The Talkie Myth: Why some transitioned, and others did not

To hear Silent Stars Speak click here!

There seems to be what I call a 'talkie myth'. Whenever you hear of any silent star the line 'well they weren't suitable for talkies' is usually tacked on. According to kids these days the thought process goes, "If they were so popular they would have transitioned if they didn't have a weird accent or something". Actually in fairness that thought process has gone on since the 40s with "Singin in the Rain".

I've heard this line tacked on to everyone, even where it just does not apply. Some have even put it on Mary Pickford (a Canadian with a perfect little girly voice, to match her little girl roles), yet not on Charlie Chaplin (who's classy British accent didn't exactly match the tramp he created). Most people never complained about Charlie until the re-release of 'The Gold Rush' with his narrative added on in the 40s. People wondered why 'he hired this classy British guy to talk over the film'. Nough said.

The truth of the matter is yes there were many accents hidden by silent films (many MAAANY European immigrants) but the failure to transition to talkies went well beyond such a believably simple problem. I'm dispelling it once and for all. And in the process I'm also going to tell you why Charlie Chaplin was the lone survivor from silents to talkies...and why the 3 other greats: Mary Pickford, Douglas Fairbanks, and D.W. Griffith; did not join him.




Silents had changes in tastes too

Naturally any medium has its 'seasons' or 'eras'. What is popular today may not be popular tomorrow. The Silents were the same way. At first they didn't even think the actors were of value, but by oh 1915 when that was proven rubbish the first stars were created and solidified. Within another about 6 years period some of them remained but a lot of them had faded from public taste for one reason or another...usually their own hand or a cruel God's hand (scandal, death, illness, etc).

Mary Pickford, Charlie Chaplin, D.W. Griffith, Harold Lloyd, and Douglas Fairbanks were the only 5 to really come out of that period and at least remain until the mid 20s (as an entire group) with wild popularity. A lot of the comedians who started in the Keystone era had success but for various reasons it faded by the mid 20s. Mabel Normand was major but she was sickly and alcoholic...eventually hindering her output. Fatty Arbuckle was the first King of Comedy but that whole Virginia Rappe thing destroyed him (btw: he wasnt guilty).

Olive Thomas was just getting her major fame by the time she died in 1920. Theda Bara remained popular until the Great War made her 'old fashioned ways' seem silly (click here to hear her talk). Alla Nazimova went too far by 1921 and lost favor with the public. Sessue Hayakawa found his limitations as an Asian actor tiring and his heart throb status faded with the coming of the 20s and a new foreign lover: Valentino. Either way several stars had already fallen before the 20s had even begun. Many of them (the ones that lived anyways) never even made talkies, or were reduced to bit part status by the time talkies arrived.

So ushered in the next generation. 'Features' were now common place and the real stars were already established. Sadly though this is where 2 of the greats eventually fell: Douglas Fairbanks and D.W. Griffith. Fairbanks had a great voice and did make a few talkies, but once the 20s were over he essentially was as well (he made 4 films from 1930 to 1934 when he 'retired'). Personal problems with Mary Pickford were partly to blame, but in reality he was getting old. He always played the swashbuckling young adventurer, but he was almost 50 by his retirement. He couldn't hide it and his body could no longer handle it. Age took him out. As for Griffith his failure began way earlier. He barely made this era. His name was still major, and he had a few minor hits...but by 1924's 'America' he was over. Personal problems abound (including alcoholism) and he only made 3 more films, including 2 talkies. He gave up after that, and died without ever making another film.

Harold Lloyd did well in the 20s, and his first talkie was a success. However despite making a film every now and then through the 30s he was no longer successful. He gave up for most of the 40s and by 47 his last film was a flop. He hung in longer than most though. His failure was more due to his character (the go getter essential 20s guy) no longer fit in with the realities of the depression.

The new comers did things even harder and grander than the previous stars. Rudolph Valentino became major during this time, and after changing women's fantasies for eternity he died unexpectedly in 1926 thus never getting a chance at talkies. A Valentino fan site admin once remarked how wonderful it would have been for him to do a talkie of 'Dracula'. I completely agree...oh had he lived to do that he would have been even more iconic! He probably could have transitioned talkies well enough if he toned down his accent, but again we will never know. Click here to hear Valentino speak.

