Olga Petrova
Minnie Collins
Muriel Harding
Madame Petrova
O. Petrova
Olya Petrova
As a girl in England at the turn of the century, Olga Petrova (born Muriel Harding) felt stifled by her father’s strict rules.
DOB: 05/10/1884

Olga Petrova

May 10, 1884 - November 30, 1977
Also Known As:
Minnie Collins, Muriel Harding, Madame Petrova, O. Petrova, Olya Petrova
Worked as:
co-screenwriter, film actress, film company owner, musical comedy actress, producer, screenwriter
Worked In:
United States
by Wendy Holliday

As a girl in England at the turn of the century, Olga Petrova (born Muriel Harding) felt stifled by her father’s strict rules. According to her memoir, Petrova’s father told her that while she lived in his house and ate his bread, he would set the rules. Petrova was determined to live in her own house and eat her own bread (Petrova 55-56). Her success in reaching this goal, and more, is reflected in the title of her memoir, Butter with My Bread. 

Olga Petrova (a/w/p). PCJY

Olga Petrova (a/w/p/o). PC

Olga Petrova (w/a/p). AMPAS

Olga Petrova (w/a/p/o). AMPAS

Olga Petrova (a) Tempered Steel(1918). PCJY

Olga Petrova (a/w/p/o) Tempered Steel (1918). PC

Olga Petrova (a) The Light Within  Lillian Case Russell (w). PCJY

Olga Petrova (a/w/p/o) The Light Within,  Lillian Case Russell (w). PC

Olga Petrova (a/w/p) with Mathew Hamilton Tempered Steel (1918) Lillian Case Russell (w. PCJY

Olga Petrova (a/w/p/o) with Mathew Hamilton Tempered Steel (1918) Lillian Case Russell (w). PC

Petrova Pictures ad. Photoplay Jan 1918. PD

Petrova Pictures ad. Photoplay Jan 1918. PD

Slide announcing Olga Petrova's (w/a/p) contract with Paramount Pictures. PCJY

Slide announcing Olga Petrova’s (a/w/p/o) contract with Paramount Pictures. PC

According to her memoir, Petrova’s desire for independence led her to run away to become a governess, but it is sometimes difficult to tell the mythmaking from reality in Petrova’s writing. She eventually met a theatre agent and became a successful actress in musicals and vaudeville in both London and New York. She likely chose the stage name Olga Petrova herself and created her own back story as a glamorous Pole or Russian. Later Hollywood publicity claimed that the studio created this persona, but press clippings and her memoir suggest that Petrova used the name on the stage.

Petrova began her film acting career in The Tigress (1914), directed by Alice Guy Blaché, whom she describes as wearing a “silken glove” but “capable of using a mailed fist” in the short piece, “A Remembrance” (102–103). Initially, Petrova did not care much for acting in films, complaining about having to play weak female characters and having to spend so much time waiting around. According to her American Film Institute Catalog credits, she made several films for Popular Plays and Players between 1915 and 1917. She made The Undying Flame (1917) and two additional films with director Maurice Tourneur, whose work she respected. In 1917 she established her own production company, Petrova Pictures, so that she could have more control (Hanson 1988, Vol. 1, 252, 506, 969). Alison McMahan says that although Petrova had a contract with First National Exhibitors’ Circuit for eight films, only a handful were made, and after these she returned to stage acting (McMahan 2002, 184).

Like many other silent actresses, she wrote several of her own screenplays. Her first credit was for the Blaché film The Vampire (1915). In the film trade press, Petrova was a vocal critic of the kind of female roles then available. She told the Motion Picture News that she disliked the “simpering, gushing ingénue” and preferred to play “the woman of today: a modern, quick thinking and wholly human woman” (2176). She confessed to Thomas Fulbright that, “The reason I started writing some of my own stories was because I wanted to portray the self-reliant, self-supporting woman.” Petrova wrote, for example, the scenario for More Truth Than Poetry (1917), which advocated a single sexual standard for men and women. Most of her other films, however, seem to be fairly traditional “love wins in the end” stories.

