Who was the Greatest Female Star in Silent Era?
What makes great a star? Talent, Beauty, Popularity, Great movies, Great crontracts, Famous partners, Success along of time, Recognition of the fans or critics?
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- 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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Fern Andre's show-business career started as an aerialist with a troupe that toured the U.S. and Europe. In Vienna she became a student of famed director/teacher Max Reinhardt and appeared in several of his plays and films. She soon settled in Berlin, where she starred in several productions for UFA Studios, some of which she also produced and directed. She also appeared in British and French films. In the sound era she returned to the United States, but after making only two films, she retired.- 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.- Extremely popular silent star of the 1920s. Her popularity was enhanced when she co-starred with Rudolph Valentino in The Sheik (1921) and The Son of the Sheik (1926). She made her screen debut at Essanay Studios in 1915. While she was popular in the 1920s (thanks to the patronage of her lover, Jesse Lasky), her popularity had slipped by the time she briefly retired from the screen in 1927. Divorces, lawsuits and mental health battles all took their toll on her. Ayres returned to the movies almost immediately after but had difficulty re-establishing herself. She hoped that a bit part in Souls at Sea (1937) would lead to a comeback but it did not. She died three years later of a cerebral hemorrhage.
- 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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Theda Bara was born in Cincinnati, Ohio, as Theodosia Goodman, on July 29, 1885. She was the daughter of a local tailor and his wife. As a teenager Theda was interested in the theatrical arts and once she finished high school, she dyed her blond hair black and went in pursuit of her dream. By 1908 she was in New York in search of roles. That year she appeared in "The Devil", a stage play. In 1911 she joined a touring company. After returning to New York in 1914, she began making the rounds of various casting offices in search of work, and was eventually hired to appear in The Stain (1914) as an extra, but she was placed so far in the background that she was not noticed on the screen. However, it was her ability to take direction which helped her gain the lead role as the "vampire" in A Fool There Was (1915) later that year, and "The Vamp" was born. It was a well-deserved break, because Theda was almost 30 years old, at a time when younger women were always considered for lead roles. She became the screen's first fabricated star. Publicists sent out press releases that Theda was the daughter of an artist and an Arabian princess, and that "Theda Bara" was an anagram for "Arab Death"--a far cry from her humble Jewish upbringing in Cincinnati. The public became fascinated with her--how could one resist an actress who allowed herself to be photographed with snakes and skulls? Theda's second film, later that year for the newly formed Fox Studios, was as Celia Friedlander in Kreutzer Sonata (1915). Theda was hot property now and was to make six more films in 1915, finishing up with Carmen (1915). The next year would prove to be another busy one, with theater patrons being treated to eight Theda Bara films, all of which would make a great deal of money for Fox Films, and in 1917 Fox headed west to Califoria and took Theda with them. That year she starred in a mega-hit, Cleopatra (1917). This was quickly followed by The Rose of Blood (1917). In 1918 Theda wrote the story and starred as the Priestess in The Soul of Buddha (1918). After seven films in 1919, ending with Lure of Ambition (1919), her contract was terminated by Fox, and her career never recovered. In 1921 she married director Charles Brabin and retired. In 1926 she made her last film, Madame Mystery (1926), and promptly went back into retirement, permanently, at the age of 41. She tried the stage briefly in the 1930s but nothing really set the fires burning. A movie based on her life was planned in the 1950s, but nothing ever came of it. On April 7, 1955, Theda Bara died of abdominal cancer at the age of 69 in Los Angeles, California. There has been no one like her since.- Actress
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Barbara Bedford was born on 19 July 1903 in Eastman, Wisconsin, USA. She was an actress, known for The Last of the Mohicans (1920), Sunshine of Paradise Alley (1926) and The Spoilers (1923). She was married to Terry Spencer, Alan Roscoe and Irvin Willat. She died on 25 October 1981 in Jacksonville, Florida, USA.- 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'.
- Australian-born Enid Bennett (her sisters, Catherine Bennett and Marjorie Bennett, were also actresses) started her career on stage in Sydney. She became a well-regarded stage actress there, and eventually made her way to New York to conquer Broadway. Broadway, however, wasn't particularly interested in being conquered by Miss Bennett, and it took her several months to find any work at all. Finally, her "English" (actually Australian) accent got her a job in "Cock of the Walk". She was seen there by film producer Thomas H. Ince, who signed her to a contract and brought her to Hollywood. She married twice, both of her husbands being top Hollywood directors: Fred Niblo and Sidney Franklin. Her last film was The Big Store (1941) with The Marx Brothers, in which she had an uncredited bit part as a clerk, and she retired from the movie business soon afterward. She died of a heart attack in Malibu, CA, in 1969.
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Elisabeth Bergner was the daughter of the merchant Emil Ettel and his wife Anna Rosa Wagner. She grew up in Vienna, and she made her theatre debut in Innsbruck in 1915. In 1916 she obtained a contract in Zürich, where she played Ophelia next to the famous Alexander Moissi, who fell in love with her. The next stage in her career was Vienna, where she posed as a model for the talented but deeply unhappy sculptor Wilhelm Lehmbruck. He fell in love with her, but she rejected him; his suicide soon afterwards shocked her. After performing in Vienna and Munich she came to Berlin in 1921. There she played in productions by Max Reinhardt and became a very popular actress.
During her early years as an actress, she was often helped by the poet and critic Albert Ehrenstein, whom she called Xaverl. Ehrenstein was also in love with her. At one time she promised him a child but changed her mind. Ehrenstein wrote numerous poems for her, but often she kept him at a distance. However, their friendship lasted and they continued to exchange letters.
She made her film debut in Der Evangelimann (1924). In 1924, director Paul Czinner gave her a part in Husbands or Lovers (1924). This was the beginning of their successful professional collaboration as well as their personal relationship. Her most successful silent movie was Fräulein Else (1929).
Bergner and Czinner were both Jews, and after the Nazis came to power, they emigrated to Vienna and then London, where they were married. She learned English and was able to continue her career. In London, she became friendly with G.B. Shaw and J.M. Barrie, who after a long hiatus from writing drafted a play for her; the result, The Boy David (1936), unfortunately was not successful. She also appeared as Gemma Jones in the movie version of Escape Me Never (1935) by Margaret Kennedy, which earned her an Oscar nomination for Best Actress. Her movie The Rise of Catherine the Great (1934) was forbidden in Germany.
During her London years, she sent much of her money to relatives and friends in need, among them Ehrenstein. Bergner's only Hollywood movie, Paris Calling (1941), failed to attract attention. On Broadway, she fared better and was very successful in The Two Mrs. Carrolls. While appearing in it, she encountered a young aspiring actress who stood in the alley outside the theater every night and claimed to have seen every performance; Bergner befriended and later hired her but broke with her after the young actress -- who called herself Martina Lawrence, the name of one of Bergner's twin characters in Stolen Life (1939) -- became over-interested in all aspects of Bergner's life. Bergner later recounted this story to her friend Mary Orr, a writer, who turned it into the short story "The Wisdom of Eve" -- which was the basis for the movie All About Eve (1950).
After the war, Bergner worked in New York for a few years; in 1950, she returned to England. She gave acclaimed Bible readings in Israel in English, German and Hebrew. In Germany, she resumed her stage career, and in 1959 she stunned audiences and critics in Berlin with her performance in Geliebter Lügner, a German version of Jerome Kilty's Dear Liar, a play based on the letters exchanged between G.B. Shaw and actress Stella Campbell. In 1961, she returned to the movies, and in 1970 she made her directorial debut. Her last stage appearance took place in 1973 (Her husband had died in 1972).
In 1978, a volume of her memoirs was published, in which she shared some of her secrets with the public, such as Lehmbruck's obsession with her. In 1979 she received the Ernst Lubitsch Prize and in 1982 the Eleonora Duse Prize. She discussed a possible return to Vienna with Bruno Kreisky, but she died from cancer at her home in London in 1986. In Seglitz (Berlin), a city park was named after her.- Actress
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Francesca Bertini was undoubtedly one of the first divas of cinema, a lady not only on screen but also in real life. She made her film debut in La dea del mare (1907) and after that producers fought for her services. In 1921 she married European nobleman and banker Alfred Cartier. She tried her hand at directing films as well as acting in them and turned out two well-received efforts, Assunta Spina (1915) and Tosca (1918)). She made the transition from silent films to talkies, although her output slowed down considerably. Her final role was in Bernardo Bertolucci's 1900 (1976).
A "diva" to the end, she died in a "grand hotel" in Rome, Italy, in 1985, receiving friends and fans on her deathbed in a sumptuous salon.- Suzanne Bianchetti was born in Paris in 1889. During the First World War she made her cinema debut in the propaganda film La femme française pendant la guerre/The French Woman during the War (Alexandre Devarennes, 1917). She quickly became popular with short silent comedies such as Riquette se marie/Riquette Marries (Alexandre Devarennes, 1918). Her first dramatic role was in La Marseillaise (Henri Desfontaines, 1920) opposite André Nox. During the 1920s she became one of France's most loved and respected actresses, and worked with many of the notables of the silent film era, such as Antonin Artaud and the singer Damia. Her silent films include Flipotte (Jacques de Baroncelli, 1920) starring Gabriel Signoret, based on a novel by Henry Kistemaekers, Jocelyn (Léon Poirier, 1922), the popular serial Les Mystères de Paris/The Mysteries of Paris (Charles Burguet, 1922), Violettes imperials/Imperial Violets (Henry Roussel, 1924) with Raquel Meller, and the American romantic costume comedy-drama Madame Sans-Gêne (Léonce Perret, 1925), a Paramount production starring Gloria Swanson. In 1927, Bianchetti appeared in her two most famous films, as Marie Antoinette in the classic epic Napoléon (Abel Gance, 1927) and as Catherine II in Casanova (Alexandre Volkoff, 1927) featuring Ivan Mozzhukhin. A year later she appeared in another silent classic, Verdun, visions d'histoire/Verdun (Léon Poirier, 1928) as the wife of the French soldier (Albert Préjean).
After the introduction of sound film, Bianchetti could be seen again in re-edited versions with sound-effects of Verdun, visions d'histoire, retitled as Verdun, souvenirs d'histoire (1931), Violettes impériales (1932) and Napoléon as Napoléon Bonaparte (1935). Her final film was L'Appel du Silence/The Call (Leon Poirier, 1936), based on the life of Charles de Foucauld (Jean Yonnel). She died in 1936 in Paris at the age of 47. She had been married to writer and actor René Jeanne who served as the director of L'Etablissement Cinématographique des Armées. A year after her death, her husband created an award in her memory to be given annually to the most promising young actress of the year. It was given for the first time in 1937 to Junie Astor for her performance in Club de femmes. The award comes in the form of a medallion engraved with Suzanne Bianchetti's image. Since its inception, the Prix Suzanne Bianchetti has been awarded to many of the greatest names in French cinema who went on to national and international success. Among the winners are Micheline Presle, Simone Signoret, Marina Vlady, Annie Girardot, Pascale Petit, Isabelle Adjani, Isabelle Huppert, Juliette Binoche, Audrey Tautou and Belgian actress Pauline Étienne. - Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway plays, was looking for girls with no stage experience. Since she was more than qualified in that respect, she tried out for the job and before she knew it she was in the chorus line of "Rock-a-Bye-Baby" until the show closed three months later. She then got a job in another Selwyn production, "A Very Good Young Man", but that show closed not long after opening. It was at this time that a casting director for Goldwyn Pictures hit the Broadway scene looking for new faces. She tested for him and impressed him enough that he finally picked her out of a pool of more than 1000 young girls who tested for the opportunity to go to Hollywood. She made her first film in 1922 and stayed in the business until 1935, when she retired. She was married twice, first to director King Vidor from 1926-1931, then to director Harry d'Abbadie d'Arrast from 1940 to his death in 1968. She died in Santa Barbara, CA, in 1991.