Lillian Gish had done well with Griffith and continued to do well during the 20s. Even though she transitioned talkies okay her popularity was long over by the end of the decade and she returned to theatre. In fairness she had hung around since the flickers, and she held on longer than anyone: her last role was in 1989 at age 93!

Anna May Wong did well during this time too. And she did eventually transition talkies just fine, but her limited opportunities as an Asian leading woman in the Hays Code era eventually destroyed her potential. Buster Keaton would be of this era, and he did well right to the very end of the 20s...however personal and business troubles hindered his talkie success. He would be off and on successful for the rest of his career.

Gloria Swanson did well around this time. Some of her best films (Sadie Thompson, Queen Kelly) were made in the last few years of the decade. She made the talkie jump but seen her popularity wane. She married so many damn times its hard to put her in the below category but she may have fit. However she would have a unique comeback that most of the others wouldnt, what with "Sunset Blvd" and all. Click here to hear Gloria speak.


Many stars choose to end their careers right before or after talkies hit usually via 'marriage retirement'. Clara Bow (click here to hear her speak), Nita Naldi (click here to hear her speak), and Louise Brooks all fell in this category. A lot has been made of Clara Bow's 'Brooklyn Accent' and how it destroyed her. However having heard it I don't think it was THAT bad. I have no clue what people were expecting but it was acceptable. Also of note: her first few talkies were a success. It was when her mental health finally snapped and she had to be committed that Clara finally fell.

Then of course there was John Gilbert. Poor John Gilbert. He is the biggest talkie myth (click here to listen to him). Yes his first talkie was ridiculous...but that was Louis B. Mayer's fault. His voice was fine, as proven by his role in "Queen Christina". However the early ridicule and his increasing health problems (alcoholism strikes again) ended his career and his life. Another accent myth is Karl Dane. Again studio and personal problems were to blame, not the accent.



The Transitioners and how they did it

The one thing I think a lot of people over look is the most obvious: the ones who transitioned were the freshest. Many actors from the very beginning of film had theatre backgrounds and would obviously be able to perform with 'acceptable' speaking voices. But 1909-1929 is quite a long stretch...two decades. Not many stars THESE DAYS can go 20 years and THEN SOME. The simple fact of the matter is by the time talkies hit many of the established stars were just too damned old. Theda Bara was almost 30 when she started out in 1914. She would have been almost 50 when talkies hit. Needless to say I have serious doubts as to what Jessica Alba's appeal will be when she hits 50. Sometimes common sense is the best answer.

Most stars would be nearing 30 or 40 by the time talkies hit. This would generally be end of career for 'young actors' anyways. However the no0bs of silents were the ones that probably made the biggest transition splashes. Joan Crawford, Lupe Velez, Greta Garbo, Ramon Navarro, Myrna Loy, and Carole Lombard would be such notables. One exception to the rule would be John Barrymore, who became successful in the early 20s and continued onward for the rest of his career.

And then there were two...

So no0bs aside once the 30s set in silent stars for the most part had flamed out. Married, dead, ill, old, retired, whatever...they were done. When the talkies hit the major questions were: "What will Charlie do?" and "What will Mary do?"

When people think of silents obviously only one name tends to pop up: Charlie Chaplin. Even your most jaded kid knows Charlie Chaplin, or The Tramp. Given that whole commie witch hunt thing this is amazing. But in most circles Charlie Chaplin is still remembered, worshiped, and revered. Mary Pickford is not so lucky. She gets a 'who?' and even film buffs might not know her name. Horribly insulting given the fact that she was the biggest and longest star (starting in 1909 she lasted the whole silent era more so than any other cohort). But there are reasons for this...and though sad they at least make sense of what happened.



