Wednesday, January 28, 2009

FTT Honor Project: Release Kindred of the Dust

I actually have another honor project in mind that maybe in the next week I shall pull together and announce. This one is a tiny one; but it makes me happy because its one of those things you can say "It only takes 2 minutes so do it!" and people are a little more willing.

Since only 13% of Miriam's films survive I would like very much to see one of her only TWO surviving features to be released. I say one because she probably would come back to life and yell at me if "Is Money Everything" ever seen the light of day. Also beyond Norman Kerry lets not lie...there's probably not much widespread appeal in releasing it.

HOWEVER "Kindred of the Dust" has not only been preserved in good condition and RESTORED but it is one of Raoul Walsh's earliest surviving features and there is some interest in it. For burning the crap out of her eyes it must be worth something. Likely unless people start digging around in film archives this might be one of the only good starring features of hers remaining.

So there is a two proned attack via TCM. When you view a movie page there is the option to suggest the movie play on TCM, and then under that a 'vote for home release'. Distributors and such take notice of that count and if enough people vote it definitely does not hurt. Given the work is already mostly done I have no clue why this hasn't been released (it would be in public domain to boot!) At the very least if TCM ran it well...someone could record and bootleg it. There is absolutely no good reason they WOULDN'T run it...they run Raoul films all the time.

Here's how you can help: click here to go to Kindred of the Dust at TCM and on the right hand side of your screen you will see the suggest this movie button and below what usually amounts to two ads there is the 'home video vote' with a little button to click there. To suggest a film you just need enter the title, your name and town, and why (or leave that blank whatever). To vote for a release you have to submit an email and that's your vote. Once you do they count you automatically and you can see how many people have voted.

So PLEASE go do both. Suggest the movie a million times over (as there is no quota on that) and ask others to help vote the film for release. I'm not supposed to suggest multiple voting (you don't need to confirm your vote/they don't email you anything) so I wont...*cough*. And if you have an extra moment please do the same at the Is Money Everything at TCM page (a yelling zombie Miriam might be worth seeing!). It could be screened ya know...maybe not released but again I'd take a bootleg.

So...SPREAD THE WORD!

Tuesday, January 27, 2009

Complete Filmography: Miriam Cooper

Miriam Cooper claimed she wanted to retire in 1916; that she wouldn't miss film at all. But her husband Raoul Walsh insisted she join him, and until the end of their marriage she did just that. In 1924 she reiterated her wish to not be on screen and then just left. She never made a talkie, she never appeared on TV, she never took a shot at radio. She went on to live the life she had claimed she always wanted (despite the fatal flaw of not including Raoul)

She got her wish. People left her alone until the 60s when those hippy kids found her again and asked her to speak about silent film. Despite doing work on par with Lillian Gish and Minta Durfee she ended up little more than a memory in film history. Everyone who sees her on screen says shes excellent. However there is a reason I believe she is forgotten. A reason she just might beat Theda at. Keep reading to find out!

Some important notes as this is one of the first shorts filmographies we've done. Shorts and Features are broken up separately. Also since there is just so little information out there about many of these shorts they are presumed lost until proven else wise. If you have any information feel free to write us.



Surviving Shorts

*A Blot on the 'Scutcheon
1911 though IMBD has it as 1912 (every other source says 1911; and IMBD also thinks Miriam entered film in 1910 which she didn't). Miriam and a friend wandered to the Biograph Studios out of curiosity one day. No one stopped them so they went right up to the dark room. A man asked them if they'd be extras and for $5 a day they agreed. Her friend got scared and bailed but Miriam wanted the money so she stayed. She chose being a scullery maid over Page boy because she hated the slacks. Griffith was impressed with her and took a screen test...but this would be her last work for Griffith for awhile. 

*The Tide of Battle
1912. One of her first films for Kalem as part of the Florida stock company. A print exists in the Library of Congress. 

*The Toll Gate Raiders
1913. A print survives of this one as well. 