- Lyda Borelli was born on 22 March 1884 in Rivarolo Ligure, Genoa, Liguria, Italy. She was an actress, known for Malombra (1917), Satan's Rhapsody (1917) and Love Everlasting (1914). She was married to Vittorio Cini di Monselice. She died on 1 June 1959 in Rome, Lazio, Italy.
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Clara Gordon Bow, destined to become "The It Girl", was born on July 29, 1905 in Brooklyn, New York, and was raised in poverty and violence. Her often absentee and brutish father could not or did not provide and her schizophrenic mother tried to slit Clara's throat when the girl spoke of becoming an actress. Bow, nonetheless, won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.
The movie It (1927) defined her career. The film starred Clara as a shopgirl who was asked out by the store's owner. As you watch the silent film you can see the excitement as she prepared for her date with the boss, her friend trying hard to assist her. She used a pair of scissors to modify her dress to try to look "sexier." The movie did much to change society's mores as there were only a few years between World War I and Clara Bow, but this movie went a long way in how society looked at itself. Clara was flaming youth in rebellion. In the film she presented a worldly wisdom that somehow sex meant having a good time. But the movie shouldn't mislead the viewer, because when her boss tries to kiss her goodnight, she slaps him. At the height of her popularity she received over 45,000 fan letters a month. Also, she was probably the most overworked and underpaid star in the industry. With the coming of sound, her popularity waned. Clara was also involved in several court battles ranging from unpaid taxes to being in divorce court for "stealing" women's husbands. After the court trials, she made a couple of attempts to get back in the public eye. One was Call Her Savage (1932) in 1932. It was somewhat of a failure at the box office and her last was in 1933 in a film called Hoopla (1933).
She then married cowboy star Rex Bell at 26 and retired from the film world at 28. She doted on her two sons and did everything to please them. Haunted by a weight problem and a mental imbalance, she never re-entered show business. She was confined to sanitariums from time to time and prohibited access to her beloved sons. She died of a heart attack in West Los Angeles, on September 26, 1965 at age 60. Today she is finding a renaissance among movie buffs, who are recently discovering the virtues of silent film. The actress who wanted so much to be like the wonderful young lady in It (1927) has the legacy of her films to confirm that she was a wonderful lady and America's first sex symbol.- 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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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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A mining engineer's daughter, blond, blue-eyed Betty Compson began in show business playing the violin in a Salt Lake City vaudeville establishment for $15 a week. Following that, she went on tour, accompanied by her mother, with an act called 'The Vagabond Violinist'. Aged eighteen, she appeared on the Alexander Pantages Theatre Circuit, again doing her violin solo vaudeville routine, and was spotted there by comedy producer Al Christie. Christie quickly changed her stage name from Eleanor to Betty. For the next few years, she turned out a steady stream of one-reel and two-reel slapstick comedies, frequently paired with Roscoe 'Fatty' Arbuckle.
In 1919, Betty was signed by writer-director George Loane Tucker to co-star opposite Lon Chaney as Rose in The Miracle Man (1919). The film was a huge critical and financial success and established Betty Compson as a major star at Paramount (under contract from 1921 to 1925). One of the more highly paid performers of the silent screen, her weekly earnings exceeded $5000 a week at the peak of her career. She came to own a fleet of luxury limousines and was able to move from a bungalow in the hills overlooking Hollywood to an expensive mansion on Hollywood Boulevard. From 1921, Betty also owned her own production company. She went on to make several films in England between 1923 and 1924 for the director Graham Cutts.
During the late 1920's, Betty appeared in a variety of dramatic and comedic roles. She received good reviews acting opposite George Bancroft as a waterfront prostitute in The Docks of New York (1928), and was even nominated for an Academy Award for her portrayal of a carnival girl in The Barker (1928). She gave a touching performance in The Great Gabbo (1929), directed by her then husband James Cruze, as the assistant of a demented ventriloquist (Erich von Stroheim), with whom she is unhappily in love. That same year, she appeared in RKO's first sound film, Street Girl (1929), and was briefly under contract to that studio, cast in so-called 'women's pictures' such as The Lady Refuses (1931) and Three Who Loved (1931).
The stature of her roles began to diminish from the mid 1930s, though she continued to act in character parts until 1948.
Betty's personal fortunes also declined. This came about primarily as a result of her marital contract to the alcoholic Cruze, whom she had divorced in 1929. For several years, Cruze had failed to pay his income tax and Betty (linked financially to Cruze) ended up being sued by the federal government to the tune of $150,000. This forced her to sell her Hollywood villa, her cars and her antiques.
In later years, Betty Compson developed her own cosmetics label and ran a business in California producing personalized ashtrays for the hospitality industry.- Actress
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Joan Crawford was born Lucille Fay LeSueur on March 23, 1906, in San Antonio, Texas, to Anna Belle (Johnson) and Thomas E. LeSueur, a laundry laborer. By the time she was born, her parents had separated, and by the time she was a teenager, she'd had three stepfathers. It wasn't an easy life; Crawford worked a variety of menial jobs. She was a good dancer, though, and -- perhaps seeing dance as her ticket to a career in show business -- she entered several contests, one of which landed her a spot in a chorus line. Before long, she was dancing in big Midwestern and East Coast cities. After almost two years, she packed her bags and moved to Hollywood. Crawford was determined to succeed, and shortly after arriving she got her first bit part, as a showgirl in Pretty Ladies (1925).
Three films quickly followed; although the roles weren't much to speak of, she continued toiling. Throughout 1927 and early 1928, she was cast in small parts, but that ended with the role of Diana Medford in Our Dancing Daughters (1928), which elevated her to star status. Crawford had cleared the first big hurdle; now came the second, in the form of talkies. Many stars of the silents saw their careers evaporate, either because their voices weren't particularly pleasant or because their voices, pleasing enough, didn't match the public's expectations (for example, some fans felt that John Gilbert's tenor didn't quite match his very masculine persona). But Crawford wasn't felled by sound. Her first talkie, Untamed (1929), was a success. As the 1930s progressed, Crawford became one of the biggest stars at MGM. She was in top form in films such as Grand Hotel (1932), Sadie McKee (1934), No More Ladies (1935), and Love on the Run (1936); movie patrons were enthralled, and studio executives were satisfied.
By the early 1940s, MGM was no longer giving her plum roles; newcomers had arrived in Hollywood, and the public wanted to see them. Crawford left MGM for rival Warner Bros., and in 1945 she landed the role of a lifetime. Mildred Pierce (1945) gave her an opportunity to show her range as an actress, and her performance as a woman driven to give her daughter everything garnered Crawford her first, and only, Oscar for Best Actress. The following year she appeared with John Garfield in the well-received Humoresque (1946). In 1947, she appeared as Louise Graham in Possessed (1947); again she was nominated for a Best Actress from the Academy, but she lost to Loretta Young in The Farmer's Daughter (1947). Crawford continued to choose her roles carefully, and in 1952 she was nominated for a third time, for her depiction of Myra Hudson in Sudden Fear (1952). This time the coveted Oscar went to Shirley Booth, for Come Back, Little Sheba (1952). Crawford's career slowed after that; she appeared in minor roles until 1962, when she and Bette Davis co-starred in What Ever Happened to Baby Jane? (1962). Their longstanding rivalry may have helped fuel their phenomenally vitriolic and well-received performances. (Earlier in their careers, Davis said of Crawford, "She's slept with every male star at MGM except Lassie", and Crawford said of Davis, "I don't hate [her] even though the press wants me to. I resent her. I don't see how she built a career out of a set of mannerisms instead of real acting ability. Take away the pop eyes, the cigarette, and those funny clipped words, and what have you got? She's phony, but I guess the public really likes that.")
Crawford's final appearance on the silver screen was in the flop Trog (1970). Turning to vodka more and more, she was hardly seen afterward. On May 10, 1977, Joan died of a heart attack in New York City. She was 71 years old. She had disinherited her adopted daughter Christina and son Christopher; the former wrote a tell-all book called "Mommie Dearest", The Sixth Sense published in 1978. The book cast Crawford in a negative light and was cause for much debate, particularly among her friends and acquaintances, including Douglas Fairbanks Jr., Crawford's first husband. (In 1981, Faye Dunaway starred in Mommie Dearest (1981) which did well at the box office.) Crawford is interred in the same mausoleum as fellow MGM star Judy Garland, in Ferncliff Cemetery in Hartsdale, New York.- Actress
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A prominent German film actress born on 30 September 1887 at Madiven, Java, the daughter of a forest ranger in the service of the Dutch authorities. Sent at the age of ten to Baden-Baden to study, she later entered the cinema thanks to her marriage in 1917 to the actor Fritz Dagover who was 25 years her senior. They divorced in 1919 but not before he had introduced her to director Robert Wiene and other notables of German cinema. She made her screen debut in Fritz Lang's Harakiri (1919). Immediately after she appeared in Wiene's classic expressionist film, "The Cabinet of Dr. Caligari" (aka The Cabinet of Dr. Caligari (1920)). Apart from three trips -- one to Sweden in 1927, another to France in 1928-9 and one to Hollywood in 1931 -- most of Lil Dagover's career and fate was linked to that of the German cinema, where her role was usually that of the frail, menaced heroine. She continued to star in a great number of films during the Nazi era. Among her best performances were her roles in Congress Dances (1931), in Gerhard Lamprecht's The Higher Command (1935) and in Veit Harlan's The Kreutzer Sonata (1937). She also acted in the Deutsches Theatre Berlin, the Salzburg Festival, at forces shows and at war theaters. At one time, she was reported to have been a close friend of Adolf Hitler. In 1944, she received the War Merits Cross. Dagover continued her career in post-war Germany, playing many supporting parts until the late 1970s.- Actress
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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.- 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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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.- 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.
- The daughter of a Hungarian baroness and a military officer, Lya De Putti went on to perform classical ballet in Berlin, Germany, after a brief stint in Hungarian vaudeville. She later made several films at the German UFA studios, most notably Variety (1925), before going to Hollywood in 1926. While in America she starred in several movies, mostly in vamp roles.
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Ève Francis was born on 24 August 1886 in Saint Josse ten Node, Brussels, Belgium. She was an actress and assistant director, known for Eldorado (1921), Yamilé sous les cèdres (1939) and La fête espagnole (1920). She was married to Louis Delluc. She died on 6 December 1980 in Neuilly-sur-Seine, Hauts-de-Seine, Île-de-France, France.- Actress
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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.- Actress
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Janet Gaynor was born Laura Gainor on October 6, 1906, in Philadelphia, Pennsylvania. As a child, she & her parents moved to San Francisco, California, where she graduated from high school in 1923. She then moved to Los Angeles where she enrolled in a secretarial school. She got a job at a shoe store for the princely sum of $18 per week. However, since L.A. was the land of stars and studios, she wanted to try her hand at acting. She managed to land unbilled bit parts in several feature films and comedy shorts. She bided her time, believing "Good things come to those who wait." She didn't have to wait too long, either. In 1926, at the age of 20, she turned in a superb performance as Anna Burger in The Johnstown Flood (1926). The Hollywood moguls knew they had a top star on their hands and cast her in several other leading roles that year, including The Shamrock Handicap (1926), The Blue Eagle (1926), The Midnight Kiss (1926) and The Return of Peter Grimm (1926). The next year she turned in acclaimed performances in two classic films, 7th Heaven (1927) and Sunrise (1927). Based on the strength of those two films plus Street Angel (1928), Janet received the very first Academy Award for best actress. This was the first and only time an actress won the Oscar for multiple roles. When "talkies" replaced silent films, Janet was one of the few who made a successful transition, not only because of her great acting ability but for her charming voice as well. Without a doubt, Janet had already lived a true rags-to-riches story. Throughout the mid-1930s she was the top drawing star at theaters. She turned in grand performances in several otherwise undistinguished films.