The 3 stars each had a persona that followed them through out the teens and 20s. Douglas was the Adventurer, Charlie the Tramp, and Mary the Little Girl. Somehow each persona had come to suffocate each star in different ways. Mary was 34 when she made 'Sparrows' in 1926, her last 'Little Girl' role. It may sound absolutely ridiculous that a 34 year old woman played 11-13 year olds but she did pull it off. However that did not matter...she hated it. She absolutely hated it. In a desperate plea to the public she had a film magazine ask fans what role they would like to next see her in. Much to her dismay every thing submitted were little girl roles. She tried two adult roles: Rosita and Dorothy Vernon of Haddon Hall...both flopped (well for her, they still did well but not 'Pickford' well). She came to disown Rosita, even refusing to hand it over when she handed over her other films for preservation (Im sure what would be much to her dismay it survives none the less).



After Sparrows Mary hacked off her little girl curls. She now had a grown up bob. The public (and her husband) were stunned. Her last silent was an adult role in 1927's "My Best Girl". It did well...but it was feared she was slipping. However the public was still extremely interested to see what kind of talkie she could come up with.



Mary had microphone fright. She was a stage trained actress yet she worried her voice would not pass the talkie test. When she did a sound test and heard the results she reportedly thought she sounded like a 'pipsqueak' and began vocal training. Mary was so scared of the mic that even in later life (late 30s) when she tried a radio show the mic had to be hidden in a lamp shade because it was psyching her out so badly.




With the newly created Oscars Mary was determined not only to pass the talkie test but win one. She set to IMMEDIATE work on what she thought was the best film possible "Coquette" a story about a flirtatious southern belle. She was so paranoid during filming that when loooong time cameraman Charles Rosher yelled cut (because a shadow had fallen across her face) she chewed him out and fired him. She later apologized but it ended their long partnership.

"Coquette" did reasonably well though the critics thought it proved she was better as a silent actress. Her voice is definitely acceptable, though it is a little weird to hear her talk with a southern accent. You can hear yourself in the above clip. Of course she won the Oscar, but being a founding member of the Academy and a Goddess in Hollywood it is highly likely she didnt even have to try; it was hers no matter what.

Then...the failure began. Mary wasnt used to failure...and she didnt handle it well. Her next project was "The Taming of the Shrew" with her husband Douglas Fairbanks. This is the kinda thing people would have killed to see during the silent era. However her and Doug were fighting so badly by this point it was evident on screen, and the public seemed to just not care either of them were in their Shakespeare roles. The film flopped.




She then began work on what would eventually become Secrets but put it on hold to do "Kiki". Holy God if there was ever a misfire Kiki would be it. America's Sweetheart in a sexpot french girl role. She was almost 40 and unfortunately it shows way more then it ever did in this role. The film was a MAJOR flop, worse then probably any other Pickford film (I don't have the numbers but if it wasn't financially then it was the most insulting to the public to say the least).

Desperate to make a good talkie she set back to the abandon project which would become "Secrets". Made in 1933 no one cared anymore. And I'm not sure if its fully justified. Secrets is a great film, and for once no silly accents! However the movie has serious direction and pacing issues (seeming jilty for a talkie) and doesn't seem to find its voice until the frontier scenes (halfway through the film). Some of her finest acting takes place in this movie, and it does make one wonder what would have happened had she kept trying to find her voice.

These are the missteps that killed Mary's talkie transition. She had a fine voice (click here to hear more of Mary), but age had caught up with her. Much like Douglas she couldn't be young anymore...she couldn't be 60 and playing Pollyanna (though one wonders if she would have tried!) Given the situation of timing one wonders if her failure was the death of the little girl character or just changes in taste. When she began her career (the teens) she played a variety of roles (prostitute to Indian) and was still loved. She played mothers and unmarried but older women. She was obviously a great actress so its not that she didn't ACT well...maybe the little girl just killed her.

However if that was not the reason then her old age and missteps in talkie creation (the premise of Kiki, the pacing issues of Secrets) may have been the actual downfall. Since she never tried again its hard to really know.

No matter how it ended one must ask as runner up in the 'silent star of all time' race why she is so forgotten. That was mostly by her own choices. In the 30s she wrote a few preachy books and an autobiography. She did work for the troops and wrote and produced a few films in the 40s. But by the 50s she seemed to be over it. She focused on her family, only occasionally leaving for various honors and such. By the 60s she had become a full out recluse, not leaving Pickfair. Eventually she quit letting anyone in (or at least into the bedroom, where she spent all her time) either. She lost use of her legs because she just laid in bed for a good decade or so. Occasionally Buddy Rogers (her husband) would get her out for a car ride but soon she wouldnt leave for anything; not even her dear niece's wedding in her own yard!

