Helen Mack (born Helen McDougall; November 13, 1913 – August 13, 1986) was an American actress. She started her career as a child actress in silent films, moving to Broadway plays and touring one of the vaudeville circuits. Her greater success as an actress was as a leading lady in the 1930s. She made the transition to performing on radio and then into writing, directing, and producing shows during the Golden Age of Radio. She later wrote for Broadway, stage and television. Her career spanned the infancy of the motion picture industry, the beginnings of Broadway, the final days of vaudeville, the transition to sound movies, the Golden Age of Radio, and the rise of television. Youth and stage Mack was born in Rock Island, Illinois, the daughter of William George McDougall, a barber, and Regina (née Lenzer) McDougall, who had a repressed desire to become an actress. She attended the Professional Children's School of New York City. Her friend Vera Gordon helped her along as a child actress. She appeared on Broadway and in vaudeville and debuted in films at age 10 in 1925. Her stage debut was in The Idle Inn with Jacob Benami. She performed with Roland Young in The Idle Inn and toured America with William Hodge in Straight Through The Door. Film actress Mack began her film career, first billed as Helen Macks, at the age of 10 in the 1923 silent Success, featuring Brandon Tynan, Naomi Childers and Mary Astor. In Zaza, Mack worked with Gloria Swanson. She had a small role in D.W. Griffith's last film The Struggle (1931). Her Fox Film screen test came in March 1931, and within three weeks she was on the studio lot. She made her debut as a leading lady opposite Victor McLaglen in While Paris Sleeps (1932) and was cast with John Boles in his initial Fox Film venture Scotch Valley. She played in several westerns in the early 1930s, including Fargo Express (1933) with Ken Maynard and The California Trail with Buck Jones. Before the film Sweepings (1933), Mack's career had declined for three years. Three of her productions failed. One reason was that she was usually a character star, and her employers had used her as an ingenue. RKO Radio Pictures Inc. offered her a second chance as Mamie Donahue in Sweepings. She may be best remembered for the 1933 movie sequel The Son