Then came A Star Is Born (1937). She was very convincing as Vicki Lester (aka Esther Blodgett), struggling actress trying for the big time. Told by the receptionist at Central casting "You know what your chances are? One in a hundred thousand," Esther/Vicki replies, "But maybe--I'm that one." For her outstanding performance she was nominated for another Oscar, but lost to Luise Rainer's performance in The Good Earth (1937), her second in as many tries. After appearing in The Young in Heart (1938), Janet didn't appear in another film until 1957's Bernardine (1957). Her last performance was in a Broadway version of Harold and Maude. Although the play was a flop, Janet's performance salvaged it to any degree - she still had what it took to entertain the public. On September 14, 1984, Janet passed away from pneumonia in Palm Springs, California, at the age of 77.- Actress
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Lillian Diana Gish was born on October 14, 1893, in Springfield, Ohio. Her father, James Lee Gish, was an alcoholic who caroused, was rarely at home, and left the family to, more or less, fend for themselves. To help make ends meet, Lillian, her sister Dorothy Gish, and their mother, Mary Gish, a.k.a. Mary Robinson McConnell, tried their hand at acting in local productions. Lillian was six years old when she first appeared in front of an audience. For the next 13 years, she and Dorothy appeared before stage audiences with great success. Had she not made her way into films, Lillian quite possibly could have been one of the great stage actresses of all time; however, she found her way onto the big screen when, in 1912, she met famed director D.W. Griffith. Impressed with what he saw, he immediately cast her in her first film, An Unseen Enemy (1912), followed by The One She Loved (1912) and My Baby (1912). She would make 12 films for Griffith in 1912. With 25 films in the next two years, Lillian's exposure to the public was so great that she fast became one of the top stars in the industry, right alongside Mary Pickford, "America's Sweetheart".
In 1915, Lillian starred as Elsie Stoneman in Griffith's most ambitious project to date, The Birth of a Nation (1915). She was not making the large number of films that she had been in the beginning because she was successful and popular enough to be able to pick and choose the right films to appear in. The following year, she appeared in another Griffith classic, Intolerance (1916). By the early 1920s, her career was on its way down. As with anything else, be it sports or politics, new faces appeared on the scene to replace the "old", and Lillian was no different. In fact, she did not appear at all on the screen in 1922, 1925 or 1929. However, 1926 was her busiest year of the decade with roles in La Bohème (1926) and The Scarlet Letter (1926). As the decade wound to a close, "talkies" were replacing silent films. However, Lillian was not idle during her time away from the screen. She appeared in stage productions, to the acclaim of the public and critics alike. In 1933, she filmed His Double Life (1933), but did not make another film for nine years.
When she returned in 1943, she appeared in two big-budget pictures, Commandos Strike at Dawn (1942) and Top Man (1943). Although these roles did not bring her the attention she had had in her early career, Lillian still proved she could hold her own with the best of them. She earned an Oscar nomination as Best Supporting Actress for her role of Laura Belle McCanles in Duel in the Sun (1946), but lost to Anne Baxter in The Razor's Edge (1946).
One of the most critically acclaimed roles of her career came in the thriller The Night of the Hunter (1955), also notable as the only film directed by actor Charles Laughton. In 1969, she published her autobiography, "The Movies, Mr. Griffith, and Me". In 1987, she made what was to be her last motion picture, The Whales of August (1987), a box-office success that exposed her to a new generation of fans. Her 75-year career is almost unbeatable in any field, let alone the film industry. On February 27, 1993, at age 99, Lillian Gish died peacefully in her sleep at her Manhattan apartment in New York City. She never married.- Although Dutch-born silent screen femme fatale Jetta Goudal (pronounced Zhett-eh Goo-doll) may be pretty much forgotten today, she was, in her glorious Hollywood heyday, a star rivaling that of Gloria Swanson and fellow vamps Barbara La Marr and Nita Naldi. The daughter of a Jewish orthodox diamond cutter in Amsterdam, she began her career on stage in Europe, traveling with various theater companies. Arriving in America (New York City) following the WWI armistice (1918), Juliette (Julie) Henriette Goudeket purposely disguised her Dutch and Jewish ancestry and her age, passing herself off as "Jetta Goudal," a Parisienne born in Versailles in 1901 and the daughter of a lawyer.
She first appeared on Broadway in the drama "The Hero" in March of 1921; that September she returned with the melodrama "The Elton Charm". Eventually testing for film. She attracted immediate attention with her first two small film roles and caught the eye of legendary producer/director Cecil B. DeMille. He hired her for what turned out to be some of her (and his) greatest critical successes, including her emotional roles in The Coming of Amos (1925), The Road to Yesterday (1925), White Gold (1927) and The Forbidden Woman (1927). Unfortunately, the exotic allure and element of mystery that made Goudal so popular on-screen came with a price. She was an unrepentant theatrical "grand dame" and possessed a fierce temper well known to the film community.
Her extreme difficulty on the set led to DeMille breaking her contract, which in turn led Goudal to file a landmark lawsuit against him. She charged him with breach of contract, while he claimed her diva-like tirades over every detail of production, from costumes and scenery to mere entrances, caused a multitude of delays and severe financial setbacks for the studio. Goudal, however, won the suit--one reason being that neither DeMille nor the studio could furnish financial records to back up their claims that she cost them untold thousands of dollars--and it set a precedent regarding actors' rights vs. studios' rights. The damage to her career and reputation, however, was sealed and she never recaptured her former glory. Moreover, with the arrival of sound her very thick French accent left her with limited offers.
Goudal married art director Harold Grieve in 1930 and retired from the screen permanently three years later. Along with her husband, she went into interior design and faded from the Hollywood scene. They had no children. Plagued by health problems (heart condition) in the 1960s, she suffered a serious fall in 1973 which left her an invalid. She died in 1985 and was interred in a private room at the Great Mausoleum, Sanctuary of the Angels, at Forest Lawn Memorial Park Cemetery in Glendale, California. Her devoted husband was interred next to her upon his death in 1993. - Actress
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Corinne Griffith was a popular star of the silent movies. She started her film career at Vitagraph in 1916 and later moved to First National, where she became one of that studio's biggest stars. At the height of her popularity she was known as the "Orchid Lady of the Screen." Black Oxen (1923) was one of her most popular films. In 1925 she made Déclassé (1925), which featured a young extra named Clark Gable.
Corinne received an Academy Award nomination for her work in The Divine Lady (1928), but sound did not embrace her in the same way that the silent films had. Music was a popular device used in many early sound movies, but she quickly proved that she was not cut out to be a singer, and the fact that her acting style remained rooted in the wooden pre-sound days didn't help matters. Her last Hollywood film was released in 1930. After appearing in an English film in 1932, she retired. She appeared in one final film, Paradise Alley (1962), a low-budget Hugo Haas potboiler.- Actress
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Liane Haid was a prima ballerina, dancer, singer, stage and film actress. As a child, she studied voice and dancing and played at the Viennese Open Ballet. She worked in Budapest and Vienna as a dancer. On stage, she was in Berlin and Vienna. She also made close to a hundred movies - silents and talkies. She was the first female star of Austria. She was married three times. The last one was Swiss Dr. Carl Spycher, with which she had one son, the jazz musician, Pierre Spycher. She lived with her family near Bern, Switzerland, where she died at the age of 105 years young.- Mildred Harris was born on 29 November 1901 in Cheyenne, Wyoming, USA. She was an actress, known for The Doctor and the Woman (1918), For Husbands Only (1918) and The Price of a Good Time (1917). She was married to William Peter Fleckenstein, Everett Terrence McGovern and Charles Chaplin. She died on 20 July 1944 in Hollywood, California, USA.
- Phyllis Haver was born Phyllis O'Haver on January 6, 1899, in Douglas, KS. When she was a child her family moved to California. Young Phyllis got a job playing piano at a local movie theater. Producer Mack Sennett saw her and hired her to be one of his "Sennett Bathing Beauties". Between 1916-20 she appeared in more than 35 short films. With her curvy figure and blonde hair she quickly became one of the most popular of Sennett's bathing beauties. Eventually she left Sennett compact and signed a contract with Cecil B. DeMille. She co-starred with Olive Borden in Fig Leaves (1926) and with Victor McLaglen in What Price Glory (1926). She also won rave reviews for her performances as Roxie Hart in Chicago (1927).
In 1929 she married millionaire William Seeman. Although she was at the peak of her career, she decided to retire from acting. She and William moved into an 11-room penthouse in New York City. Phyllis said she loved being a wife and never wanted to return to Hollywood. Sadly, after 16 years of marriage she and William divorced. The couple had no children. As she grew older Phylis became more reclusive. She lived in a large house in Connecticut and rarely had visitors. Her only companion was her longtime housekeeper. She reportedly made several suicide attempts and was devastated when her former boss Mack Sennett died.
On November 19, 1960, 61-year-old Phyllis took her own life with an overdose of barbiturates. She was found in her bed fully dressed and wearing make-up. Phyllis was buried at Grassy Hills Cemetery in Falls Village, CT. - Born in Berlin, Germany. After her role in Metropolis (1927) she made a string of movies in which she almost always had the starring role, easily making the transition to sound films. Her last film was An Ideal Spouse (1935) which was released in 1935. She died on June 11th 1996 of heart failure in Ascona, Switzerland.
- Catherine Hessling was born on 22 June 1900 in Moronvilliers, Marne, France. She was an actress, known for Nana (1926), Little Red Riding Hood (1930) and Whirlpool of Fate (1925). She was married to Jean Renoir. She died on 28 September 1979 in La-Celle-Saint-Cloud, Yvelines, France.
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Maria Jacobini was born on 17 February 1892 in Rome, Lazio, Italy. She was an actress and writer, known for Bohème - Künstlerliebe (1923), Joan of Arc (1913) and Maman Colibri (1929). She was married to Gennaro Righelli. She died on 20 November 1944 in Rome, Lazio, Italy.- Rita Jolivet was a silent film actress whose career spanned from 1914 when she made FATA MORGANA to 1926 when she filmed PHI-PHI. Afterwards, Rita dropped out of films. She made only 20 films in her brief career.
- Making her film debut as an extra in 1917, Leatrice Joy soon graduated to playing opposite comics Billy West and Oliver Hardy. Director Cecil B. DeMille took her under his wing and starred her in several of his films. Often playing career girls dressed in mannish suits, or sophisticated society girls, she is generally credited with starting the bobbed-hair craze in the 1920s. She retired shortly after the advent of sound, but made occasional appearances in small supporting roles over the years.
- Having worked as a telephone operator at age 13 and a fashion model afterwards, Alice Joyce joined the Kalem film company at 20, making her debut in The Deacon's Daughter (1910), and achieved popularity as a charming, proper leading lady in many shorts. After Vitagraph bought out Kalem, Joyce began appearing in the company's features, and her career soared. She was so popular as an ingénue that she was still playing those parts into her late 20s, but eventually she switched to older, more mature roles. She played Clara Bow's mother in Bow's wildly popular film Dancing Mothers (1926). After retiring from the screen, she married director Clarence Brown.
- Early information on Florence La Badie is sketchy. She is thought to have been born in New York City in 1888, and was either taken away from or given up for adoption by her birth mother. Florence was adopted by a married couple named LaBadie, who legally gave the child their last name. Her adoptive father, Joseph LaBadie, is believed to have been an attorney in Canada, and the family spent time in Montreal, where Florence grew up. She was educated in both Montreal and New York, and after graduation from high school she worked as a model for well-known illustrator (and, later, film director) Penrhyn Stanlaws.
She took up a career on the stage, first appearing there in 1908. She signed up with director Chauncey Olcott's theatrical company, and went on the road with them. In 1909 she went with a friend, Mary Pickford, to the American Biograph film studio in New York to watch Pickford at work in In the Window Recess (1909), and Pickford got her a bit part in the picture. La Badie didn't make any films for a year after that, though, at which time she signed a contract with Biograph.
In 1911 she left Biograph for Thanhouser. She met with great success in Thanhouser's pictures, and was gradually promoted to lead roles, working there from 1911-1917 (making her the player who worked at Thanhouser the longest). She became the best-known of all of Thanhouser's players and was wildly popular in fan magazines and trade journals.