Possibly Surviving Shorts
It is of note after her extra appearance for Biograph Miriam went and couldn't get her foot back in the door. She searched all over town before signing with Kalem for who she did some extra work (lord knows what films those would be) and was offered a shot at joining their stock company that was heading to Florida to film.

Anna Q. Nilsson was the star of the company and most of the films centered around adventure and especially the not so long ago Civil War. Miriam was used more and more as she could swim and ride a horse (and as she recalled for one film: both at the same time). However they paid her a measly rate even though she was starting to be billed as a star. When she asked for a raise they didn't say anything, then gave her a pink slip the next day shortly before the company left back home.

IMBD has a HUGE list of films that...could have had Miriam in them. Whether these films even exist is questionable. The list of films she 'might have' been in vs the ones she actually lists is about the same length. Judging by some of the titles I suspect they're recuts or she just simply wasn't in them. Some of the films shes listed as being for take place once a return from FL occurred. 2 of those films are "Uncle Tom's Cabin" and "The Octaroon". Uncle Tom may or may not exist and the Octaroon does. I suspect she wasn't in these films but if anyone can say else wise please do.

Once Miriam returned to New York she went back to Biograph which soon would lead her to join Griffith at Reliance Majestic. While he planned his epic the cast and crew were brought to California to act out a bunch of films, hoping to keep the cash coming in. Some of these Raoul directed, some he didn't. Whether any of these exist or not is also unknown. Since Griffith didn't direct them I guess history decided they were unimportant. 

Surviving Features 

*Home Sweet Home

1914. Schickel lists this as lost but apparently it has been found. One of Griffith's first attempts at a long film, interweaving various stories together. Miriam had the role as 'The Fiancee'. It has been released on DVD with Judith of Bethulia by Kino. Click here to purchase. 

*The Birth of a Nation
1915. Umm do we really need to say more? Miriam played Margaret Cameron (the Southern Sister who isn't so annoying you want to rape and murder her). This film is now in the public domain so you can get it quite easily. You can watch and download it for free at the Internet Archive by clicking here. I'm not gonna lie I haven't sat through that one yet since I have the DVD but be warned some DVDs cut out footage. It should run 190 minutes or somewhere near that. Image Entertainment has one of the most complete (and antique...from 98!) DVD releases. Click here to purchase. 

*Intolerance
1916. Another Griffith masterpiece. Miriam played 'The Friendless One' who gets to shoot people. This film is also in the public domain so again it can be watched free at the internet archive by clicking here. It's also on a million DVDs which you can purchase by clicking here. 

*Kindred of the Dust
1922. One of her rare star features to survive! And totally worth it too: she burned the hell out of her eyes accidentally starring into a stage light. Even into old age it affected her. Miriam found it a dull movie but it did decent at the box office. It was the last independent film for Raoul and it was the last film the two made together. A print exists at the International Museum of Photography and Film at the George Eastman House film archive. It has been restored and screened a few times. Excuse me where is our DVD release?!?! Yup this film hasn't even been released for home viewing. And you wonder why Miriam is so forgotten? 

*Is Money Everything?
1923. Norman Kerry! I love Norman Kerry! However this wasn't Miriam's finest moment. She had always said 'unless I act for Raoul I don't act'. Well...they needed money and were in the midst of hating each other. They had 'the Valentino problem' i.e. no matter what came in they spent like they had tons. Her business manager suggested a small independent film company that would only pay $650 a week (seriously! For someone of her status that's very little) and film in Detroit for no real good reason. She claims it was a horror and she doesn't remember much of it. Ironic that its one of her few surviving films. A 35 MM print exists but again not released. Miriam would probably be happier for that. Grapevine Video recently released it on DVD.




Lost Features


*The Honor System
1917. Raoul Walsh signed with FOX and despite her protests he brought Miriam with him. This film was shot on location and showed the injustice of the prison system. Miriam said she befriended prisoners while there and would send them gifts and letters even after she left. She also took notice that on death row the white guys were never executed; but the Hispanic ones were. She lamented in her autobiography that this film was lost as she considered it one of the greatest ever. Sadly thanks to the FOX vault fire we'll probably see it the day we see Theda Bara's "Cleopatra" (in other words when hell freezes over). There are pictures of the stills in Miriam's autobiography. 

