funniest routines had him trading insults with Edgar Bergen's dummy Charlie McCarthy on The Chase and Sanborn Hour.
Fields would twit Charlie about his being made of wood:
- Fields: "Tell me, Charles, is it true your father was a gate-leg table?"
- McCarthy: "If it is, your father was under it!"
When Fields would refer to McCarthy as a "woodpecker's pin-up boy" or a "termite's flophouse," Charlie would fire back at Fields about his drinking:
- McCarthy: "Is it true, Mr. Fields, that when you stood on the corner of Hollywood and Vine, 43 cars waited for your nose to change to green?"
Bergen: "Why, Bill, I thought you didn't like children."
- Fields: "Oh, not at all, Edgar, I love children. I can remember when, with my own little unsteady legs, I toddled from room to room."
- McCarthy: "When was that, last night?"
Thanks to radio, Fields reached a wider audience than ever before, and he was soon in demand for films again.
Fields occasionally entertained guests at home. Generally, he fraternized with actors, directors, and writers who shared his fondness for good company and good liquor. John Barrymore, Gene Fowler, and Gregory La Cava were a few of his intimates. Anthony Quinn and his wife Katherine DeMille (daughter of Hollywood director Cecil B. DeMille) were visiting Fields one afternoon when the Quinns' two-year-old son, Christopher, drowned in Fields’ lily pond. Fields was greatly distraught and brooded about the incident for months. He drained the pool and reportedly never used it again.
Fields had a substantial library in his home. Although a staunch atheist, or perhaps because of that, he studied theology and owned several volumes on the subject as well as multiple Bibles. Gene Fowler, noticing a Bible on the shelf, asked Fields, "What the hell are you doing with that"? Fields replied, "Been lookin' for loopholes".
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In a 1994 Biography TV show, Fields' 1941 co-star Gloria Jean described how she would visit his house from time to time, and they would talk. Gloria Jean found Fields to be kind and gentle in real life, and believed he yearned for the kind of family he lacked when he was a child. The show reported that Fields eventually reconciled with his estranged wife and son and enjoyed playing with his grandchildren.
With a presidential election looming in 1940, Fields toyed with the idea of lampooning political campaign speeches. He wrote to vice-presidential candidate Henry A. Wallace, intending to glean comedy material from Wallace’s speeches, but when Wallace responded with a warm, personal fan letter to Fields, the comedian decided against skewering Wallace. Instead, Fields wrote a book entitled Fields for President, consisting of humorous essays in the form of a campaign speech. Dodd, Mead and Company published it in 1940, with illustrations by Otto Soglow, but declined to reprint it at the time. The book sold poorly, largely because people were confused as to whether or not it was meant to be taken seriously. In 1971, Dodd, Mead reprinted it when Fields was seen as an anti-establishment figure; the 1971 reprint is illustrated with photographs of Fields.
Fields' film career slowed considerably in the 1940s. His illnesses confined him to brief guest-star appearances in other people's films. An extended sequence in 20th Century Fox's Tales of Manhattan (1942) was cut from the original release of the film and later reinstated for some home video releases. He performed his famous billiard-table routine one more time on camera, for Follow the Boys, an all-star entertainment revue for the Armed Forces. (Despite the charitable nature of the movie, Fields was paid $15,000 for his appearance, and he was never able to perform in person for the armed services.) In Song of the Open Road (1944), Fields juggled for a few moments, remarking, "This used to be my racket". His last film, the musical revue Sensations of 1945, was released in late 1944.
He guested occasionally on radio as late as 1946, often with Edgar Bergen. Just before his death that year, Fields recorded a spoken-word album, delivering his comic "Temperance Lecture" and "The Day I Drank A Glass Of Water" at Les Paul's studio, where Paul had installed his new multi-track recorder. The session was arranged by Paul's old Army pal Bill Morrow, a friend in common with Fields. Fields' vision had deteriorated so much that he read his lines from large-print cue cards. It was Fields' last performance.