Although she was engaged twice (to actor Val Hush and writer Daniel Carson Goodman), she never married. She was the "companion" of film mogul Marcus Loew for several years.
On August 28, 1917, while driving a car near Ossining, New York, with her fiancé Daniel Goodman, the car's brakes failed and it plunged down an embankment at high speed, rolling over when it hit the bottom. Goodman escaped with relatively minor injuries, but she was thrown from the car and incurred a compound fracture of the pelvis. She was taken to a hospital in Ossining, where her conditioned worsened. She died of septicemia (infection) on August 28. She was 29 years old. - Alice Lake was born on 12 September 1895 in Brooklyn, New York City, New York, USA. She was an actress, known for The Hole in the Wall (1921), I Am the Law (1922) and Come Through (1917). She was married to Robert Williams. She died on 15 November 1967 in Hollywood, California, USA.
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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.- Actress
- Costume Designer
Nathalie Lissenko was born in 1886 in St. Petersburg, Russian Empire [now Russia]. She was an actress and costume designer, known for Kean (1924), Le brasier ardent (1923) and A Narrow Escape (1920). She was married to Ivan Mozzhukhin. She died on 7 January 1969 in Paris, France.- Actress
- Script and Continuity Department
- Writer
Bessie Love was born in Texas. Her cowboy father moved the family to Hollywood, where he became a chiropractor. As the family needed money, Bessie's mother sent her to Biograph Studios, hoping she would become an actress. D.W. Griffith saw she was pretty and had some acting talent, and put her in several of his films, also giving her a small part in Intolerance (1916). Bessie became popular with audiences and worked with Douglas Fairbanks in Reggie Mixes In (1916) and William S. Hart in The Aryan (1916). She then moved to Vitagraph and starred in a number of comedy-dramas. In the 1920s she began to act in more mature roles, such as Those Who Dance (1924), and also began working on the stage. She performed the first screen "Charleston" dance in The King on Main Street (1925), and gave one of her best performances in Dress Parade (1927). When sound movies came into vogue, she made a number of them and received an Academy Award nomination for The Broadway Melody (1929). By 1931, however, her career was over. She moved to England in 1935 and entertained the troops during World War II. By the 1950s she started playing small roles in movies such as No Highway in the Sky (1951). She played in a handful of low-budget films from the 1950s through the 1970s. In the 1980s she appeared in the big-budget Ragtime (1981) which starred James Cagney, and later that year in Reds (1981) which starred Warren Beatty.- Actress
- Soundtrack
Shirley Mason was born Leonie Flugrath on June 6, 1900, in Brooklyn, NY. The youngest of three acting sisters (the others were Edna Flugrath and Viola Dana), Shirley made her debut in At the Threshold of Life (1911) at age 11. As a child actress she wasn't in much demand until she grew older, then she began to take on more roles. Her second film was Vanity Fair (1915). It wasn't until 1917 that film executives began to take the young actress more seriously, as they cast her in 13 films that year alone, which also saw her gain the title role in The Awakening of Ruth (1917). By the time the 1920s rolled around she was making fewer films, but taking on more substantial parts in films such as Love's Harvest (1920), The Lamplighter (1921) and Very Truly Yours (1922). Her final film was The Flying Marine (1929), after which she retired.
She died on July 27, 1979.- Silent-screen star May McAvoy was born in an upscale area of New York City. Her well-to-do family owned and operated a large livery stable situated where the Waldorf-Astoria Hotel now stands. She initially wanted to be a teacher but became intrigued with show business after watching a friend rehearse a show at a nearby vaudeville theater. A model whose first job was a commercial for Domino Sugar, she moved into extra work in films and received her first major break with The Devil's Garden (1920) co-starring Lionel Barrymore. Stardom was hers, however, as the lead in Sentimental Tommy (1921), which led to a Paramount contract.
McAvoy later stated that she was not content to play whatever part the studio might choose for her and she demanded quality. She claimed that Cecil B. DeMille wanted her as the leading lady for _Adam's Rib (1923)_ but she balked at bobbing her hair and wearing the required pelt for the caveman sequence. She believed that he was able to have her unofficially suspended because of her refusal. Whatever her reasons for leaving Paramount, May bought out her contract and freelanced for the next six years. McAvoy wound up flourishing in such movies as The Enchanted Cottage (1924), Tessie (1925) and Lady Windermere's Fan (1925), while replacing Gertrude Olmstead as Esther in her best known silent film, Ben-Hur: A Tale of the Christ (1925). Mostly forgotten today except by more devoted film enthusiasts, May nevertheless holds a steadfast position in film history thanks to her co-starring role in Hollywood's first talkie, The Jazz Singer (1927) opposite Al Jolson, which is actually a silent film with several sound musical and speaking sequences; she herself had no talking scenes. Coincidentally, May also starred in England's first all-talking picture The Terror (1928). She retired after her marriage in 1929 and bore one son, Patrick. She returned to films for a decade and a half in the 1940s for MGM but never received any screen credit for these parts (her final role was as an extra in Ben-Hur (1959). She was widowed in 1973 and died a decade later of a heart attack. - Pina Menichelli was born on 10 January 1890 in Castroreale, Sicily, Italy. She was an actress, known for La dama de Chez Maxim's (1923), Il fuoco (la favilla - la vampa - la cenere) (1916) and The Rival Actresses (1913). She died on 29 August 1984 in Milan, Lombardy, Italy.
- Little Mary Miles Minter was a child star who was dominated by her mother. At the age of 5 she first appeared on the stage in the play "Cameo Kirby". From that time on she worked steadily without a single vacation. Her greatest stage success was in "The Littlest Rebel", with William Farnum and Dustin Farnum. In 1911, at the age of 9, a New York paper described her as " . . . a ragged, straight-haired, woman-faced little one". She continued on the stage until 1915, when she started her film career. She was being groomed as a Mary Pickford star - a child of innocence. Her early pictures carried this theme with such titles as Lovely Mary (1916), Faith (1916) and Dimples (1916). Mary was described by the press as "of the screen as a sweet, pretty little girl with an abundance of blonde curls, a picture actress slightly bigger than a faint recollection, a little queen with delicate features and endearing young charms". She later worked for Adolph Zukor at Realart Pictures and one of her favorite directors was William Desmond Taylor. While at Realart Mary made a number of films including Anne of Green Gables (1919), Judy of Rogues' Harbor (1920), Jenny Be Good (1920) and The Little Clown (1921). Her salary, which started at $150 per week in 1915, increased to $2250 per week. At that time she also became involved with Taylor, but it is not known whether Taylor was looking out for his biggest star or if there was any real romance.
Then everything crumbled. On February 1, 1922, Taylor was shot to death in his Hollywood bungalow. His unsolved murder was one of Hollywood's major scandals, coming at the same time as the Roscoe 'Fatty' Arbuckle incident. Though she was never considered a suspect in the murder, when the public learned of Mary's involvement with a man who had questionable dealings with women and was more than twice her age, they boycotted her films. The discovery of her belongings in Taylor's bungalow effectually killed her career in pictures. Mary was so weak from grief that she was barricaded in her home for a month. By the next year she had moved out of the home she shared with her mother and was out of pictures forever. - Actress
- Soundtrack
Colleen Moore was born Kathleen Morrison in Port Huron, Michigan. Her father was an irrigation engineer and his job was good enough to provide the family a middle-class environment. She was educated in parochial schools and studied at the famed Detroit Conservatory. Colleen's family moved to Atlanta, Georgia, and later to Tampa, Florida, where she spent some of her happiest years. She described her childhood as a happy one where her parents were very much in love. In fact, she claims she never heard her parents argue with each other, although she admitted they had their differences. As a child she was fascinated with films and the queens of the day such as Marguerite Clark and Mary Pickford and kept a scrapbook of those actresses; she even kept a blank space for the day when she would be a famous star and could put her picture there. When a neighbor down the street from her had a piano delivered, Colleen talked the deliverymen into taking the wooden packing crate to her house, and she set it up as a stage. It was the beginning of her career, as she and her friend performed plays for the other neighborhood children. By 1917 she would be on her way to becoming a star. Colleen's uncle, Walter C. Howey, was the editor of the "Chicago Tribune" and had helped D.W. Griffith make his films The Birth of a Nation (1915) and Intolerance (1916) more presentable to the censors. Knowing of his niece's acting aspirations, Hovey asked Griffith to help her get a start in the motion picture industry. No sooner had she arrived in Hollywood than she found herself playing in five films that year, The Savage (1917) being her first. Her first starring role was as Annie in Little Orphant Annie (1918). Colleen was on her way. She also starred in a number of westerns opposite Tom Mix, but the movie that defined her as a "flapper" was the classic Flaming Youth (1923), in which she played Patricia Fentriss. By 1927 she was the top box-office draw in the US, pulling in the phenomenal sum of $12,500 a week (unlike many other young, highly-paid actresses, however, Colleen did not spend her money frivolously. Instead, she put it into the stock market, making very shrewd investments). She successfully made the transition into the "talkie" era of sound films. Her final film role was as Hester Prynne in The Scarlet Letter (1934). She did make one final appearance in the TV mini-series Hollywood (1980), but it was her silver screen appearances that mattered most. After she retired she wrote two books on investing and went so far as to marry two stockbrokers. On January 25, 1988, Colleen died of an undisclosed ailment in Paso Robles, California. She was 88.- Mae Marsh's father was an auditor for the railroad who died when she was four. Her family moved to San Francisco, where her stepfather was killed in the 1906 earthquake. Her great-aunt then took Mae and her sister to Los Angeles. With her show business background, Mae's aunt took them to the various movie studios for work as extras. Mae was a little freckle-faced girl, who came to work one day as an extra at Biograph to substitute for her sick sister. She had blue eyes and her hair color was indeterminate, but she had definite screen presence. She began her film career working for Mack Sennett and D.W. Griffith. Her first leading role was as the bare-legged prehistoric girl in Man's Genesis (1912). By 1913 Mae was being groomed as the successor to Mary Pickford. Most of her film roles were dramatic or tragic, or a combination of both. She appeared in Griffith's The Birth of a Nation (1915) and Intolerance (1916). After that film, Samuel Goldwyn signed her to a contract at $2500 per week - far exceeding the $35 per week she got in 1915. Goldwyn was at his best when it came to publicity. It was he who gave Mae the title "The Whim Girl". Other than the publicity, her film career with Goldwyn was a disappointment and she retired on the eve of her marriage in 1918. During the 1920s Mae did a few movies in Hollywood and England, but stayed retired for the most part. It was not until the Wall Street "crash" in 1929 that began the Great Depression that she returned full-time to the screen, as she, like many others, was wiped out financially. After her financial situation improved, she returned to films sporadically, usually out of boredom. She worked in a dozen movies during the 1930s and took a number of roles in the 1940s and 1950s. She was a favorite of director John Ford and appeared in many of his films, such as The Grapes of Wrath (1940), How Green Was My Valley (1941), My Darling Clementine (1946) and The Quiet Man (1952), and she had a role in A Star Is Born (1954).
- Actress
- Soundtrack
Raquel Meller was born in Tarazona, Zaragoza, Aragón (Spain) from a very poor family. Since her parents could not afford her education she was sent to live with an aunt who was a nun at a convent. At age 12 she returned with her parents who were then residing in Barcelona and shortly after began working as a seamstress in a shop that catered to many show business personalities. In 1907 she left the shop to start singing "cuplés" ("couplets") using the name "La Bella Raquel". Although these songs were considered indecent and were initially performed in venues attended by men only, Raquel with her beauty and charismatic presence raised the "cuplé" genre to a more respectable art making it acceptable to families. After a love affair with a German named Moeller, Raquel adopted his last name changing it to Meller to make it sound Spanish.