*The Innocent Sinner
1917. Stills in Miriam's autobio. Her only note of the film was in one scene Raoul sneaked in for good luck (one of the stills shows this). FOX. 

*The Woman and the Law
1918. One of their bigger hits. It was based on Valentino's unrequited love (and scandalous friend) Blanca De Saulles and how she killed her husband over custody of their son. Miriam resembled Blanca so greatly that they considered not publishing her name...insinuating it was Blanca herself. However in the end they didn't go that route (Miriam said she wouldn't stand for it) The rest of the film is extremely thinly veiled in naming and such. They cast Peggy Hopkins Joyce (one of the most famous gold diggers ever) as the mistress which Miriam felt was perfect. Miriam claims she was so dense that it took until the premiere for Hopkins to realize just what her role was about. When she did figure it out she apparently screamed "Where's that son of a bitch I'll kill him!" at the premiere. Classy. Raoul hid under a cashier's skirt until she left! The film was so racy that it got what was basically an X rating; no children allowed. Obviously that caused quite a stir. 

*The Prussian Cur
1918. Miriam makes my point about 'we went from degrading Negros to degrading Germans' when commenting on this film. WW1 had just broken out and Raoul didn't want to fight. Fox wanted a patriotic film like everyone else (To Hell with the Kaiser anyone?) Both Miriam and Raoul found this to be the worst picture they ever did. Raoul literally wrote it was the 'rottenest picture' and that he was forced into it. The film was released 2 months before the end of the War and flopped hard. They were kinda glad for that. 

*Evangeline
1919. This was one of Miriam's most famous starring roles. And it could possibly exist as rumors have swirled around it. However no proof yet so it falls in the lost category. 

*The Oath
1920. Miriam said she loved the picture and loved the whole thing. The story was of a Jewish girl who marries a Christian boy at the risk of being disinherited. They keep the marriage a secret until her husband is on trial for murdering her father and she confesses they are married. The husband doesn't love her so she kills herself. Miriam said it was the perfect role, dramatic in every scene. She also got to wear expensive costumes; something she didn't usually do. However the movie flopped hard, according to her she was 'the only one to love it. It was Raoul's only film that didn't make money'. Miriam had control over the entire production from casting to direction and since she got the worst reviews of her career it crushed her dearly. 

*The Deep Purple
1920. Shot in New York it was based off a play written by a friend of Walsh's. It was his first independent picture for Mayflower and was 'a family production'. Miriam's brother was his assistant and her son and mother were extras. Someone reviewed this film for IMBD claiming in detail to have seen it...however apparently this guy is a jokester and it is indeed lost which is sad. 

*The Girl Who Came Back
1923. After her disastrous "Is Money Everything" this was an apt title. She made $1,000 a week which was much improved from her last salary. It opened to good business and had critical success. 

*The Broken Wing
1923. This was Miriam's last film. She was happy to play alongside old friend Walter Long who she noted "I didn't kill this time" (like Intolerance). As the title implies a plane was part of the plot. They wanted Miriam to just sit in one but she refused, afraid it would take off. It was until the end of her life she took her first plane ride. She disliked the director Tom Forman who she claimed was a major lush by this point. For her big scene he turned up drunk, let her do one take, and then waved his hand to close up production. Miriam said after the premiere she was in tears because it was so bad. She seriously ended it this time and as she noted, "For all the times I thought I'd retired for good and then came back to films, I finally wound up my career in a stinker made by a drunk. What a hell of an ending". Indeed.


