Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#192646
of 909177 performers
Top 25%
Ann Sheridan works on quiet performance rather than volume, and the catalogue keeps proving that the quieter choice was the correct one.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Ann Sheridan appears in 4 films in the Nutevio catalogue, and none of them would work the same way without Ann. Angels with Dirty Faces is the clearest case: a film rated 7.1 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, transformation, versatility. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for mystery, crime, thriller. It is a style built on what is withheld as much as what is played.
Working with Norman Foster, Howard Hawks, Michael Curtiz, Ann Sheridan helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Angels with Dirty Faces (1938) as Laury Ferguson · I Was a Male War Bride (1949) as Lt. Catherine Gates · Woman on the Run (1950) as Eleanor Johnson
Career snapshot
Ranked #192646 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
4
1938–1950
Career length
12 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.1
Angels with Dirty Faces
Average Nutevio score
6.8
Across catalogue work
Highest IMDb rating
7.5
Angels with Dirty Faces
Most frequent director
Michael Curtiz
2 films together
Longest collaboration
2×
With Michael Curtiz
Most common genre
Crime
2 titles
Average runtime
1h 36m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.4
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1930s
6.8 average MV
The 1930s are where the work and the material meet. Dodge City, Angels with Dirty Faces — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1930s
6.8
Across 2 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1930s
7.2
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1930s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Dodge City, Angels with Dirty Faces.
Most productive era
1930s
2 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1930s | 1940s | 1950s |
|---|---|---|---|
| Drama | 7.11 film | — | — |
| Thriller | — | — | 6.61 film |
| Comedy | — | 6.71 film | — |
| Crime | 7.11 film | — | 6.61 film |
| Romance | — | 6.71 film | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio · Highest rated performance
Where our catalogue meets this career, as Laury Ferguson. 7.1 on the Nutevio scale, the top of the catalogue for this performer.
Career peak · Most recent film
1950Woman on the Run
Weighing billing against the film's own quality, this is the point where everything aligned at once. The current state of the argument, as Eleanor Johnson.
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
4 of 4 films
as Eleanor Johnson
Directed by Norman Foster
as Lt. Catherine Gates
Directed by Howard Hawks
as Ruby Gilman
Directed by Michael Curtiz
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
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The defining work
#1
Eleanor Johnson
Woman on the Run (1950)
Performance score7.3
The performance the rest of the career is read through. Eleanor Johnson gives Ann Sheridan a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Laury Ferguson
Angels with Dirty Faces (1938)
Performance score7.2
Angels with Dirty Faces asks for something the previous films did not, and gets it. Laury Ferguson is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Lt. Catherine Gates
I Was a Male War Bride (1949)
Performance score7.1
I Was a Male War Bride asks for something the previous films did not, and gets it. Lt. Catherine Gates is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Ruby Gilman
Dodge City (1939)
Performance score7.0
Dodge City asks for something the previous films did not, and gets it. Ruby Gilman is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Eleanor Johnson
Start here. Woman on the Run is the clearest statement of what Ann Sheridan does — accessible, 77 minutes, and rated 6.6 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Ann at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Angels with Dirty Faces (1938)
Keeps the crime register of Woman on the Run but asks for a colder reading of it.
Dodge City (1939)
Same director as Angels with Dirty Faces, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
I Was a Male War Bride (1949)
A deliberate change of key after Dodge City — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Michael Curtiz
Director
2 films together · 6.8 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
Angels with Dirty FacesHoward Hawks
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
I Was a Male War BrideNorman Foster
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Woman on the RunSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
Angels with Dirty Faces
as Laury Ferguson
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
I Was a Male War Bride
as Lt. Catherine Gates
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Angels with Dirty Faces
as Laury Ferguson
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Angels with Dirty Faces
as Laury Ferguson
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Woman on the Run
as Eleanor Johnson
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Ann Sheridan has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Crime Legend
Awarded
2 catalogue titles in crime, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
Woman on the Run
as Eleanor Johnson
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Woman on the Run
as Eleanor Johnson
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
I Was a Male War Bride
as Lt. Catherine Gates
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Woman on the Run
as Eleanor Johnson
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Dodge City
as Ruby Gilman
Images that would survive with the sound switched off.
Best action sequence
Dodge City
as Ruby Gilman
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
I Was a Male War Bride
as Lt. Catherine Gates
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Woman on the Run
as Eleanor Johnson
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Have your say
Community
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Reference
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