The quality of her voice was a source of debate, but for her fans and theater-goers in general Meller could do no wrong. "Raquel Meller is a genius." exclaimed at one point Sarah Bernhardt. Songs such as "La Violetera", "El Relicario", "Flor de Te", "Mimosa", "Flor del Mal", etc., became standards thanks to her interpretation. She was the first Spanish popular singer to succeed in Europe and the Americas including the United States where her recordings enjoyed great popularity and her live concerts in 1926 broke box-office records in the most important American cities. At the height of her popularity she endorsed several products as well as backing many articles named after her from dolls, to perfume, all of which supplemented her already high income making her one of the wealthiest women in the world.
She was also a hit on the big screen, starring in important films such as_Violettes impériales (1923)_and Carmen (1926). Meller filmed mostly in France but in 1927 she starred in a short sound feature for Movietone Fox in New York in which she sang four of her hits. Charles Chaplin, a big Meller fan, offered her the part of Josephine de Beauharnais in a film he was planning based on life of Napoleon Bonaparte but Raquel could not find time for the project. A few years later Chaplin wanted her for the part of the blind girl in _City Lights (1931)_but Raquel was now involved in a play written especially for her by Maurice Rostand in which she could achieve her dream of becoming a serious stage actress in a respectable Paris theater. Chaplin replaced her with Virginia Cherrill but he kept Raquel's theme "La Violetera" in the film music score taking credit for its composition which resulted in a law suit by the song's composer Jose Padilla.
Raquel continued performing and was a big draw in vaudeville circuits well into the 1940s. Her private life was followed with great interest by the media and the public. She was imperious, ruthless (especially with the competition), lovable, funny, temperamental, generous, witty and totally egomaniac. Her love life was not as turbulent as many believed but among her many admirers there were royalty, heads of state, intellectuals, painters and assorted VIPs. In 1919 she married celebrated Guatemalan journalist diplomat Enrique Gomez Carrillo and adopted a baby girl in Buenos Aires naming her Elena. However after a couple of years of honeymoon bliss came a collision of both temperaments and they divorced in 1922. She had another short lived marriage in 1940 this time to a French businessman named Edmond Sayac and they were together long enough to adopt a baby boy whom they named Jordi Enric.
By then Raquel Meller's career was over, only to surface again in 1957 in the wake of Sara Montiel's box-office success in the films_El último cuplé (1957)_ and_La violetera (1958)_,in which Montiel revived Raquel's greatest hits. As with other rivals in the past, Meller became Montiel's nemesis, but by then a new generation that simply did not know her just plain ignored her. She attempted several comebacks but all were critical and commercial failures. Bitterly, she retired and stayed out of the public eye until her death in Barcelona on July 26, 1962. A plan to film her story starring Sara Montiel (of course) was foiled by Meller's relatives, but some of her story made it to the big screen anyway in Montiel's vehicle La reina del Chantecler (1962).
Most of Raquel's recordings, considered lost for years, have been trickling out on CDs. However her films remain unedited in home video formats and are seldom shown in silent films revivals or festivals. Raquel Meller has been the subject of many books and articles in Europe. There are streets named after her in France and Spain, while her statue commands a plaza with her name in Barcelona. It is inexcusable that film preservationists and the cinemateques of France, Spain and the United States have shown little or no interest in Meller's filmography. Without these films it is impossible to assess Raquel's personal charisma which was the source of her enormous success and fame.- Actress
- Writer
- Producer
Dubbed "The Girl with the Bee Stung Lips" and "The Gardenia of the Screen," silent screen star Mae Murray was born in New York City as Marie Adrienne Koenig on May 10, 1885. The middle of three children born to French and German émigrés, she began studying dance at a young age.
Mae's professional career hit an early break when she partnered with ballroom extraordinaire Vernon Castle in the 1906 Broadway show "About Town." She continued in the chorus with such New York shows as "The Great Decide" (1906), "Fascinating Flora" (1907), "The Hoyden" (1907) and "The Merry-Go-Round" (1908). The lovely lady eventually joined the "Ziegfeld Follies" chorus line in 1908. After moving up in status with featured/co-star roles in the Broadway productions of "The Young Turk" (1910), "The Broadway Belles" (1910) and "The Little Highness" (1913) and "The Daisy" (1914), Mae moved up to become a Ziegfeld headliner in 1915. Mae played the top clubs in Paris and in America in an act that accentuated her dancing prowess. Other highly smooth dance partners would follow, including Clifton Webb, Rudolph Valentino and John Gilbert.
In 1916, the strikingly exotic beauty with the frizzy blonde hair moved to films a year later starring as Lady Joselyn alongside handsome Wallace Reid as Captain Ralph Percy in the To Have and to Hold (1916), produced by pioneer producer Jesse L. Lasky. The success of that film helped move her quickly up the ladder with Lasky starring her in such romantic comedies and dramas as the title role in Sweet Kitty Bellairs (1916), plus The Dream Girl (1916), The Plow Girl (1916), A Mormon Maid (1917) and The Primrose Ring (1917).
Mae became Universal Picture's new darling in the films Princess Virtue (1917), On Record (1917), The Bride's Awakening (1918), Her Body in Bond (1918), Modern Love (1918), Big Little Person (1919) and The Scarlet Shadow (1919). Many of her films, containing dance sequences designed especially for her, were written and produced by her third husband (of four), Robert Z. Leonard, whom she married in 1918 and divorced in 1925. Mae remained a top star, moving around for different studios playing opposite a number of handsome leading men, including The Gilded Lily (1921) with Lowell Sherman; Peacock Alley (1922) and Broadway Rose (1922) both with Monte Blue; Jazzmania (1923) and The French Doll (1923) both with Rod La Rocque; and, most notably, The Delicious Little Devil (1919) and Big Little Person (1919) both opposite Rudolph Valentino.
Brought over to MGM, Mae's most acclaimed film would be The Merry Widow (1925) opposite matinée idol John Gilbert and written and directed by Erich von Stroheim. She also starred in the romantic drama The Masked Bride (1925) and appeared in the title role in Valencia (1926); Altars of Desire (1927). Her last silent film was the MGM romantic drama Altars of Desire (1927) opposite Conway Tearle.
Mae's movie career faded with the advent of sound. Her first sound film, Peacock Alley (1930), received lackluster reviews and failed at the box office. As time had taken its leading lady toll on her (she was now past 40), her voice and mannerisms were not deemed suited to talkies. She might have remained on the MGM for a few more years; however, her fourth and last husband, Prince David Mdvani, who she allowed control over her business affairs, ill-advisedly had her leave the studio. Mae only made two more films. She was billed third, behind Lowell Sherman and Irene Dunne in the romantic dramedy Bachelor Apartment (1931) and a co-starring role opposite Sherman again in the crime caper High Stakes (1931). Divorcing Mdvani in 1934, Mae lost her son in a nasty custody battle.
The former actress grew more eccentric over the years and was eventually forced to declare bankruptcy, living in abject poverty for the better part of her later life. The 74-year-old lady managed to co-write her autobiography in 1959 entitled "The Self-Enchanted" and ended her days in the Motion Picture Country Home in Woodland Hills, CA. She died of a heart ailment on March 23, 1965. Although forgotten for the most part, in her heyday, Mae was a huge draw and above-the-title star, becoming one of the few Ziegfeld dancer attractions to hit big-screen stardom.- Nonna Dooley, the future silent screen star, began her career as a showgirl in a Shubert revue in the Winter Garden, later went on to the famed Ziegfeld Follies.
After a successful career on the stage with the Follies, Nita decided to try her hand with films in Hollywood. Her rise to fame was very quick. In 1920, at the age of 25, she starred with the legendary John Barrymore in Dr. Jekyll and Mr. Hyde. This early role seemed to solidify her film career right from the beginning. It was said she was outstanding and beautiful. Her vamp roles were grand. In 1921, she starred in three fine productions: The Last Door, A Divorce of Convenience, and Experience. She was fast becoming filmdom's leading, sexy lady.
However, it was 1922's Blood and Sand that was to set apart from others. Nita starred opposite Rudolph Valentino in one of the silent era's epic last truly great productions. And it was also the last of the vamp roles filmed since Clara Bow had shown that good girls knew about sex too instead of just her more worldly counterparts. Nita would go on to be Valentino's most frequent co-star.
Nita played Dona Sol who leads the Valentino character into dissipation and disgrace. Nita was an absolute hit as the film was at the box-office. Blood and Sand was a smash hit! She made two more hits in 1922, The Snitching Hour and Anna Ascends, but neither measured up to her role as Dona Sol. Nita made several good films in 1923, but the pinnacle that year was Cecil B. DeMille's The Ten Commandments. Not the powerful epic as was the 1956 version, Nita played an adventurous woman, Sally Lung. It was a saga of wages-of-sin drama with flashbacks to Moses time. The film was well-received. Nita continued to star in good movies, most of which were from Paramount.
In 1926 Nita left for Paris where she eloped with J. Searle Barclay, who she had been dating since 1920. The pair would separate in 1931 when Nita returned to New York and filed bankruptcy. While in Europe she made her last 3 films La Femme Nue, The Golden Mask, and The Mountain Eagle. Despite an attempt in the 1940s Nita never made another film despite an acceptable voice.
In need of money she continued to be active on the stage and later on in the infant medium of television. On February 17, 1961, Nita died of a heart attack in her room at the Wentworth Hotel. - Actress
- Soundtrack
Pola Negri was born in Lipno, Poland, and moved to Warsaw as a child. Living in poverty with her mother, a teenage Pola auditioned and was accepted to the Imperial Ballet. Due to an illness that ended her dancing career, she soon switched to the Warsaw Imperial Academy of Dramatic Arts and became an actress. By 17 she was a star on the Warsaw stage, but World War I would soon change the theater scene. Without the theater, Pola turned to films. With her new career in pictures and her stage success in "Sumurun", she went to Berlin and was teamed with German director Ernst Lubitsch. The Lubitsch-Negri combination was very successful and the roles that Pola played were earthy, exotic, strong women. One of her films, Passion (1919), was optioned and retitled "Passion" for exhibition in America. The film was such a success that by 1922 she and Lubitsch were both given contracts to work in Hollywood. While her first few films showed some success, they were overshadowed by her reported romances with such stars as Charles Chaplin and Rudolph Valentino. Forbidden Paradise (1924), made with Lubitsch, and Hotel Imperial (1927) were two of her more successful films. However, three things conspired to end her career in Hollywood: (1) The perception that her mourning for Rudolph Valentino was insincere, though Negri did describe him as the love of her life; (2) The Hays Office codes that would not allow her to show the very traits that made her a sex-siren in Europe; (3) Her thick Polish accent would not play in the sound pictures that were coming into vogue.
Pola Negri returned to Europe and eventually made films for UFA, which was under Nazi management. In 1941 she returned to America penniless. She made Hi Diddle Diddle (1943) and became an American citizen in 1951. Her next and last movie was The Moon-Spinners (1964).
She died of pneumonia in San Antonio, TX, in 1987.- Actress
- Producer
- Director
Danish leading woman of German films who became one of the greatest stars of the silent era. A native of the Copenhagen suburb of Vesterbro, Nielsen was the daughter of a coppersmith and a washerwoman, both of whom died before Nielsen was fifteen. Her stage debut came as a child in the chorus of the Kongelige Teater's production of Boito's opera "Mephistopheles." She studied at the Royal Theatre School of Copenhagen and embarked upon a stage career in her late teens. She toured Scandinavia and became one of the highest-paid and most popular stage actresses of her time and place. In 1909, director Urban Gad suggested that the silent screen would allow her to transcend her Danish language barrier, and she agreed appear in his film 'Afgrunden (1910)'. The film was successful and Nielsen was encouraged to continue in this new art form. A German distributor, Paul Davidson, invited Nielsen to Germany, where he was building a film studio which would eventually become Europe's largest--the Universum Film Union A.-G. (or Ufa). Nielsen and her director, Gad, whom she had married, went to Germany and spent the next quarter century there. She became one of the true superstars of the silent screen, a tragic heroine whose photograph during the First World War accompanied German and also British and French troops into battle. Among her notable films after the war was a version of "Hamlet, " which was not so much a Shakespearean film as it was an exploration of a then-current theory that the real Hamlet had been, in fact, a woman. Nielsen played the title role. She continued to play a wide variety of roles in Germany and occasionally in Denmark and Norway, never losing the respect and popularity she had maintained almost from the beginning of her career. She abandoned her film work just as sound was taking over the industry. Aside from one or two brief forays in talkies, her acting was thereafter confined to the stage. She died in 1972 at the age of 89, shortly after her fifth marriage.- Blonde and utterly beautiful, Mary Nolan had the requisite figure and prettiness to rise up fast in the Hollywood ranks. Her downfall, however, would be just as fast and not at all pretty.