So by the time silents were forgotten and due for revival she was hiding from the world. She threatened to destroy all her films on her death thinking people would make fun of them. Thankfully it is said her niece and Lillian Gish talked her out of this. She was given an honorary Oscar in 1976 but couldnt even will herself to leave the house for that. Unlike Charlie she had voluntarily been a recluse, and people didnt know what to make of her. She died a few years later and beyond willing the creation of the Mary Pickford Museum she left her legacy at that. After 60-70 years of silence the damage is done...its hard to remind people who she was and how major she was.

And then there was one...

Cue Charlie. Charlie started in films a little later then Mary did, in 1914. And unlike Mary he had equals for awhile: Buster Keaton, Fatty Arbuckle, Harold Lloyd, Mabel Normand, and Laurel and Hardy all had popularity during various points in his career. Yet one by one they fail (by their own hand or by the public's taste...see all the above) leaving Charlie the last one standing.

Charlie's feature films were extremely popular in the 20s usually topping the best selling lists of the year they were released (or being in the top 2: Four Horsemen beat out The Kid in 21). He was one of the only stars to have 2 films on the best selling silents of all time list: The Gold Rush and The Circus. He pretty much did everything on his films, so he alone was responsible for his success. Mary was similar but she used writers (Francis Marion) and had certain people (Charles Rosher) for other technical things...though she was involved in every aspect of production somehow.

However Charlie made far less films then Mary. He only made 3 in the 1920s (however when 2 of 3 are the top grossers of the decade its hard to argue with success). When silents generally ended and the 30s began Charlie only made 2 films for the decade: and both were silents. And both were major and considered some of his best work then and now: City Lights (1931) and Modern Times (1936). He was quite literally the lone ranger...no one else (at least in American cinema) dared to make silents by 31 let alone 36! Modern Times is generally cited as the last authentic silent (non revival) ever.

This is where Charlie was able to find success, while Mary was not. Mary had killed off her little girl during her final silent, and she immediately set to work on talkies not waiting to see how the medium would play out (obviously with anything new tweaks will be made). Charlie kept the Tramp for both films and waited...and waited. Mary probably could have pulled off something similar had she wanted to, but her own personal problems (divorce from Douglas, a growing alcohol problem, family problems including the deaths of Lottie and Jack) most likely made her not even consider it. Also she would have rather retired then play up that damn Little Girl.

Charlie's first talkie hit in 1940 and in fairness it was a perfect storm. It was his first film in 4 years, it was his first talkie, it still had a tramp element to it, and production started a week after the beginning of WW2...with the subject being political satire of the trouble in Europe at the time.



Charlie successfully 'killed' the tramp if you will. The Jewish Barber resembled the tramp, but was not given that name or implied to be the same character. This would be a bargain of sorts and probably what helped him the most. The film was his most successful and that whole propaganda against the Nazis thing couldnt hurt. It was a smashing success.





So Charlie took to talkies. But unfortanitly from there it gets a little less lovely. Luckily being known after WW2 he would definitly be remembered longer then any other silent star. But soon his personal troubles took over and the US became hostile to him. Accusations of communisim (in the McCarthy era no less!), an alleged love child scandal (even though DNA exonerated him the courts ruled it 'failable technology' and ordered him to pay child support anyways), turned the US public against him. His visa was revoked while promoting a film in London and subsequently Charlie only made a total of 4 and a half talkies (half for the narration of 'The Gold Rush'). They did well in Europe but eventually stopped being released in the US where they were bombing (due to the hostility).




By the late 60s there was renewed interest in silents and Chaplin and by the 70s he was offered an honorary Oscar. He returned triumphantly to the US for the first and last time since his blacklisting and all was made right. With the renewed interest his image was mostly restored and he was again introduced to a new generation, ensuring his name would live on a few more decades. And that is how Charlie won the battle of the talkies, the only silent film star to recieve such noteability for so long.