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Dorothy Gish was born into a broken family where her restless father James Lee Gish was frequently absent. Mary Robinson McConnell a.k.a. Mary Gish, her mother, had entered into acting to make money to support the family. As soon as Dorothy and her sister Lillian Gish were old enough, they became part of the act. To supplement their income, the two sisters also posed for pictures and acted in melodramas of the time. In 1912 they met fellow child actress Mary Pickford, and she got them extra work with Biograph Pictures. Director D.W. Griffith was impressed by both the girls and cast them in An Unseen Enemy (1912), their first picture. Dorothy would go on to star in over 100 two-reel films and features over the years. She would appear in the very successful Judith of Bethulia (1914) with Blanche Sweet. She and her sister Lillian made a number of films together, including the extremely successful Hearts of the World (1918) and Orphans of the Storm (1921). In both films Dorothy would play French girls, but in different periods of time. Lillian would try her hand at directing, with a movie called Remodeling Her Husband (1920), which starred Dorothy and an actor named James Rennie, whom Dorothy would marry and later divorce. While she would excel in pantomime and light comedy, her popularity would always be overshadowed by that of her sister Lillian, who was considered to be one the silent screen's greatest stars. Dorothy would only make a handful of movies in the 1920s, and in Romola (1924)--a costume picture about Italy in the Middle Ages--she would again co-star with Lillian. By 1926 Dorothy had moved to England, where she would star as the title role in Nell Gwyn (1926). Her last silent film would be Madame Pompadour (1927). In 1928 Dorothy would retire from the screen, except for a few occasional roles, and enjoy a long career on the stage.- Actress
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Lupe Velez was born on July 18, 1908, in San Luis Potosi, Mexico, as Maria Guadalupe Villalobos Velez. She was sent to Texas at the age of 13 to live in a convent. She later admitted that she wasn't much of a student because she was so rambunctious. She had planned to become a champion roller skater, but that would change. Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but she kept a little for herself so she could take dancing lessons. With her mature shape and grand personality, she thought she could make a try at show business, which she figured was a lot more glamorous than dancing or working as a salesclerk. In 1924 Lupe started her show business career on the Mexican stage and wowed audiences with her natural beauty and talent. By 1927 she had emigrated to Hollywood, where she was discovered by Hal Roach, who cast her in a comedy with Stan Laurel and Oliver Hardy. Douglas Fairbanks then cast her in his feature film The Gaucho (1927) with himself and wife Mary Pickford. Lupe played dramatic roles for five years before she switched to comedy. In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful. In 1934 Lupe appeared in three fine comedies: Strictly Dynamite (1934), Palooka (1934) and Laughing Boy (1934). By now her popularity was such that a series of "Mexican Spitfire" films were written around her. She portrayed Carmelita Lindsay in Mexican Spitfire (1939), Mexican Spitfire Out West (1940), The Mexican Spitfire's Baby (1941) and Mexican Spitfire's Blessed Event (1943), among others. Audiences loved her in these madcap adventures, but it seemed at times that she was better known for her stormy love affairs. She married one of her lovers, Johnny Weissmuller, but the marriage only lasted five years and was filled with battles. Lupe certainly did live up to her nickname. She had a failed romance with Gary Cooper, who never wanted to wed her. By 1943 her career was waning. She went to Mexico in the hopes of jump-starting her career. She gained her best reviews yet in the Mexican version of Naná (1944). Bolstered by the success of that movie, Lupe returned to the US, where she starred in her final film as Pepita Zorita, Ladies' Day (1943). There were to be no others. On December 13, 1944, tired of yet another failed romance, with a part-time actor named Harald Maresch, and pregnant with his child, Lupe committed suicide with an overdose of Seconal. She was only 36 years old.- Actress
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Anna May Wong, the first Chinese-American movie star, was born Wong Liu Tsong on January 3, 1905, in Los Angeles, California, to laundryman Wong Sam Sing and his wife, Lee Gon Toy. A third-generation American, she managed to have a substantial acting career during a deeply racist time when the taboo against miscegenation meant that Caucasian actresses were cast as "Oriental" women in lead parts opposite Caucasian leading men. Even when the role called for playing opposite a Caucasian in yellowface, as with Paul Muni's as the Chinese peasant Wang Lung in The Good Earth (1937), Wong was rejected, since she did not fit a Caucasian's imagined ideal look for an Asian woman. The discrimination she faced in the domestic industry caused her to go to Europe for work in English and German films. Her name, which she also spelled Wong Lew Song, translates literally as "Frosted Yellow Willows" but has been interpreted as "Second-Daughter Yellow Butterfly." Her family gave her the English-language name Anna May. She was born on Flower Street in downtown Los Angeles in an integrated neighborhood dominated by Irish and Germans, one block from Chinatown, where her father ran the Sam Kee Laundry.
The Wong family moved back to Chinatown two years after Liu Tsong's birth, but in 1910 they uprooted themselves, moving to a nearby Figueroa Street neighborhood where they had Mexican and East European neighbors. There were two steep hills between the Wongs' new home and Chinatown, but as her biographer, Colgate University history professor Graham Russell Gao Hodges, points out, those hills put a psychological as well as physical distance between Liu Tsong and Chinatown. Los Angeles' Chinatown already was teeming with movie shoots when she was a girl. She would haunt the neighborhood nickelodeons, having become enraptured with the early "flickers." Though her traditional father strongly disapproved of his daughter's cinephilia, as it deflected her from scholastic pursuits, there was little he could do about it, as Liu was determined to be an actress. The film industry was in the midst of relocating from the East Coast to the West, and Hollywood was booming. Liu Tsong would haunt movie shoots as she had earlier haunted the nickelodeons. Her favorite stars were Pearl White, of The Perils of Pauline (1914) serial fame, and White's leading man, Crane Wilbur. She was also fond of Ruth Roland.
Educated at a Chinese-language school in Chinatown, she would skip school to watch film shoots in her neighborhood. She made tip money from delivering laundry for her father, which she spent on going to the movies. Her father, if he discovered she had gone to the movies during school hours, would spank her with a bamboo stick. Around the time she was nine years old, she began begging filmmakers for parts, behavior that got her dubbed "C.C.C." for "curious Chinese child."
Liu Tsong's first film role was as an uncredited extra in Metro Pictures' The Red Lantern (1919), starring Alla Nazimova as a Eurasian woman who falls in love with an American missionary. The film included scenes shot in Chinatown. The part was obtained for her by a friend of her father's (without his knowledge) who worked in the movie industry. Retaining the family surname "Wong" and the English-language "Christian" name bestowed on her by her parents, Liu Tsong Americanized herself as "Anna May Wong" for the movie industry, though she would not receive an on-screen credit for another two years.
The rechristened Anna May Wong appeared in bit parts in movies starring Priscilla Dean, Colleen Moore and the Japanese-born Sessue Hayakawa, the first Asian star of American movies. Due to her father's demands, she had an adult guardian at the studio, and would be locked in her dressing room between scenes if she was the only Asian in the cast. Initially balancing school work and her budding film career, she eventually dropped out of Los Angeles High School to pursue acting full time. She was aided by the fact that, though still a teenager, she looked more mature than her real age.
Director Marshall Neilan cast the teenage Anna May in a bit part in his film Dinty (1920), then gave her her first credited role in the "Hop" sequence of Bits of Life (1921), the American movie industry's first anthology film. In "Hop" Wong played Toy Ling, the abused wife of Lon Chaney's character Chin Gow, which the Man of a Thousand Faces played in yellowface. She next appeared in support of John Gilbert in Fox's Shame (1921) before being cast in her first major role at the age of 17, the lead in The Toll of the Sea (1922). She played Lotus Flower in this adaptation of the opera "Madame Butterfly," which moved the action from Japan to China. "The Toll of the Sea" was the first feature film shot entirely in Technicolor's two-strip color process. By appearing top-billed in this romantic melodrama, Anna became the first native-born Asian performer to star in a major Hollywood movie. Most portrayals of Asian women were done by Caucasian actresses in "yellow-face," such as the 1915 Madame Butterfly (1915) starring "America's Sweetheart" Mary Pickford (who was born in Toronto, Canada) in the title role. In "The Toll of the Sea," Anna May's character perpetuates the stereotype of the Asian "lotus blossom," a self-sacrificial woman who surrenders her life for the love of a Caucasian man. The film was a hit, and it showcased Wong in a preternaturally mature and restrained performance. This breakthrough should have launched Anna May Wong as a star, but for one thing: She was Chinese in a country that excluded (by law) Chinese from emigrating to the US, that forbade (by law) Chinese from marrying Caucasians and that generally excluded (by law or otherwise) Chinese from the culture at large, except for bit roles as heavies in the national consciousness.
"The Toll of the Sea" made Anna May Wong a known, and thus a marketable, commodity in Hollywood. She became the #1 actress when a young Asian female part had to be cast, but unfortunately lead roles for Asians were few and far between. Instead of becoming a star, this beautiful woman with a complexion described as "a rose blushing through old ivory" continued to be stuck in supporting roles, as in Tod Browning's melodrama Drifting (1923) and the western Thundering Dawn (1923). She even played an Eskimo in The Alaskan (1924). She appeared as Tiger Lily, "Chieftainess of the Indians," in Paramount's prestigious production of J.M. Barrie's Peter Pan (1924), but the role was very small (the film was shot on Santa Catalina Island, where the cast stayed during the production.
The 170-cm-tall (5'7", although other sources cite her height as 5'4½") beauty was known as the world's best-dressed woman and widely considered to have the loveliest hands in the cinema. Her big breakthrough after her auspicious start with "The Toll of the Sea" finally came when Douglas Fairbanks cast her in a supporting role as a treacherous Mongol slave in his Middle Eastern/Arabian Nights extravaganza The Thief of Bagdad (1924). The $2-million blockbuster production made her known to critics and the movie-going public. For better or worse, a star, albeit of the stereotypical "Dragon Lady" type, was born.
Despite her waxing fame, she was limited to supporting roles, as Caucasian actresses, including most improbably Myrna Loy, continued to be cast as Asian women in lead roles from the 1920s through the 1940s, despite the ready availability of Anna May Wong. She was unable to attract lead parts despite her beauty and proven acting talent, even in films featuring Asian women, but she did carve out a career as a supporting player in everything from A-list movies to two-reel comedies and serials. The characters she played typically were duplicitous or murderous vamps who often reaped the wages of their sin by being raped. It was a demeaning apprenticeship that most Caucasian actresses did not have to go through. Anna wanted was to play modern American women all through her career but was thwarted because of racism. Later, when she journeyed to Europe to escape the typecasting of Hollywood, she told journalist Doris Mackie, "I was so tired of the parts I had to play. Why is it that the screen Chinese is always the villain? And so crude a villain--murderous, treacherous, a snake in the grass."
Wong embodied the Caucasian ideal of a foreign exotic beauty, an alien presence despite her American citizenship. The movie magazine "Pictures" published a memoir of hers in 1926 in which she complained, "A lot of people, when they first meet me, are surprised that I speak and write English without difficulty. But why shouldn't I? I was born right here in Los Angeles and went to the public schools here. I speak English without any accent at all. But my parents complain that the same cannot be said of my Chinese. Although I have gone to Chinese schools, and always talk to my father and mother in our native tongue, it is said that I speak Chinese with an English accent!". Many Chinese-Americans considered themselves "Chinese in America," an attitude bolstered by the anti-Chinese, anti-Asian attitude of the US government and the American culture. In her memoir, Wong referred to herself as "Chinese" or "Americanized Chinese," but not as an "American" or "Chinese-American."
Anna May Wong appeared as a dancer in a play within a movie shot in Technicolor for the Ronald Colman vehicle His Supreme Moment (1925), but her Hollywood output generally was undistinguished. In 1926 she seems to have appeared in a "race" film made by Chinese-Americans for a Chinese-American audience, The Silk Bouquet (1926) (aka "The Dragon Horse"). Moving between Poverty Row and the majors, she appeared again with Lon Chaney in Mr. Wu (1927) at MGM and with Warner Oland and Dolores Costello in Old San Francisco (1927) at Warner Brothers. Warners also cast her in support of Oriental yellowface queen Myrna Loy in The Crimson City (1928). Despite her WASP looks and red hair, Loy in Chinese yellowface had become a major "Oriental" star in American films desiring an exotic element. This indignity may have been what pushed Wong to seek her future somewhere other than Hollywood.
She moved to Europe in 1928, where she made movies in the UK and Germany. She made her debut on the London stage with the young up-and-coming Laurence Olivier in the play "The Circle of Chalk." After receiving a drubbing for her voice and singing from the London critics, she paid a Cambridge University tutor to improve her speech, with the result that she acquired an upper-crust English accent. Later she appeared in Vienna, Austria, in the play "Springtime."
European directors appreciated Wong's unique talents and beauty, and they used her in ways that stereotype-minded Hollywood, hemmed in by American prejudice, would not or could not. Moving to Germany to appear in German films, she became acquainted with German film personalities, including Marlene Dietrich and actress-filmmaker Leni Riefenstahl. She learned German and French and began to develop a continental European attitude and outlook. In Europe she was welcomed as a star. According to her biographer Graham Russell Gao Hodges, Wong hobnobbed with "an intellectual elite that included princes, playwrights, artists and photographers who clamored to work with her." Anna May Wong was featured in magazines all over the world, far more than actresses of a similar level of accomplishment. She became a media superstar, and her coiffure and complexion were copied, while "coolie coats" became the rage. According to Hodges, "[S]he was the one American star who spoke to the French people, more than Greta Garbo, Joan Crawford or Mary Pickford, the top American actresses of the time." But, ironically, "[S]he's the one who's now forgotten." Wong was cast in Ewald André Dupont's silent film Piccadilly (1929) as a maid who is fired from her job at a London nightclub after dancing on top of a table, then rehired as a dancer to infuse the club with exotic glamour. Her first talkie was The Flame of Love (1930) (aka "The Road to Dishonour", although some sources claim it was "Song" aka "Wasted Love" in that same year), which was released by British International Pictures. In a time before dubbing, when different versions of a single film were filmed in different languages, Wong played in the English, French and German versions of the movie.
Paramount Pictures offered her a contract with the promise of lead roles in major productions. Returning to the US in 1930, Wong appeared on Broadway in the play "On the Spot." It was a hit, running for 167 performances, and she moved on to Hollywood and Paramount, where she starred in an adaptation of Sax Rohmer's novel "Daughter of Fu Manchu" called Daughter of the Dragon (1931). She was back in stereotype-land, this time as the ultimate "Dragon Lady," who with her father Fu Manchu (played by ethnic Swede Warner Oland, the future Charlie Chan) embodied the evil "Yellow Peril." While "Daughter of the Dragon" may have been B-movie pulp, it enabled Wong to show off her talent by delivering a powerful performance.
Her best role in Hollywood in the early 1930s was in support of Marlene Dietrich in Josef von Sternberg's Oscar-winning classic Shanghai Express (1932). However, Hollywood in the 1930s was as racist as it had been in the Roaring Twenties, and MGM refused to cast her in its 1932 production of The Son-Daughter (1932), for which she did a screen-test, as she was "too Chinese to play a Chinese." Helen Hayes played the role in yellow-face. Similarly, she was later kept out of both a lead and supporting role in MGM's prestige production of The Good Earth (1937), its filming of Pearl S. Buck's popular novel, after flunking another screen test for failing to live up to a white man's idea of what "looked" Chinese. MGM screen-tested her for the lead role of O-Lan, the sympathetic wife of Chinese farmer Wang Lung (to be played by Paul Muni, personally cast in the part by Irving Thalberg). She also was considered for the supporting role of Lotus, Wang Lung's concubine. Anna, an ethnic Chinese, lost out on both roles to two Austrian women, Luise Rainer and Tilly Losch, as Albert Lewin, the Thalberg assistant who was casting the film, vetoed Wong and other ethnic Chinese because their looks didn't fit his conception of what Chinese people should look like. Ironically, the year "The Good Earth" came out, Wong appeared on the cover of Look Magazine's second issue, which labeled her "The World's Most Beautiful Chinese Girl." Stereotyped in America as a dragon lady, the cover photo had her holding a dagger. Luise Rainer would win the Best Actress Oscar for her performance of O-Lan in Chinese yellowface.
There were practical considerations for MGM's refusal to cast Wong opposite Muni. It was illegal in many states, including California, for Asians to marry Caucasians, and featuring an interracial couple, even if they were playing the same race, likely would mean the movie would be rejected by many theater chains in regions in which anti-Asian prejudice was particularly severe, such as the South. The new Motion Picture Production Code of 1934 forbid black/white miscegenation and MGM did cast Walter Connelly (a white actor) opposite Soo Yong (a Chines-American actress) as a married couple. Anna May returned to England, reportedly distraught at the injustice perpetrated by MGM and her home country. In England she alternated between films and the stage, but she was obliged to return to the US to fulfill her Paramount contract. She appeared in two Robert Florey-directed pictures, Daughter of Shanghai (1937) as a non-stereotypical Asian-American female lead, and Dangerous to Know (1938). She also appeared in major roles in King of Chinatown (1939) and Island of Lost Men (1939).
Anna May Wong did not appear in films from 1939-41, when she was cast as a supporting player in Ellery Queen's Penthouse Mystery (1941), an entry in the B-movie series. Her last two starring roles in films were in a pair of anti-Japanese propaganda films, Bombs Over Burma (1942) and Lady from Chungking (1942), both of which were made by Producers Releasing Corp., the lowest of the Poverty Row studios. The major studios, when shooting propaganda films requiring a sympathetic Asian lead, reverted to the old practice of casting Caucasians in yellow-face, no matter how absurd the result.
As her movie career went into eclipse in the 1940s (she would not appear in another motion picture until 1949), she found work on the stage and in radio and then in the new medium of television. Wong wrote a preface to the book "New Chinese Recipes" in 1942, which was one of the first Chinese cookbooks printed in the US. The proceeds from the cookbook were dedicated to United China Relief.
Though Wong was vocal in her opposition to stereotypes and typecasting, and was one of Hollywood's more memorable victims of racism in being denied leading roles in A-list pictures because the racist mores of the times prevented an Asian woman from kissing a Caucasian actor, she was considered socially suspect by her own people. The roles she was forced to accept in order to have an acting career, as well as her status as a single woman, disgusted many Chinese in America and in her ancestral homeland, where actresses were equated with prostitutes and where women were still played by men in classical opera. On a trip to China in 1936, Anna May was welcomed by the country's cultural elite in cosmopolitan Beijing and Shanghai, but she had to abandon a trip to her parents' ancestral village when her progress was blocked by a crowd of protesters. Someone in the crowed denounced her with "Down with Huang Liu Tsong, the stooge that disgraces China. Don't let her go ashore." Upon her return from China, Wong was determined to play Chinese characters more authentically, but her only options were to reject roles she deemed racist or to try to soften them from within the belly of the beast. Ultimately for this proud woman, it was a losing battle.
Chinese nationalism had been on the upswing since Yat-sen Sun ended the Manchu Empire in 1911 and was rife in reaction to the war of aggression launched against China by the Empire of Japan. Chinese nationalists, concerned about the portrayal of Chinese people as evil incarnate in American popular culture, were offended by Wong's portrayals of Asians and exotics. Though she would spend the World War II years working for Chinese charities and relief agencies, she was snubbed by Madame Chiang, the sister-in-law of Yat-sen Sun and wife of Kai-Shek Chiang, the army general who led the Nationalist Chinese, during Madame Chiang's 1942-43 propaganda tour of the US. Her biographer Hodges claims this was the beginning of a consensus among Chinese and Chinese-Americans that Wong was an embarrassment. Chinese and Chinese-Americans chose to blame her rather than Hollywood for the demeaning stereotypes she had to play in order to work. The result of this new consensus, according to Hodges, was that "her memory has been washed away."
Anna May's career in motion pictures was virtually finished after the war. She got her own TV series, The Gallery of Madame Liu-Tsong (1951), on the Dumont Network, playing a Chinese detective in a role written expressly for her, a character who was even given her real Chinese name. The half-hour program, which ran weekly from August 27 to November 21, 1951, was the first TV show to star an Asian-American.
Wong's personal relationships typically were with older Caucasian men, but California law forbade marriage between Asians and Caucasians until 1948. One of her white lovers offered to marry her in Mexico, but the couple's intentions became known and he backed off when his Hollywood career was jeopardized. Wong mused about marrying a Chinese man at times, but the Chinese culture held actresses to be on a par with prostitutes, which made her suspect marriage material. She was afraid that the mores of her culture likely meant that marrying a Chinese would force her to quit her career and be an obedient wife.
Anna May Wong appeared in over 50 American, English and German films in her career, making her the first global Chinese-American movie star. She was forced to fight against racism and stereotyping all her professional life, while simultaneously being criticized by Chinese at home and abroad for perpetuating stereotypes in the media. Despite this tremendous burden, the beautiful woman assayed an elegance and sophistication on-screen that made her the paradigm of Asian women for a generation of movie audiences.
Anna May Wong loved reading, and her favorite subjects spanned a wide range, everything from Asian history and Tzu Lao to William Shakespeare. She never married but occupied her time with golf, horses, and skiing. Wong smoked, drank too much, and suffered from depression. She was poised to make a comeback as a character actress on the big screen toward the end of her life, having appeared as Lana Turner's maid in Ross Hunter's sudsy potboiler Portrait in Black (1960). She was cast in the role of Madame Liang in Flower Drum Song (1961), the movie version of Richard Rodgers's and Oscar Hammerstein II's Broadway musical "Flower Drum Song," but before shooting could begin she passed away.
Anna May Wong died of a massive heart attack on February 3, 1961, in Santa Monica, CA, after a long struggle against Laennec's cirrhosis, a disease of the liver. She was 56 years old. Her fame lives on, four decades after her death. She is a part of American popular consciousness, chosen as one of the first movie stars to be featured on a postage stamp. And the interest in her continues: a play about Anna entitled "China Doll--The Imagined Life of an American Actress," written by Elizabeth Wong, had its premiere at Maine's Bowdoin College in 1997. A lecture and film series, "Rediscovering Anna May Wong," was held at the UCLA Film and Television Archive in 2004, sponsored by "Playboy" publisher Hugh Hefner. That same year New York City's Museum of Modern Art held its own tribute to Wong, "Retrospective of a Chinese-American Screen Actress." Finally she was getting the respect in her own country that was denied her during her career.