She was born Mary Imogene Robertson in 1905 and began her show-business career as a teenage model. Showman Florenz Ziegfeld Jr. took a gander at her--and her gorgeous gams--and signed up the young beauty for his "Follies" shows. A Jazz-Age baby and party girl by nature, Mary (who was using the moniker Imogene Wilson) had already earned the somewhat dubious nickname of "Bubbles" while working in New York, but she made the fatal career mistake of involving herself with a married Ziegfeld comedian and stirring up a major sex scandal. Frank Tinney was a top headliner married to musical comedy star Edna Davenport at the time. Mary's relationship with Tinney became quite abusive and the tabloids exposed the affair after Mary was seriously hospitalized during one of their many arguments. As a third-party husband-stealer, Mary received no comfort at all despite her injuries, and was summarily fired by Ziegfeld.
Forced to flee to Germany to avoid the negative attention, Mary starred in a few films there under the new moniker Imogene Robertson. She weathered the storm for almost two years in Europe before returning unobtrusively to Hollywood films in 1927 under another new stage name--Mary Nolan.
She proved a capable if not exceptional leading lady, pacing herself well in such films as West of Zanzibar (1928) with Lon Chaney, Desert Nights (1929)--one of John Gilbert's last vehicles--and Outside the Law (1930), a gangster flick opposite Edward G. Robinson. She even appeared top-billed in a few minor efforts, including Shanghai Lady (1929) and Young Desire (1930), but Docks of San Francisco (1932) would prove to be her last film appearance.
Troubled over her sudden and inexplicable reversal of fortune, she unfortunately let her self-destructive tendencies kick in again. Broke and despondent, she suffered several nervous breakdowns and her health declined due to acute malnutrition and a variety of physical ailments. She turned to heroin, and it spelled the end.
Little was heard from her until 1948, when she died of cardiac arrest and liver problems. She was only 45 years old. Mary became just one more Hollywood tragedy -- an incredible beauty whose life turned absolutely beastly. - Actress
- Director
- Writer
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.- Mary Philbin's life should be a lesson to domineering parents. Mary was born on July 16, 1903, in Chicago, Illinois, to John Philbin and his first wife and namesake, Mary. The child was regarded as a little beauty from an early age and her mother was exceedingly proud of her and loved to show her off. Howevr, unlike her gregarious mother (who many regarded as controlling and domineering, to the point of imprinting her strict religious beliefs on the child), Mary took after her shy, quiet and reserved father, whom she adored. Many of her contemporaries remarked how she didn't seem to belong to the current age; her personality was a throwback to the 19th century with her mannerisms and religious, quiet and very gentle nature. Being an only child, Mary grew up quite spoiled by her mother. Her father would take her often to see the plays at local theaters and even, on rare occasion, to see an opera at the Chicago Opera House. She fell in love with the stage immediately and, once home, would re-enact what she saw to her dolls--performing the leading heroine roles. She decided at an early age that she wanted a career in the theater. She took up classical dancing (ballet and waltz) and was quite adept at playing the pipe organ and piano (in her later years she kept her family's pipe organ close at hand), although much to her chagrin, she could not sing. However, she did not train in an acting school and this would ultimately impact on her later career.
Mary's early life was relatively uneventful; her mother's strong nature created friction between her parents and she became even more reserved and quite shy in public when meeting new people. The only real friend she had at that age (who would be her lifelong friend and even colleague in The Phantom of the Opera (1925)) was Carla Laemmle (aka Rebecca Laemmle), the daughter of Joseph Laemmle, brother of Universal Studios mogul Carl Laemmle. Through her friend's uncle Mary became interested in films and put her stage career on hold. Upon seeing her first "Nickelodeon", she was bitten by the film bug and eagerly awaited any new ones that came out. She was particularly fond of the films of Erich von Stroheim, so much so that at the age of 16, when she heard that the director was making his new film Blind Husbands (1919) and a contest was set up to search for talent for the film, Mary tried to sign up. At first she could not find the right photograph worthy of submission, but her mother had taken a picture and submitted it and was allowed to join the contest. The contest was held in Chicago at the Elks Club and was sponsored by her church, with Von Stroheim himself as the judge. The Teutonic director was smitten with her beauty and her eagerness to behave and speak well, and gave her the leading role in one of his films. When finding out she was to move to Los Angeles to make the film, Mary at first had reservations and (as always) consulted her parents. Her parents refused until they found out their old family friends, the Laemmles, were moving out to Los Angeles as well, and they gave consent for Mary to go but only with her parents as her chaperones (due to their fear that the "sheiks" of Los Angeles would corrupt Mary's moral character).
Once in Los Angeles, Mary was under watch all the time by her parents (in particular her mother) and, when working, by her new boss, Carl Laemmle. When arriving at the studio, she found out that she had been replaced in the leading role in "Blind Husbands". Mary was deeply hurt at the time and felt cheated, and was considering going home had it not been for her friend Rebecca (whom was now known as Carla) who recommended her to her uncle, the owner of Universal City, Carl Laemmle, and the man in charge of production, Irving Thalberg. Although Carl Laemmle had met Mary some time earlier and always regarded her as an "angelic, sweet, quiet" young lady, he was none too impressed with her at the time to consider her for a contract, owing mostly to her moralistic and reserved disposition. Thalberg held the same reservations about her. However, after being persuaded by Mary's family and Carla, Carl caved and gave 17-year-old Mary her first big part: "Talitby Millicuddy", the leading lady, in the melodrama The Blazing Trail (1921), directed by Robert Thornby. Mary caught on in films very quickly and was considered by the public, initially at least, in the same league as her bigger contemporaries - Mary Pickford, Florence Lawrence, Mae Marsh and Lillian Gish, one of those "child-woman" actresses particularly noted for her subtle but extraordinary ethereal Irish beauty.
After the moderate success of "The Blazing Trail" she was cast in Danger Ahead! (1921) in the role of Tressie Harlow; the one-reel comedy Twelve Hours to Live (1921); the western Red Courage (1921) as Eliza Fay, and Sure Fire (1921) in an extra part (her earliest known surviving film); and False Kisses (1921) as Mary. In all, she made six films in 1921. After seeing her work in "False Kisses" and in particular "Danger Ahead"; Erich von Stroheim cast Mary for his next film, which would become the most expensive (to that date) production ever for Univeral City (the costs rising up to a million dollars) - the part of the crippled girl (an extra part) in Foolish Wives (1922). Mary can be seen in the film as the little girl on crutches with her back turned, and you only quickly get a darkened glimpse of her face through her curly ringlets. Although her role in the film was just a bit part, Mary relished being under Von Stroheim's tutelage and it was from him, as she always said, she learned about "true" acting in comparison to stage acting. It has always been said of Mary Philbin that when the director was really good (such as von Stroheim, Paul Leni, William Beaudine), people noticed she could be equally as good an actress as her colleagues. However, in the hands less talented directors (such as Rupert Julian', - who would partly direct her later in Merry-Go-Round (1923) and "The Phantom of the Opera"--her lack of acting training became a real handicap for her (this is clearly evident in some of her later films).
Mary began to get more notice from Carl Laemmle and Irving Thalberg, after Erich von Stroheim's high recommendation of her (and of course the public's approval), and after a minor film, _The Trooper (1922)_ (v), she was given the role of "Ruth" in Human Hearts (1922). Mary began to get even further recognition and it was around this time that her face always was featured on movie magazines as the 'Cover' Girl. But Mary's personal life was darkened by her father's divorce and remarriage to Alice Mead. Mary was shattered by the event, and as a result became even closer to her mother (her biggest mistake), but nevertheless was very loving to her new stepmother and continued to adore her father.
Mary made two more films before she received her first big break as the heroine "Agnes Urban", in von Stroheim's "The Merry-Go-Round" in 1923. The casting for this film was impeccable and many of its stars would later repeat many films with Mary afterward - in particular her leading man, Norman Kerry. He always had a crush on Mary and flirted with her many times on the set, although von Stroheim, Mary's mother and father (who always were on the set with her; her stepmother stayed at home) and even Mary herself kept him from getting too carried away. Mary said in her later years how deep down she always had a great crush on Norman Kerry and considered him "a very handsome, dashing man". Everything was going well in the production until it came to a standstill for the most unusual and even hilarious reason. Erich von Stroheim was known to be a perfectionist in his work, so much so that in the plot of this film (set in the Austro-Hungarian Empire of the time of 'Emperor Franz Josef') he insisted that some of the actors wear underwear embroidered with the Imperial Austrian Royal Family insignia - infuriating Carl Laemmle. After an intense argument with Laemmle the wildly extravagant director was dropped from the picture. The cast was stunned and the two most affected were Wallace Beery (who was originally cast as Agnes' father) and Mary Philbin. Wallace, infuriated with Carl Laemmle's decision walked out, as did many others--even Mary considered it. To clean up the mess quickly, Carl hired Universal actor Rupert Julian to direct (who previously had directed and starred in The Kaiser, the Beast of Berlin (1918) with Lon Chaney). Mary, at first, refused until Carl insisted that Julian would be just as good a director as von Stroheim. Not having met or worked with Julian before, she decided to stay and Cesare Gravina (a favorite actor of von Stroheim) was re-cast in Beery's role. However, it became clearly evident that Julian was a novice compared to von Stroheim, although he reportedly considered himself equal to, if not better than, von Stroheim in directorial skills. Much of the original footage was cut or re-filmed upon its release, "The Merry-Go-Round" launched Mary as an "official" Hollywood star.
Although not as popular as her contemporaries, Mary graced many more magazine covers and was the feature girl for various products - even the Victrola Recording Company. During this time, Mary met the love of her life, Universal Studio executive/producer Paul Kohner - through the Laemmles. Paul Kohner was only a year older than Mary and born in Teplitz-Schoenau, Austria-Hungary (now Teplice, Czech Republic). They were immediately smitten with each other - but due to Mary's parents' religion (Roman Catholicism) and the fact that Paul was a Jew - they kept their relationship, in the early years, secret as much as possible. They exchanged love letters to each other (which both of them kept till their deaths).
Mary's film career took off with "Where Is This West?"; "The Age of Desire"; "The Temple of Venus"; "The Thrill Chaser"; among others with Paul Kohner sometimes as the producer (affording her more time to be with him, under the protection from her parents observance). But it wasn't until 1924, after she made good in the role of Marianne in The Rose of Paris (1924) that Mary was to be cast in her next, most famous and best- remembered film role of her entire career.
In 1924, Carl Laemmle was searching among the elite list of Hollywood starlets (among those listed were Lillian Gish, Madge Bellamy, Betty Bronson, Patsy Ruth Miller, Mildred Davis) for the role of the young Swedish soprano Christine Daaé in the film adaption of Gaston Leroux's novella "Le Fantôme de l'Opéra" (The Phantom of the Opera) starring in the leading role of Erik (the Opera Ghost/Phantom of the Opera) was one of Hollywood's best actors - Lon Chaney, fresh from his success in The Hunchback of Notre Dame and, much to the concern of the cast and crew, the director hired for the picture was the temper-mental Rupert Julian. Julian remembered Mary from "The Merry-Go-Round" (he also remembered Norman Kerry and hired him for role of Viscount Raoul de Chagny). Mary was cast in the key role of Christine, the chance of a lifetime. But the production was one of the most difficult for the cast to endure. Although Mary was working alongside of many of her former colleagues and friends (Norman Kerry, Cesare Gravina, John St. Polis, and Carla Laemmle), she had never met Lon Chaney personally before and, in keeping with her nature, was initially very shy and nervous around him.
