During this time as steamship captain, he lived largely on board various ships, maintaining residences both sides of the Atlantic between voyages and returning periodically to his family in Bristol.

[11] In 1922, her father required a passport in order to travel on September 23 aboard the S.S. Vestris to Buenos Aires to inspect steamers on behalf of his employer, Lloyd Royal Belge Steamship Co S.A. of 10 Pearl St, New York.

[16] Later that year, Hamilton played Señorita, a Spanish dancer, in the revue The Grab Bag back at the Globe Theatre (October 6, 1924, to March 14, 1925),[17] which subsequently went on tour to venues including Werba's Brooklyn Theatre, the Lyceum Theater in Rochester in 1926, two theaters named Majestic: Cedar Rapids, IA, and Buffalo, NY, as well as Philadelphia and Boston.

For the first, in March, she was summoned by telegram to appear in Women's Palace as a replacement for Jenny Golder (aka Rosie Sloman), as described in a letter by the English painter Edward Burra.

Here her co-star and dancing partner was the much celebrated French prize fighter and World War 1 hero Georges Carpentier, who made his stage debut as both singer and dancer.

"[22] In 1928, Hamilton was promoted as "an international artist of repute, having appeared in England, France and South America", set to be a featured player in J.P. McEvoy's forthcoming Broadway musical "Americana",[23][24] and in January 1929 she appeared in a short-lived Vaudeville style revue at the Fox Theater in Washington D.C. called Dr. Jazz, in which she "steps around in weird contortionist fashion in her eccentric dance", while others performed songs and comedy acrobatics.

[26] Later in 1929, Hamilton went to Mexico, accompanying her good friends Ben Hecht, his wife Rose Caylor, and Charles MacArthur, a group of journalists, authors, playwrights and Hollywood screenwriters.

Hamilton's group were among many Americans, including Charles Lindbergh and his soon-to-be wife Anne Morrow, trapped at this time in Mexico due to the revolution.

[27] Finally railroad communication was re-established and Hamilton was able to return to New York to begin rehearsals for a new musical comedy set to open that Spring.

Hamilton was again acknowledged for writing the story for Arnold Schwarzenegger's 1992 TV remake starring Dyan Cannon, Kris Kristofferson and Tony Curtis.

[33] According to advertisements contemporaneous to the film's launch, the credits appeared as "Screen Play by Lionel Houser and Adele Commandini • From an original story by Aileen Hamilton".

There has been much analysis of Hamilton's inspiration behind the story but the most popular theory behind her Elizabeth Lane character is that it was based at least in part on Gladys Taber, who wrote the ubiquitous monthly column Diary of Domesticity in Ladies Home Journal from 1937 to 1957.

Her brother's background had been in publishing, as a cub reporter on the New York Daily Mirror, owned by William Randolph Hearst, and in the same stable were Good Housekeeping from 1905, and Cosmopolitan from 1911, both of which carried popular cookery columns.

It is acknowledged that Hearst's own life story was the main inspiration for Charles Foster Kane, the lead character in Orson Welles's film Citizen Kane (1941),[35] while Hearst's lifelong marriage to the New York vaudeville performer Millicent Willson and simultaneous long affair with the film actress and comedian Marion Davies publicly demonstrated his penchant for show women such as Hamilton.

Sixteen episodes of the latter were co-written by her brother Ian McLellan Hunter with his friend and lifelong collaborator Ring Lardner, Jr., both former cub reporters on the New York Daily Mirror, though pseudonyms were used due to both being on the Hollywood blacklist.