A biography by Colgate University history professor Graham Russell Gao Hodges, "Anna May Wong: From Laundryman's Daughter to Hollywood Legend," was published by Palgrave Macmillan in 2004. Hodges considers Anna May's life and career to be amazing, particularly in light of the fact that her star has yet to be eclipsed by any other Asian-American female star, despite the change in attitudes. Finally, in 2004, the British Film Institute restored E.A. Dupont's 1929 silent film "Piccadilly".- Rosalind Byrne was born on 19 February 1904 in Ohio, USA. She was an actress, known for Casey at the Bat (1927), The Fast Set (1924) and The Case of Lena Smith (1929). She died on 9 August 1989 in Wilmette, Illinois, USA.
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Mary Louise Brooks, also known by her childhood name of Brooksie, was born in the Midwestern town of Cherryvale, Kansas, on November 14, 1906. She began dancing at an early age with the Denishawn Dancers (which was how she left Kansas and went to New York) and then with George White's Scandals before joining the Ziegfeld Follies, but became one of the most fascinating and alluring personalities ever to grace the silver screen. She was always compared to her Lulu role in Pandora's Box (1929), which was filmed in 1928. Her performances in A Girl in Every Port (1928) and Beggars of Life (1928), both filmed in 1928, proved to all concerned that Louise had real talent. She became known, mostly, for her bobbed hair style. Thousands of women were attracted to that style and adopted it as their own. As you will note by her photographs, she was no doubt the trend setter of the 1920s with her Buster Brown-Page Boy type hair cut, much like today's women imitate stars. Because of her dark haired look and being the beautiful woman that she was, plus being a modern female, she was not especially popular among Hollywood's clientele. She just did not go along with the norms of the film society. Louise really came into her own when she left Hollywood for Europe. There she appeared in a few German productions which were very well made and continued to prove she was an actress with an enduring talent. Until she ended her career in film in 1938, she had made only 25 movies. After that, she spent most of her time reading and painting. She also became an accomplished writer, authoring a number of books, including her autobiography. On August 8, 1985, Louise died of a heart attack in Rochester, New York. She was 78 years old.- Actress
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Marion Davies was one of the great comedic actresses of the silent era and into the 1930s.
Marion Cecelia Douras was born in the borough of Brooklyn, New York on January 3, 1897, the daughter of Rose (Reilly) and Bernard J. Douras, a lawyer and judge. Her parents were both of Irish descent. Marion had been bitten by the show biz bug early as she watched her sisters perform in local stage productions. She wanted to do the same. As Marion got older, she tried out for various school plays and did fairly well. Once her formal education had ended, Marion began her career as a chorus girl in New York City, first in the pony follies, and eventually found herself in the famed Ziegfeld Follies. But she wanted to do more than dance. Acting, to Marion, was the epitome of show business and aimed her sights in that direction. Her stage name came when she and her family passed the Davies Insurance Building. One of her sisters called out "Davies!!! That shall be my stage name", and the whole family took on that name.
Her first film was Runaway Romany (1917), when she was 20. Written by Marion and directed by her brother-in-law, the film wasn't exactly a box-office smash, but for Marion, it was a start and a stepping stone to bigger things. The following year Marion starred in two films, The Burden of Proof (1918) and Cecilia of the Pink Roses (1918). The latter film was backed by newspaper magnate, William Randolph Hearst. When Marion moved to California, she already was involved with Hearst. They lived together at his San Simeon castle, an extremely elaborate mansion which stands as a California landmark to this day. At San Simeon, they threw grand parties, many of them in costume. Frequent guests included Carole Lombard, Mary Pickford, Sonja Henie, and Dolores Del Río - basically all the top names in Hollywood and other celebrities including the mayor of New York City, President Calvin Coolidge, and Charles Lindbergh. Davies and Hearst would continue a long-term romantic relationship for the next 30 years. Because of Hearst's newspaper empire, Marion would be promoted as no actress before her.
She appeared in numerous films over the next few years, with The Cinema Murder (1919) being one of the most suspenseful. In 1922, Marion appeared as Mary Tudor in the historical romantic epic, When Knighthood Was in Flower (1922). It was a film into which Hearst poured in millions of dollars as a showcase for her. Although Marion didn't normally appear in period pieces, she turned in a wonderful performance, and the film turned a profit. Marion remained busy, one of the staples in movie houses around the country. At the end of the twenties, it was obvious that sound films were about to replace silents. Marion was nervous because she had a stutter when she became excited and worried she wouldn't make a successful transition to the new medium, but she was a true professional who had no problem with the change. Time after time, film after film, Marion turned in masterful performances. In 1930, two of her better films were Not So Dumb (1930) and The Florodora Girl (1930). By the early 1930s, Marion had lost her box office appeal and the downward slide began.
Had she been without Hearst's backing, she possibly could have been more successful. He was more of a hindrance than a help. Hearst had tried to push MGM executives to hire Marion for the role of Elizabeth Barrett in The Barretts of Wimpole Street (1934). Louis B. Mayer had other ideas and hired producer Irving Thalberg's wife, Norma Shearer instead. Hearst reacted by pulling his newspaper support for MGM without much impact. By the late 1930s Hearst was suffering financial reversals and it was Marion who bailed him out by selling $1 million of her jewelry. Without her, the Hearst Corporation might not be where it is today. Hearst's financial problems also spelled an end to her career. Although she had made the transition to sound, other stars fared better, and her roles became fewer and further between. In 1937, a 40-year-old Marion filmed her last movie, Ever Since Eve (1937). Out of films and with the intense pressures of her relationship with Hearst, Davies turned more and more to alcohol. Despite those problems, Marion was a very sharp and savvy business woman.
When Hearst died in 1951, Marion did not really know what was going on. The night before, there had been a lot of people in the house. Marion was very upset by the large crowd of family and friends. She said it was too noisy, and they were disturbing Hearst by talking so loud. She was upset and had to be sedated. When she woke, her niece, Patricia Van Cleve Lake, and her husband, Arthur Lake, told her that Hearst was dead. Upon Patricia's death, it was revealed she had been the love child of Davies and Hearst. Marion was banned from Hearst's funeral.
She later started many charities including a children's clinic that is still operating today. She was very generous and was loved by everyone who knew her. She went through a lot, even getting polio in the 1940s. Marion married for the first time at the age of 54, to Horace Brown. The union would last until she died of cancer on September 22, 1961 in Los Angeles, California. She was 64 years old.- Actress
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When top "working girl" silent screen comedienne Mabel Normand would gripe to Mack Sennett about making classier films, Sennett's quippy retort would always be, "I'll send for Fazenda." This pretty, oval-faced, highly popular Keystone comedy cut-up put in her time first in comic two-reelers from 1913 on, but soon unleashed her real gift "dressing down" for laughs with her best known character types as frizzy-haired country bumpkins complete with spit curls, multiple pigtails and calico dresses, a look that went on to inspire bucolic comics Judy Canova and Minnie Pearl.
Louise was born on June 17, 1895, in Lafayette, Indiana, the daughter of a merchandise broker. Raised in California, she attended Los Angeles High School and St. Mary's Convent. She found odd jobs working a dentist, a candy store owner, and a tax collector. While performing in a high school show, lucky Louise was discovered by a Sennett talent agent and taken immediately to films. The 18-year-old hopeful made her first films with Joker Studios and went on to be highly featured in a slew of "Mike and Jake" comedy shorts starring Max Asher and Harry McCoy. She would also co-star in a number of burlesque-style features with Asher and Bobby Vernon in such vehicles as Heaven Will Protect the Working Girl (1914), A Freak Temperance Wave (1914), The Tender Hearted Sheriff (1914), Love and Electricity (1914), The Diamond Nippers (1914) and Schultz the Paperhanger (1914).
Soon silent kingpin Sennett himself began incorporating the funny girl's gift for slapstick comedy in his highly popular "Keystone Kops" shorts. Between the years 1915 to 1917, she rose quickly up the front ranks as an early plain-Jane Carol Burnett goofball playing an assortment of serviles -- maid, cook, janitress, flower girl, nurse and fortune teller types. In A Hash House Fraud (1915) she played a flirty cashier; in Her Fame and Shame (1917) she played a star-struck daughter who attempts burlesque to save her pop's mortgage; in The Betrayal of Maggie (1917) and Maggie's First False Step (1917) she portrayed the eager title roles; and in Her Torpedoed Love (1917), she plays a daffy cook whose life is in danger when a greedy butler (Ford Sterling) learns her boss is leaving her his entire estate.
During this peak time, Louise got to work alongside the most brilliant of silent male screen clowns, including Sterling himself, and Roscoe 'Fatty' Arbuckle, Ben Turpin, Charley Chase, Charles Murray, Harry Booker, Edgar Kennedy, Mack Swain, Chester Conklin, James Finlayson, Slim Summerville, Billy Bevan, Jack Cooper, Billy Armstrong and Hugh Fay. Other popular Sennett comic outings for Louise would include Ambrose's Nasty Temper (1915), Fatty's Tintype Tangle (1915), A Game Old Knight (1915), A Versatile Villain (1915), The Judge (1916), Bombs! (1916), Are Waitresses Safe? (1917), Those Athletic Girls (1918), The Village Chestnut (1918) Hearts and Flowers (1919), Back to the Kitchen (1919), The Gingham Girl (1920), Bungalow Troubles (1921) and Made in the Kitchen (1921).
Sennett's Down on the Farm (1920) is a silent film feature-length rural comedy featuring an all-star cast of funsters with Louise playing a typical role as the farmer's daughter. Louise eventually left Sennett's company in the early 1920s and, in a change of pace, progressed on her own in both comic and dramatic outings. She appeared in the comedy drama Quincy Adams Sawyer (1922) starring John Bowers, Blanche Sweet and Lon Chaney; three dramatic pieces, The Beautiful and Damned (1922), The Wanters (1923) and Being Respectable (1924), all starring Marie Prevost; the social drama Main Street (1923) starring Florence Vidor; the historical drama (as a country gal) The Dramatic Life of Abraham Lincoln (1924); the tearjerker This Woman (1924) starring Irene Rich and Julliet Akinyi; the canine family adventure The Lighthouse by the Sea (1924) featuring Rin Tin Tin; the Raymond Griffith comedy vehicle The Night Club (1925); the melodramas The Price of Pleasure (1925) starring Virginia Valli and Déclassé (1925) starring Corinne Griffith; and a rare comedy Bobbed Hair (1925) starring Ms. Prevost; Occasional star roles during this silent period included the comedies Listen Lester (1924), Footloose Widows (1926), The Gay Old Bird (1927) and The Cradle Snatchers (1927).
Coming the advent of sound, Louise had no problem whatsoever adjusting to sound where her eccentric talents were greatly utilized in (mostly) Warner Bros. musicals, dramas and knockabout comedies. She provided comedy relief/support in such films as the mystery thriller The Terror (1928); the adventure film The Lady of the Harem (1926); the romantic comedy The Red Mill (1927) starring Marion Davies; the W.C. Fields talking remake of the silent comedy Tillie's Punctured Romance (1928); the sports comedy Babe Comes Home (1927) starring legendary ballplayer Babe Ruth; the war comedy Ham and Eggs at the Front (1927); the Will Rogers comedy A Texas Steer (1927); the comedy Heart to Heart (1928); the dramedy Vamping Venus (1928) which reunited her with Charles Murray and co-starred a rising Thelma Todd; the war drama Noah's Ark (1928); the action adventure Stark Mad (1929) the musicals On with the Show! (1929) and No, No, Nanette (1930) (as Sue Smith); the comedy Wide Open (1930); and the light romantic comedy Loose Ankles (1930).
On November 24, 1927, Louise married renowned Warner Bros. producer Hal B. Wallis who went on to produce several movies that she later appeared in, including Colleen (1936), First Lady (1937), Ready, Willing and Able (1937) and Swing Your Lady (1938). They had one child, Brent, who would grow up to become a psychiatrist. Ending her career on a dramatic note, Wallis would produce Louise's effort -- a supporting role in the Bette Davis/Miriam Hopkins soaper The Old Maid (1939) in the role of, what else, a maid!
Away from the limelight, Louise remained socially prominent and became a noted humanitarian and art collector. In 1958, she received a star on the Hollywood Walk of Fame. The 66-year-old former actress suffered a brain hemorrhage in Beverly Hills and died on April 17, 1962. She was survived by her husband, who, in 1966, married actress Martha Hyer. Louise was interred at the Inglewood Park Cemetery in Inglewood, California.- Actress
Joan Peers was born on 19 August 1909 in Chicago, Illinois, USA. She was an actress, known for Applause (1929), Around the Corner (1930) and Tol'able David (1930). She died on 11 July 1975 in San Francisco, California, USA.- Actress
Statuesque, gorgeous Jane Winton was billed as the "Green-Eyed Goddess of Hollywood". The former Ziegfeld Follies dancer appeared in a good number of films from 1925--if not as the nominal star, then at least very high up on the list of credits. Her aloof beauty was tailor-made for playing patrician socialites, and she breezed through many such roles in both comedies and dramas. Her most famous role, ironically, was as Donna Isobel in Don Juan (1926), not because of the acting involved (although the star was John Barrymore), but because it first used the Vitaphone process to synchronize film and sound effects (though no dialogue), effectively making it a precursor to The Jazz Singer (1927), released a year later.
At Warner Brothers, Jane appeared back-to-back in the period drama My Official Wife (1926) and one of the studio's most successful comedies of the year, Why Girls Go Back Home (1926), as a seductive model. She was also third-billed as the vamp rivaling Marion Davies for the affections of Johnny Mack Brown in The Fair Co-Ed (1927), and as Davies' elder sister in her biggest hit, The Patsy (1928). She had smaller roles in two A-grade productions: the classic Sunrise (1927) and the Howard Hughes-produced World War I epic Hell's Angels (1930). At the peak of her career, Jane--at her most glamorous--essayed a murder suspect in The Furies (1930), adapted for the screen by Zoe Akins.
Jane's star faded abruptly after 1930. She made a few more appearances in several 17- and 18-minute mystery "featurettes" made at the Warner Brothers Vitaphone facilities in Brooklyn. In 1937 she left acting altogether. It is not entirely clear exactly what killed her career. One might logically surmise that it was the transition to sound pictures, yet the problem was not with the quality of her voice; in fact, she became a soprano of international repute, a one-time diva with the National Grand Opera Company in 1933, performing in "Pagliacci." Some years later she also sang on radio broadcasts in England.
In any event, Jane went globe-trotting and devoted time to her various other talents. She was said to have been a decent painter and certainly played bridge well (a tribute to one of her three husbands, Michael T. Gottlieb, a grand master of the game). In the early 1950s, the multi- faceted Jane also wrote two novels: "Park Avenue Doctor" and the period romance "Passion is the Gale," a tale of "temptation and torment" set in the Virgin Islands, featuring pirates, damsels in distress, and other expected accouterments of the genre.
Jane Winton died in 1959 at just 54. As Gloria Swanson famously said in Sunset Boulevard (1950): "There just aren't any faces like that anymore . . . ".- Actress
- Additional Crew
Margaret Livingston was born on 25 November 1895 in Salt Lake City, Utah, USA. She was an actress, known for Sunrise (1927), God's Gift to Women (1931) and The Last Warning (1928). She was married to Paul Whiteman. She died on 13 December 1984 in Warrington, Pennsylvania, USA.- The original ash-blonde "iceberg maiden", Madeleine Carroll was a knowing beauty with a confident air, the epitome of poise and "breeding". Not only did she have looks and allure in abundance, but she had intellectual heft to go with them, graduating with a Bachelor of Arts from Birmingham University at the age of 20. The daughter of a French mother and an Irish father, she briefly held a position teaching French at a girls seminary near Brighton, but was by this time thoroughly determined to seek her career in the theatre--much to her dad's chagrin. Madeleine's chance arrived, after several failed auditions (and in between modeling hats), in the shape of a small part as a French maid in a 1927 West End production of "The Lash". Her film debut followed within a year and stardom was almost instantaneous. By the time she appeared in The W Plan (1930), Madeleine had become Britain's top female screen star. That is not to say, however, that she was a gifted actress from the outset. In fact, she learned her trade on the job, finding help along the way from established thespians such as Seymour Hicks and Miles Mander. Most of her early films tended to focus on that exquisite face, and bringing out her regal, well-bred--if rather icy--personality. Her beautiful speaking voice enabled her to make the transition to sound pictures effortlessly.
Following a year-long absence from acting (and marriage to Capt. Philip Astley of the King's Guards) she returned to the screen, having been tempted with a lucrative contract by Gaumont-British. The resulting films, Sleeping Car (1933) and I Was a Spy (1933), were both popular and critical successes and prompted renewed offers from Hollywood. However, on loan to Fox, the tedious melodrama The World Moves On (1934) did absolutely nothing for her career and she quickly returned to Britain--a fortuitous move, as it turned out. Alfred Hitchcock had been on the lookout for one of the unattainable, aloof blondes he was so partial to, whose smoldering sexuality lay hidden beneath a layer of ladylike demeanor (other Hitch favorites of that type included Grace Kelly and Kim Novak). Madeleine fitted the bill perfectly. The 39 Steps (1935), based on a novel by John Buchan, made her an international star. The process was not entirely painless, however, as Hitchcock "introduced" Madeleine to co-star Robert Donat by handcuffing them together (accounts vary as to how long, exactly, but it was likely for several hours) for "added realism". In due course the enforced companionship got the stars nicely acquainted and helped make their humorous banter in the film all the more convincing.
Hitchcock liked Madeleine and attempted to repeat the success of "The 39 Steps" with Secret Agent (1936), but with somewhat diminished results (primarily because Donat had to pull out of the project due to illness and Madeleine's chemistry with John Gielgud was not on the same level as it was with Donat). Nonetheless, her reputation was made. After Alexander Korda sold her contract, she ended up back in Hollywood with Paramount. Initially she was signed for one year (1935-36), but this was extended in 1938 with a stipulation that she make two pictures per year until the end of 1941. The studio publicity machine touted Madeleine as "the most beautiful woman in the world". This was commensurate with her being given A-grade material, beginning with The General Died at Dawn (1936), opposite Gary Cooper. For once, Madeleine portrayed something other than a regal or "squeaky clean" character, and she did so with more warmth and élan than she had displayed in her previous films. She then showed a humorous side in Irving Berlin's On the Avenue (1937); had Tyrone Power and George Sanders fight it out for her affections in Lloyd's of London (1936) (on loan to Fox); and turned up as a particularly decorative--though in regard to acting, underemployed--princess, in The Prisoner of Zenda (1937). Thereafter she had hit the peak of her profession in terms of salary, reportedly making $250,000 in 1938 alone. For the remainder of her Hollywood tenure, Madeleine co-starred three times with Fred MacMurray (the most enjoyable encounter was Honeymoon in Bali (1939)), and opposite Bob Hope in one of his most fondly remembered comedies, My Favorite Blonde (1942). Then it all started to come to an end.
Having lost her sister Guigette during a German air attack on London in October 1940, Madeleine devoted more and more of her time to the war effort, becoming entertainment director for the United Seamens Service and joining the Red Cross as a nurse under the name Madeleine Hamilton. She was unable to rekindle her popularity after the war, her last film of note being The Fan (1949), a dramatization of Oscar Wilde's play. She made a solitary, albeit very successful, attempt at Broadway, with a starring role in the comedy "Goodbye, My Fancy" (1948), directed by and co-starring a young Sam Wanamaker. There were a few more TV and radio appearances but, for all intents and purposes, her career had run its course. Britain's most glamorous export to Hollywood became increasingly self-deprecating, rejecting further overtures from producers. Instead, she became more committed to charitable works on behalf of children, orphaned or injured as the result of the Second World War.
Madeleine spent the last 21 years of her life in retirement, first in Paris, then in the south of Spain. Two of her four ex-husbands included the actor Sterling Hayden and the French director/producer Henri Lavorel. Last of the quartet was Andrew Heiskell, publisher of 'Life' magazine. She died in Marbella in October 1987. In her private life, the trimmings of stardom seemed to have mattered little to Madeleine. As to her status as a sex symbol, she was once said to have quipped to a group of collegians who had voted her the girl they'd most like to be marooned with on a desert island, that she would not object, provided at least one of them was a good obstetrician! - Actress
- Soundtrack
Luise Rainer, the first thespian to win back-to-back Oscars, was born on January 12, 1910 in Dusseldorf, Germany, into a prosperous Jewish family. Her parents were Emilie (Königsberger) and Heinrich Rainer, a businessman. She took to the stage, and plied her craft on the boards in Germany. As a young actress, she was discovered by the legendary theater director Max Reinhardt and became part of his company in Vienna, Austria. "I was supposed to be very gifted, and he heard about me. He wanted me to be part of his theater," Rainer recounted in a 1997 interview. She joined Reinhardt's theatrical company in Vienna and spent years developing as an actress under his tutelage. As part of Reinhardt's company, Rainer became a popular stage actress in Berlin and Vienna in the early 1930s. Rainer was a natural talent for Reinhardt's type of staging, which required an impressionistic acting style.
Rainer, who made her screen debut as a teenager and appeared in three other German-language films in the early 1930s, terminated her European career when the Austrian Adolf Hitler consolidated his power in Germany. With his vicious anti-Semitism bringing about the Draconian Nuremberg Laws severely curtailing the rights of Germany's Jews, and efforts to expand that regime into the Sudetenland and Austria, Hitler and his Nazi government was proving a looming threat to European Jewry. Rainer had been spotted by a talent scout, who offered her a seven-year contract with the American studio Metro-Goldwyn-Mayer. The 25-year-old Rainer took the deal and emigrated to the United States.
She made her American debut in the movie Escapade (1935), replacing Myrna Loy, who was originally slated for the part. It was her luck to have William Powell as her co-star in her first Hollywood film, as he mentored her, teaching her how to act in front of the camera. Powell, whom Rainer remembers as "a dear man" and "a very fine person," lobbied MGM. boss Louis B. Mayer, reportedly telling him, "You've got to star this girl, or I'll look like an idiot."