Fields died in 1946, from an alcohol-related stomach hemorrhage, on the holiday he claimed to despise: Christmas Day. As documented in W.C. Fields and Me (Carlotta Monti's memoir published in 1971 and made into a 1976 film of the same name starring Rod Steiger), he died at Las Encinas Sanatorium, Pasadena, California, a bungalow-type sanitarium where, as he lay in bed dying, his longtime love, Carlotta Monti, went outside and turned the hose onto the roof, to allow Fields to hear for one last time his favorite sound—falling rain. According to the documentary W.C. Fields Straight Up, his death occurred in this way: he winked and smiled at a nurse, put a finger to his lips, and died. Fields was 66, and had been a patient for 22 months. His funeral took place on January 2, 1947, in Glendale, CA.
Fields was cremated and his ashes interred in the Forest Lawn Memorial Park Cemetery, in Glendale.
There have been stories that Fields wanted his grave marker to read either, "On the whole, I would rather be in Philadelphia" (his home town) or, "All in all, I would rather be in Philadelphia", both lines similar to one he used in My Little Chickadee: "I'd like to see Paris before I die...Philadelphia would do!" (In the same film, he made a point of referring to "Philadelphia cream cheese"; whether he knew of the J. L. Kraft Foods product is unknown. This rumor also morphed into, "I would rather be here than in Philadelphia". The anecdote that Fields often remarked, "Philadelphia, wonderful town, spent a week there one night", is similarly unsubstantiated.) It is also said that Fields wanted, "I'd rather be in Philadelphia", on his gravestone because of the old vaudeville joke among comedians, "I would rather be dead than play Philadelphia".
Whatever his wishes might have been, the interment marker for Fields' ashes merely bears his stage name and the years of his birth and death. The genesis of the line as originally phrased can be found in the 1925 Vanity Fair article, "A Group of Artists Write Their Own Epitaphs". The mock-epitaph for Fields reads, "Here Lies / W.C. Fields / I Would Rather Be Living in Philadelphia."
In a provision of his will that was contested by his wife Hattie and his son Claude, W. C. Fields—an atheist to the end—left a portion of his estate to fund the education of orphans in a school "where no religion of any sort is preached".
Unrealized film projects
W. C. Fields was the original choice for the title role in the 1939 version of The Wizard of Oz. One rumor was that he believed the role was too small. Another alleged that he requested too much money: his asking price was $100,000, while MGM offered $75,000. However, his agent asserted that Fields rejected the role because he wanted to devote his time to writing You Can't Cheat an Honest Man.
Fields figured in an Orson Welles project. Welles' bosses at RKO Radio Pictures, after losing money on Citizen Kane, urged Welles to choose as his next film a subject with more commercial appeal. Welles considered an adaptation of Charles Dickens' The Pickwick Papers which would have starred Fields and John Barrymore, but Fields' schedule would not permit it. The project was shelved, and Welles went on to adapt The Magnificent Ambersons.
Influence and legacy
According to Woody Allen (in a New York Times interview from January 30, 2000), W. C. Fields is one of six "genuine comic geniuses" he recognized as such in movie history, along with Charlie Chaplin, Buster Keaton, Groucho and Harpo Marx, and Peter Sellers.
Caricatures and imitations
- Cartoonist Al Hirschfeld has portrayed Fields in caricature many times, including the book cover illustrations for Drat!, A Flask of Fields, and Godfrey Daniels! – all edited by Richard J. Anobile.
- The TV show Gigglesnort Hotel featured a puppet character named "W. C. Cornfield", an obvious caricature of Fields.
- Master impressionist Rich Little often imitated Fields on his TV series The Kopycats, and he used a Fields characterization for the Ebenezer Scrooge character in his HBO special Rich Little's Christmas Carol (1978), a one-man presentation of A Christmas Carol.
- A 1960s Canadian cartoon series for kids Tales of the Wizard of Oz featured a Wizard with a voice imitation of Fields, a nod to the real-life choice of Fields to play the Wizard in the 1939 film classic opposite Judy Garland. Fields either wanted too much money, or was too ill to insure for the role, but the character as eventually portrayed by Frank Morgan, was remarkably similar to the con man Fields played in several films.
- Several cartoons of the 1930s, 1940s, 1950s and 1960s caricatured Fields, including Warner Bros. Looney Tunes and Merrie Melodies. Another cartoon, "Batty Baseball" directed by Tex Avery, features a game played at "W.C. Field". One episode of The Flintstones featured a tramp who gets old clothes belonging to Fred from his wife Wilma, then when Fred attempts to take back a coat, is trounced with the tramp's cane. The tramp has Fields' voice and persona.