During the filming Chaney and Julian exchanged heated arguments. Charles Van Enger, the main cameraman for the film, commented on how they "just hated each other" and how Julian was obsessed with Mary; adjusting her clothes, wigs, even the padding on her legs and chest. Mary put up with it - because of not only was her mother on the set most of the time, but Julian's wife Elisie Wilson was an old friend of Mary's. Upon seeing Julian's conduct- Elisie took over Mary's wardrobe and makeup for the film. On the Phantom set Mary seldom worked with Chaney alone, most of the time it was under Julian's supervision - but due to Chaney and his arguments- Chaney would direct his own scenes including several scenes with
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Mary Pickford was born Gladys Louise Smith in Toronto, Ontario, Canada, to Elsie Charlotte (Hennessy) and John Charles Smith. She was of English and Irish descent. Pickford began in the theater at age seven. Then known as "Baby Gladys Smith", she toured with her family in a number of theater companies. At some point, at her devout maternal grandmother's insistence, when young Gladys was seriously ill with diphtheria, she received a Catholic baptism and her middle name was changed to "Marie".
In 1907, she adopted a family name Pickford and joined the David Belasco troupe, appearing in the long-running The Warrens of Virginia". She began in films in 1909 with the 'American Mutoscope & Biograph [us]', working with director D.W. Griffith.
For a short time in 1911, to earn more money, she joined the IMP Film Co. under Carl Laemmle. She returned to Biograph in 1912, then, in 1913 joined the Famous Players Film Company under Adolph Zukor. She then joined First National Exhibitor's Circuit in 1918. In 1919, she co-founded United Artists with D.W. Griffith, Charlie Chaplin and then-future husband, Douglas Fairbanks.- Actress
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Henny Porten was born January 7, 1890, in Magdeburg, Germany. She had one of the longest careers of any German actress and was highly sought after because of her wonderful thespian skills. Henny's career would stretch over six decades, from 1906 to 1955. Her first film was in Apachentanz (1906), making her one of the earliest film actresses anywhere in the world. At the age of 65, Henny filmed her last production entitled Die Schätze des Teufels (Das Fräulein von Scuderi (1955)). Henny died in Berlin, Germany, on October 15, 1960, at the age of 70.- Actress
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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.- Aileen Pringle's favorite film was a mid-1920s silent based on a book by Elinor Glyn: Three Weeks (1924), sort of a "Lady Chatterly's Lover". She recalled in a 1980 telephone conversation: "The film was in good taste; some people thought the book was trashy". Anita Loos wrote in "A Girl Like I", the first volume of her autobiography, vaudeville comic Joe Frisco telling Glynn: "Leave me get this straight. You want to find some tramp that don't look like a tramp, to play that English tramp in your picture. But take it from me, that kind of tramp don't hang out in Hollywood". Aileen had spent her 20s married to Charles McKenzie Pringle, the son of Sir John Pringle, a Jamaica landowner and a member of the Privy and Legislative Councils of Jamaica. Aileen lived in Jamaica until she went on stage with George Arliss. When she began divorce proceedings against Pringle in 1926, Hollywood gossip columnists speculated she would marry H.L. Mencken. She did not remarry until 1944 when she became the bride of James M. Cain, author of "The Postman Always Rings Twice". I opened my 1980 telephone conversation with Aileen by mentioning that the day before I had been reading her correspondence with Mencken at the New York Public Library. "But all the letters were destroyed", she said. I knew that Mencken had asked for all of his letters to her back at the time he became engaged to Sara Haardt. Aileen was the only woman who received such a request from Mencken at that time. "It was your letters from the late '30s and '40s I was reading", I told Aileen. "In one of them Mencken was urging you to write a book. Did you ever finish it?" "No. I got married instead." In a 1946 letter she wrote to Mencken. "If I had remained married to that psychotic Cain, I would be wearing a straitjacket instead of the New Look."
- Vera Reynolds was born on 25 November 1899 in Nebraska, USA. She was an actress, known for Golf Widows (1928), The Monster Walks (1932) and Silence (1926). She was married to Robert Ellis and Earl Montgomery. She died on 22 April 1962 in Los Angeles, California, USA.
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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).- Alma Rubens was born Alma Genevieve Reubens in San Francisco, California. She was interested in entertaining at an early age. Like most young girls, she enjoyed fantasy play acting and by the time she was 19 had become a full-fledged star. She didn't have to wait long like some of the starlets who haunted casting offices continually. Her break came in 1916 in the film Reggie Mixes In (1916). Six more films followed that year, and she won critical acclaim in The Half-Breed (1916). In 1917 she again starred in a box-office smash, The Firefly of Tough Luck (1917). She became a busy young actress with role after role and hit after hit. In 1924, as Mildred Gower, she performed magnificently in The Price She Paid (1924). After a busy 1925, Alma suddenly found it difficult to obtain work, but it was not because her star had suddenly dimmed--it was because of her addiction to heroin. The money she made dwindled away in search of the next high. She was in and out of mental asylums, but it didn't really help much because she was still dabbling in drugs. Weakened by her habit, she died in Los Angeles in 1931, of pneumonia. She was less than a month away from her 34th birthday. Her final two films were two years earlier, Show Boat (1929) and She Goes to War (1929).
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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.- Pauline Starke was born on 10 January 1901 in Joplin, Missouri, USA. She was an actress, known for Captain Salvation (1927), A Royal Romance (1930) and Salvation Nell (1921). She was married to Jack White and George Sherwood. She died on 3 February 1977 in Santa Monica, California, USA.
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Gloria Swanson was born Gloria May Josephine Svensson in Chicago, Illinois. She was destined to be perhaps one of the biggest stars of the silent movie era. Her personality and antics in private definitely made her a favorite with America's movie-going public. Gloria certainly didn't intend on going into show business. After her formal education in the Chicago school system and elsewhere, she began work in a department store as a salesclerk. In 1915, at the age of 18, she decided to go to a Chicago movie studio with an aunt to see how motion pictures were made. She was plucked out of the crowd, because of her beauty, to be included as a bit player in the film The Fable of Elvira and Farina and the Meal Ticket (1915). In her next film, she was an extra also, when she appeared in At the End of a Perfect Day (1915). After another uncredited role, Gloria got a more substantial role in Sweedie Goes to College (1915). In 1916, she first appeared with future husband Wallace Beery. Once married, the two pulled up stakes in Chicago and moved to Los Angeles to the film colony of Hollywood. Once out west, Gloria continued her torrid pace in films. She seemed to be in hit after hit in such films as The Pullman Bride (1917), Shifting Sands (1918), and Don't Change Your Husband (1919). By the time of the latter, Gloria had divorced Beery and was remarried, but it was not to be her last marriage, as she collected a total of six husbands. By the middle 1920s, she was the highest-paid actress in Hollywood. It has been said that Gloria made and spent over $8 million in the '20s alone. That, along with the six marriages she had, kept the fans spellbound with her escapades for over 60 years. They just couldn't get enough of her. Gloria was 30 when the sound revolution hit, and there was speculation as to whether she could adapt. She did. In 1928, she received an Oscar nomination for Best Actress for her role of Sadie Thompson in the film of the same name but lost to Janet Gaynor for 3 different films. The following year, she again was nominated for the same award in The Trespasser (1929). This time, she lost out to Norma Shearer in The Divorcee (1930). By the 1930s, Gloria pared back her work with only four films during that time. She had taken a hiatus from film work after 1934's Music in the Air (1934) and would not be seen again until Father Takes a Wife (1941). That was to be it until 1950, when she starred in Sunset Blvd. (1950) as Norma Desmond opposite William Holden. She played a movie actress who was all but washed up. The movie was a box office smash and earned her a third Academy Award nomination as Best Actress, but she lost to Judy Holliday in Born Yesterday (1950). The film is considered one of the best in the history of film and, on June 16, 1998, was named one of the top 100 films of all time by the American Film Institute, placing 12th. After a few more films in the 1950s, Gloria more or less retired. Throughout the 1960s, she appeared mostly on television. Her last fling with the silver screen was Airport 1975 (1974), wherein she played herself. Gloria died on April 4, 1983, in New York City at the age of 84. There was never anyone like her, before or since.- Actress
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Norma Talmadge was born on May 26, 1895, in Jersey City, New Jersey. The daughter of an unemployed alcoholic and his wife, Norma did not have the idyllic childhood that most of us yearn for. Her father left the family on Christmas Day and his wife and three daughters had to fend for themselves. Her mother, Peggy, took in laundry to help make ends meet. By the time Norma was 14 she took up modeling. She was successful enough that she attracted the attention of studio chiefs in New York City (where the Vitagraph studio was located at the time). Norma landed a small role in The Household Pest (1910). With her mother's prodding, she landed other small roles with the studio in 1910, such as Uncle Tom's Cabin (1910), Love of Chrysanthemum (1910), A Dixie Mother (1910) and A Broken Spell (1910). By 1911 she was improving as an actress, so much so that she landed a good part in A Tale of Two Cities (1911). By 1913 she was Vitagraph's most promising young actress. In August of 1915 Norma and her mother left for California and the promise of success in the fledgling film industry there. Her first film in Hollywood was Captivating Mary Carstairs (1915). The film was not only a flop but the studio that made it, National Pictures, went out of business.
During this time her sister, Constance Talmadge, was working for legendary director D.W. Griffith. Constance managed to get Norma a contract with Griffith's company. Over the following eight months Norma made seven feature films and a few shorts. After the contract ran out, the family returned to the East Coast. In 1916 she met and married producer and businessman Joseph M. Schenck. With his backing they formed their own production company and turned out a number of films, the first of which was Panthea (1917). It was a tremendous hit, as was Norma. In 1920 the production company moved to Hollywood, where the big hits of the day were being produced. Her company produced hits such as The Wonderful Thing (1921), The Eternal Flame (1922) and The Song of Love (1923).
By 1928 Norma's popularity had begun to fade. Her film The Woman Disputed (1928) was a flop at the box-office. Her final film was Du Barry, Woman of Passion (1930). By that time "talkies" were all the rage, but Norma's voice did not lend itself to sound and she was out of work. She divorced Schenck and married George Jessel. Jessel had his own radio show and Norma was added to the cast to help its sagging ratings. She thought this might be the vehicle by which she would revive her stalled film career, but the show continued its decline and was ultimately canceled, and with it the hopes of rebuilding her shattered career. She was finished for good.
She divorced Jessel in 1939 and married Dr. Carvel James in 1946. She remained with him until she died of a stroke on Christmas Eve of 1957 in Las Vegas, Nevada. She was 62 and had been in a phenomenal 250+ motion pictures.- Actress
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Alice started as an extra in films at age 15. She worked in "Inceville" and would appear as several characters in 'Civilization (1916)'. In 1917, she would meet director Rex Ingram and they would marry in 1921. It was also in 1921 that Alice would gain acclaim as Marguerite in 'The Four Horsemen of the Apocalypse (1921)'. She would continue to play the heroine is the films 'The Prisoner of Zenda (1922)' and 'Scaramouche (1923)'. In 1924, Metro would merge into the new MGM and both Ingram and Terry would work there. She would make the 'The Great Divide (1924)' with Wallace Beery in a western melodrama. She would be directed by Ingram in 'The Arab (1924)', which was filmed in North Africa and owed much to the influence of screen idol Valentino. Alice would get her chance to play the wicked woman in 'Mare Nostrum (1926)'. Filmed in Italy and Spain, this film was both a critical and financial success directed by Ingram. Ingram would make his third independent film in Italy when he directed Alice in 'The Garden of Allah (1927)'. Later that year, Alice would be reunited with Ramon Navarro in 'Lovers? (1927)', but the film would not be as well received as their earlier films. When sound came to the screen Alice retired when her favorite director Rex Imgram retired.- Actress
- Producer
- Director
Olga Chekhova (also Olga Tschechova in German), one of the most popular stars of the silent film era, remained a mysterious person throughout her life and was accused of being a Russian agent in Nazi Germany.