During the making of "Escapade", Rainer met, and fell in love with, the left-wing playwright Clifford Odets, then at the height of his fame. They were married in 1937. It was not a happy union. MGM cast Rainer in support of Powell in the title role of the The Great Ziegfeld (1936), its spectacular bio-epic featuring musical numbers that recreated his "Follies" shows on Broadway. As Anna Held, Ziegfeld's common-law wife, Rainer excelled in the musical numbers, but it is for her telephone scene that she is most remembered. "The Great Ziegfeld" was a big hit and went on to win the Academy Award as Best Picture of 1936. Rainer received her first of two successive Best Actress Oscars for playing Held. The award was highly controversial at the time as she was a relative unknown and it was only her first nomination, but also because her role was so short and relatively minor that it better qualified for a supporting nomination. (While 1936 was the first year that the Academy of Motion Picture Arts & Sciences honored supporting players, her studio, Metro-Goldwyn-Mayer, listed her as a lead player, then got out its block vote for her.) Compounding the controversy was the fact that Rainer beat out such better known and more respected actresses as Carole Lombard (her sole Oscar nomination) in My Man Godfrey (1936), previous Best Actress winner Norma Shearer (her fifth nomination) in Romeo and Juliet (1936), and Irene Dunne (her second of five unsuccessful nominations) in Theodora Goes Wild (1936). Some of the bitchery was directed toward Louis B. Mayer, whom non-MGM Academy members resented for his ability to manipulate Academy votes. Other critics of her first Oscar win claimed it was the result of voters being unduly impressed with the great budget ($2 million) of "The Great Ziegfeld" rather than great acting. Most observers agree that Rainer won her Oscar as the result of her moving and poignant performance in just one single scene in the picture, the famous telephone scene in which the broken-hearted Held congratulates Ziegfeld over the telephone on his upcoming marriage to Billie Burke while trying to retain her composure and her dignity. During the scene, the camera is entirely focused on Rainer, and she delivers a tour-de-force performance. Seventy years later, it remains one of the most famous scenes in movie history. With another actress playing Held, the scene could have been mawkish, but Rainer brought the pathos of the scene out and onto film. She based her interpretation of the scene on Jean Cocteau's play "La Voix Humaine". "Cocteau's play is just a telephone conversation about a woman who has lost her beloved to another woman", Rainer remembered. "That is the comparison. As it fit into the Ziegfeld story, that's how I wrote it. It's a daily happening, not just in Cocteau." In an interview held 60 years after the film's release, Rainer was dismissive of the performance. "I was never proud of anything", she said. "I just did it like everything else. To do a film - let me explain to you - it's like having a baby. You labor, you labor, you labor, and then you have it. And then it grows up and it grows away from you. But to be proud of giving birth to a baby? Proud? No, every cow can do that."
Rainer would allay any back-biting from Hollywood's bovines over her first Oscar with her performance as O-Lan in MGM producer Irving Thalberg's spectacular adaptation of Pearl S. Buck's "The Good Earth", the former Boy Wonder's final picture before his untimely death. The role won Rainer her second Best Actress Award. The success of The Good Earth (1937) was rooted in its realism, and its realism was enhanced by Rainer's acting opposite the legendary Paul Muni as her husband. When Thalberg cast Muni in the role of Wang Lung, he had to abandon any thought of casting the Chinese-American actress Anna May Wong as O-Lan as the Hays Office would not allow the hint of miscegenation, even between an actual Chinese woman and a Caucuasian actor in yellow-face drag. So, Thalberg gave Rainer the part, and she made O-Lan her own. She refused to wear a heavy makeup, and her elfin look helped her to assay a Chinese woman with results far superior to those of Myrna Loy in her Oriental vamp phase or Katharine Hepburn in Dragon Seed (1944). In the late 1990s, Rainer praised her director, Sidney Franklin, as "wonderful", and explained that she used an acting technique similar to "The Method" being pioneered by her husband's Group Theatre comrades back in New York. "I worked from inside out", she said. "It's not for me, putting on a face, or putting on makeup, or making masquerade. It has to come from inside out. I knew what I wanted to do and he let me do it." The win made Rainer the first two-time Oscar winner in an acting category and the first to win consecutive acting awards (Spencer Tracy, her distaff honoree for Captains Courageous (1937) would follow her as a consecutive acting Oscar winner the next year, and Walter Brennan, Best Supporting Actor Oscar winner for Come and Get It (1936) the year Rainer won her first, would tie them both in 1937 with his win for Kentucky (1938) and trump them with his third win for The Westerner (1940), a record subsequently tied by Ingrid Bergman, Jack Nicholson, Meryl Streep, Daniel Day-Lewis, and surpassed by Katharine Hepburn.)
Rainer's career soon went into free-fall and collapsed, as she became the first notable victim of the "Oscar curse", the phenomenon that has seem many a performer's career take a nose-dive after winning an Academy Award. "For my second and third pictures I won Academy Awards. Nothing worse could have happened to me", Rainer said. A non-conformist, Rainer rejected Hollywood's values of Hollywood. In the late 1990s, she said, "I came from Europe where I was with a wonderful theater group, and I worked. The only thing on my mind was to do good work. I didn't know what an Academy Award was." MGM boss Mayer, the founding force behind the Academy of Motion Picture Arts and Sciences, had to force her to attend the Awards banquet to receive her Oscar. She rebelled against the studio due to the movies that MGM forced her into after "The Good Earth".
In one case, director Dorothy Arzner had been assigned by MGM producer Joseph M. Mankiewicz (whose wife, Rose Stradner had been Rainer's understudy in the Vienna State Theater) in 1937 to direct Rainer in "The Girl from Trieste", an unproduced Ferenc Molnár play about a prostitute trying to go reform herself who discovers the hypocrisies of the respectable class which she aspires to. After Thalberg's death in 1936, Mayer's lighter aesthetic began to rule the roost at MGM. Mayer genuinely believed in the goodness of women and motherhood and put women on a pedestal; he once told screenwriter Frances Marion that he never wanted to see anything produced by MGM that would embarrass his wife and two daughters.
Without the more sophisticated Thalberg at the studio to run interference, Molnar's play was rewritten so that it was no longer about a prostitute, but a slightly bitter Cinderella story with a happy ending. Retitled by Mankiewicz as The Bride Wore Red (1937), Rainer withdrew and was replaced by Joan Crawford. In a 1976 interview in "The New York Times", Arzner claimed that Rainer "had been suspended for marrying a Communist" (Clifford Odets). This is unlikely as MGM, like all Hollywood studios, had known or suspected communists on its payroll, most of whose affiliations were known by MGM vice president E.J. Mannix. (Mannix, one of whose functions was responsibility for security at the studio, once said it would have been impossible to fire them all, as "the communists" were the studio's best writers.) The studio never took action against alleged communists until an industry-wide agreement to do so was sealed at the Waldorf Conference of 1947, which was held in reaction to the House of Un-American Activities Committee (HUAC) launching a Hollywood witch hunt.
It was more likely that Rainer, fussy over her projects and wanting to use her Academy Award prominence to ensure herself better roles, withdrew on her own due to her lack of enthusiasm for the reformulated product. In the late 1990s, Rainer recalled the satisfaction of being a European stage actress. "One day we were on a big tour", she told an interviewer in the late 1990s. "We did a play by Pirandello, and Reinhardt was in the theater. I shall never forget, it was the greatest compliment I ever got, better than any Academy Award. He came to me, looked at me and said - we were never called by first names - 'Rainer, how did you do this?' It was so wonderful. 'How did you create this?' I was so startled and happy. That was my Academy Award." Rainer still is dismissive of the Academy Awards. "I can't watch the Oscars," she said. "Everybody thanking their mother, their father, their grandparents, their nurse - it's a crazy, horrible." She blames the studio and Mayer for the rapid decline in her career. "What they did with me upset me very much", she said in a 1997 interview. "I was dreaming naturally like anyone to do something very good, but after I got the two Academy Awards the studio thought, it doesn't matter what she gets. They threw all kinds of stuff on me, and I thought, no, I didn't want to be an actress."
Mayer pulled his famous emotional routines when Rainer, whom he wanted to turn into a glamorous star, would demand meatier roles. "He would cry phony tears", she recalled. Mayer had opposed her being cast as O-Lan in "The Good Earth", but Thalberg, who had a connection with MGM capo di tutti capi Nicholas Schenck, the president of MGM corporate parent Loew's, Inc., appealed to Schenck, who overrode Mayer's veto. (Mayer, who was involved in a power struggle with Thalberg before the latter's death, had opposed his filming Pearl Buck's novel. Mayer's reasoning was that American audiences wouldn't patronize movies about American farmers, so what made anyone think they'd flock to see a film about Chinese farmers, especially one with such a big budget, estimated at $2.8 million. (Upon release, the film barely broke even.) Thalberg died during the filming of "The Good Earth" (the only film of his released by MGM whose title credits bore his name, in the form of a posthumous tribute).
Rainer felt lost without her protector. She recalled that Mayer "didn't know what to do with me, and that made me so unhappy. I was on the stage with great artists, and everything was so wonderful. I was in a repertory theater, and every night I played something else." Rainer asked to play Nora in a film of Ibsen's "A Doll's House" or portray Madame Curie, but instead, Mayer - now in complete control of the studio - had her cast in The Toy Wife (1938), a movie she actually wound up liking, as she was charmed by her co-star, the urbane, intellectually and politically enlightened Melvyn Douglas. She recalls Douglas, ultimately a double-Oscar winner like herself, as her favorite leading man. "He was intelligent, and he was interested also in other things than acting."
Her problems with the culture of Hollywood, or the lack thereof, were worsening. The lack of intellectual conversation or concern with ideas by the denizens of the movie colony she was forced to work with was depressing. Hollywood was an unsophisticated place where materialism, such as the stars' preoccupation with clothes, was paramount. As she tells it, "Soon after I was there in Hollywood, for some reason I was at a luncheon with Robert Taylor sitting next to me, and I asked him, 'Now, what are your ideas or what do you want to do', and his answer was that he wanted to have 10 good suits to wear, elegant suits of all kinds, that was his idea. I practically fell under the table."
MGM teamed her with fellow Oscar-winner Tracy in Big City (1937), a movie about conflict between rival taxi drivers. The memory of the movie disgusted her. "Supposedly it wasn't a bad film, but I thought it was a bad film!" She was also cast in The Emperor's Candlesticks (1937), reteaming her with "Ziegfeld" co-star Powell, a movie she didn't like, as she couldn't understand its story. A detective tale, the script thoroughly confused Rainer, who was expected to soldier on like a good employee. Instead, she resisted.
After appearing in The Great Waltz (1938) and Dramatic School (1938), her career was virtually over by 1938. She never made another film for MGM. "I just had to get away", she said about Hollywood. "I couldn't bear this total concentration and interviews on oneself, oneself, oneself. I wanted to learn, and to live, to go all over the world, to learn by seeing things and experiencing things, and Hollywood seemed very narrow." When World War II broke out in Europe, Rainer was joined by her family, as her German-born father was also an American citizen, allowing them all to escape Hitler and the Holocaust. Even before the outbreak of war, Rainer had been very worried about the state of affairs of the world, and she could not abide the escapist trifles that MGM wanted to cast her in. When she protested, Mayer told Rainer that if she defied him, he would blackball her in Hollywood.
Disturbed by Hollywood's apathy over fascism in Europe and Asia and by labor unrest and poverty in the U.S., she decided to walk out on her contract. She and Odets returned to New York. They were divorced in 1940. "Hollywood was a very strange place", she remembered. "To me, it was like a huge hotel with a huge door, one of those rotunda doors. On one side people went in, heads high, and very soon they came out on the other side, heads hanging." Her frustration with Hollywood was so complete, she abandoned movie acting in the early 1940s, after making the World War II drama Hostages (1943) for Paramount.
She made her Broadway debut in the play "A Kiss for Cinderella", which was staged by Lee Strasberg, which opened at the Music Box Theatre on March 10, 1942 and closed April 18th after 48 performances. Rainer then worked for the war effort during World War II, appearing at war bond rallies. She went on a tour of North Africa and Italy for the Army Special Service, socializing with soldiers to build their morale, and supplying them with books. The experience changed her life, allowing her to get over the shyness she'd had all her life. It also broadened her experience, forcing her to deal with the obvious fact that there were more important things than movie acting, which had proven unfulfilling to her.
Fortunately, Rainer found happiness in a long-lived marriage with the publisher Robert Knittel, a wealthy man whom she married in 1945. The couple had a daughter and made their home mostly in Switzerland and England as Rainer essentially left acting behind, although she did do some television in the 1940s, '50s, and '60s. Her retirement from the movies lasted for 53 years, until her brief comeback in The Gambler (1997), a movie based on Fyodor Dostoevsky's eponymous story. In the film, Rainer played the role of the matriarch of an aristocratic Russian family in the 1860s who is in hock due to the family members' obsession with gambling.
Toward the end of her life, Rainer lived in a luxurious flat in Eaton Square in London's Belgravia district, in a building where Vivien Leigh once lived. Blessed with a good memory, she claimed she could not remember the 1937 Academy Awards ceremony, when she won her first Oscar. She says the glamour of the event was out of sync with her life at the time, which was one of great sadness. "I married Clifford Odets. The marriage was for both of us a failure. He wanted me to be his little wife and a great actress at the same time. Somehow I could not live up to all of that."
She had intriguing offers during her long retirement. Federico Fellini had wanted Rainer for a role in La Dolce Vita (1960), but though she admired the director, she didn't like the script and turned it down. Rainer occasionally plied her craft as an actress on the stage. She made one more stab at Broadway, appearing in a 1950 production of Ibsen's "The Lady from the Sea", which was staged by Sam Wanamaker and Terese Hayden and co-starred Steven Hill, one of the founding members of Lee Strasberg's Actor's Studio. The play was a flop, running just 16 performances. "I was living in America and was on the stage there - sporadically. I always lived more than I worked. Which doesn't mean that I do not love my profession, and every moment I was in it gave me great satisfaction and happiness."
Rainer had no regrets over not becoming the star she might have been. She outlived all of the legendary stars of her era, which likely is the best revenge for the loss of her career after bidding adieu to a company town she could not abide.- Merna Kennedy was born on 7 September 1908 in Kankakee, Illinois, USA. She was an actress, known for The Circus (1928), Ghost Valley (1932) and The Big Chance (1933). She was married to Forrest Brayton and Busby Berkeley. She died on 20 December 1944 in Los Angeles, California, USA.
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Molly O'Day was born on 16 October 1911 in Bayonne, New Jersey, USA. She was an actress, known for The Little Shepherd of Kingdom Come (1928), The Patent Leather Kid (1927) and Bars of Hate (1935). She was married to James Kenaston and Jack Durant. She died on 22 October 1998 in Avila Beach, California, USA.- Actress
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Beautiful auburn-haired, green-eyed leading lady of the silent screen, a "hand-picked" (by the great Florenz Ziegfeld Jr. himself) Ziegfeld Follies girl of 1920. "Jackie" was the daughter of architect Charles A. Logan and the Boston Conservatory opera singer and music teacher Marion Logan. She had a bit of a musical background, singing and learning to play piano and pipe organ at an early age. She was educated in Colorado and briefly worked as a newspaper reporter prior to finding her way into an acting troupe bound for Chicago. Having lied about her age, she was eventually let go and made her own way to New York, where (still without the requisite approval or even knowledge of her parents as to her newfound acting ambitions) she made her theatrical debut in a revival of "Floradora" in 1920. That same year she appeared as a dancer in the Follies and modeled as a "Dobbs Girl" for noted Broadway photographer Alfred Cheney Johnston (1885-1971). After successful auditions (with a little mentoring from the actor Ben Lyon), she began to grace the screen in 1922 and quickly moved on to leading roles in westerns, dramas and romantic comedies. Her part as Mary Magdalene in Cecil B. DeMille's epic The King of Kings (1927) is often cited as her most high-profile performance.
Unaccountably, though she took vocal lessons, her career in talking pictures never took off. Her looks remained exquisite and her voice was apparently good enough for the Broadway stage, to which she returned-- albeit unsuccessfully--in the mid-'30s. She attempted another comeback on the London stage and co-starred with English matinée idol Owen Nares in the comedy The Middle Watch (1930). Under contract to British International Pictures the following year, she wrote and directed the crime comedy Strictly Business (1931), a modest box-office success. However, upon her return to Hollywood, she found all doors firmly closed. Another Dorothy Arzner was not what the studios had in mind.
She may well have been too outspoken for her time, for in her later years she took on another role as a determined advocate of right-wing conservatism.- Diane Ellis was born Jeanne Diane Ellis on December 20, 1909 in Los Angeles, California. He father Walter Ellis was a butcher. After her mother died Diane was raised by her grandparents. She attended Virgil Junior High and Fairfax High School. The beautiful blonde got a job working as a secretary at the Film Research Bureau. A director saw her and offered her a role in the 1927 comedy Is Zat So? (she was billed as Dione Ellis). Then she appeared in the films Happiness Ahead and The Leatherneck. Her performances got good reviews and her future seemed bright. Diane was signed by Pathe Studios and costarred with Carole Lombard in High Voltage.
When Pathe decided not to renew her contract she went to New York City and appeared in the Broadway show Nine-Fifteen Review. She also had a supporting role in the 1930 comedy Laughter starring Nancy Carroll. Sadly it would be her final film. On October 15, 1930 Diane married Stephen C. Millet, a wealthy businessman, in Paris, France The couple decided to go on an extended honeymoon around the world. In early December they were in Madras, India when Diane came down with an infection. According to her grandmother she had an operation in Madras. Tragically she died on December 15, 1930 at the young age of twenty. She was cremated and her ashes were taken to Millet family estate in Milford, England. - As a fetching, shapely silent screen co-star, Eva Novak would be best known for her early work as cowboy Tom Mix's love interest in ten of his popular westerns. Although she sparked a number of florid dramas and light comedies with other top actors of the day, in retrospect it was with Mix with whom she would be memorably partnered.
Born on Valentine's Day in St. Louis, Missouri in 1898, Barbara Eva Novak was one of a bevy of beauties who was able to parlay her wholesome good looks into a career. The daughter of Joseph, an immigrant from Bohemia, and Barbara Novak, Eva began as a Mack Sennett Bathing Beauty and first began in comedy for L-KO Company with the shorts Roped Into Scandal (1917) and Hearts and Flour (1917). Two years later she advanced to full length features and was partnered with Tom Mix in such westerns as The Speed Maniac (1919), The Feud (1919), The Daredevil (1920), Desert Love (1920), The Rough Diamond (1921), Trailin' (1921), Sky High (1922) and Chasing the Moon (1922). She also appeared opposite cowboy icon William S. Hart in a couple of his rugged oaters, and was occasionally allowed more versatility in a series of enjoyable comedies and dramas.
It was cowboy star Mix who taught the agile Novak how to perform her own stunts in those western adventures and she proved quite good at it until 1921, when she married William Reed (1894-1944), an assistant director and stuntman of his own, who insisted she stop the dangerous tricks.
Come the advent of sound, Eva's popularity faded, finishing out her career in Australia with her husband. She returned occasionally to film and sometime TV but nearly always in minor, unbilled character parts until the late 1960s when she retired altogether.
Eva died of pneumonia in Woodland Hills, California, at age 90. Older sister Jane Novak also had a formidable career in silent films. - Actress
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The first actress to sign a contract with Universal in 1915, Gertrude Astor (born in Ohio as Gertrude Irene Astor) began her career playing trombone and saxophone on a riverboat. Towering over most of her leading men at 5'11", she often played golddiggers, rich socialites or a leading lady's best friend in such one-reeled films and feature length silents as Polly Redhead (1917), The Price of a Good Time (1917), The Girl Who Wouldn't Quit (1918), The Lion Man (1919), Mary Pickford's Through the Back Door (1921), The Wall Flower (1922), Alice Adams (1923), The Ne'er-Do-Well (1923), Stage Struck (1925), The Boy Friend (1926), Kiki (1926), The Strong Man (1926), Shanghaied (1927), The Cat and the Canary (1927) and Uncle Tom's Cabin (1927) (as Little Eva's mother). The popular female stars she bolstered included Pickford, Norma Talmadge, Gloria Swanson, Patsy Ruth Miller, Colleen Moore, Shirley Mason, Olive Borden and Laura La Plante
With the advent of sound, Astor's career continued, landing her in a number of two-reel comedies, mostly with the Hal Roach studio and occasionally with Stan Laurel and Oliver Hardy, the "Our Gang" gang and Charley Chase. "I've never been so embarrassed in all my life!" seemed to be one of her most used lines in films. Acting until the 1960s and often in bit parts (she once played a corpse in The Scarlet Claw (1944), her last movie bit was for John Ford in The Man Who Shot Liberty Valance (1962). Astor often relayed her film memories to friends, fans and historians. At one point in her career she and actress Lilyan Tashman, were known as the most elegant and best dressed women in Hollywood. Astor died following a stroke on her 90th birthday at the Motion Piture Home in Woodland Hills.- Actress
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Born into a family of show people, Blanche Sweet first appeared on the stage when she was 18 months old. She was a dancer by the time she was four and a talented actress by 1909 when she started work at the Biograph with D.W. Griffith. By 1910, aged 14, she was four years younger than Mary Pickford, but her maturity and appearance soon lead to leading roles. She starred in such films as The Lonedale Operator (1911) and Judith of Bethulia (1914). Unlike most of the frail roles for women of her day, her presence was smart and resourceful. She left Biograph in 1914 and worked with Cecil B. DeMille in The Warrens of Virginia (1915). A popular and independent actress, she worked for many studio's and directors in the age of silent movies.
In 1922, she married director Marshall Neilan, who would direct her in Tess of the D'Urbervilles (1924). The marriage ended in divorce in 1929. In 1923, she starred in Anna Christie (1923), directed by John Griffith Wray, the first play by Eugene O'Neill to be filmed. Even before talkies, her career was in decline. She made three talking pictures, including Show Girl in Hollywood (1930). This was to be the last film Sweet appeared in before retiring. Her line, in the movie, about being washed up at 32 in Hollywood, was close to the truth for her. (She was 34.) After that she retired from the screen and returned to the Stage. She appeared in plays on Broadway and with touring companies and also worked in radio during the 1930s. She and co-star Raymond Hackett married in 1936 and remained married until his death in 1958. Both of her marriages were childless.- Actress
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Mae Busch can certainly claim career versatility, having successfully played Erich von Stroheim's mistress, Lon Chaney's girlfriend, Charley Chase's sister, James Finlayson's ex-wife and Oliver Hardy's wife! She was born in Melbourne, Australia, in 1891; her parents were in the theater and when she was six years old the family moved to the US, arriving in San Francisco in 1897 before moving to New York. It is claimed Mae was placed in St. Elizabeth's Convent in New Jersey until at least the age of 12, when she joined her parents in vaudeville as part of the Busch Devere Trio (New York press articles confirm Mae as being part of the group in early 1908). Her big break came in March 1912 when she replaced Lillian Lorraine in the lead role in the Broadweay play "Over the River", with Eddie Foy. She continued in this role until the end of the season, when she joined one of Jesse L. Lasky's touring "girl" shows, where she stayed until signed by Mack Sennett for his Keystone Pictures in 1915. As she was performing on Broadway at the same time as "The Agitator" was filming in California, the claim that this was her first film is incorrect. Similarly, there is no evidence that she knew Mabel Normand prior to arriving in Los Angeles in 1915.