The Complete Miriam Cooper Filmography List
Purple means fully exists
Blue means this film partially exists or in clip form
Pink means lost
* means released on DVD or VHS

Shorts Only



1912:
(for Biograph)

*A Blot on the 'Scutcheon

(for Kalem Company)

Victim of Circumstances
Battle of Pottsburg Bridge
Tide of Battle
War's Havoc
The Drummer Girl of Vicksburg
The Colonel's Escape
The Buglier of Battery B
The Soldier Brothers of Susannah
The Siege of Petersburg
The Darling of the CSA
Saved from Court Martial
A Railroad Lochinvar
His Mother's Picture
The Girl in the Caboose
The Pony Express Girl
Battle in the Virginia Hills
The Water Right War
The Battle Wits
A Race with Time


1913:
A Sawmill Hazard
A Desperate Chance
The Turning Point
The Battle of Bloody Ford
A Treacherous Shot
The Farm Bully
The Toll Gate Raiders
Infamous Don Miguel
Captured by Strategy


1914:
For Reliance Majestic

The Stolen Radium
For His Master
When Fate Frowned
A Diamond in the Rough
The Gunman
The Dishonored Medal
The Odalisque
The Double Deception
The Fatal Black Bean
His Return
The Burned Hand


Features Only

1914:
*Home Sweet Home

1915:
*Birth of a Nation

1916:
*Intolerance

1917:

The Honor System
The Silent Lie
The Innocent Sinner
Betrayed

1918:
The Woman and the Law
The Prussian Cur


1919:
Evangeline
Should a Husband forgive?


1920:
The Deep Purple
The Oath


1921:
Serenade

1922:
Kindred of the Dust

1923:
*Is Money everything?
The Girl Who Came Back
Daughters of the Rich
Her Accidental Husband
After the Ball
The Broken Wing


My thanks as always goes to nitrateville especially users SilentFilm and Peter Kalm. This is by far the hardest filmography I've ever done so...the help was extremely appreciated!


Why the Low Survival Rate?

Well in Miriam's case a good chunk of those shorts and maybe even features MIGHT exist. Kalem held on till 1917 when they sold to Vitagraph who held on till the late 20s when they sold to Warner Brothers. Some Kalem films still indeed survive and some of them are from the early years. But is there any interest in them? Anna Q. Nilsson is no Mary Pickford (who apparently was with them for like 5 minutes). And beyond that the rest of their ''stars'' had faded by the early 1920s rendering them forgettable. That right there could account for lost films, but some of it just may be around.

As for the Reliance shorts lord even knows. There again is no good reason for those to be missing and they might just exist. The traditional wisdom goes "Raoul Walsh was signed with FOX, FOX burned, pre 1920s Walsh doesn't exist". But that's not fully true. His works for Reliance wouldn't have burned in that fire. There is an alarming lack of information about Raoul's silents anywhere (of course most of the common sites fail to realize he was married 3 times either). When Reliance went belly up that too could have done away with the shorts, but its just absolutely unknown. More than anything there is a huge likelihood in my opinion that SOME of these shorts may exist.

As for Miriam's features we do know the most important ones (the Walsh ones) are likely gone forever due to the FOX fire. But some of Walsh's independent films (Evangeline, The Deep Purple) weren't for FOX...it is possible they survive out there somewhere. Miriam's later films very well could still be around (a Belasco production, etc) but there probably isn't much interest in seeking them out. I've been outraged many a times over the treatment of old films and how many are just rotting away in archives somewhere...but I don't think I've ever been more outraged than I am right this moment.

BEYOND the fact that these films just might be out there the very few that are confirmed to exist are also just sitting in vaults. Kindred of the Dust was restored and mentioned in a NFPF newsletter announcing the Treasures from American Film Archives DVD release...in 2004. Since then 3 sets of those DVDs have been released full of films...and not one with Kindred of the Dust. It apparently had a few screenings a few years ago as well; but it hasn't been shown frequently or anything. It may be too ironic that the two films Miriam didn't think very highly of are the only 2 to survive...but why are they just rotting away?

Film Survival Rate

Many people see Miriam in Birth and Intolerance and like her quite a bit. They read her bio and are even more intrigued...but sadly they've basically seen the body of her surviving work. In fact in all irony despite her hate of Theda, Miriam beats her hardcore in the film survival race. Click here for those results. Only 3 of her 40 shorts exist, or 7%. Only 5 of her 21 features still exist meaning about 24%. All together that means 8 of her 61 pieces of work exist meaning 13%...she has a lower result than all the vamps! Just absolutely mind boggling.