She was born Olga Konstantinovna von Knipper on April 26, 1897, in Aleksandropol, Transcaucasia, Russian Empire (now Gyumri, Armenia). She was the second of 3 children in a bilingual Russian-German family. Her father, Konstantin Leonardovich Knipper, a Lutheran of German descent. He made a military career in Russia as a railroad engineer. Young Olga studied art and literature at an art school in St. Petersburg. Later as an immigrant in Germany she claimed friendship with the family of Tsar Nicholas II--who also was of German origin--and that she had encountered the notorious Russian mystic and monk, Grigory Rasputin. In reality, she was sent from St. Petersburg to Moscow to her aunt, actress Olga Knipper-Chekhova, to study acting at Moscow Art Theatre. In 1914, at age 17, she eloped with Russian-Jewish actor Michael Chekhov, nephew of Anton Chekhov.
Olga adored her husband, Michael Chekhov, a rising star of stage and film. But he met another beauty, Xenia Zimmer, and became involved in extramarital affair while Olga was pregnant with their child. Their daughter, Ada Tschechowa, was born in 1916. Olga separated from Michael Chekhov during the tragic time of the Russian Revolution in 1917. That same year she made her film debut in a Russian silent film, Anya Kraeva (1918).
Olga claimed that she fled Russia disguised as a peasant woman and posed as a mute while carrying a diamond ring in her mouth. In reality she married an officer in the Austro-Hungarian army, Friedrich Jaroshi, and took a train from the Moscow Belorussky station to Vienna, Austria, having travel documents from the Russian Commissar of Culture (and she was also helped by the Russian intelligence agency in exchange for her cooperation). She was later invited to the Soviet Embassy in Berlin for meetings with Soviet officials. In Germany she was introduced to film producer Erich Pommer and renowned director F.W. Murnau, who gave her a leading role in his film, The Haunted Castle (1921). She quickly became a huge star in Europe and played in more than 40 silent films during the decade. Olga was joined by ex-husband Michael Chekhov in several films, including Der Narr seiner Liebe (1929) (aka "The Fool of Love"), which she also directed.
Future Nazi leader Adolf Hitler reportedly fell for Olga upon seeing her cold and beautiful face in several films in the 1920s. She was famous for her movie image as a baroness and was courted in the 1930s by Luftwaffe boss Hermann Göring and by Propaganda Minister Joseph Goebbels. Some wives of high-ranking Nazi officials were jealous of and hated the beautiful Olga. Goebbels was known to have visited her home on several occasions when he wanted to be away from his Nazi "activities". He invited Olga to several Nazi receptions and introduced her to Adolf Hitler in April 1933. Olga became a personal friend of Hitler and was photographed sitting next to "Der Fuhrer" at official events of the Nazi Party. She also received valuable Christmas gifts from Hitler, and regular birthday presents and other tokens of his attention.
In 1936 Olga was honored with the title of "State Actress" of the Third Reich and was made a German citizen. She married a wealthy Belgian businessman, Marcel Robyns. One day prior to the wedding she had a private reception with Hitler, who gave her permission to retain her German citizenship. Two years later she divorced Robyns and returned to her high-society life in Berlin. Her famous 1939 photo-op with Hitler was thoroughly analyzed in Moscow.
She was invited by Soviet officials to join Hermann Göring and Joachim von Ribbentrop at the meeting with Vyacheslav Molotov and Gen. V. N. Merkulov at the Soviet Embassy in Berlin in 1940. At that time Olga was associated with her agent-brother Lev Knipper, who was sent from Moscow to Germany on a secret mission to assassinate Adolf Hitler. The plan was to use one of Olga's visits with Hitler for a suicide attack on the Fuhrer. Olga was kept oblivious of the plan, which was aborted by an order from Joseph Stalin, who became paranoid about the possibility of Germany's alliance with Britain if Hitler was killed. Interestingly, Stalin and Hitler were both amateur film directors in the 1920s, but as dictators they now directed the course of history.
Olga was invited by Josef Goebbels to the official reception in Berlin in July of 1941, only a month after the Nazis invaded Russia and Luftwaffe bombings caused massive devastation to Russian cities. Goebbels announced the planned occupation of Moscow.
She was being investigated by the SS on orders from SS leader Heinrich Himmler. She was constantly under surveillance by both Nazi and Soviet agents in her Berlin home. As the war progressed and conditions got progressively worse for the Nazi regime, party bosses became increasingly paranoid. Himmler was planning to arrest her in January of 1945. One early morning she was informed of Himmler's move. She immediately called him directly with a request for a favor--to let her finish her morning cup of coffee comfortably. When SS commandos surrounded her home Himmler opened her door and was met by an angry Adolf Hitler, who in no uncertain terms informed Himmler that he had made a mistake.
Olga was a beautiful pawn in a dangerous game between the two most destructive powers in the Second World War. She survived through acting, cheating, lying and disguise. She protected her daughter Ada from Nazi anti-Semitism by hiding the fact that her ex-husband, Michael Chekhov, was Jewish. Her brother Lev Knipper was held in a Nazi concentration camp and managed to survive because of his perfect German (and probably with her help). During the savage battle for Berlin just before the war's end, Olga hid in a bomb shelter and was eventually taken prisoner by the Red Army. She was flown to Moscow in April of 1945, for debriefing at the offices of Soviet secret police officials Viktor Abakumov and Lavrenti Beria. She discreetly attended the Moscow Art Theatre performance of "The Cherry Orchard" starring her aunt Olga Knipper-Chekhova in May of 1945. They were not allowed to talk and her aunt Olga fainted backstage.
After two months of interrogations in Moscow, on June 26, 1945, Olga was flown back to Berlin, where she was assisted by the Soviet Army. She was given money and moved in to a Soviet-supervised house on Spree Strasse in the Soviet sector of East Berlin. Several articles in the French and British presses stated that she was a clandestine agent and secretly decorated by the Soviet government. She praised the Russian victory over the Nazis in a private letter to her aunt Olga Knipper-Chekhova. Meanwhile, the film she made in Hollywood turned out to be a flop in the US market, mainly because of her heavy Russian accent.
She continued a film career in Europe and ran her own film production company, Venus-Film Olga Tschechowa. In 1950 she moved to Munich and starred in several films. In 1955 she used her star power to launch a successful cosmetics company, "Olga Tscheschowa Kosmetik Geselschaft." Her remarkable acting career, spanning almost 60 years, ended in 1978, with a small film role as a grandmother.
Her personal file was temporarily available for viewing at the KGB archives in Moscow. One report on her was prepared and signed by the notoriously brutal KGB chief Viktor S. Abakumov. On that report a handwritten question was left by a reader in Kremlin: "What do you suggest to be done with Ms. Chekhova?", the handwriting was by Joseph Stalin. Stalin was quoted as having said, "The actress Olga Chekhova will be very useful in the post-war years", and she probably was. One of her films was titled Der Mann, der zweimal leben wollte (1950), or "The Man Who Wanted to Live Two Lives"--and that was exactly what she did.
In 1955, Olga was saddened by the death of Michael Chekhov. In 1966, Olga suffered from another tragedy: her only daughter Ada died in an airplane crash. Devastated by the painful loss, Olga suffered from bouts of depression and turned to alcohol, but she survived thanks to her strong will and lust for life. She lived for another fifteen years, played a few more roles in the movies, and saw her great-grandchildren grow. Moments before she died, sensing the end was near, she ordered a glass of champagne from her granddaughter Vera Tschechowa. That was March 9, 1980, in Munich, Germany.
Her last words were, "Life is beautiful!"- Virginia got her start with a Milwaukee stock company and also did some film work with Essanay Studios in 1917 Chicago. Back in the theater, it would be 3 more years before she was brought out to Hollywood to act as leading lady to Bert Lytell. Virginia would continue to appear in films throughout the decade and she would be an established star at Universal by the mid 20's. The bulk of her films would be between 1924 and 1927. While she had no trouble adjusting to sound in The Isle of Lost Ships (1929), which she made at First National, her big salary and declining appeal both conspired to end her film career. Unable to find a suitable studio, she would make her last film The Last Zeppelin (1930) at Tiffany Studios. In 1931, she married Charles Farrell and retired from the screen to live in Beverly Hills before moving to Palm Springs.
- Houston-born-and-bred Florence Vidor was one of the great beauties of early Hollywood. But while her photogenic looks went a long way, audiences would not get to enjoy or really experience her voice as she abruptly left the silver screen after her first disastrous attempt at a talking picture.
Born Florence Arto on July 23, 1895, she was the daughter of realtor John F. Arto and his wife Ida. Educated in both public and finishing schools, she was also a student at the Convent of the Sacred Heart for a time. Her fate was sealed after a happenstance but eventful first meeting of two aspiring filmmakers: future directors Edward Sedgwick and King Vidor. Vidor, a freelance photographer, cast Florence in his very first 2-reel picture although she had no real designs on being an actress. The two became a romantic item, married in 1915, and welcomed one child together, Suzanne Vidor Parry, in 1919.
King set his sites on Hollywood and the couple made the big move, financing their trip by filming travelogue for the Ford Motor Company. The couple settled in Santa Monica and soon found employment at Vitagraph Studios. Florence knew actress Corinne Griffith from her days in Houston and was introduced around the sets. The studio, quite taken by her exquisite beauty, quickly signed her to a contract, starting with some minor roles in such comedy shorts as The Yellow Girl (1916) and Curfew at Simpton Center (1916). Meanwhile, husband King sought work as a scriptwriter and occasional movie extra.
Florence first turned heads portraying tragic seamstress "Mimi" in A Tale of Two Cities (1917). Audiences took notice and the beautiful brunette was immediately promoted to leading-lady status opposite such established stars as Sessue Hayakawa and chic "drag" performer Julian Eltinge. She and Hayakawa made several pictures together, including Hashimura Togo (1917), The Secret Game (1917), and The White Man's Law (1918), among others. With the popular Eltinge, who often outdressed his leading ladies, the actress graced the comedies The Countess Charming (1917) and The Widow's Might (1918). Within a short time she was starring in quality pictures for both William C. de Mille and his brother Cecil B. DeMille, but still preferred to work for her husband King, who had by this time established himself as a formidable director after opening his own studio in 1919.
A mature, opulent presence, Florence became a huge star under her husband's guidance, operating under the banners of King Vidor Productions and Florence Vidor Productions. With such silent classics as The Other Half (1919), Poor Relations (1919), The Family Honor (1920), The Jack-Knife Man (1920), Real Adventure (1922), Dusk to Dawn (1922), and Conquering the Woman (1922), Florence came to the forefront. Her best-regarded film of that period was King's comedy-drama Alice Adams (1923), remade successfully a decade later by Katharine Hepburn.
King and Florence divorced in 1924 and Florence went on to appear for other well-known directors, notably Ernst Lubitsch, in such glossy pictures as The Marriage Circle (1924) and The Patriot (1928). She also portrayed famous female Revolutionary War character Barbara Frietchie in Barbara Frietchie (1924), but she earned most of her kudos specializing in sophisticated comedy. She was well represented in that genre with Marry Me (1925), The Grand Duchess and the Waiter (1926), and The Magnificent Flirt (1928). Her stylish humor coupled with a charming sensitivity put her squarely on top throughout most of the 1920s opposite such other well-tailored charmers as Adolphe Menjou, Clive Brook, and William Powell.
Florence's first major talking film would also be her last. The unhappy experience and end-result of working on Chinatown Nights (1929), which used highly experimental sound equipment, was enough to convince her to leave films altogether. By that time Florence had married a second time, to famed violinist Jascha Heifetz, and preferred to raise a family. The couple had two children. Following their divorce in 1946, Florence continued to remain completely out of the limelight. She later moved to Pacific Palisades, California and stayed there for the rest of her life. She succumbed to heart failure in 1977 at age 82. - 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.