In Hollywood things didn't begin so well for Mae. In order to get work, she falsely claimed to have lived in Tahiti and to be able to swim and dive. A high dive she took while filming The Water Nymph (1912) resulted in an injury and her returning to her parents in New York. It was only then when working in the theater again that she developed into leading-lady status.
Mae returned to Hollywood, and Keystone, in 1915. However, her friendship with Mabel ended abruptly when she was "caught" with Sennett, Mabel's fiancé, and Mae was forced to leave Keystone. Over the years she had substantial roles in quite a few films, such as von Stroheim's The Devil's Passkey (1920) and Foolish Wives (1922). Although 1927 was the year of her first movie with Stan Laurel and Hardy, it wasn't until Unaccustomed As We Are (1929) that she first played Mrs. Hardy, the role that she will always be remembered for. She was Mrs. Hardy again in Their First Mistake (1932), Sons of the Desert (1933), and The Bohemian Girl (1936). She also appeared in other Laurel and Hardy pictures but not as Mrs. Hardy, such as Charlie Hall's wife in Them Thar Hills (1934), and she only flirted with Hardy in Tit for Tat (1935).
Mae's Hollywood career lasted 30 years; she worked with many of the leading directors, actors and actresses of the time. After a long illness she died in 1946, aged 54. She was cremated and her ashes remained in a cardboard box at the Motion Picture Country Home Hospital for over 20 years until a proper interment and plaque was provided.- Jewel Carmen was born in Portland, Oregon, on July 13, 1897. After graduating from high school, she traveled to New York City to try her hand at acting. She appeared in her first production in the lead role in Daphne and the Pirate (1916) when she was 19 years old. Six more films followed,including Sunshine Dad (1916) and Manhattan Madness (1916). She went on to six movies in 1917 and five in 1918. After Confession (1918) she left the film industry for three years before returning in Nobody (1921). Her final fling with movies was The Bat (1926). She died in San Diego, California, on March 4, 1984 at the age of 86.
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Una Merkel began her movie career as stand-in for Lillian Gish in the movie The Wind (1928). After that, she performed on Broadway before she returned to movies for the D.W. Griffith film Abraham Lincoln (1930). In her early years, before gaining a few pounds, she looked like Lillian Gish, but after Abraham Lincoln (1930) her comic potential was discovered. She mostly played supporting roles as the heroine's no-nonsense friend, but with her broad Southern accent and her peroxide blond hair, she gave one of her best performances as a wisecracking but not-so-bright chorus girl in 42nd Street (1933). Perhaps she is best remembered for her hair-pulling fight with Marlene Dietrich in Destry Rides Again (1939). In 1962, she was nominated for the Academy Award as best supporting actress in Summer and Smoke (1961).- June Marlowe was born on 6 November 1903 in St. Cloud, Minnesota, USA. She was an actress, known for Pardon Us (1931), The Life of Riley (1927) and Code of the Air (1928). She was married to Rodney Sprigg. She died on 10 March 1984 in Burbank, California, USA.
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Lively, buxom character actress Mary Boland made a name for herself playing vacuous or pixilated motherly types during the 1930s. One of her most memorable performances was as the addle-brained Mrs. Rimplegar of Three Cornered Moon (1933), who gives away her family fortune to a swindler because he seemed like 'such a nice young man'. She also made a series of popular homespun comedies under contract to Paramount, in which she co-starred opposite Charles Ruggles. She was notable as a social snob in Ruggles of Red Gap (1935), the oversexed and alcoholic Countess DeLave in The Women (1939) and as Mrs. Bennet in MGM's classic Pride and Prejudice (1940). For all her scatty or matronly character roles in the movies, Mary Boland had once been a star comedienne on Broadway.
Born in Philadelphia, the daughter of traveling actor William A. Boland (who happened to be on tour at her birth), she was educated at Sacred Heart Convent in Detroit. At 25, Mary appeared in her first play, 'Strongheart', and was on Broadway two years later in 'The Ranger', with Dustin Farnum. She started in silent films in 1915, her debut being Thomas H. Ince's 'The Edge of the Abyss'. After a wartime interval, entertaining troops on the Western Front during World War I, she made a return to the stage and had notable successes with the comedies 'Clarence' (1919-20,with Alfred Lunt) as Mrs.Wheeler, 'Meet the Wife' (1923-24,with a young Humphrey Bogart) and 'Cradle Snatchers' (1925-26), starring as Susan Martin. These performances established her as one of theaters foremost comediennes, ideally cast as dithery wives and mothers, or social climbers.
Mary's film career ended in 1950 and she appeared in her last play, 'Lullaby', in 1954. She retired to live out the rest of her days in her suite at the Essex House in New York.- Actress
Betty Garde was a versatile actress, who began in show business after winning a playwriting competition at high school. Joining Actor's Equity in 1922, she became a noted performer on stage in Boston and Philadelphia, eventually making her debut on Broadway in 1925. Betty, at least early in her profession, was particularly noted for her penchant for comedy, often receiving high praise from the critics. During the 1930's and 40's, she became a prolific radio actress, at the same time maintaining a busy career in the theatre. In addition to voice acting, she also produced and directed her own drama series on CBS, entitled "Another Chance". She starred in and directed the soap opera "My Son and I" in 1939. Additionally, she featured on Eddie Cantor's show, in specials for Orson Welles and in the radio anthology series "Theater Guild on the Air".
Her film and television roles became more frequent from the late 1940's. She was effectively reprehensible as Wanda Skutnik, the key witness who sends innocent Richard Conte to jail in the gripping drama Call Northside 777 (1948). Another 'tough' role was her prison inmate Kitty Stark in Caged (1950), a minor film noir. Her most famous role was as Aunt Eller in the original Broadway production of "Oklahoma!" (1943). Among many guest-starring roles on the small screen, her stand-out performance has to be that of Lois Nettleton's overwrought landlady, Mrs. Bronson, in the seminal The Twilight Zone (1959) episode 'The Midnight Sun'.- Actress
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Kay Francis is possibly the biggest of the 'forgotten stars' from Hollywood's Golden Era. Yet, for a while in the 1930s she ranked as one of America's most popular actresses, tagged the 'Queen of Warner Brothers'. By 1935, she earned a yearly salary of $115,000 (compared to Bette Davis with $18,000). The daughter of actress Katherine Clinton and businessman Joseph Gibbs, Kay did not start her working life in show business but sold real estate and arranged extravagant parties for wealthy socialites. Following her marriage in 1922 to James Dwight Francis, the son of a moneyed family, Kay adopted the surname Francis. Her first acting job was in a modernized 1925 version of 'Hamlet' (as the Player Queen), performing as 'Katharine Francis'. She then played Marjorie Grey in the melodrama "Crime" (1927) and appeared in the Ring Lardner play "Elmer the Great" (1928), produced by George M. Cohan and starring Walter Huston as Elmer Kane. On the strength of her stage work, Kay was screen-tested by Paramount and subsequently offered a contract (1929-31). A brief affair with writer/director Edmund Goulding (some time around April 1928) may also have been a contributing factor.
She had a bit in the first Marx Brothers outing, The Cocoanuts (1929), and then graduated to playing sophisticated seductresses opposite stars like William Powell and Ronald Colman. She appeared in the Lubitsch comedy Trouble in Paradise (1932), though being unhappy about being billed below Miriam Hopkins in the picture. One of her best early films was the comedy/drama One Way Passage (1932), in which Kay portrayed a gravely-ill baroness opposite Powell's gentleman burglar. This doomed romance, interlaced with witty dialogue, was described by a reviewer as 'spilled cocktail and love at first sight'.
Paramount, at the time well-stocked with female stars but experiencing financial problems, decided to let Kay move to Warner Brothers. There she would remain for the rest of the decade. A tall, attractive, gray-eyed brunette with undeniable style and poise, she soon acquired a reputation as Hollywood's 'best dressed woman', wearing the most glamorous gowns designed by great studio costumers like Orry-Kelly, Travis Banton and Adrian. Female audiences, in particular, often flocked to see Kay Francis pictures simply to appreciate her sumptuous wardrobe. For her part, Kay spent a lot of time and effort on collaborative efforts with costume designers to select the right clothes for the parts she played. Dorothy Jeakins believed, that Kay possessed an 'innate sense of style'.
By the mid-1930s, Kay earned $5,250 per week and was voted by Variety as Hollywood's sixth most popular star. Numerous magazine articles were written about every detail of her life in and off the studio lot. She had major hits with I Found Stella Parish (1935) and Confession (1937), both excellent money-spinners for the studio. While much was made at the time (and since) of her famous lisp, this had not hitherto been a significant detriment to Kay's career. At least, not until her falling out with the studio executives who thought her salary too excessive. The tight control the studio exercised over the roles she played on screen caused her to file a lawsuit against Warner Brothers in an effort to escape her contract. It had all started to go wrong for her when she was assigned the role of 'women's picture star', effectively typecasting her in sentimental melodramas, earnest biopics (The White Angel (1936), and three-handkerchief tearjerkers like My Bill (1938), her script filled with Rs and Ls as chastisement for bucking the system. Though she still managed to give several good performances, the writing was now on the wall. By the end of the decade, the 'Queen of Warner Brothers' mantle had passed on to Bette Davis.
During the mid-1940s, Kay co-produced several B-movies as vehicles for herself at Monogram, then made a brief return to stage work, acting in summer stock before retiring permanently in 1952. She spent the remainder of her life in virtual seclusion in New York and in her estate near Falmouth, Cape Cod. She left some of her estate (in excess of one million dollars) to an organization training guide dogs for the blind, Seeing Eye Inc. Her surviving personal papers are accessible at the Wesleyan University Cinema Archives.- Early silent screen comedienne Araminta Durfee started out as a chorus girl and began her career on stage in 1908 in musical revues. In August of that year she married comedian Roscoe 'Fatty' Arbuckle. In 1914, both players entered the fledgling film industry with Mack Sennett and were soon paired as a comedy double. By that time, Charles Chaplin had arrived from England to join the troupe and Minta became his leading lady in the two-reeler Making a Living (1914). The pairing was prompted by Mack Sennett who found the new arrival 'very peculiar' and felt it necessary to counterbalance his eccentricities with an actress who had a reputation for being able to 'get along with everybody'.
In addition to the series of 'Fatty' featurettes, Minta also worked at Keystone in the classic madcap farce Tillie's Punctured Romance (1914). She co-starred opposite the likes of Chester Conklin, Mack Swain and Ford Sterling in a series of outrageous daredevil comedies until 1916. A popular story goes that on one occasion director Wilfred Lucas bribed her with the bonus of a pet dog to hang suspended from a bridge, held only by a piano wire (Love, Speed and Thrills (1915)).
Minta and 'Fatty' Arbuckle separated in 1921, just prior to the scandal over the death of Virginia Rappe which destroyed her husband's career. In spite of divorcing him in 1925, Minta nonetheless remained Arbuckle's staunchest defender during three well-publicized trials and throughout her remaining life. In later years, Minta reminisced about the heyday of silent comedy in a series of interviews. She described most of her fellow players at Sennett -- including her husband and comedienne Mabel Normand -- as being extremely 'shy' when not on the job. She also made several candid (and not always complimentary) revelations about Chaplin's personal hygiene and idiosyncrasies.
Minta continued to make sporadic screen appearances in cameos and walk-ons until the early 70s. She died at the Motion Picture Country Home in September 1975 of a heart ailment. - Virginia Fox was born on 19 April 1902 in Wheeling, West Virginia, USA. She was an actress, known for The Haunted House (1921), Itching Palms (1923) and The Goat (1921). She was married to Darryl F. Zanuck. She died on 14 October 1982 in Palm Springs, California, USA.
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Popular star in Hollywood for two decades through 1936, Marie Prevost began as a Mack Sennett "Bathing Beauty" in 1917, later starring in dozens of light comedies. But not long into the sound era, she encountered problems with her burgeoning weight, to the jeopardy of her career. Her self-remedy resulted ultimately in her starving to death.
Marie Prevost was born Mary Bickford Dunn in Sarnia, Ontario, Canada, on November 8, 1898. She broke into films when she was 18 years old in Unto Those Who Sin (1916). Finding work in films was difficult in the early days, just as it is today. Marie found herself doing odd jobs until 1917, when she made another film, Secrets of a Beauty Parlor (1917). After filming was completed, Marie found herself unemployed again and went back to scraping around for a living. She kept going to casting calls, but it wasn't until 1919 when she landed a role in Uncle Tom Without a Cabin (1919). Finally, in 1921, movie moguls discovered her talent and began casting her in a number of roles. She appeared in four films that year and an additional six in 1922. Marie seemed to be on a roll. She stayed busy through the balance of the 1920s in a number of films, mostly comedies. As a matter of fact, she would continue making films until 1933, when her appeal began to fade. She made no films in 1934 and precious few after that. With the advent of sound her thick New England accent didn't lend itself well to the "demon microphone", despite her beauty. Her depression about her career--or lack of it--drove her to alcohol, and she died on January 23, 1937, in Hollywood, of a combination of alcoholism and malnutrition, virtually broke and living in a dilapidated apartment. She never saw the release, in 1938, of her final film appearance: Ten Laps to Go (1936). She was 38 years old.- The daughter of actress Billie Brockwell, Brockwell first appeared on the stage at the age of three. She made her screen debut in Philadelphia for the Lubin Company in 1913, later working with D.W. Griffith. Joining Fox Studios, Brockwell was one of the busiest actresses in town and easily made the transition to sound films. Married to director Robert Broadwell, she was also married for a brief period to Harry Edwards, former husband of actress Louise Glaum. On June 27, Brockwell was a passenger in a car with her boyfriend, advertising man Thomas Stanley Brennan, when the car plunged over a 75 foot embankment in Calabasas. Brockwell was pinned under the car and sustained compound fractures to her jaw, a fractured skull and several other serious injuries Brennan was seriously hurt and survived his injuries. While hospitalized, Brockwell received four blood transfusions and died from peritonitis which developed as a result of her several injuries. Brennan stated that dust and cinders blew into his eyes causing him to lose control of the vehicle, he was exonerated of blame by the coroner's jury.
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In 'Some Day We'll Laugh: An Autobiography', she says, "In 1902 the family moved to Bar Harbor, Maine. (...) At 9 p.m. on Wednesday, September 17, 1902, I was born at No. 1 Eden St. and Papa immediately dubbed me, 'Maid of Bar Harbor!'"
The child "born in a trunk" of parents who graced the carnival and vaudeville circuits, was christened Esther Worth, but at age 2 she became part of the family act (with her four brothers and her parents) with the billing now extended to "The Ralston Family with Baby Esther, America's Youngest Juliet."
The wholesome but fun-loving teen Esther broke into silent films in several uncredited roles. Her first appearance in a motion picture was in The Deep Purple (1915), filmed at the World Studios, New Jersey. She also appeared in the serial Phantom Fortunes (1916). Afterwards, she appeared with her family in live theatre productions at the smaller venues, eventually crossing the continent and finding themselves in Los Angeles. As early as 1918 she and her brothers began finding extra work at Universal City.
At her peak, she she became one of the industry's highest-paid silent stars in scores of dramas, comedies and westerns, notably opposite Hoot Gibson and Tom Mix. Her more familiar earlier silent roles were as Mrs. Darling in the silent classic Peter Pan (1924), as the Fairy Godmother in A Kiss for Cinderella (1925), and as Mary Jane Wilks in the film version of Mark Twain's Huckleberry Finn (1920). She was publicized as "The American Venus" by none other than showman Florenz Ziegfeld Jr. after appearing as a dazzling beauty queen in the film of the same name (The American Venus (1926)).
Appearing in close to 100 films over a 30-year period, she made several for Paramount and MGM come the advent of sound, including her first talkie The Sawdust Paradise (1928); the title role in The Case of Lena Smith (1929) a "lost" film directed by Josef von Sternberg; Betrayal (1929) starring Emil Jannings and Gary Cooper, and the romantic musical The Prodigal (1931) opposite Metropolitan opera star Lawrence Tibbett.
In England, she appeared opposite Basil Rathbone in After the Ball (1932) and Conrad Veidt in Rome Express (1932). Esther wanted Paramount Studios to up her contract to $100,000 when talkies came in; the company did not agree, and let her go. She went free lance in small productions. After supporting roles in Tin Pan Alley (1940) and San Francisco Docks (1940), and 7th billing in a B film in 1940 (San Francisco Docks (1940)), she retired from the screen at 38.
She earned a fortune from investments but eventually lost it due to the stock market crash of 1929. Forced to find work outside of the world of entertainment in the 1950s and 1960s she appeared on radio shows and TV commercials. In the ensuing years she was employed as a department store salesperson and talent executive.
Esther Ralston was married and divorced three times, and had three children - one from the first marriage, and two from the third.
She was given a star on the Hollywood Walk of Fame for her film work.- Actress
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Dubbed "The Sweetest Girl in Pictures", Mary Brian started life as Louise Byrdie Datzler. She was born in Corsicana, Texas, and went to high school in Dallas. Her widowed mother had big plans for young Louise and took her to California in 1923, with the intention of getting her into the film business. After several unsuccessful attempts, a bathing beauty competition in Long Beach resulted in a second-prize letter of introduction to Herbert Brenon at Paramount and the girl with the dark brown curls and blue/gray eyes wound up being screen-tested for the role of Wendy in Peter Pan (1924), co-starring Betty Bronson and Esther Ralston (with whom she would form lifelong friendships). She not only got the part but a five-year contract with Paramount (1925-30) and a new name.
In 1926 she became one of the WAMPAS Baby Stars, which further enhanced her popularity. During the next few years she played ornamental leads and second leads as adolescent heroines, co-eds and ingénues. Many of those early silent features no longer exist today (Paris at Midnight (1926), among others), though surviving reels of some, like The Air Mail (1925), can still be accessed at the Library of Congress. Mary effortlessly made the transition from silents to talkies, co-starring with Gary Cooper as a feisty schoolmarm on the frontier in The Virginian (1929). One of her biggest hits was as Gwen Cavendish in the urbane comedy The Royal Family of Broadway (1930), with Ina Claire and Fredric March. A thinly disguised caricature of the private lives of the Barrymore dynasty, it hit the mark to the extent that Ethel Barrymore even threatened to sue Paramount. Mary acted three times opposite W.C. Fields, first as his daughter in Running Wild (1927), later reprising her role for The Man on the Flying Trapeze (1934) (the third was Two Flaming Youths (1927), another lost film).
Signing up for another four-year contract, Mary was one of the all-star cast in the musical Paramount on Parade (1930) and then was given another good part in the first talkie version of The Front Page (1931). However, she was dropped from her contract (alongside her more illustrious colleagues Fay Wray and Jean Arthur) when Paramount began to forsake innocence and charm in favor of glamour and sophistication. From 1932 Mary freelanced and also performed occasionally in vaudeville at the Palace Theater. Arguably her last good picture was the romantic comedy Hard to Handle (1933), with James Cagney as a grifter (hilariously promoting grapefruit diets, spoofing his infamous scene with Mae Clarke in The Public Enemy (1931)). In 1936 Mary went to England, where she co-starred opposite Cary Grant in The Amazing Adventure (1936). She then made several pictures for Poverty Row companies such as Majestic and Monogram, including the low-budget potboiler I Escaped from the Gestapo (1943).
Mary's motion picture career faded after 1937 and she turned towards the stage. In 1940 she went on tour with "Three after Three" , alongside Simone Simon and Mitzi Green and later entertained American troops in the South Pacific as part of the USO. In the 1950's, she enjoyed a brief resurgence on television as the mother of a "Gidget"-type teen in the syndicated sitcom Meet Corliss Archer (1954). After the death of her second husband, the film editor George Tomasini, Mary spent her retirement fulfilling a lifelong passion for portrait painting.- Betty Bronson's discovery reads like a Hollywood dream. As a New Jersey teenage bit-player, she was rocketed from obscurity when she was chosen to play the part of Peter Pan in 1924's Peter Pan (1924). She was hand-selected by author J.M. Barrie and beat several Hollywood superstars to the part, most notably Gloria Swanson and Mary Pickford. Pickford, though nearly 30, had built a career out of playing such parts, and faced the first serious threat to her status as "America's Sweetheart". Betty's beautifully expressive performance and unsophisticated looks earned her instant success. For the year following "Peter Pan"'s release, Bronson-mania easily equaled the sort of hysteria previously reserved only for Pickford.
Unfortunately, Bronson's studio seemed unsure of how to exploit this talent, which was wasted in small or unchallenging roles. "Peter Pan"'s 1925 follow-up, A Kiss for Cinderella (1925), seemed destined for the same success--but instead was a major flop. In only one year the public taste had changed so much as to render the sentimental entertainment of yesteryear obsolete. Had Bronson emerged ten years earlier she would have been a worthy competitor to Pickford; in 1925, audiences were suddenly more interested in the more adult charms of flappers such as Clara Bow and Colleen Moore. Betty, too, was re-launched as a flapper, sophisticate and occasional period dame. Her career was moderately successful but her superstardom had subsided. She sparkled and demonstrated an excellent voice in her first sound appearance (The Singing Fool (1928) with Al Jolson) but it became clear that her formidable skills as a pantomimist was wasted in the new form. She retired in 1933 to marry, and only appeared on-screen intermittently thereafter. - Actress
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Greta Ruzt-Nissen was born in Oslo, Norway, on January 30, 1905. As a young girl she studied dance and had intended to make a career out of it. For a while she did, but when she was 19 she appeared in her first big-screen production, The Wanderer (1925). Afterwards she made several more films, but she was one of those who lost much work due to the advent of sound films. One setback for her was when she was chosen for the lead in Hell's Angels (1930) by Howard Hughes but then replaced by Jean Harlow because of her heavy Norwegian accent. The film shot Harlow to stardom. Throughout the 1930s Greta stayed fairly busy. Obviously some roles were better than others, but she never got the breakout role she wanted so badly. After Danger in Paris (1937), Greta left the screen forever. On May 17, 1988, she died of Parkinson's disease. She was 83 years old.- Loni Nest was born on 4 August 1915 in Berlin, Germany. She was an actress, known for Ein Erpressertrick (1921), Schwarze Erde (1923) and Die Heilige und ihr Narr (1928). She died on 2 October 1990 in Nice, Alpes-Maritimes, France.