In her memoir, Petrova wrote that she was proud of the “self-reliant, self-supporting professional women” that she played in More Truth Than Poetry (285). She was also a skilled self-publicist and promoted this same image via fan magazines and the popular press. The Motion Picture News story plays up the busy career woman image, as Petrova “kept appointments every fifteen or twenty minutes in the day with business men, lawyers, and ‘modistes’ and handles everything from writing scripts to costumes” (2176). In her motion pictures and her public image, Petrova promoted a liberal feminist ideal, in which women could seek individual fulfillment and independence. In a 1917 Photoplay article she said, “I am a feminist. By that I do not mean that women should try to do the work of men. They should merely learn to do their own work, live their own lives, be themselves, with all the strength that is in them” (27). The example she set with her own life, achieving both bread and butter, attests to the power of this idea.

Selected Bibliography

Fulbright, Thomas. “A Tribute: Call Me Petrova, Part 2.” The World of Yesterday (July 1977): 41-50.

James, Neville. “Olga Petrova.” The Silent Picture 18 (1973): 4-12.

“Mme. Olga Petrova Easily the Busiest of Women.” Motion Picture News (29 Sept. 1917): 2176.

Petrova, Olga. Butter with My Bread. Indianapolis: Bobbs-Merrill, 1942.

------. “A Remembrance.” Appendix A., Alice Guy Blaché. The Memoirs of Alice Guy Blaché, ed. Anthony Slide. Lanham, Md.: Scarecrow Press, 1966, 102 – 103.

“Petrova—Prophetess.” Photoplay (Dec. 1917): 27.

Archival Paper Collections:

Olga Petrova clippings file. AMPAS-SC.

Olga Petrova papers, 1918-1976. UW-AHC.

Olga Petrova scrapbook, Robinson Locke collection, 1870-1920. NYPL-BRTD.

Complete Project Bibliographies


A. Archival Filmography: Extant Film Titles:

1. Olga Petrova as Actress

The Waiting Soul. Dir.: Burton King, sc.: Wallace C. Clifton (Popular Plays and Players, Inc. US 1917) cas.: Olga Petrova, Lottie Ford, si, b&w, 35mm., 5 reels. Archive: USR.

B. Filmography: Not Extant Titles:

1. Olga Petrova as Actress

The Tigress, 1914; The Heart of a Painted Woman, 1915; My Madonna, 1915; The Black Butterfly, 1916; The Eternal Question, 1916;  Extravagance,1916;  Playing with Fire, 1916; The Scarlet Woman, 1916; The Soul Market, 1916; What Will People Say?, 1916; Bridges Burned, 1917; Exile, 1917; Law of the Land, 1917; More Truth than Poetry,1917; The Secret of Eve,1917; The Silence Sellers, 1917;The Soul of Magdalene,1917; To the Death, 1917; The Undying Flame, 1917.

2. Olga Petrova as Co-Screenwriter and Actress

The Vampire, 1915;  To the Death, 1917.

3. Olga Petrova as Storywriter and Actress

The Black Butterfly, 1916; Bridges Burned, 1917; Daughter of Destiny, 1917; More Truth Than Poetry, 1917.

4.Olga Petrova as Producer,  Storywriter, and Actress (Petrova Pictures)

Daughter of Destiny, 1917

5. Olga Petrova as Producer and Actress (Petrova Pictures)

The Life Mask, 1918; The Light Within, 1918; Tempered Steel, 1918; The Panther Woman, 1919.


Holliday, Wendy. "Olga Petrova." In Jane Gaines, Radha Vatsal, and Monica Dall’Asta, eds. Women Film Pioneers Project. Center for Digital Research and Scholarship. New York, NY: Columbia University Libraries, 2013. Web.   September 27, 2013.   <>


Below are lists of other pioneers that are related to Olga Petrova by occupation or geography.

Occupation: co-screenwriters

Occupation: film actresses

Occupation: film company owners

Occupation: musical comedy actresses

Occupation: producers

Occupation: screenwriters

Place: United States