- The Wizard of Id comic strip contains a shady lawyer character, a Fields caricature named "Larsen E. Pettifogger".
- In the second series of the TV drama Gangsters a character named the White Devil is introduced, who styles himself W.D. Fields affecting the vocal mannerisms and appearance of W.C. Fields to confuse and confound his enemies. Played by series writer Philip Martin, he himself is credited in the final episode as "Larson E. Whipsnade" after Fields' character in You Can't Cheat an Honest Man.
Information for this filmography is derived from the book, W. C. Fields: A Life on Film, by Ronald J. Fields. All films are feature length except where noted.
|1915||(untitled film)||Himself||Ed Wynn||Short film presented as part of the Ziegfeld Follies of 1915; lost film|
|September 19, 1915||Pool Sharks||The pool shark||Edwin Middleton||One reel; story by W.C. Fields; extant|
|October 3, 1915||His Lordship's Dilemma||Remittance man||William Haddock||One reel; extant? (print with French title cards found in 2006)|
|October 27, 1924||Janice Meredith||A British sergeant||E. Mason Hopper||extant|
|August 2, 1925||Sally of the Sawdust||Professor Eustace P. McGargle||D. W. Griffith||extant|
|October 7, 1925||That Royle Girl||Daisy Royle's father||D. W. Griffith||lost film|
|May 24, 1926||It's the Old Army Game||Elmer Prettywillie||A. Edward Sutherland||Story by J.P. McEvoy and W.C. Fields; extant|
|October 26, 1926||So's Your Old Man||Samuel Bisbee||Gregory La Cava||extant|
|January 31, 1927||The Potters||Pa Potter||Fred C. Newmeyer||lost film|
|August 20, 1927||Running Wild||Elmer Finch||Gregory La Cava||extant|
|October 17, 1927||Two Flaming Youths||J. G. "Gabby" Gilfoil||John S. Waters||lost film|
|March 3, 1928||Tillie's Punctured Romance||The Ringmaster||A. Edward Sutherland||extant?|
|May 7, 1928||Fools for Luck||Richard Whitehead||Charles F. Reisner||extant?|
|August 22, 1930||The Golf Specialist||J. Effingham Bellwether||Monte Brice||Two reels; story by W.C. Fields (uncredited)|
|October 26, 1931||Her Majesty, Love||Bela Toerrek||William Dieterle|
|July 8, 1932||Million Dollar Legs||President of Klopstokia||Edward Cline|
|October 2, 1932||If I Had a Million||Rollo La Rue||Norman Taurog|
|October 9, 1932||The Dentist||Himself||Leslie Pearce||Two reels; story by W.C. Fields (uncredited)|
|March 3, 1933||The Fatal Glass of Beer||Mr. Snavely||Clyde Bruckman||Two reels; story by W.C. Fields (uncredited)|
|April 21, 1933||The Pharmacist||Mr. Dilweg||Arthur Ripley||Two reels; story by W.C. Fields (uncredited)|
|June 2, 1933||International House||Professor Quail||A. Edward Sutherland|
|June 24, 1933||Hip Action||Himself||George Marshall||One reel|
|July 28, 1933||The Barber Shop||Cornielius O'Hare||Arthur Ripley||Two reels; story by W.C. Fields (uncredited)|
|September 8, 1933||Hollywood on Parade No. B-2||Himself||Louis Lewyn||One reel|
|October 13, 1933||Tillie and Gus||Augustus Q. Winterbottom||Francis Martin||Fields as contributing writer (uncredited)|
|October 22, 1933||Alice in Wonderland||Humpty Dumpty||Norman McLeod|
|February 9, 1934||Six of a Kind||Sheriff "Honest John" Hoxley||Leo McCarey|
|April 6, 1934||You're Telling Me!||Sam Bisbee||Erle C. Kenton||Fields as contributing writer (uncredited)|
|April 27, 1934||Hollywood on Parade No. B-10||Himself||Louis Lewyn||One reel|
|July 13, 1934||The Old Fashioned Way||The Great (Marc Antony) McGonigle||William Beaudine||Story by "Charles Bogle" (W.C. Fields)|
|October 19, 1934||Mrs. Wiggs of the Cabbage Patch||Mr. C. Ellsworth Stubbins||Norman Taurog|
|November 30, 1934||It's a Gift||Harold Bissonette||Norman McLeod||Original story by "Charles Bogle" (W.C. Fields)|