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Dee was born in Los Angeles, where her Army officer father was stationed, and grew up in Chicago after her father was transferred there. In 1929, he was re-assigned to L.A., and, as a lark, the 19 year old Dee began working in motion pictures as an extra. Her debut was in Words and Music (1929) with Lois Moran. After her breakthrough role in Playboy of Paris (1930) opposite Maurice Chevalier, she met Joel McCrea on the set of the 1933 film The Silver Cord (1933).
Following a whirlwind courtship, the two were married later that year in Rye, New York. Their 57-year marriage ended in 1990, when McCrea died. In the 70s, she and McCrea were rumored to be worth between fifty and one hundred million dollars. Dee hasn't acted since the mid-1950s, and said she didn't miss it. The nonagenarian actress was a huge hit at the 1998 Memphis Film Festival in Tunica, Mississippi. She died in 2004.- Actress
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Mary MacLaren was born on 19 January 1896 in Pittsburgh, Pennsylvania, USA. She was an actress, known for The Three Musketeers (1921), Creaking Stairs (1919) and Shoes (1916). She was married to Robert S. Coleman and Colonel George Herbert Young. She died on 9 November 1985 in Hollywood, California, USA.- English silent screen siren Lillian Rich was 19 when she arrived in New York, courtesy of her Canadian husband Lionel Edward Nicholson. The couple had met while "Leo" was on active duty as a fighter pilot with the Royal Naval Air Service during World War I. He came from a well-to-do middle-class family and was both able and keen to bankroll Lillian's entry into Hollywood with a stake of $1000. Prior to entering films, the dimple-chinned, auburn-haired Londoner had briefly made a name in musical comedy on the stage. In 1919, she started out on the screen playing sultry leads in westerns opposite stalwart sagebrush heroes like Jack Hoxie and Harry Carey. By the end of 1922, Lillian had already amassed 19 feature film credits on her resume. Following a divorce from Leo, she took a year's sabbatical from the screen before resuming her career with renewed vigor in 1924. The next year she was cast by the ever-extravagant Cecil B. DeMille in her defining role, as an aristocratic social-climbing, impecunious vamp in Paramount's The Golden Bed (1925). Attired in sables and bedecked with diamond bracelets, Lillian added to the general opulence (and excess) of the proceedings. She then gave what is considered her other notable performance, opposite H.B. Warner in the western railroad drama Whispering Smith (1926). There was also a minor Christie comedy, Seven Days (1925), a crime thriller with Boris Karloff and a host of low-budget B-pictures for independent producers and Poverty Row outfits like Chesterfield and Tiffany.
Between 1928 and 1930, Lillian unsuccessfully attempted a comeback in sound pictures, filming in England at Beaconsfield and at Nettlefold Studios (Walton-on-Thames, Surrey). Alas, these low-budget "quota quickies" were made for the mass market and did nothing to reboot her career. Back in the States she found herself relegated to the bottom of the bill in "Our Gang" shorts. She saw out the rest of the 1930's in uncredited, no-name bits as "nurse", "nun", "telephone operator", and so on, before fading into relative obscurity. - Francelia Billington was born in Dallas, Texas, where she was raised on a ranch and became an expert horsewoman. The pretty young Texan was also on stage from a young age and soon journeyed to Hollywood and became a star of westerns and melodramas, first working with the Kalem Film Co. in 1912, then moving on to Reliance-Majestic and Thanhouser the following year. She starred in many films for legendary director D.W. Griffith and later joined Universal Pictures, where she worked with such directors as Rupert Julian and Rex Ingram, She didn't confine herself to just horse operas, though. One of her best roles was in Erich von Stroheim's epic Blind Husbands (1919)). She also starred alongside her husband Lester Cuneo in many westerns in the 1920s. He committed suicide after their marriage broke up in 1925, and she died of tuberculosis at the tragically-young age of 39.
- Majel Coleman was born on 22 February 1903 in Mason, Ohio, USA. She was an actress, known for West of Broadway (1926), The King of Kings (1927) and Almost Human (1927). She was married to Victor A. Gangelin. She died on 27 July 1980 in Paramount, California, USA.
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Classic comedienne Zasu Pitts, of the timid, forlorn blue eyes and trademark woebegone vocal pattern and fidgety hands, was born to Rulandus and Nellie (Shay) Pitts, the third of four children on January 3, 1894. Her aged New York-native father, who lost a leg back in the Civil War era, had settled the family in Kansas by the time ZaSu was born but relocated to Santa Cruz, California, when she was 9, seeking a warmer climate and better job opportunities. She attended Santa Cruz High and somehow rose above her excessively shy demeanor to join the school's drama department. She went on to cultivate what was once deemed her negative qualities by making a career out of her unglamorous looks and wallflower tendencies in scores and scores of screwball comedy treasures.
Pitts made her stage debut in 1915 and was discovered two years later by pioneer screenwriter Frances Marion, who got her work, though in small, obscure parts, in vehicles for such Paramount stars as Douglas Fairbanks and Mary Pickford. Mary cast her in another of her films to greater effect and the rest is history. She grew in popularity following a series of Universal one-reeler comedies and earned her first feature-length lead in King Vidor's Better Times (1919). She met and married matinée idol Tom Gallery in 1920 and paired up with him in several films, including Bright Eyes (1921), Heart of Twenty (1920), Patsy (1921), and A Daughter of Luxury (1922).
Their daughter Ann was born in 1922. In 1924 the actress, now a reputable comedy farceur, was given the greatest tragic role of her career in Erich von Stroheim's epic classic Greed (1924), an over-four-hour picture cut down by the studio to less than two. The surprise casting initially shocked Hollywood but showed that she could draw tears and pathos as well as laughs with her patented doleful demeanor. The movie has grown tremendously in reputation over time, although it failed initially at the box office due to its extensive cutting.
Trading off between comedy shorts and features, she earned additional kudos in such heavy dramas as Sins of the Fathers (1928), The Wedding March (1928), also helmed by Von Stroheim, and War Nurse (1930). Still, by the advent of sound, which was an easy transition for Pitts, she was fully secured in comedy. One bitter and huge disappointment for her was when she was replaced in the war classic All Quiet on the Western Front (1930) by Beryl Mercer after her initial appearance drew unintentional laughs from preview audiences. She decided, however, to make the most of a not-so-bad situation. She had them rolling in the aisles in such wonderful and wacky entertainment as The Dummy (1929), Finn and Hattie (1931), The Guardsman (1931), Blondie of the Follies (1932), Sing and Like It (1934), and Ruggles of Red Gap (1935). She also excelled deliciously in her comedy partnerships with stunning blonde comedienne Thelma Todd (in short films) and gangly comedian Slim Summerville (in features).
Breezing through the 1940s in assorted films, she found work in vaudeville and on radio as well, trading quivery banter with Bing Crosby, Al Jolson, and Rudy Vallee, among others. She also tackled Broadway, making her debut in the mystery "Ramshackle Inn" in 1944. The play, which was written especially for her, fared quite well and, as a result, took the show on the road frequently in later years. Postwar films continued to give Pitts the chance to play comic snoops and flighty relatives in such quality fare as Life with Father (1947), but into the 1950s she started focusing on TV. This culminated in her best known series role, playing second banana to cruise line social director Gale Storm in The Gale Storm Show: Oh! Susanna (1956) [aka "Oh, Susannah"]. As Nugie, the shipboard beautician and partner-in-crime, she made the most of her timid, twitchy mannerisms.
Sadly, ill health dominated Pitts' later years when she was diagnosed with cancer in the mid-1950s. She bravely carried on, continuing to work until the very end, making brief appearances in The Thrill of It All (1963) and the all-star comedy epic It's a Mad Mad Mad Mad World (1963). Having married a second time after her divorce from Gallery, the beloved sad sack comedienne passed away at age 69 on June 6, 1963, leaving behind a gallery of scene-stealing worrywarts for all to enjoy.- Actress
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A schoolteacher who became a stage actress (briefly), Lois Wilson entered films in 1916 at Paramount (her sisters, Diana Kane and Connie Lewis, also worked as actresses). Wilson played leading roles well into the sound era, and after she retired from the screen she worked sporadically in television and again appeared on stage.- Actress
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Though she is little remembered today, silent screen star Carmel Myers had a high-flying career in her heyday and was ranked among the screen's most glamorous and enticing vamps. She was born at the turn of the century in San Francisco, the daughter of immigrant parents. Her father, a rabbi, emigrated from Australia and her mother from Austria. Her older brother, Zion Myers, would grow up to become a successful writer and director in Hollywood. The family moved to Los Angeles when she was in her early teens and her father, an acquaintance of director D.W. Griffith, advised Griffith on the biblical scenes for his movie Intolerance (1916), for which Carmel received a bit role as a dancer.
Signed by Universal, Carmel rose quickly up the ranks appearing with Rudolph Valentino in A Society Sensation (1918) and All Night (1918). She later branched out and worked for other studios. She appeared in her most prestigious film over at MGM. In the epic extravaganza Ben-Hur: A Tale of the Christ (1925), she portrayed Iras, the evil Egyptian seductress out to snare both Ramon Navarro and Francis X. Bushman. Outrageously adorned, she was a tremendous hit and MGM signed her up for their pictures The Devil's Circus (1926) and Tell It to the Marines (1926), with each showcase striving to outdo the costumes she wore for "Ben-Hur."
Carmel managed the transition into talkies but, due to her age, started appearing more and more in support roles until she was left with nothing but bits. In the 1950s she tried television and made her debut in July 1951 with an interview show called, fittingly, The Carmel Myers Show (1951), in which she bantered with such show biz elite as Richard Rodgers and Sigmund Romberg, but the show lasted only one season. Married three times, she turned to real estate and also founded Carmel Myers, Inc. in which she distributed French fragrances. She died on November 9, 1980.- Actress
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Barbara La Marr was born in Yakima, Washington, on July 28, 1896, as Reatha Watson. Her childhood was mostly uneventful, mainly because Yakima--today a medium-sized city with a population of over 50, 000-wasn't exactly a beehive of activity. Her parents eventually moved to the Los Angeles area, where she began to explore the show business lifestyle in whatever form she could. Barbara loved the L.A. way of living and was forced to grow up fast. She was still Reatha at the time, but her arrest for dancing in burlesque while still a teen caused her to change her name to Barbara La Marr to avoid being associated with her past. Her passion was dancing and writing, but the powers-that-be in the movie industry thought she was meant for other things--her dazzling beauty captured the imagination of all who came across her path. Moving to New York, she was ultimately lured into the film world, her first picture being Harriet and the Piper (1920). She was still going by her married name of Barbara Deely (already working to shed her fourth husband) and was being dubbed "The Girl Who Is Too Beautiful." The next year she appeared in The Three Musketeers (1921) and Desperate Trails (1921). That same year, her role as Claudine Dupree in The Nut (1921) sent Barbara into super-stardom. Hordes of fans flocked to theaters to see this beautiful actress in movies such as Arabian Love (1922), Trifling Women (1922), Domestic Relations (1922) and The Prisoner of Zenda (1922) whose beauty kept them enthralled. In 1923, she kept up her frenzied filming pace with such pictures as Poor Men's Wives (1923), The Brass Bottle (1923) and Souls for Sale (1923). The public adored her, as evidenced by the volumes of fan mail she received, but Barbara was more interested in the late-night partying she was involved with. The combination of alcohol and drugs was, clearly, beginning to wear her down. She made four films in 1924 and three in 1925. Her last picture was The Girl from Montmartre (1926). On February 2, 1926, Barbara died of tuberculosis in Altadena, California. Her demise was, no doubt, brought about by her constant late-night partying. She had lived a lifetime and had made 30 films, but was only 29 when she died.- Actress
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She won a beauty contest at age fourteen. In 1920 her mother, Edith Shearer, took Norma and her sister Athole Shearer (Mrs. Howard Hawks) to New York. Ziegfeld rejected her for his "Follies," but she got work as an extra in several movies. She spent much money on eye doctor's services trying to correct her cross-eyed stare caused by a muscle weakness. Irving Thalberg had seen her early acting efforts and, when he joined Louis B. Mayer in 1923, gave her a five year contract. He thought she should retire after their marriage, but she wanted bigger parts. In 1927, she insisted on firing the director Viktor Tourjansky because he was unsure of her cross-eyed stare. Her first talkie was in The Trial of Mary Dugan (1929); four movies later, she won an Oscar in The Divorcee (1930). She intentionally cut down film exposure during the 1930s, relying on major roles in Thalberg's prestige projects: The Barretts of Wimpole Street (1934) and Romeo and Juliet (1936) (her fifth Oscar nomination). Thalberg died of a second heart attack in September, 1936, at age 37. Norma wanted to retire, but MGM more-or-less forced her into a six-picture contract. David O. Selznick offered her the part of Scarlett O'Hara in Gone with the Wind (1939), but public objection to her cross-eyed stare killed the deal. She starred in The Women (1939), turned down the starring role in Mrs. Miniver (1942), and retired in 1942. Later that year she married Sun Valley ski instructor Martin Arrouge, eleven years younger than she (he waived community property rights). From then on, she shunned the limelight; she was in very poor health the last decade of her life.- Belle Bennett's parents were William and Mary Bendon (stage name Bennett). They appeared in "Billy Bennett's Big Shows" which were traveling shows appearing in tents and local 'opera' houses. The shows presented vaudeville acts and melodramas. Belle was headlining in her teens before moving on to stage and film in her twenties. Dozens of advertisements and articles appeared in the local paper "The Mille Lacs Co. Times." None refer to a circus but to the above mentioned 'shows'.
- She was one of the archetypal flappers of the Jazz Age. Blonde, blue-eyed and impeccably coiffured, we recall Gwen Lee as tall, blonde flibbertigibbets and gold-digging vamps in films of the late 1920s and early '30s. Gwen was born in Nebraska and attended school in Omaha. Having suitably shortened her name from 'Gwendolyn LePinski' to 'Gwen Lee', she began her career as a department store model. An early foray to the stage as a dancer then led to her 'discovery' by the director Monta Bell and a contract with MGM in 1925. Gwen was named a WAMPAS baby star in 1928 and was duly rewarded with starring or co-starring roles in pictures like Lucky Boy (1929), A Lady of Chance (1928) and The Actress (1928). Once it became apparent that silent pictures were on the way out she began to ardently take voice lessons. Her time in the limelight turned out to be rather brief, alas. Her career and public image took a substantial hit when the synchronization of an early talkie, Untamed (1929), went badly awry: during a dancing sequence with Robert Montgomery, poor Gwen could be heard mouthing the dialogue of her partner (and vice versa) -- no doubt to the great amusement of the audience. Not long after, her dizzy screen personae apparently carried over into real life, as she was twice sued by department stores for non-payment of goods. In 1931, she was also taken to court by her mother who claimed guardianship, charging that her daughter was 'incompetent to handle her affairs'. Inevitably, Gwen's movie roles declined both and quality and in quantity. Down to bit parts, her career came to a swift end in 1938 after appearing in a bottom-of-the-bill potboiler at one of the Poverty Row outfits. After that, she faded from the scene. Gwen died in Reno, Nevada, in 1961, almost forgotten, at the age of 56.
- Lilyan Tashman was born on October 23, 1896 in Brooklyn, New York to Rose (Cook) from Germany and Morris Tashman from Bialystock, Poland. After toying with stage work, Lilyan made her film debut with Experience (1921), followed the next year by Head Over Heels (1922) (this was at a time when some studios and their performers were turning out one film per week. She had no other offers for 1923, but her constant rounds of the casting offices finally did some good. In 1924 she appeared in no fewer than 6 films. For a while she averaged 7 films per year. She was one of relatively few performers who easily made the transition to the sound era, In 1934 she finished filming Frankie and Johnnie (1936) and went into a New York City hospital to have some tumors removed; she died there on March 21, 1934 at age 37. The film was released two years after her death.
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Sultry, sleepy-eyed Argentine brunette Mona Maris was born Rosa Emma Mona Maria Marta Capdevielle, of Spanish-French parentage. Her well-to-do background ensured a quality education with an emphasis on foreign languages. Mona mastered three of them, but, alas, English was not among them. This mattered little early on, as her career began in silent films in 1925, first in England and France, then with Universum AG in Germany. Moving to the U.S. in 1929, she was signed by Fox to co-star opposite Warner Baxter in two above-average westerns: Romance of the Rio Grande (1929) and the The Arizona Kid (1930) (in which she was rather overshadowed by a young Carole Lombard). In fairness, neither film gave her much to do, except be ornamental. In 'Arizona Kid', she was also unwisely permitted to sing, which was not her forte. Combined with her rather strained command of English, it was somewhat inevitable that she would find herself relegated to acting in a string of Spanish-language versions of American films.
Mona Maris is remembered today less for her sojourn in Hollywood, than for her on-screen chemistry with legendary singer Carlos Gardel in the musical drama Cuesta abajo (1934). Filmed in Argentina, it co-starred Mona as a femme fatale and proved to be her defining screen role. She auditioned for the part via telephone from the Paramount lot (having just completed shooting of Kiss and Make-Up (1934)) for French-born director Louis J. Gasnier, winning out over fellow candidates Raquel Torres and Rosita Montenegro. "Cuesta abajo" was well-received upon its release in the U.S., becoming the most successful Spanish-language film up to that time. Following Gardel's untimely death in 1935, Mona absented herself from the screen for six years.
She returned to Hollywood again in the early 40's, free-lancing for most of the majors, in films like The Falcon in Mexico (1944) and Tampico (1944). Even though, her English was now fluent, she remained mostly typecast as south-of-the-border senoritas. After an uncredited bit in the Bob Hope comedy Monsieur Beaucaire (1946), her career wound down with a third-billed part in a third rate swashbuckler for Republic, The Avengers (1950). Shortly after that, she called it a day and in 1960 retired to Lima, Peru, with her second husband, Dutch millionaire Herman Rick.- Actress
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The daughter of a poet, Doris Kenyon made her stage and screen debuts in 1915. She was often cast as a pleasant heroine in many silent films. She co-starred with popular silent-era actors like Rudolph Valentino and her future husband Milton Sills. Due to her stage experience she made a smooth transition to sound films. She could still be seen on television in the mid-'60s.- Madge was born as Margaret Philpott in Texas. She got her start in theater working with a stock company in Denver. Put under a personal contract by a Broadway producer, Madge got her big break when she replaced Helen Hayes in the Broadway play "Dear Brutus". Her success as a stage actress led to her being signed by Fox Pictures. After appearing in a number of movies in the early 20's, Madge was best remembered for her performances in 'Lorna Doone (1922)' and 'The Iron Horse (1924)'. A strong will contrasted the screen image of innocence and led to disagreements over roles by the late 20's. Madge had been cast in a number of movies each year and was in Fox's first dialogue feature 'Mother Knows Best (1928)'. But her refusal to work in the film 'The Trial of Mary Dugan', which was bought expressly for her, led to her contract with Fox being terminated. It would be 3 years until she returned to the screen in the cult favorite 'White Zombie (1932)' with Bela Lugosi, but her career was not going anywhere as Madge was just one of those old silent stars. For the next few years, she appeared in a small number of low budget films and by 1936 her film career was over. In 1943, she would again appear in the headlines when she shot her lover, millionaire A. Stanford Murphy after he jilted her to marry another woman. She did marry two other men, Carlos Bellamy, whose last name she kept, and then to Logan F. Metcalf. Both marriages ended in divorce. She has no children.
- Maria Alba was born on 19 March 1910 in Barcelona, Catalonia, Spain. She was an actress, known for Mr. Robinson Crusoe (1932), Kiss of Araby (1933) and El código penal (1931). She was married to Richard Jamar Burk. She died on 26 October 1996 in San Diego, California, USA.
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Thelma Todd was born in Lawrence, Massachusetts, an industrial city near the New Hampshire state line. She was a lovely child with good academic tendencies, so much so that she decided early on to become a schoolteacher. After high school she went on to college but at her mother's insistence entered several beauty contests (apparently her mother wanted her to be more than just a "schoolmarm"). Thelma was so successful in these endeavors that she entered on the state level and won the title of "Miss Massachusetts" in 1925 and went on to the "Miss America" pageant; though she didn't win, the pageant let her be seen by talent scouts looking for fresh new faces to showcase in films. She began to appear in one- and two-reel shorts, mostly comedy, which showcased her keen comic timing and aptitude for physical comedy--unusual in such a beautiful woman.
She had been making shorts for Hal Roach when she was signed to Paramount Pictures. Her first role--at age 21--was as Lorraine Lane in 1927's Fascinating Youth (1926), a romantic comedy that was Paramount's showcase vehicle for its new stars. Thelma received minor billing in another film that year, God Gave Me Twenty Cents (1926). The next year she starred with Gary Cooper and William Powell in the western Nevada (1927). That year also saw her in three more films, with The Gay Defender (1927) being the most notable. It starred Richard Dix as a man falsely accused of murder.
As the 1920s closed, Thelma began to get parts in more and more films. In 1928 and 1929 alone she was featured in 20 pictures, and not just comedies--she also did dramas and gothic horror films. Unlike many silent-era stars whose voices didn't fit their image or screen persona, Thelma's did. She had a bright, breezy, clear voice with a pleasant trace of a somewhat-aristocratic but unsnobbish New England accent and easily made the transition to sound films. In 1930 she added 14 more pictures to her resume, with Dollar Dizzy (1930) and Follow Thru (1930) being the most notable. The latter was a musical with Thelma playing a rival to Nancy Carroll for the affections of Buddy Rogers. It was a box-office hit, as was the stage production on which it was based. The following year Thelma appeared in 14 more films, among them Let's Do Things (1931), Speak Easily (1932), The Old Bull (1932), and On the Loose (1931). Her most successful film that year, however, was the Marx Brothers farce Monkey Business (1931). While critics gave the film mixed reviews, the public loved it. In 1932 Thelma appeared in another Marx Brothers film directed by Norman Z. McLeod, Horse Feathers (1932). She also starred in This Is the Night (1932), a profitable film which featured Cary Grant in his first major role. In 1934 Thelma made 16 features, but her career would soon soon come to a grinding halt. In 1935 she appeared in such films as Twin Triplets (1935) and The Misses Stooge (1935), showcasing her considerable comic talents. She also proved to be a savvy businesswoman with the opening of "Thelma Todd's Sidewalk Café", a nightclub/restaurant that catered to show-business people. Unfortunately, it also attracted some shady underworld types as well, and there were rumors that they were trying to take over her club and use it as a gambling establishment to fleece the wealthy Hollywood crowd. According to these tales, Thelma and her boyfriend, director Roland West, wouldn't sell their establishment once they found out what the gangsters had in mind, which incurred the enmity of the wrong people with whom to have differences of opinion. Whether or not the stories were true, on December 16, 1935, 29-year-old Thelma was found dead in her car in her garage in Los Angeles. Her death was ruled suicide-by-carbon-monoxide-poisoning. At the time, as today, many felt that her death was actually a murder connected to the goings-on at her club, a theory that was lent credence by the fact that no one who knew her had ever seen her depressed or morose enough to worry about her committing suicide. Another factor that aroused suspicion was that her death was given a cursory investigation by the--at the time--notoriously corrupt Los Angeles County District Attorney's Office and the case was quickly and unceremoniously closed. Her death has remained controversial to this day.