If you would like to see Miriam's final two features released on DVD please join our Honor Project to do just that by clicking here (its a two second thing!). Thanks!

Remembering Mr. Griffith

Since my lady in black duties stop short in LA (and mostly short of anywhere hard to find in LA) it was a lovely surprise to find our friend Anthony went and visited Mr. Griffith's grave on his birthday a few days ago. Anthony left a note from him, me, and nitrateville, as well as a bottle of Kentucky Bourbon and a shirt. Of course all photo credits go to Anthony. Thank you so much! One of these days...I gots to get over to Kentucky.





Friday, January 23, 2009

Douglas Fairbanks: The First King of Hollywood


You know in one of those 'its good to see someone finally remembered' stories I'm just tickled Douglas Fairbanks is finally getting some of his due. I mean of the 4 UA founders he was the only one to NOT have a biography until LATE LAST YEAR. Even that could be a little more perfected. But the tributes keep rolling in, so to keep you up to date.

Last year a cheapy but nice 3 disc set of his films was released. Then in December Flicker Alley released the long awaited Douglas Fairbanks: A Modern Musketeer which included several of his early films which had never seen VHS/DVD light; as well as some of his better known films (Mark of Zorro).

And now the Academy (which released the long needed bio) is doing one better. Starting January 24th and running until April 19th you can catch the "Douglas Fairbanks: The First King of Hollywood" exhibition showcasing artifacts from his life and career. Posters, props, costumes, and photos will be displayed. The exhibition will take place at Academy’s Fourth Floor Gallery in Beverly Hills with FREE ADMISSION! Sweet. Click here for more info, hours, and contact information.

Douglas was pretty awesome. He seems to have been the type of guy you just really would have liked on screen or off. He actually was a decent actor...when he felt like it. Usually his films focused more on him being fun and big gestured; and the cool stunts he could pull off. For good acting: "Taming of the Shrew", "The Gaucho". For good 'Douglas': "Thief of Bagdad". Click here to watch some free Douglas movies at the Internet Archive!

Thursday, January 22, 2009

Live Again: Mr. Griffith


Way too many years ago, on this day, Mr. Griffith was born. Though mostly wiped off the face of movie history for being 'a racist klan member that ate black babies' (no not an exaggeration at all reaaaaaallly...*eyes roll*) there are still places honoring Griffith. His La Grange, Kentucky (his home state) will opened a theatre in his honor today to celebrate the occasion. The 15 seat theatre features a library of Griffith films to chose from. Yay Kentucky! Click here for more information.

Reel Classics has also just released a 2 disc DVD set of rare Griffith and Pickford shorts titled: A GRIFFITH BIOGRAPH COLLECTION FEATURING MARY PICKFORD. Click here for more information (bottom of page).

That being said I'm still working on the ol Griffith site. It will be done...I'm still aiming for May. In the mean time you can still do Griffith a birthday favor by signing the petition to restore his name to the DGA Lifetime Achievement Award (his name was removed in the late 90s in a fit of political correctness). Click here to sign, it takes like 5 minutes.

And for those who missed the boat about the fantastically free legal public domain Internet Archive Films click here to watch a ton of fantastic Griffith films (everything from Corner in Wheat to Birth!) I didn't want to clog up the post so I'm gonna just post one film (which given the new President seems apt): Abraham Lincoln...Griffith's first and only one of two talkies. Enjoy!

Wednesday, January 21, 2009

The Rudolph Valentino Film Festival



So as I mentioned there would be an update about the FTT Honor Project for Rudy. "The Rudolph Valentino Film Festival" is still in full planning mode and there is now a site: http://therudolphvalentinofilmfestival.com/ to assist in that.

Volunteers are still sorely needed so if you can check it out and see what you can do to help! As of now the Fest is aimed for likely mid 2010 (that way I can pick a good date instead of cramming it in at the end of 09) and will feature Valentino films, Silents and early talkies, and some new independent films as well. That's the goals: restore Valentino's legacy beyond his death, restore the art of Silent cinema to public interest, and promote new talent. I think Valentino would have liked it that way.