|March 22, 1935||Mississippi||Commodore Orlando Jackson||A. Edward Sutherland|
|July 26, 1935||Man on the Flying Trapeze||Ambrose Wolfinger||Clyde Bruckman||Story by "Charles Bogle" (W.C. Fields)|
|October 13, 1935||David Copperfield||Wilkins Micawber||George Cukor|
|June 19, 1936||Poppy||Professor Eustace P. McGargle||A. Edward Sutherland|
|February 18, 1938||The Big Broadcast of 1938||T. Frothingill Bellows
S. B. Bellows
|February 17, 1939||You Can't Cheat an Honest Man||Larson E. Whipsnade||George Marshall||Story by "Charles Bogle" (W.C. Fields)|
|February 9, 1940||My Little Chickadee||Cuthbert J. Twillie||Edward Cline||Bar scene written by W.C. Fields|
|November 29, 1940||The Bank Dick||Egbert Sousè||Edward Cline||Story by "Mahatma Kane Jeeves" (W.C. Fields)|
|October 10, 1941||Never Give a Sucker an Even Break||The Great Man||Edward Cline||Original story by "Otis Criblecoblis" (W.C. Fields)|
|unreleased||The Laziest Golfer||Himself||(unknown)||Footage shot but never assembled|
|October 30, 1942||Tales of Manhattan||Professor Postlewhistle||Julien Duvivier||Sequence with Fields cut from original release, restored for home video (VHS)|
|May 5, 1944||Follow the Boys||Himself||A. Edward Sutherland||Fields revived his old trick pool table routine|
|June 21, 1944||Song of the Open Road||Himself||S. Sylvan Simon||Fields juggled for a few moments|
|June 30, 1944||Sensations of 1945||Himself||Andrew L. Stone||Fields revived part of his old "Caledonian Express" sketch|
- "Conflicts over the true facts of W.C. Fields' life begin at the moment he was born. His original biographer, Taylor, even got this wrong, dating his birth at 9 April 1879, which would have made him an authentic bastard, as his parents were only married on 18 May of the same year. According to family lore, the Great Man was born on 29 January 1880". Louvish, Simon Man on the Flying Trapeze: The Life and Times of W. C. Fields. Faber & Faber, 1999. ISBN 0-393-04127-1 p. 28.
- Obituary Variety, January 1, 1947, page 46.
- "W.C. Fields Biography". The Biography Channel (UK).
- Simon Louvish, Man on the Flying Trapeze: The Life and Times of W. C. Fields, 1997.
- Muster roll of 72nd PA, which did not fight at Lookout Mountain! A photo of James in a Civil War period uniform, c. 1900, shows him missing his right index finger. Reproduced p. 29, Louvish.
- 1880 census, Philadelphia, p. 129A; Louvish, ibid.
- "W.C. Fields Biography". The Biography Channel (UK).
- "Ally Sloper: The First Comics Superstar?", Roger Sabin, Image & Narrative, October 2003
- "W. C. Fields' Widow Wins. Entitled to Half $771,000, Though Long Estranged, Judge Rules.". New York Times. July 8, 1949, Friday.
- Canby, Vincent (February 19, 1966, Saturday). "Son of W. C. Fields Toasts Him in Tea. Comic's Namesake, Here for Festival, Is a Teetotaler.". New York Times. "William Claude Fields, Jr., the only child of the man who once said that anybody who hates children cannot be all bad, sat somewhat uncomfortably late yesterday afternoon in the eighth-floor lounge at the Gallery of Modern Art, sipping a cup of tea, a beverage his father might have chosen only in extremis."
- Jordan, S. C. (2008). Hollywood's original rat pack The bards of Bundy Drive. Lanham, Maryland [u.a.]: Scarecrow Press. p. 151. ISBN 0-8108-6032-5
- Claude W. Dukenfield, age 30 at 3920 North Marshall Street, Philadelphia, age 30, an actor, in the tenth year of his first marriage. His wife is not present in the household.
- Gehring, W. D. (1994). Groucho and W.C. Fields Huckster comedians. Jackson, Miss: University Press of Mississippi. p. 70. ISBN 0-585-19049-6
- Curtis, James. W.C. Fields: A Biography. A. Knopf, New York, 2003, pp. 144-6.