Three films she made before her death weren't released until the following year: Hot Money (1936), An All American Toothache (1936), and The Bohemian Girl (1936). The latter saw her quite substantial role cut down so much that she was barely glimpsed in the picture. Thelma had made an amazing 115 films in such a short career, and her beauty and talent would no doubt have taken her right to the top if not for her untimely demise.- Actress
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Helen Twelvetrees was born Helen Marie Jurgens in Brooklyn, New York on December 25, 1908. Her interest in the theatricals was apparent at an early age. After graduating from high school. Helen embarked on a stage career. She participated in a number of plays in New York City, but gravitated toward film when she headed to the West Coast in late 1928. In 1929, Helen appeared in her first motion picture called THE GHOST TALKS. That was quickly followed by WORDS AND MUSIC and BLUE SKIES that same year. Through the early thirties, Helen appeared in a number of movies. Audiences appreciated the pixish, little blonde and the roles she played. Perhaps one of her finest roles was a June Perry in STATE'S ATTORNEY (1932) opposite John Barrymore. Helen's character was romantically involved with the district attorney and plays the part with absolute conviction. Helen continued a hectic filming pace until 1936. She filmed five movies in 1935, but played in only THOROUGHBRED in '36. In 1938, Helen went through a drought and made her last film the following year in UNMARRIED. Helen's film career had ended. Through the balance of her life there seemed to be a void. On February 13, 1958, died after she took an overdose of sedatives. She was 49.- Actress
Born in Los Angeles, California in 1910 of Italian parents Santo Giraci and Anna De Nubila. Discovered by Cecil B. DeMille. Worked as child actor in silent films. Original film name was Tina Rossi. Birth name was May Giraci. Attended Hollywood High School. After graduation changed name to May Giraci. Married Herman C. Platz in May 1931. Three children: Ralph, Howard, Carole.- Actress
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Beautiful Anita Page was one of the most famous and popular leading ladies during the last years of the silent screen and the first years of the talkie era. She was best known for starring in The Broadway Melody (1929), the first sound film to win the Academy Award for Best Picture. Her leading men included John Gilbert, Clark Gable, Buster Keaton, and Robert Montgomery.
Only in her late teens when stardom beckoned, Anita had a huge following that earned her record amounts of fan mail, but she was seldom given lead roles, most often playing second lead, perhaps due to her youthful inexperience as an actress. She was a charming, much-loved screen personality, but by 1932 MGM seemed to lose interest in her career despite impressive work in such films as Night Court (1932) and Skyscraper Souls (1932), and before the year was out her contract was not renewed. She slipped off into "B" stardom in films at Columbia, Universal, and even more minor studios. She retired from the screen in 1936, making a return 25 years later in The Runaway (1961) with Cesar Romero, and she lived quietly out of the limelight for over half a century. In the 1990s, the now widowed star was rediscovered by the media, which enjoyed her light-humored journeys down memory lane about her career, MGM, the silent and early talkie eras, and the stars she knew, earning the actress a devoted cult of young fans and a few brief appearances in ultra-low-budget films of the 1990s.- Claire Adams was born in Winnipeg, Canada (her brother was prolific screenwriter Gerald Drayson Adams), and after her education in that country she was sent to a private school in England, where she studied drama. At the outbreak of World War I, however, she joined the nursing corps and spent the war years as a nurse. At war's end she returned to Canada, but soon left for California to break into films. She made quite a few pictures for producer Benjamin B. Hampton, whom she later married. She had a long career in silents, appearing with such major stars as John Gilbert, Tom Mix and Lon Chaney, but when sound came along she made one picture in 1934, What a Mother-in-Law! (1934), and then retired (Hampton had died in 1932).
She died in Melbourne, Australia, on September 25, 1978. - Curly-locked, cherubic knockabout comedienne of the silent cinema. Her mother, portrait photographer Mrs. Kemp Raulston, named her after her favorite actress, Jobyna Howland. She harbored ambitions for her daughter to achieve similar fame and trained her to that end. After a failed teenage marriage to a local farmer, Jobyna left her Tennessee home and went to New York in 1919 to join the Ned Wayburn dancing academy, a popular springboard for aspiring actresses.
In 1920, she appeared first on screen in Reelcraft "Cuckoo" comedy shorts made in Jacksonville, FL. Around this time she also co-starred in Humor Risk (1921), which marked the film debut of The Marx Brothers, and is now considered a lost film. The following year she made her one Broadway appearance in "Two Little Girls in Blue" by George M. Cohan. Deciding that comedy was her forte, she went to Hollywood in 1922, starting as an extra with Hal Roach. She was cast in a rare dramatic role in The Call of Home (1922), then partnered with French comedian Max Linder and subsequently starred in Roach's James Parrott comedies. When Harold Lloyd became aware of her talent, he picked her as his leading lady, succeeding his wife-to-be Mildred Davis. By that time, Jobyna had already been in 60 one-reel comedy shorts for Hal Roach. She proceeded to star in six of Lloyd's features, of which Why Worry? (1923), The Freshman (1925) and The Kid Brother (1927) are standouts for her ability to combine considerable comedic talent with pathos. Of her performance in Girl Shy (1924), "Variety" commented (April 2) "Jobyna Ralston . . . proves herself considerable of an actress [sic] in addition to being decidedly pretty". In 1927 "Joby" was cast in a featured role in the Academy Award-winning drama Wings (1927), whose star, Richard Arlen, she married in January of that year (she eventually divorced Arlen in 1945 on the grounds of desertion, obtaining a $250,000 settlement). As a freelance comedienne she appeared in leading roles opposite stars like Eddie Cantor, Charles Ray and Buck Jones.
Jobyna also starred with Douglas Fairbanks Jr. in an obscure Frank Capra melodrama, The Power of the Press (1928). She made just three talkies, The College Coquette (1929), Rough Waters (1930) (her co-star being Rin Tin Tin!) and Sheer Luck (1931). In regard to the first, the New York Times (August 26, 1929) declared that "Miss Ralston's utterances are frequently indistinct". Indeed, Jobyna was found to have a noticeable lisp which, combined with her impending pregnancy, effectively put an end to her career as a motion picture actress. - Actress
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Julia Faye's career is inextricably linked to director Cecil B. DeMille. He was her mentor, while she was for many years his mistress (a liaison which was tolerated by De Mille's long-suffering wife Constance Adams). Julia was born in Richmond, Virginia, of French-American parentage. She had a Southern drawl which she never lost. When she was six months old her family moved to St. Louis, MO, where she spent most of her early childhood. She was educated at Illinois State University. Her parents intended for her to have a teaching career, but Julia had other ideas. She started out as a model for fashion magazines, touted as "the girl with the perfect legs" and "the prettiest feet and ankles in America". Her photo shoots did not escape the attention of De Mille, who summoned her for an audition (though, according to author Charles Higham, it was actor Wallace Reid who first introduced Julia to De Mille at a party). Her "pegs" certainly passed muster and Julia was fast-tracked to the silver screen, initially appearing in a few small roles at Fine Arts=Paramount. Casting directors were also eager to utilize her as a "leg model", doubling for actresses deemed less endowed in that department. In 1916 Julia moved to Keystone as one of Mack Sennett's Bathing Beauties and knockabout comediennes, occasionally as leading lady and at times performing her own stunts.
Despite limitations to her acting ability, Julia was possessed of sophistication, wit and charm. which contributed to her having a pretty good career for the better part of the 1920s. She was featured in billed supporting roles in a number of De Mille's big-budget extravaganzas, including The Ten Commandments (1923) (as Pharaoh's wife), The Volga Boatman (1926) (as a gypsy) and The King of Kings (1927) (as Martha). Dynamite (1929), co-scripted by another De Mille protégé and mistress (not to mention fierce rival), Jeanie Macpherson, gave Julia her best opportunity to shine in a meatier role. However, by the early 1930s her career was already in decline. Perhaps hoping to emulate Macpherson, she proceeded to study screenwriting for three years under De Mille's tutelage, but, in the end, to little avail. Eventually, offers from Hollywood dried up and her money ran out. To his credit, De Mille continued to support Julia by putting her on the payroll as one of his regular stock players. She went on to appear in cameos and bit parts in his films for another two decades, usually without dialogue. Her last film role was as a dowager in The Buccaneer (1958).
Julia Faye died in April 1966 at the age of 72. She has a star on the Hollywood Walk of Fame.- Mary Thurman was born Mary Christiansen on April 27, 1895, in Richfield, Utah. She was one of seven children raised in the Mormon faith. Sadly her father passed away when she was nine. Mary attended the University of Utah and got a job as a teacher. In 1915 she took a trip to Hollywood. A talent scout saw her and she became one of the famous Mack Sennett bathing beauties. She also began appearing in Sennett's comedy shorts. Mary started out as an extra and quickly worked her way up to leading lady. Between 1916 and 1918 she made more than twenty films. Mary married her childhood sweetheart Victor E. Thurman but the couple divorced in 1919. Mary costarred with Rosco "Fatty" Arbuckle in Leap Year and with William Desmond in The Prince And Betty.
Although she had become a popular comedienne she dreamed of being a serious actress. She signed with producer Allan Dwan who cast her in the 1920 drama In The Heart Of A Fool. Her performance got rave reviews. Allan would direct Mary in several more films including The Sin of Martha Queed and A Broken Doll. Off screen Mary and Allan fell in love and were engaged for a short time. In the fall 1925 she began work on the movie Down Upon The Suwanee River. While filming in Florida she came down with a serious case of pneumonia. She struggled with the illness for months and passed away on December 22, 1925. Mary was only thirty years old. Her mother and her best friend, actress Juanita Hansen, were by her side when she died. Mary was buried in Richfield City Cemetery in her hometown of Richfield, Utah. - Actress
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Helen Mack started her career in movies at the age of ten, and by the time she was 13 was performing in vaudeville. Her acting career didn't blossom until the 1930s, when she made a name for herself as one of the movie's best criers. She had many leading roles opposite such actors as Lee Tracy, George Raft and Harold Lloyd. She may be best remembered for Son of Kong (1933) and His Girl Friday (1940). In later years she was a successful radio producer, writer and director.- Actress
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Mabel Normand was one of the comedy greats of early film. In an era when women are deemed 'not funny enough' it seems film history has forgotten her contributions. Her films debuted the Keystone Cops, Charlie Chaplin's tramp and the pie in the face gag. She co-starred with both Chaplin and Roscoe "Fatty" Arbuckle in a series of shorts. She was a star in the first Keystone Comedy as well as the first feature film comedy. She was the only comedian to work with Charles Chaplin , Roscoe "Fatty" Arbuckle, Mack Sennett, D.W. Griffith, Harold Lloyd, Mary Pickford, Hal Roach, Stan Laurel, Oliver Hardy, Fred Mace, Fred Sterling and John Bunny (she and Buster Keaton never had a chance to work together but they were friends.)
Born in Staten Island, New York to Claude and Mary Normand. Normand started out as an artist model for Charles Dana Gibson (creator of the Gibson girl). Friends suggested she try out for the new medium of film and she did, working as an extra in Kalem and Biograph shorts. With Biograph's move to California she went to work for Vitagraph where she made a series of comedic shorts as 'Betty', one co-starring the first comedy film star John Bunny.
Eventually Normand returned to Biograph where she began working with Mack Sennett on comedic shorts that would eventually turn into Keystone Comedies. Normand and Sennett were lovers, close friends and close co-workers. All of Sennett's early ideas seemed to revolve around Normand. His creation of Keystone was contingent on Normand joining him; and though he would underpay her as he underpaid everyone he worked with, he insisted Normand have credit and say in the company. When Normand eventually left Keystone for Goldwyn, Sennett left soon after.
By 1912 Normand was writing her own films and by 1914 she was directing her films. By this point she was a major star, continually topping fan polls by new movie magazines. While the discovery of Charlie Chaplin varies from telling to telling, everyone involved agreed Sennett would not have hired (or kept him on) had it not been for Normand. Chaplin's second short for the company was Normand's "Mabel's Strange Predicament" which she starred and directed in. This was the first film Chaplin created his iconic tramp character for.
Chaplin and Normand had a comedic chemistry and would go on to team in a series of shorts until Chaplin left Keystone in 1915. As Chaplin's star rose many fan magazines began to call Normand a 'female Chaplin'. Normand and Chaplin had similar subtle mannerisms and the influence Normand had on Chaplin can not be understated. Before Chaplin left Keystone, they starred, alongside Marie Dressler, in "Tillie's Punctured Romance" the first full length comedy film.
With the loss of Chaplin, Normand and Roscoe "Fatty" Arbuckle began to team together in a series of shorts (though they had acted together before). This series was also popular and the pair continued acting together until they both left Keystone for better pay.
Sennett and Normand became engaged around this time, though the engagement ended when Sennett was caught cheating on Normand. Friends report she suffered a severe head injury when Sennett's fling threw a vase at Normand's head. Those who knew Normand all believed Sennett was the love of her life; and she his. However they would never reconcile romantically. Sennett did convince Normand to create her own production company "Mabel Normand Film Company" to make her own features. The first project was "Mickey" and Sennett's handling of her business affairs resulted in the film not being released until 1918 (or having a definite version).
Normand dissolved the company and signed with Goldwyn where she went on to make comedy features. These movies would be more akin to sitcoms: they were shorter than a lot of features, but still features. Many are lost though several have turned up in the past 10 years.
Normand once again signed with Sennett to make features and this would result in her final feature films. However this would be a rocky venture. Normand's health was hit or miss (she had been diagnosed with tuberculosis when she was 10) and seemed to be worse than better. She also was drinking heavily. In 1922 her friend William Desmond Taylor was murdered. This case would become 'the case of the century' and became a media circus, it is still unsolved. Though Normand was cleared (she had been seen leaving his house with him waving goodbye to her; she was likely the last person to see him alive), the association left an unwelcome tarnish on her soon after the scandalous death of her friend Olive Thomas, and the unfair trial of Roscoe Arbuckle.
Normand continued working, making The Extra Girl. Soon after its release in 1923 she was again near another crime (a butler was shot at a party she attended; though he survived.) Soon after Normand took a break from film.
By 1926 Normand was ready for a comeback. She signed with Hal Roach to make comedy shorts. These were well received and by 1928 she had signed with the William Morris Agency to make talkies. However she did not realize how sick she was and her health soon interrupted these plans.
Over the years Normand's tuberculosis has turned into rumors of a drug addiction. This started during the Taylor scandal when it was claimed that maybe he had been killed for interrupting a drug ring, and maybe Normand was part of it. While not prominent during her life it has become more commonly believed as time has passed despite no evidence. Normand's family, estate and personal nurse were all adamant she had never used any drugs. Sadly this rumor has become common place in Hollywood lore.
Normand's drinking increased as did her partying. During one party she decided to marry longtime friend Lew Cody at 2am. She instantly regretted the marriage and they continued living separately. As Normand's health decreased and she was committed to a sanitarium (akin to a hospital/hospice in modern terms) by 1929. She died in 1930 from tuberculosis.- A pretty, diminutive (4'11") actress of the silent and early sound era, Barbara Cloutman (later Kent) was born in Gadsby, Alberta, Canada on December 16, 1907. Upon graduating from Hollywood High School in 1925, Kent won the Miss Hollywood Pageant, and set her sights on a career in the movies. She was 18 when Universal Studios signed her; she made her film debut in the western Prowlers of the Night (1926). That same year, Kent established herself with the classic romantic melodrama Flesh and the Devil (1926), in which she played the rival to femme fatale Greta Garbo's affections for John Gilbert. She was loaned to MGM for that movie. Kent was selected as one of the WAMPAS Baby Stars of 1927 as a result of the popularity of her film No Man's Law (1927), in which she had a nude scene.
Kent subsequently appeared opposite Richard Barthelmess in The Drop Kick (1927) and had a starring role in another silent classic, Lonesome (1928), before smoothly making the transition to talkies. She played Harold Lloyd's love interest in his first two sound movies, Welcome Danger (1929) and Feet First (1930). Kent had supporting parts opposite Gloria Swanson in Indiscreet (1931) and Marie Dressler in Emma (1932), as well as playing the role of the aunt in Oliver Twist (1933) (notable since the character is often omitted from dramatizations of the novel).
In 1933, Kent took a year-long hiatus from acting so that her new husband, talent agent Harry E. Edington, could groom her for what he intended to be a high-profile return. Unfortunately, Kent's popularity had declined by the time she did return. She made three more films between 1935 and 1941, before retiring from the screen.
Edington died in 1949, and Kent remarried in 1954, to Jack Monroe, an engineer. They settled in Palm Desert, California, where Kent remained after Monroe's death. Her retirement was long and peaceful; she passed away on October 13, 2011 at the age of 103. - Mildred Davis was born on 22 February 1898 in Philadelphia, Pennsylvania, USA. She was an actress, known for A Sailor-Made Man (1921), Safety Last! (1923) and Dr. Jack (1922). She was married to Harold Lloyd. She died on 18 August 1969 in Santa Monica, California, USA.
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Greta Garbo was born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, to Anna Lovisa (Johansdotter), who worked at a jam factory, and Karl Alfred Gustafsson, a laborer. She was fourteen when her father died, which left the family destitute. Greta was forced to leave school and go to work in a department store. The store used her as a model in its newspaper ads. She had no film aspirations until she appeared in short advertising film at that same department store while she was still a teenager. Erik A. Petschler, a comedy director, saw the film and gave her a small part in his Luffar-Petter (1922). Encouraged by her own performance, she applied for and won a scholarship to a Swedish drama school. While there she appeared in at least one film, En lyckoriddare (1921). Both were small parts, but it was a start. Finally famed Swedish director Mauritz Stiller pulled her from the drama school for the lead role in The Saga of Gösta Berling (1924). At 18 Greta was on a roll.
Following The Joyless Street (1925) both Greta and Stiller were offered contracts with MGM, and her first film for the studio was the American-made Torrent (1926), a silent film in which she didn't have to speak a word of English. After a few more films, including The Temptress (1926), Love (1927) and A Woman of Affairs (1928), Greta starred in Anna Christie (1930) (her first "talkie"), which not only gave her a powerful screen presence but also garnered her an Academy Award nomination as Best Actress (she didn't win). Later that year she filmed Romance (1930), which was somewhat of a letdown, but she bounced back in 1931, landing another lead role in Mata Hari (1931), which turned out to be a major hit.
Greta continued to give intense performances in whatever was handed her. The next year she was cast in what turned out to be yet another hit, Grand Hotel (1932). However, it was in MGM's Anna Karenina (1935) that she gave what some consider the performance of her life. She was absolutely breathtaking in the role as a woman torn between two lovers and her son. Shortly afterwards, she starred in the historical drama Queen Christina (1933) playing the title character to great acclaim. She earned an Oscar nomination for her role in the romantic drama Camille (1936), again playing the title character. Her career suffered a setback the following year in Conquest (1937), which was a box office disaster. She later made a comeback when she starred in Ninotchka (1939), which showcased her comedic side. It wasn't until two years later she made what was to be her last film, Two-Faced Woman (1941), another comedy. But the film drew controversy and was condemned by the Catholic Church and other groups and was a box office failure, which left Garbo shaken.
After World War II Greta, by her own admission, felt that the world had changed perhaps forever and she retired, never again to face the camera. She would work for the rest of her life to perpetuate the Garbo mystique. Her films, she felt, had their proper place in history and would gain in value. She abandoned Hollywood and moved to New York City. She would jet-set with some of the world's best-known personalities such as Aristotle Onassis and others. She spent time gardening and raising flowers and vegetables. In 1954 Greta was given a special Oscar for past unforgettable performances. She even penned her biography in 1990.
On April 15, 1990, Greta died of natural causes in New York and with her went the "Garbo Mystique". She was 84.- Virginia Brown Faire was born on 26 June 1904 in Brooklyn, New York City, New York, USA. She was an actress, known for Broadway Billy (1926), Handcuffed (1929) and The Calgary Stampede (1925). She was married to William Bayer, Duke Worne, Jack Dougherty and Dick Durham. She died on 30 June 1980 in Laguna Beach, California, USA.
- Renee Adoree was born Jeanne de la Fontein in Lille in Nord-Pas-de-Calais, France, on September 30, 1898. She had what one could call a normal childhood. Her background is, perhaps, one of the most difficult to find information on any actress in existence. What we do know that her interest in acting surfaced during her teen years with minor stage productions in France. By 1920 she had attracted the attention of American producers and came to New York. Her first film before US audiences was The Strongest (1920) that same year. That was to be it until 1921,, when she appeared in Made in Heaven (1921). Renee wondered if she had made the right move by going into motion pictures because of two minor roles in as many films. Finally MGM saw fit to put her in more films in 1922. Movies such as West of Chicago (1922), Day Dreams (1922), Mixed Faces (1922) and Monte Cristo (1922) saw her with meatier roles than she had had previously. Renee was, finally, hitting her stride. Better roles to be sure, but still she was not of first-class caliber yet.
All that changed in 1925 when she starred as Melisande with John Gilbert in The Big Parade (1925). The picture made stars out of Renee, Gilbert and Karl Dane. Based on the film's success, Renee was put in another production, Excuse Me (1925). It lacked the drama the previous picture but was well-received. In a plot written by Elinor Glyn, Renee starred as Suzette in Man and Maid (1925). This was Renee's most provocative role yet and she was fast becoming one of the sexiest actresses on the screen. In 1927 Renee starred as Nang Ping in Mr. Wu (1927), along with her sister Mira Adoree. The film was a hit, with co-stars Ralph Forbes and Lon Chaney, but it was Renee's character that carried the film. After several more pictures, her career was slowing down. She appeared in a bit part in Show People (1928) later that year. The following year she had an uncredited bit role in His Glorious Night (1929). Re-discovered by First National Pictures after being released by MGM, she appeared in The Spieler (1928), in which she was a struggling carnival manager trying to overcome the dishonesty that went on in her organization.
