Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#235653
of 909177 performers
Top 50%
Maude Eburne 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.
Maude Eburne appears in 2 films in the Nutevio catalogue, and none of them would work the same way without Maude. To Be or Not to Be is the clearest case: a film rated 7.4 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, transformation, screen presence. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for romance, war, comedy. It is a style built on what is withheld as much as what is played.
Working with Ernst Lubitsch, Frank R. Strayer, Maude Eburne 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.
To Be or Not to Be (1942) as Anna · The Vampire Bat (1933) as Aunt Gussie Schnappmann
Career snapshot
Ranked #235653 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
2
1933–1942
Career length
9 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.4
To Be or Not to Be
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.8
To Be or Not to Be
Most frequent director
Ernst Lubitsch
1 film together
Longest collaboration
1×
With Ernst Lubitsch
Most common genre
Romance
1 title
Average runtime
1h 22m
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
6.3
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
1940s
7.4 average MV
The 1940s are where the work and the material meet. To Be or Not to Be — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1940s
7.4
Across 1 catalogue film in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1940s
7.8
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. The Vampire Bat.
Most productive era
1930s
1 film
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 |
|---|---|---|
| Thriller | 5.91 film | — |
| Comedy | — | 7.41 film |
| Romance | — | 7.41 film |
| Horror | 5.91 film | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
1933The Vampire Bat
Where our catalogue meets this career, as Aunt Gussie Schnappmann.
Highest rated performance · Career peak · Most recent film
7.4 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once. The current state of the argument, as Anna.
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.
2 of 2 films
as Aunt Gussie Schnappmann
Directed by Frank R. Strayer
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Anna
To Be or Not to Be (1942)
Performance score7.2
The performance the rest of the career is read through. Anna gives Maude Eburne a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Aunt Gussie Schnappmann
The Vampire Bat (1933)
Performance score6.5
The Vampire Bat asks for something the previous films did not, and gets it. Aunt Gussie Schnappmann 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 Anna
Start here. To Be or Not to Be is the clearest statement of what Maude Eburne does — accessible, 99 minutes, and rated 7.4 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Maude 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.
The Vampire Bat (1933)
A deliberate change of key after To Be or Not to Be — 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.
Ernst Lubitsch
Director
1 film together · 7.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
To Be or Not to BeFrank R. Strayer
Director
1 film together · 5.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Vampire BatSix 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
To Be or Not to Be
as Anna
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
To Be or Not to Be
as Anna
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
To Be or Not to Be
as Anna
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
To Be or Not to Be
as Anna
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
To Be or Not to Be
as Anna
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. Maude Eburne has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
To Be or Not to Be
as Anna
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Vampire Bat
as Aunt Gussie Schnappmann
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
To Be or Not to Be
as Anna
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Vampire Bat
as Aunt Gussie Schnappmann
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
To Be or Not to Be
as Anna
Images that would survive with the sound switched off.
Best action sequence
To Be or Not to Be
as Anna
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
To Be or Not to Be
as Anna
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
The Vampire Bat
as Aunt Gussie Schnappmann
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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