- Silvers, Phil (1973). This Laugh is on Me.
- Curtis, James. W.C. Fields: A Biography. A. Knopf, New York, 2003, p. 230.
- Curtis, James. W.C. Fields: A Biography. A. Knopf, New York, 2003, pp. 355-70.
- Jan Duggan (actress). omnilexica.com. Retrieved 26 September, 2013.
- W.C. Fields Radio recordings
- Robert Lewis Taylor (1967). W. C. Fields: His Follies and Fortunes. New York: New American Library. p. 235. ISBN 0-451-50653-7.
- Jordan, S. C. (2008). Hollywood's original rat pack The bards of Bundy Drive. Lanham, Maryland [u.a.]: Scarecrow Press. pp. 151–152. ISBN 0-8108-6032-5
- "W.C. Fields, 66, Dies. Famed as Comedian. Mimicry Star of the Films Since 1924 Got Start as a $5-a-Week Juggler. Rarely Followed Script. Raspy Remarks and 'Know-It-All' Perspective Made Him Nation-Wide Character.". New York Times. December 26, 1946, Thursday. "Pasadena, California, December 25, 1946 (Associated Press) W.C. Fields, the comedian whose deadpan gestures, raspy remarks and "never give a sucker an even break" characterizations made him a showman beloved the nation over, died today at the age of 66."
- W.C. Fields: Straight Up at the Internet Movie Database
- Lines 1 and 3 are in small caps in the original) [The article is reprinted in VANITY FAIR: Selections from America's Most Memorable Magazine, edited by Cleveland Amory and Frederic Bradlee, pages 102–103. Viking Press, 1960
- Jordan, S. C. (2008). Hollywood's original rat pack: The bards of Bundy Drive. Lanham, Maryland [u.a.]: Scarecrow Press. p. 152. ISBN 0-8108-6032-5
- Buscombe, Edward, and Rob White. (2003). British Film Institute film classics. T. 1. London: Fitzroy Dearborn. p. 269. ISBN 1579583288.
- "Here a Comic Genius, There a Comic Genius," N.Y. Times Arts section: 1/30/2000
- W. C. Fields, Fields for President (1940, 1971) Dodd, Mead ISBN 0-396-06419-1. (Humorous essays about Fields's stance on marriage, politics, finance, etc.)
- Robert Lewis Taylor, W.C. Fields: His Follies and Fortunes (1949) Doubleday & Co., (1967) New American Library ISBN 0-451-50653-7. (First book biography, with many firsthand quotes from friends and colleagues)
- Gene Fowler, Minutes of the Last Meeting (1954) Viking Press
- Eddie Cantor, As I Remember Them (1963) Duell, Sloan & Pearce
- Donald Deschner (ed.), The Films of W.C. Fields (1966, 2000) Citadel Press
- Corey Ford, "The One and Only W.C. Fields" from The Time of Laughter (1967) Little, Brown
- William K. Everson, The Art of W.C. Fields (1967) Random House ISBN 0-517-01232-4. (First book-length examination of the Fields films)
- Richard J. Anobile (ed.), Drat!: Being the Encapsulated View of Life by W. C. Fields in His Own Words (1968) World Publishing
- David Robinson, The Great Funnies: A History of Film Comedy (1969) E.P. Dutton
- Jan Kindler, "Elysian Fields" from Playboy (March 1969)
- Bosley Crowther, "W.C. Fields Comedy Festival" from New York Times Film Reviews, 1959–1968 (1970) Arno Press
- Andre Sennwald, capsule reviews from New York Times Film Reviews, 1932–1938 (1970) Arno Press
- Raymond Durgnat, "Suckers and Soaks" from The Crazy Mirror: Hollywood Comedy and the American Image (1970) Dell Publishing
- Andrew Bergman, "Some Anarcho-Nihilist Laff Riots" from We're in the Money: Depression America and Its Films (1971) New York University Press
- Otis Ferguson, "The Great McGonigle" from The Film Criticism of Otis Ferguson (1971) Temple University Press
- Carlotta Monti (with Cy Rice), W.C. Fields and Me (1971) Prentice-Hall, ISBN 978-0139444548. (basis of the 1976 film starring Rod Steiger)
- Richard J, Anobile (ed.), A Flask of Fields: Verbal and Visual Gems from the Films of W.C. Fields (1972) W.W. Norton
- Leonard Maltin, Selected Short Subjects (first published as The Great Movie Shorts, 1972) Crown Publishers, (revised 1983) Da Capo Press
- Ronald J. Fields (ed.), W.C. Fields by Himself: His Intended Autobiography with Hitherto Unpublished Letters, Notes, Scripts and Articles (1973) Prentice-Hall ISBN 0-13-944462-9.