Ill with tuberculosis, she retired in 1930. Less than a week after her 35th birthday, on Oct. 5, 1933, Renee Adoree died in Tujunga, CA. - Actress
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The daughter of a stage entertainer, New York-born actress Genevieve Tobin started treading the boards as a child and appeared in the role of Little Eva in the silent short Uncle Tom's Cabin (1910). Her older brother George Tobin and younger sister Vivian Tobin also became stage and film actors. By her teens Genevieve was appearing as a sparkling blonde ingénue on 20s Broadway, steadily gaining notice with her chic looks and vivacious personality. Considered a medium-weight talent, she nevertheless tackled such roles as Cordelia in "King Lear" (1923) in addition to her usual frothy comedies and musicals such as "Polly Preferred" (1923). Following her New York performance in Cole Porter's musical "Fifty Million Frenchmen" in 1929 in which she introduced the song "You Do Something to Me," Genevieve started focusing squarely on films, particularly screwball farce, starting with a couple of glamorous leading lady roles in the early talkies A Lady Surrenders (1930) and Free Love (1930), one a heavy drama and the other a lighter comedy both co-starring Conrad Nagel. Genevieve moved into second leads as the 1930s flew by, however, often playing the arch or self-involved 'other woman' role. She appeared in fine form as the problematic third wheel in One Hour with You (1932) with Maurice Chevalier and Jeanette MacDonald; Goodbye Again (1933) co-starring Warren William and Joan Blondell; Kiss and Make-Up (1934) with Cary Grant and Helen Mack; The Goose and the Gander (1935) with Kay Francis and George Brent; and, her last, No Time for Comedy (1940) which paired up James Stewart with Rosalind Russell, and was also directed by her husband (and former stage actor) William Keighley. Genevieve abandoned her career for high society after marrying Keighley and never looked back -- her marriage lasting 46 years until his death in 1984 at age 90+. Genevieve herself would live to become a nonagenarian, dying of natural causes in 1995 in Pasadena, California.- Actress
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Petite, sultry leading lady of the 1920's and 30's who was born and schooled in Tampa, Florida, until the age of ten when she lost her mother. She moved to New York with her dad and started modelling while still in her teens. Her original intention was to go into the teaching profession. Instead, Evelyn became enamored with acting during a school visit to the Popular Plays and Players Studio in Ft.Lee, New Jersey, a production cooperative for distributors World Film, Pathe and Metro. Before long, she obtained a job as an extra for $3 a week using her birth name Betty Riggs. Between 1914 and 1920, she appeared in featured film roles with stars like Olga Petrova and John Barrymore (who hand-picked her as his leading lady for Raffles, the Amateur Cracksman (1917)), then took a sabbatical for health reasons and went to England.
By making the acquaintance of American playwright Oliver Cromwell she was able to land a good role in the George Bernard Shaw comedy 'The Ruined Lady' on the London stage. This, in turn, led to her being cast as leading lady in several British films. In 1922, she even went to Spain as star of The Spanish Jade (1922), distributed in America by Paramount. Upon her return to the United States in 1924, she was briefly under contract to Fox, then joined Associated Authors, and, finally, Paramount-Famous Players-Lasky (1926-30). At the height of her career in silent films, the dark-haired, aquiline Evelyn became a matinee idol with performances as exotic temptresses and vamps, particularly in films by Austrian director Josef von Sternberg. She was notable as the gangster's moll 'Feathers' in Underworld (1927) (the proverbial tough broad with the heart of gold) and as a self-sacrificing Russian girl in love with an exiled Czarist general (Emil Jannings) in The Last Command (1928). She gave another interesting performance as a blackmailer in Paramount's first all-talking picture Interference (1928)
While Evelyn's voice proved no detriment to her success in talking pictures, the declining quality of her films certainly did. Her Alaskan epic The Silver Horde (1930) in which she portrayed another disreputable character named Cherry Malotte was described in critical review as 'dull and trivial' (New York Times, October 25). Her performances as gang molls in Framed (1930) and The World Gone Mad (1933), as well as her unlikely mission worker in Madonna of the Streets (1930) engendered lukewarm write-ups like 'satisfactory' or 'competent'. This did nothing to elevate Evelyn's post-Paramount career. By the end of the decade she had moved down the cast list from second leads to supporting roles, finally appearing in westerns and 'quota quickies' for poverty row studios, such as Monogram and PRC. One example of the 'cheap and cheerful' category in which she seemed to enjoy herself was the Columbia serial Holt of the Secret Service (1941), playing Kay Drew, partner of tough agent Jack Holt. She was also memorable in one of her last roles as a one-armed satanist in the eerie Val Lewton horror flic about devil-worshippers in Greenwich Village, The Seventh Victim (1943).
After making her last film in 1950, Evelyn found work as an actor's agent with the Thelma White Agency in Hollywood. After the death of her third husband, Harry Fox (who gave the Foxtrot its name) in 1959, Evelyn made a final screen appearance as a guest star on Wagon Train (1957). She left the limelight for good in 1960 and lived her remaining years in retirement in Westwood Village, California. She has a star on the Hollywood Walk of Fame at 6548 Hollywood Boulevard.- Actress
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The younger sister of actress Alice Day, Marceline achieved stardom in the mid-1920s, appearing opposite such stars as John Barrymore and Lon Chaney. Adept at comedy, she also starred with such top comics as Buster Keaton and Harry Langdon. Her career faltered in the early 1930s, however, and she was soon reduced to appearing in low-budget thrillers and action pictures. She retired in the mid-1930s.- Carol Dempster was born on 9 December 1901 in Duluth, Minnesota, USA. She was an actress, known for Sally of the Sawdust (1925), That Royle Girl (1925) and Isn't Life Wonderful (1924). She was married to Edwin S Larsen. She died on 1 February 1991 in La Jolla, California, USA.
- Vilma Bánky appeared in Hungarian, Austrian and French movies between 1920 and 1925, the year in which Samuel Goldwyn signed her, in Budapest, to a Hollywood contract. In Hollywood she was billed as the "The Hungarian Rhapsody". In the mid and late 1920s she was Goldwyn's biggest money maker, especially playing with Ronald Colman. Her best-known works were with Rudolph Valentino: daughter of a Russian aristocrat in The Eagle (1925) and an Arab dancer in The Son of the Sheik (1926). Her first talking movie was This Is Heaven (1929). She toured the U.S. in "Cherries Are Ripe" with her husband Rod La Rocque in 1930-1 and, the next year, went with him to Germany to make her last film.
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Viola Dana (real name Virginia Flugrath) was born in Brooklyn, NY, on June 26, 1897. She was the middle sister of three sisters (the other two were Edna Flugrath and Shirley Mason). She made her film debut in 1914 in Molly the Drummer Boy (1914). The following year she received top billing playing "Gladiola Bain" in Gladiola (1915). She was in top demand as evidenced by securing another lead in The Innocence of Ruth (1916). She continued to turn in great performances, particularly as Katie O'Doone in Bred in Old Kentucky (1926). Viola's final silver screen role was in 1929's One Splendid Hour (1929). The last the general public saw her was in a documentary about 'Buster Keaton' called Buster Keaton: A Hard Act to Follow (1987).
Viola died on July 3, 1987, at age 90.- Her parents were both stage actors, so Priscilla Dean began her career as an infant in their productions. She made her film debut at age 14 in a series of one-reelers for Biograph and several other studios. In 1911 she was hired by Universal Pictures and soon gained popularity as the female lead in the comedy series of Eddie Lyons and Lee Moran. Her appearance in the serial The Gray Ghost (1917) propelled her to stardom, and she began appearing in many of Universal's most prestigious productions. The coming of sound damaged her career, however, and by the early 1930s she was appearing in low-budget films for minor independent studios.
- Evalyn Knapp was an American film actress, with a film career spanning the years 1929 to 1943. In the 1930s, she was a leading actress in then-popular B-movie serial films. Her most memorable role was that protagonist Pauline Hargraves in the film serial Perils of Pauline (1933).
In 1906, Knapp was born in Kansas City, the largest city in Missouri by population and area. She was the younger sister of bandleader Orville Knapp. Orville started out as a professional musician in the bands of Vincent Lopez and Leo Reisman. He then joined the Coon-Sanders Original Nighthawk Orchestra, the first Kansas City jazz band to achieve national recognition. He eventually formed his own bands, one in New York City and another in Los Angeles. During the 1920s, one of the musicians in Orville's band was Curly Howard. Curly later became famous as an actor and comedian, serving as a member of the comedy team The Three Stooges.
Evalyn started her acting career in silent films, but at the dawn of the sound era. Her first credited role was in the short film At the Dentist's (1929). Starting with minor, unnamed characters, she graduated to playing leading roles by 1931. She was the leading lady in the pre-code drama film Smart Money (1931), where her co-stars included Edward G. Robinson and James Cagney.
In 1931, Knapp had an accident during a hike. She fell from a cliff and fractured two vertebrae. She spent several months in a hospital and had to relearn how to walk.
In 1932, Knapp was selected as one of the year's WAMPAS Baby Stars. This was a promotional campaign which honored young actresses each year, whom they believed to be on the threshold of movie stardom. At 26-years-old, Knapp was the oldest actress selected that year. The other "Baby Stars" of 1932 included (by order of birth years): Lilian Bond, June Clyde, Dorothy Wilson, Ruth Hall, Gloria Stuart, Marion Shockley, Ginger Rogers, Toshia Mori, Dorothy Layton, Boots Mallory, Eleanor Holm, Mary Carlisle, Lona Andre, and Patricia Ellis.
In 1933, Knapp starred in the film serial Perils of Pauline (1933) and received top billing in the comedy film His Private Secretary (1933). In the film she was the love interest of irresponsible playboy Dick Wallace, who motivates him to change his life. The role of Wallace was played by 26-years-old John Wayne, who was relatively obscure at the time.
In 1934, Knapp was the leading lady in the Western film In Old Santa Fe (1934). The film is remembered as the first screen appearance of Gene Autry, who sung a rendition of "Wyoming Waltz." The film served as a screen test for Autry, who proceeded to be cast in several "singing cowboy" films.
Also in 1934, Knapp married Dr. George A. Snyder. Her wedding gift was reportedly a yacht.
By the early 1940s, Knapp's career had declined. Her last credited role was a small part in the crime comedy Roar of the Press (1941), concerning a newlywed reporter who investigates murders instead of going on a honeymoon. Her last known role was that Miss Morris, Dr. O'Brien's Secretary, in the comedy Two Weeks to Live (1943). The film was a spin-off of the radio comedy serial "Lum and Abner" (1931-1954).
Knapp retired from acting at the age of 37. Following her retirement, she concentrated on her family life. She remained married to Snyder, until his death in 1977. She became a widow at the age of 71.
In 1981, Knapp died St. Vincent's Hospital in Los Angeles, dying from heart disease. She died five days before her 75th birthday. Her remains were cremated, and her ashes were scattered at sea. - Thelma Salter was born on 15 January 1908 in Los Angeles, California, USA. She was an actress, known for The Wasted Years (1916), Huckleberry Finn (1920) and The Crab (1917). She was married to Edward Kaufman. She died on 17 November 1953 in Hollywood, California, USA.
- Like many another pretty girl, Edna Murphy got to Hollywood via modeling. She was a top New York photographer's model when she made her film debut in 1918. By 1920 she had worked her way up to starring roles, and Fox put her in a serial, Fantomas (1920), that was quite well received. She made films for a couple of more studios before she finally signed with Pathe, which put her back in serials again. Her career never really got out of serials or B pictures, and, having married producer/director Mervyn LeRoy in 1927, she retired from the screen in 1933.
- Lean, fair-haired Catherine Dale Owen, acclaimed as one of the world's ten most beautiful women of 1925, had the dubious distinction of co-starring in the film which did most to ruin John Gilbert's career in talking pictures. For most of the players concerned, His Glorious Night (1929) was anything, but. Provoking first giggles, then raucous laughter from the audience, Gilbert's excessively passionate declarations of love came out sounding high-pitched (either due to a problem with his voice or the sound recording of the time) and became all-the-more ridiculous, as they were delivered to Owen's icily phlegmatic Princess Orsolini (though the New York Times described her performance as 'captivatingly aloof'). In combination with the over-the-top dialogue (by Willard Mack), the total effect was comical rather than romantic.
Catherine Dale Owen graduated from the American Academy of Dramatic Arts and first appeared on Broadway in 'Little Women' in 1920. She appeared in several other productions during the 1920's, notably 'Trelawny of the Wells'. There was something very 'upper crust' about many of her performances (she did come from a well-to-do family in Louisville, Kentucky) and tended to feel most at home playing society or aristocratic types. In her films, reviewers chiefly commented about her 'uncommon beauty'. She was decorative (but little else) in The Case of Sergeant Grischa (1930). Arguably, her most successful role on the screen was in the first all-technicolour, all-sound musical, The Rogue Song (1930), opposite Lawrence Tibbett. A contemporary review declared "beauty is impersonated by Catherine Dale Owen, whose charms suffice for any picture" (NY Times, January 29, 1930). As it turned out, in the absence of a greater acting range, charms alone did not suffice, and, after another four minor films, Catherine graced the screen no more. - Actress
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Kitty Kelly was born on 27 April 1902 in New York City, New York, USA. She was an actress, known for Beginner's Luck (1935), So Proudly We Hail! (1943) and Men of Chance (1931). She died on 29 June 1968 in Hollywood, California, USA.- Born on her father's farm in Green Ridge, Missouri, the youngest of five children. Moved with her family to Springfield, Missouri, where she grew up. Joined the Diemer Theatre Company during her second year of high school, and went on the road with a touring stock company at age 18, in 1907. Signed by the Powers Film Co. in New York in 1910, and proceeded to work thereafter for many companies in starring roles. In 1914, she starred in Pathe's The Perils of Pauline, the fifth serial chapter play ever made. She became an international star therein and was the leading heroine of serial films for the next several years. Following an unsuccessful attempt to achieve the same success in feature films, and with her health deteriorating, she retired in 1923, living in France until her death in 1938.
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Dolores del Rio was the one of the first Mexican movie stars with international appeal and who had meteoric career in the 1920s/1930s Hollywood. Del Rio came from an aristocratic family in Durango. In the Mexican revolution of 1916, however, the family lost everything and emigrated to Mexico City, where Dolores became a socialite. In 1921 she married Jaime Del Río (also known as Jaime Martínez Del Río), a wealthy Mexican, and the two became friends with Hollywood producer/director Edwin Carewe, who "discovered" del Rio and invited the couple to move to Hollywood where they launched careers in the movie business (she as an actress, Jaime as a screenwriter). Eventually they divorced after Carewe cast her in her first film Joanna (1925), followed by High Steppers (1926), and Pals First (1926). She had her first leading role in Carewe's silent version of Pals First (1926) and soared to stardom in 1928 with Carewe's Ramona (1928). The film was a success and del Rio was hailed as a female Rudolph Valentino. Her career continued to rise with the arrival of sound in the drama/romance Bird of Paradise (1932) and hit musical Flying Down to Rio (1933). She later married Cedric Gibbons, the well-known art director and production designer at MGM studios.
Dolores returned to Mexico in 1942. Her Hollywood career was over, and a romance with Orson Welles--who later called her "the most exciting woman I've ever met"--caused her second divorce. Mexican director Emilio Fernández offered her the lead in his film Wild Flower (1943), with a wholly unexpected result: at age 37, Dolores del Río became the most famous movie star in her country, filming in Spanish for the first time. Her association with Fernández' team (cinematographer Gabriel Figueroa, writer Mauricio Magdaleno and actor Pedro Armendáriz) was mainly responsible for creating what has been called the Golden Era of Mexican Cinema. With such pictures as Maria Candelaria (1944), Las abandonadas (1945) and Bugambilia (1945), del Río became the prototypical Mexican beauty. career included film, theater and television. In her last years she received accolades because of her work for orphaned children. Her last film was The Children of Sanchez (1978).- Back in the day, winning the title of "Miss America" sometimes provided a springboard to Hollywood and a film career as a leading lady. This was certainly true in the case of California-born Rosemary La Planche.
Born on October 11, 1923, in the Southern California city of Glendale, Rosemary and her older sister Louise La Planche (by four years) both expressed a desire to perform as children. Each found work as a toddler in a silent movie before focusing on a normal public school upbringing. The interest in acting didn't wane in either of them, however, and during her years at John Marshall High School, Rosemary was cast in minor roles in two of Deanna Durbin Universal film vehicles.
In the meantime, both girls entered the beauty pageant circuit. Louise earned the title of "Miss Catalina" in 1939 and then "Miss North America" the following year. This notoriety led to a minor MGM career with bits in such films as Strike Up the Band (1940) and Ziegfeld Girl (1941). Rosemary followed suit by being crowned both "Miss California" and "Miss America" in 1941. This led to a featured role in the Hal Roach "B' film Prairie Chickens (1943) and a minor RKO contract that included unbilled bits as various "tootsie" types as hat check girls and chorines.
The oval-faced Rosemary finally hit leading lady status, albeit minor and brief, with two cult "Poverty Row" horrors -- Strangler of the Swamp (1945) and Devil Bat's Daughter (1946), a sequel to the Bela Lugosi camp classic The Devil Bat (1940) in which she plays Lugosi's daughter who is tormented by her father's memory. Following this, Columbia signed her up and she was put in as the female lead in the serial Jack Armstrong (1947) starring John Hart.
In 1947 the actress married radio host and producer Harry Koplan and had two children by him, slowly letting her movie career fade away as she focused more and more on family life. Her last role was in the Republic cliffhanger Federal Agents vs. Underworld, Inc. (1949) before retiring. Rosemary did have a Hollywood talk radio show in which she talked about fashion. In addition, she and her husband were given a three-day-a-week radio show as well. Scattered TV and commercial appearances came and went with assignments on such TV comedies as "Hennessey" and "The Donna Reed Show".
Once she retired, Rosemary focused on oil painting and exhibited her work from time to time. The family moved to Gallup, New Mexico where husband Harry continued to produce local TV programs until his death in 1973. Rosemary returned to the Los Angeles area but little was heard from her until her death from cancer at Glendale Adventist Hospital on May 6, 1979, at age 55. Both she and her husband were interred at San Fernando Mission Cemetery in Mission Hills, California. Louise, who showed up in the original silent The Hunchback of Notre Dame (1923) and appeared primarily in uncredited roles throughout her 1930s and 1940s MGM and Paramount movie career, outlived her sister by over 40 years, dying at age 93 in 2012. - Actress
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Mary Doran was a graduate of New York's Columbia University where she excelled in drama classes. Having abandoned initial aspirations of becoming a teacher, the wavy-haired, blonde then attended the respected Ned Wayburn Dancing Academy - like countless other hopeful actresses - to learn tap dancing. She first appeared on stage in 'Betsy' (1926), a rare flop by Florenz Ziegfeld Jr. (and Rodgers & Hart), then in the hit 'Rio Rita'. While on Broadway, she was spotted by MGM talent scouts. Her film career lasted just eight years, from the beginning of her contract in 1928 to 1936. She briefly featured as a leading lady in at least one major film: The Broadway Melody (1929). After that, her name descended to the lower depths of the cast list, though she did have a funny bit in the Harold Lloyd screwball comedy Movie Crazy (1932). From the mid-30's, Mary was relegated to bit parts and 'quota quickies' and called it a day.- Actress
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In a career that covered six decades, Constance Collier evolved into one of Broadway and London's finest tragediennes during the first half of the 1900s. While the regal, dark-featured beauty who bore classic Romanesque features enjoyed a transcontinental career like a number of her contemporaries, her theatre success did not encourage an enviable film career. It wasn't until her senior years that Constance engaged in a number of well-regarded supporting performances on screen. Later respect also came as one of Hollywood's premiere drama and voice coaches.
She was born Laura Constance Hardie in Windsor, Berkshire on January 22, 1878, the only child of Auguste Cheetham and Eliza Georgina (Collier) Hardie, both minor professional actors. Young Constance made her stage debut at the age of three as a fairy in a production of "A Midsummer Nights Dream" and the die was cast. By age 6 she was appearing with famed actor/manager Wilson Barrett in "The Silver King". An early break occurred in her teens (1893) when the tall, under-aged beauty was given consent by her parents to become a member of the famed George Edwardes-Hall "Gaiety Girls" dance troupe. Groomed extensively in singing, dancing and elocution, she managed to stand out among those others in the chorus line and went on to featured status in two of Edwardes-Hall's biggest hits, "A Gaiety Girl" and "The Shop Girl" (both 1894).
Legit ingénue roles in "Her Advocate", "Tommy Atkins" and "The Sign of the Cross" followed. Just after the turn of the century (1901) she was invited to join the theatre company of the esteemed Herbert Beerbohm Tree, who had been searching for a comparably tall leading lady to play opposite him. She remained with his company at His Majesty's Theatre for six years where she built up a formidable classical resumé. Alongside Sir Herbert in such plays as "Ulysses", "The Eternal City" and "Nero", Constance also proved a fine Shakespearean with her Olivia, Viola, Portia, Mistress Ford and Cleopatra at the top of the list. She also made a noteworthy Nancy Sykes in "Oliver Twist" which she toured extensively both here and abroad. During this time (1905), she married British-born actor Julian L'Estrange and together they became an internationally respected stage couple.
Ms. Collier made a successful American stage debut in 1908 with "Samson" at the Garrick Theatre in New York opposite well-known American actor/playwright William Gillette, thereby placing herself solidly among the most popular and respected actresses of the day. Among her subsequent Broadway offerings were "Israel" (1909), "Trelawney of the Wells" (1911), "Oliver Twist" (1912), "Othello" (1915) and "The Merry Wives of Windsor" (1917).
Sir Herbert and Constance both appeared as extras in the silent D.W. Griffith classic Intolerance (1916). While still in the U.S., he filmed Macbeth (1916) with Constance as his Lady Macbeth. Not only was the Shakespearean film poorly received but her starring appearances in two other silents released earlier that year, The Tongues of Men (1916) and The Code of Marcia Gray (1916), were also overlooked.
Tragedy struck in October of 1918. She and her husband, L'Estrange, had begun a Broadway run together of "The Ideal Husband" only a month earlier. During the run he contracted the deadly Spanish influenza which had spread worldwide and died of pneumonia at the untimely age of 40. The grief-stricken actress finished the play's run into November then returned to England where she appeared in the films The Impossible Woman (1919), Bleak House (1920) and The Bohemian Girl (1922). Among her London theatre successes were "Our Betters" (1923) at the Globe Theatre, which ran for over twelve months, and "Hamlet" wherein she played Queen Gertrude opposite John Barrymore's Great Dane (1925) at the Haymarket Theatre. Constance also moved into writing and penned her own play "Forever", which was based on the George L. Du Maurier novel "Peter Ibbetson". She then co-wrote with actor/friend Ivor Novello the play "The Rat" (1924), in which Novello starred and which Collier produced.
The advent of sound provided the exciting opportunity for the eloquent Collier to work in the U.S., but not necessarily as an actress. By helping established silent film stars transition into talkies, she became Hollywood's foremost drama and voice coach. Finding less and less time for stage work, she directed a Broadway production of "Camille" in 1931. She did, however, manage to appear in productions of "Peter Ibbetson" (1931), which she also staged, "Dinner at Eight (1932) and "Hay Fever" (1933) all in New York. Her final Broadway curtain call was taken as Madame Bernardi in "Aries Is Rising" (1939) at New York's Golden Theatre.
In later years, she continued to coach (among her students were Marilyn Monroe) and write, but she also found time to return to the large screen in a dozen or so films, usually providing stately support. She appeared in a range of movies from the Shirley Temple vehicle Wee Willie Winkie (1937) to the film noir piece The Dark Corner (1946). Better known roles during this period include those in Stage Door (1937), playing, quite appropriately and amusingly, the resident drama coach, An Ideal Husband (1947), excellent as Lady Markby, and Alfred Hitchcock's Rope (1948). Her last film was Whirlpool (1950).
Constance Collier died of natural causes in New York on April 25, 1955, and left behind her 1929 memoirs "Harlequinade". She had no children.- Actress
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Creamy-complexioned brunette Marion Shilling was a beauty inclined to be overlooked when recalling those fairly well-known "B" leading ladies of the 1930s. Born in 1910, the Denver-born actress started her career promisingly enough with a featured role in MGM's Wise Girls (1929). From there she moved to lead and second lead status opposite William Powell in Shadow of the Law (1930) and Constance Bennett in The Common Law (1931). Among others, she appeared top billed in what would be considered "women's pictures" such as Forgotten Women (1931) and Shop Angel (1932). Although Marion was a charming addition to any film, her career began to wane within a few years, however, and she soon was relegated to love interest roles in poverty-row pictures. Westerns became her particular genre, with "prairie flower" roles opposite Buck Jones in the serial The Red Rider (1934) and Stone of Silver Creek (1935), Tim McCoy in The Westerner (1934) and Rex Bell in Idaho Kid (1936), among others. She retired from films at age 25 after co-starring with Hoot Gibson and Rex Lease in the oater Cavalcade of the West (1936). The following year she married a real estate mogul, a union that would last over 50 years. Little heard from over the years, Marion received a Golden Boot Award in 2002 from the Motion Picture and Television Fund for her contributions to the western genre. She died at age 93 of natural causes in Torrance, California.- Karin Nellemose was born on 3 August 1905 in Copenhagen, Denmark. She was an actress, known for Mens porten var lukket (1948), Master of the House (1925) and Kampen mod uretten (1949). She was married to Torben Anton Svendsen. She died on 5 August 1993 in Charlottenlund, Denmark.
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Trained as a ballet dancer she turned to acting. Stage work at Det ny Teater and Det kongelige Teater without much success. Started acting in films in 1917 with much more appeal. In her silent film career, she worked with some of the worlds most prominent directors. Her low key but intense acting made her characters very believable. After a long hiatus, she reappeared in 1942 in small parts.- Actress
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Mary Astor was born Lucile Vasconcellos Langhanke on May 3, 1906 in Quincy, Illinois to Helen Marie Vasconcellos, an American of Portuguese and Irish ancestry from Illinois, and Otto Ludwig Langhanke, a German immigrant. Mary's parents were very ambitious for her and wanted something better for her than what they had, and knew that if they played their cards right, they could make her famous. Recognizing her beauty, they pushed her into various beauty contests. Luck was with Mary and her parents because one contest came to the attention of Hollywood moguls who signed her when she was 14.
Mary's first movie was a bit part in The Scarecrow (1920). It wasn't much, but it was a start. Throughout 1921-1923 she continued her career with bit or minor roles in a number of motion pictures. In 1924, she landed a plum assignment with a role as Lady Margery Alvaney opposite the great John Barrymore in the film Beau Brummel (1924). This launched her career to stardom, as did a lively affair with Barrymore. However, the affair ended before she could star with him again in the classic Don Juan (1926). By now, Mary was the new cinematic darling, with each film packing the theaters.
By the end of the 1920s, the sound revolution had taken a stronghold on the industry, and Mary was one of those lucky actresses who made the successful transition to "talkies" because of her voice and strong screen presence. Mary's career soared to greater heights. Films such as Red Dust (1932), Convention City (1933), Man of Iron (1935), and The Prisoner of Zenda (1937) kept her star at the top. In 1938, she turned out five feature films that kept her busy and in the spotlight. After that, she churned out films at a lesser rate. In 1941 she won the Best Supporting Actress Oscar for her role as Sandra Kovac in The Great Lie (1941). That same year she appeared in the celebrated film The Maltese Falcon (1941), but her star soon began to fall.
Because of her three divorces, her first husband Kenneth Hawks' death in a plane crash, alcoholism, a suicide attempt, and a persistent heart condition, Mary started to get smaller film roles. She appeared in only five productions throughout the 1950s. Her final fling with the silver screen was as Jewell Mayhew in Hush...Hush, Sweet Charlotte (1964).Although it was her final film, she had appeared in a phenomenal 123 motion pictures in her entire career.
Mary lived out her remaining years confined to the Motion Picture Country Home, where she died of a heart attack on September 25, 1987. She was 81.- Actress
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Mary Astor was born Lucile Vasconcellos Langhanke on May 3, 1906 in Quincy, Illinois to Helen Marie Vasconcellos, an American of Portuguese and Irish ancestry from Illinois, and Otto Ludwig Langhanke, a German immigrant. Mary's parents were very ambitious for her and wanted something better for her than what they had, and knew that if they played their cards right, they could make her famous. Recognizing her beauty, they pushed her into various beauty contests. Luck was with Mary and her parents because one contest came to the attention of Hollywood moguls who signed her when she was 14.
Mary's first movie was a bit part in The Scarecrow (1920). It wasn't much, but it was a start. Throughout 1921-1923 she continued her career with bit or minor roles in a number of motion pictures. In 1924, she landed a plum assignment with a role as Lady Margery Alvaney opposite the great John Barrymore in the film Beau Brummel (1924). This launched her career to stardom, as did a lively affair with Barrymore. However, the affair ended before she could star with him again in the classic Don Juan (1926). By now, Mary was the new cinematic darling, with each film packing the theaters.
By the end of the 1920s, the sound revolution had taken a stronghold on the industry, and Mary was one of those lucky actresses who made the successful transition to "talkies" because of her voice and strong screen presence. Mary's career soared to greater heights. Films such as Red Dust (1932), Convention City (1933), Man of Iron (1935), and The Prisoner of Zenda (1937) kept her star at the top. In 1938, she turned out five feature films that kept her busy and in the spotlight. After that, she churned out films at a lesser rate. In 1941 she won the Best Supporting Actress Oscar for her role as Sandra Kovac in The Great Lie (1941). That same year she appeared in the celebrated film The Maltese Falcon (1941), but her star soon began to fall.
Because of her three divorces, her first husband Kenneth Hawks' death in a plane crash, alcoholism, a suicide attempt, and a persistent heart condition, Mary started to get smaller film roles. She appeared in only five productions throughout the 1950s. Her final fling with the silver screen was as Jewell Mayhew in Hush...Hush, Sweet Charlotte (1964).Although it was her final film, she had appeared in a phenomenal 123 motion pictures in her entire career.
Mary lived out her remaining years confined to the Motion Picture Country Home, where she died of a heart attack on September 25, 1987. She was 81.- Actress
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Isabel Jewell, like other actresses in Hollywood in the 1930s, suffered from chronic typecasting. The diminutive, platinum-haired daughter of a doctor and medical researcher seemed to be often playing hard-boiled, tough-talking broads: gangster's molls, dumb blondes, prostitutes and, of course, poor "white trash" Emmy Slattery in Gone with the Wind (1939). However, she also played ordinary 'nice' next-door girl types, for example in Marked Men. While stardom eluded her for the most part, she nonetheless remained a busy supporting actress with an impressive array of A-budget films to her credit. Signed as an MGM contract player, she reputedly earned up to $3,000 a week -- a small fortune at the time. Isabel was educated at St. Mary's Academy in Minnesota and at Hamilton College in Kentucky. After years in stock companies (including an 87-week stint in Lincoln, Nebraska), she hit the big time after getting a part on Broadway in "Up Pops the Devil" (1930). With just three hours of rehearsal time, she delivered her performance to great critical acclaim and had even better reviews as a fast-talking telephone operator in "Blessed Event". She reprised this role in the screen version of Blessed Event (1932) and her movie career was effectively launched. While her parts were often small, they could also be memorable, as in Ceiling Zero (1936) and Marked Woman (1937). Other acting highlights include her consumptive prostitute finding salvation in Lost Horizon (1937), and her poignant against-type performance as an ill-fated seamstress on her way to the guillotine in A Tale of Two Cities (1935).
In the 1940s and '50s, her roles diminished from small to bits to uncredited and she fell on hard times: in 1959 she got into trouble with the law in Las Vegas for passing bad checks and, two years later, spent five days in jail for drunk driving. She was found dead in her home in April 1972, aged just 64. One of her two former husbands was writer-producer-director Owen Crump (1903-1998). A lasting memory of Isabel Jewell is her star on the Hollywood Walk of Fame on Vine Street.- Actress
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Although she made her career playing the quintessential Parisian coquette, Fifi D'Orsay was actually a Canadian. She was born Yvonne Lussier in Montreal, Québec, in 1904. At the age of 20 she arrived in New York, determined to become an actress. She was met by Helen Morgan, whom she knew from Montreal. Morgan put up the young Yvonne and taught her the ropes about finding jobs. She was soon hired to appear in The Greenwich Village Follies after an audition in which she sang "Yes! We Have No Bananas" in French and told the director that she was an ex-Follies Bèrgere showgirl from Paris. The director renamed her Mademoiselle Fifi". During the run she became involved with vaudeville veteran Edward Gallagher (who, with Al Shean, formed the hit comedy act "Gallagher and Shean"), who was 37 years her senior. He taught her "all the little tricks of the business". She said, "I wanted to learn everything about show business and he taught me - believe me!" She and Gallagher put together a vaudeville act and worked together for two years. When they parted ways, she was teamed with Herman Berrans by noted vaudeville sketch writer Herman Timberg. They put together an act that featured Fifi as a saucy music student and Berrans as her teacher, and it soon became a hit on the Orpheum circuit. Hollywood beckoned and on the strength of a favorable screen test, she dumped her fiancé (Berrans' brother Freddie) and took off for Hollywood. By this time she had adopted the last name "D'Orsay", after her favorite perfume. She continued her career in movies, alternating them with highly paid appearances in vaudeville. In 1950 the Palace Theatre revived vaudeville and Fifi returned to sparkling acclaim. She was one of the first major stars to appear on television in its early days, and later acted in such series as Bewitched (1964), Adventures in Paradise (1959) and Perry Mason (1957), among other shows. In 1971-72, at the age of 67, she appeared on Broadway in the Stephen Sondheim musical "Follies". She played "Solange LaFitte", a former Follies headliner (a character more than just a little reminiscent of her own life and career). Her song "Ah, Paris" was strong and sexy and helped make the cast album a success. "Follies" opened April 4, 1971, at New York's Winter Garden Theatre and ran for 522 performances. It won seven Tony Awards and the New York Drama Critics' Award for Best Musical. Fifi died on December 2, 1983- Actress
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Brunette Dorothy Jordan was a graduate of Southwestern University and the American Academy of Dramatic Arts. Trained as a ballerina, she first graced the stage as a chorus girl in top flight musicals, like "Funny Face" (1927), with Fred Astaire, and "Treasure Girl" (1928), with Gertrude Lawrence and Clifton Webb. This led to what turned out to be a fairly short and desultory movie career, beginning with a run-of-the-mill thriller, Black Magic (1929). Dorothy was soon cast as assorted sultry dames in Devil-May-Care (1929) and Call of the Flesh (1930), opposite Latin star Ramon Novarro. Rather more demure was her Bianca, the overtly obedient (but deceptively cunning) younger sister of Kate (Mary Pickford) in The Taming of the Shrew (1929). Contemporary critics were frequently unimpressed with Dorothy's acting, whether it was speaking her lines too quickly (Hell Bound (1931)) or delivering them as a 'memory citation' (Beloved Bachelor (1931)). She gave rather better account of herself in more downtrodden waif-like roles, notably as Marie Dressler's daughter in Min and Bill (1930), as an unwed mother in Bondage (1933) and as simple-minded Southern girl Betty Wright in The Cabin in the Cotton (1932).
After her marriage to famed producer Merian C. Cooper in 1933 -- and finding decent roles ever harder to come by -- Dorothy gave up acting to raise a family. She emerged from retirement in 1937, unsuccessfully screen testing for the role of Melanie in Gone with the Wind (1939). She made a second comeback upon her husband's successful entreaties to a long-term friend and collaborator, the director John Ford. Dorothy appeared in supporting roles in three of Ford's films, before leaving the screen for the final time. In her later years, she became somewhat reticent about discussing her career as a movie actress.- Adrienne Dore was born on 23 May 1910 in Coeur d'Alene, Idaho, USA. She was an actress, known for Beyond London Lights (1928), The Famous Ferguson Case (1932) and The Rich Are Always with Us (1932). She was married to Burt Kelly. She died on 26 November 1992 in Woodland Hills, Los Angeles, California, USA.
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Sara Haden was the daughter of silent screen star Charlotte Walker who was also a celebrated beauty in her day. Alas, Sara did not inherit her mother's good looks. She was actually born Catherine Haden in Center Point, Texas, on November 17 1898. There was nothing particularly outstanding about her childhood, except that her mother did not encourage her to become an actress. At least not to begin with. She was educated at the Dominican Convent in Galveston, then began acting in repertory with the James Hayden Players in Galveston and Dallas. She reputedly worked in early radio "as a dog impersonator for her own stories" but in 1921 debuted on Broadway in a rather more serious vein as Macduff's son (!) in "Macbeth". For the next eight years, she alternated between comedy and melodrama, scoring leads in such plays as "Trigger", "Lawful Larceny", "The Wrecker" and "Hot Water". Sara began her screen career in 1934, playing Etta Dawson in Spitfire (1934), thereby reprising her original Broadway performance in "Trigger". However, with her schoolmarmish looks she was quickly typecast as austere spinsters, eccentric aunts and crotchety dowagers. She had a certain knack for playing nasty (especially towards children), but beneath her villainous celluloid reputation lurked a great sense of humour. She was once quoted as saying (about her screen personae) "I'm always mean but there is no monotony about my meanness. I am mean in a great variety of fashions" and "I am glad my dog doesn't go the the movies. Maybe he wouldn't think as much of me if he did". As an MGM contract player from 1938 to 1946, Sara became best known as the starchy, but gentle Aunt Milly Forrest in the popular Andy Hardy series. Ironically, her best scenery-chewing moments came in Universal's cheaply made She-Wolf of London (1946), a typically sinister role for which Sara was paid a princely $2167 per week and (according to her lesser paid co-star June Lockhart) had a turn reminiscent of the Miss Danvers character (Judith Anderson) in Alfred Hitchcock's Rebecca (1940). Sara remained much in demand as a television actress until her retirement from acting in 1965. She died as Catherine Haden Vandenburg in Woodland Hills, California, in September 1981 at the age of 82.- Actress
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Laura La Plante was 15 years old when she entered films as a Christie Comedy Bathing Beauty. By 1921, she had played a number of roles including a Tom Mix Western called The Big Town Round-Up (1921) for Fox and The Old Swimmin' Hole (1921) for First National. Laura, now 17, next signed with Universal, where she appeared in shorts, serials and many supporting roles. Over the next few years, she would become one of the leading stars at Universal and acted in in dramas, mysteries and comedies. Some of her more important films were the adventure Crooked Alley (1923), the comedy Sporting Youth (1924), the drama Smouldering Fires (1925) and the mystery The Cat and the Canary (1927). One of her successful comedies, Skinner's Dress Suit (1926), was directed by her husband, William A. Seiter. When sound came to Universal, she was one of the silent film stars who made the transition. She played a leading role in the sound film Show Boat (1929) and made her first all-talking picture with Hold Your Man (1929). By 1930, she decided that she had enough and left Universal, which terminated her contract. She went to England, where she would appear in a few more films over the years. Laura returned to Hollywood in 1935, where she again retired from the screen.- Charlotte Merriam born in Illinois in 1903. Her father was a Colonel in the Army. She began her film career in 1919 when she was 16 in The Flip of a Coin (1919). While visiting the Universal studios she was offered a part in a comedy series starring Eddie Lyons and Lee Moran, which she accepted. Afterwards, she starred in many short and feature comedies, also with the Vitagraph Film Company in 1924, and starred in adventure and drama films, including the role of Mary Trail in Captain Blood (1924). Later she worked for the Warner Brothers studios from 1929; she also appeared in many talkies until her last, Dancing Man (1934). She was also a accomplished singer. Married to actor Rex Lease in 1925; divorced in 1929. Died in Los Angeles in 1972, age of 69.
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- Soundtrack
Jean Parker was born Lois Mae Green in 1915. Her father was Lewis Green, a gunsmith and hunter, and her mother was Pearl Melvina Burch (later known professionally as Mildred Brenner), one of 18 children of a pioneer family that came to Montana from Missouri and Iowa. Jean's maternal grandfather was a Presbyterian minister.
Parker was an accomplished gymnast and dancer, and was adopted by the Spickard family of Pasadena during her formative years when both her father and mother were unemployed during the Great Depression. As Lois Green, she entered a poster-painting contest and won for portraying Father Time. Ida Koverman, assistant to MGM studio chief Louis B. Mayer, heard that a pretty teenage girl had won the contest; she contacted the would-be starlet, and had Mayer offer her an MGM contract.
Parker made several important films in her career, including The Ghost Goes West (1935) with Robert Donat; Sequoia (1934) with Russell Hardie, shot in the Sequoia National Forest near Springville, California; Little Women (1933) with Joan Bennett and Katharine Hepburn; Operator 13 (1934) with Marion Davies; and many other films.
After several successful cross-country trips entertaining injured servicemen during World War II, Parker wed and divorced Curt Grotter of the Braille Institute in Los Angeles; and moved on to New York to star in the play "Loco". She also starred on Broadway in "Burlesque" with Bert Lahr, and in the hit "Born Yesterday", filling in for Judy Holliday. Parker's fourth and last husband, actor Robert Lowery, played opposite her as Brock in the play for a short stint. By this marriage, Parker bore her only child, a son, Robert Lowery Hanks.
Parker died on November 30, 2005 at the Motion Picture Country Home and Hospital in Woodland Hills, California, aged 90, from a stroke. She was survived by her son and two granddaughters, Katie and Nora Hanks.- Actress
- Soundtrack
Born in January, 1901, Mary Eaton was one of 'The Seven Little Eatons' famous in the '20s and '30s. In fact, she received the greatest fame of her fellow performing brothers Joseph Eaton and Charles Eaton and sisters Pearl Eaton and Doris Eaton. Sister Evelyn was a stage manager and brother Robert was never lured into the business. The star of both the 1920 and 1922 editions of the Ziegfeld Follies, blond Mary was Florenz Ziegfeld's backup in case his biggest star, Marilyn Miller, proved too recalcitrant. Eaton later replaced Miller as Eddie Cantor's leading lady in the phenomenally successful Broadway hit_Kid Boots (1923)_ and again in 1927 in Sunny. But Mary was a natural for talking picture stardom and was teamed with an aging Broadway juvenile, Oscar Shaw, in the Marx Brothers_The Cocoanuts (1929)_. She followed that up in the lead role of the all star cast_Glorifying the American Girl (1929)_. However, fame fades quickly and the Eaton family found themselves unwanted by the end of the '30s, on stage and on film. Mary, Pearl and Charles turned to alcohol. Mary married three alcoholics and died young of severe cirrhosis of the liver in 1948 aged 47. Pearl was murdered in her Manhatten Beach apartment in 1958 aged 60. The crime has never been solved. Charles died in 2004, aged 94. Doris died in 2010, aged 106.- Actress
- Stunts
Helen Gibson was one of the earliest serial stars. In 1915 she took over the title role in The Hazards of Helen (1914) from Helen Holmes. Known for her athletic abilities and willingness to do dangerous but exciting stunts, she made the transition from serials to features easily. She was the second wife of cowboy star Hoot Gibson. After her starring days ended in the early 1920s, she went on to become one of the industry's best stunt women, while also taking small acting parts, until her retirement in early 1962.- Actress
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Widely publicized as "The Vitagraph Girl," dark-haired silent film actress Florence Turner was one of the screen's first celebrities to be called by the term "movie star." Born in New York City in 1885, she was pushed into the business at age 3 by an overzealous stage mother, performing on the vaudeville stage as Eugenie Florence. Audiences took delight in her talents as an impressionist of well-known stage actresses of the time such as Marie Dressler. Florence was a full-fledged professional by the time she hooked up with Vitagraph Studios in 1906 as a wardrobe mistress/cashier/actress.
Making her film debut in Cast Up by the Sea (1907), Turner was prominently displayed in front of the camera within a short period of time. Appearing in the company's more quality pieces, she formed a sturdy pairing with Maurice Costello and other matinée idols of the day. The diminutive, forlorn-looking performer eventually tested the acting waters in London in 1913, and was directed frequently by long-time friend Lawrence Trimble, occasionally collaborating on screenplays. She also contributed to her livelihood making appearances in music halls, still amazing audiences with her impersonations of everybody from Alla Nazimova to Charles Chaplin. She organized her own production company, Turner Films, and made more than 30 shorts, becoming the first star of the screen to take on producing chores. In 1915 she was the top box-office star.
Florence maintained a highly visible transatlantic career for nearly a decade while appearing both here and in England in everything from classic Shakespeare (The Merchant of Venice (1908), Richard III (1908)) and historical epics (A Tale of Two Cities (1911), The Deerslayer (1913)) to classic drama (Far from the Madding Crowd (1915), Through the Valley of Shadows (1914), My Old Dutch (1915)). Her career started slipping after WWI, however, and by 1924 she was forced to settle permanently in Hollywood when the British film market dried up completely. At this point she had to make do as a stock player for MGM. The advent of sound was the final nail in her career's coffin, unfortunately. It was a respectful MGM that kept her on the payroll for the next decade, albeit in bit parts and extra roles.
She died practically forgotten at the Woodland Hills, California, Motion Picture Country Home in 1946 at age 61.