- W. C. Fields (with Charles Grayson), The Bank Dick (1973) Simon & Schuster (the August 22, 1940 screenplay)
- W. C. Fields (with John T. Neville, et al.), Never Give a Sucker an Even Break (Rupert Hughes, et al.) Tillie and Gus (1973) Simon & Schuster (Continuity scripts derived from these films)
- Penelope Gilliatt, "To W.C. Fields, Dyspeptic Mumbler, Who Invented His Own Way Out" from Unholy Fools: Wits, Comics, Disturbers of the Peace (1973) Viking Press
- Gerald Mast, The Comic Mind: Comedy and the Movies (1973, 2nd ed. 1979) University of Chicago Press
- Donald W. McCaffrey, "The Latter-Day Falstaff" from The Golden Age of Sound Comedy (1973) A.S. Barnes
- Nicholas Yanni, W.C. Fields (1974) Pyramid Library
- Richard J. Anobile (ed.), Godfrey Daniels!: Verbal and Visual Gems from the Short Films of W. C. Fields (1975) Crown
- Walter Kerr, The Silent Clowns (1975) Alfred A. Knopf, (1990) Da Capo Press
- Stuart Byron and Elizabeth Weis (eds.), The National Society of Film Critics on Movie Comedy (1977) Grossman/Viking
- Leonard Maltin, The Great Movie Comedians (1978) Crown
- Will Fowler, The Second Handshake (1980) Lyle Stuart
- Louise Brooks, "The Other Face of W.C. Fields" from Lulu in Hollywood (1982) Alfred A. Knopf
- Ronald J. Fields, W.C. Fields: A Life on Film (1984) St. Martin's Press
- Wes D. Gehring, W.C. Fields: A Bio-Bibliography (1984) Greenwood Press
- Gerald Weales, Canned Goods as Caviar: American Film Comedy of the 1930s (1985) University of Chicago Press
- David T. Rocks, W.C. Fields: An Annotated Guide (1993) McFarland & Co.
- Wes D. Gehring, Groucho and W.C. Fields: Huckster Comedians (1994) University Press of Mississippi
- Simon Louvish, It's a Gift (1994) British Film Institute
- Simon Louvish, Man on the Flying Trapeze: The Life and Times of W.C. Fields (1999) Faber & Faber ISBN 0-393-04127-1. (New biography with new research)
- Ronald J. Fields with Shaun O'L. Higgins, Never Give a Sucker an Even Break: W.C. Fields on Business (2000) Prentice-Hall
- James Curtis, W.C. Fields: A Biography (2003) Alfred A. Knopf ISBN 0-375-40217-9. (The definitive, comprehensive biography, with many "apocryphal" stories from previous bios corrected)
- Scott MacGillivray and Jan MacGillivray, Gloria Jean: A Little Bit of Heaven (2005) iUniverse ISBN 978-0-595-67454-1. (Authorized biography with recollections of Fields at work)
- Wes D. Gehring, Film Clowns of the Depression (2007) McFarland & Co.
- Gregory William Mank (et al.), Hollywood's Hellfire Club (2007) Feral House
|Wikiquote has a collection of quotations related to: W. C. Fields|
|Wikimedia Commons has media related to W.C. Fields.|
- W. C. Fields at the Internet Movie Database
- W. C. Fields at the Internet Broadway Database
- Official site
- Official fan club
- Criterion Collection essay by Dennis Perrin on W.C. Fields: Six Short Films
- The Fatal Glass of Beer (iPod format) at the Internet Archive
- W.C. Fields' first show for the Chase And Sanborn Hour 1937-05-09 (01) Guest - Ann Harding
- New Rochelle Festival Celebrates the Funny Side of Life, The New York Times, March 8, 1987]