More news will be coming in the following months, and submissions for those indie films will be taking place this summer (as well as a musician call). So stay tuned!

Thursday, January 15, 2009

Tidbits and Updates




I'm working on a few full lengthers right now; but I have some tidbits for you guys. Some GOOD tidbits.

*I kept forgetting to post this but we hit 3,000 hits last month! Considering this is a blog about Silent Films which I don't promote worth a damn well...that's just awesome. THANK YOU ALL!

*So most of the switchover stuff is fixed. If you have a link to us just erase the .blogspot from the address and it should work fine. On that same note if you subscribed to the feed please resubscribe. You can do so on the right hand side. If you haven't subscribed you totally should.
*Guess what came in the mail today...Hollywood Babylon 2! So...its huge...and lengthy...and Im gonna have to debunk the talkie stuff to make it right. This could take awhile. On a related note the original Debunking Hollywood Babylon article has had over a 100 hits alone...again thank you!

*If you're unaware the internet archive has free public domain downloads...which includes a LOT of silents. Not as many as I'd like; but enough to make me happy. They have a lot of D.W. (including a talkie!), some Mabel, a lot of Charlie shorts, and even an Anna May Wong (talkie!)! Click here and you can search at the top of the page for your star of choice. The movies are free to watch, embed, or download and yes its legal which is awesome.

*There will be Rudy Film Fest, Griffith Site, and Silent Film Wiki news shortly. Just need time to post!

*I've forgot to post this for awhile but an Olive Thomas film was found by the Nederlands Film Institute late last year. Bless the Dutch! They plan to restore it and apparently it is in full. The film was "The Glorious Lady" a Selznick production from 1919. We really need a complete filmography on her one of these days...

*There's a new honor project in the works...and it's gonna be fun!

*In addition to the D.W. Griffith, Anna May Wong, and Karl Dane facebook pages there is now a Mabel Normand one. Click here to join. Or just search any of those names on facebook!

Tuesday, January 13, 2009

Ziegfield Girls and Pictures: Beauty vs Brains

Wednesday, January 7, 2009

Vintage Valentino

I must confess I haven't gotten heavy into Clara Kimball Young. There's no particular reason...she supposedly made excellent films and was gorgeous. The little I've seen I like, she had that naturalistic style of acting.

Of course poor Miss Young (who's career fizzled in the 20s because of a bad boyfriend/business partner) is mostly remembered strictly for being one of the first to feature Valentino. Actually he had made 16 films before working in "Eyes of Youth" and a few of those he co-starred in (The delicious "All Night" anyone? Valentino pouting in bed! AWESOME!). But "Eyes of Youth" was his break: June Mathis seen the movie (hmm hard to guess why judging by the plot and her love of mysticism) and immediately wanted Valentino for a part in her epic "Four Horsemen of the Apocalypse". Ya know I've thought about this recently: isn't Four Horsemen actually Birth only made by hippies? Think about it.

Valentino's part is small...hes barely in there 13 minutes or so. The plot of the film involves a woman seeing 3 possible future paths. In this one Valentino 'a cabaret parasite' is hired to frame Clara's character of adultrey by basically holding her hostage in a hotel and shouting to make it sound like she was there willingly.


In this first clip Valentino actually doesn't enter until the very end but it does mark his screen appearance. For Valentino go to 9:26 that'll put you right there.



In the above clip is mostly Valentino, ending with the court room scene. He is FANTASTIC! A lot of people try to pen his acting on someone...usually a woman. Natacha, Nazimova, even June. But its oversimplifying in my opinion. You can read the accounts of his life however you like but there are two great mysteries: why did he enter pictures, and how did he learn to act that well?

I can take a guess towards the first one. His first known picture was an extra in Jack Pickford's "My Official Wife" in 1914 which was filmed in New York. He likely did that one for the money as he was new to NY and still trying to get his financial footing since he hated being told what to do and doing mundane work. Why he kept with pictures is another mystery as he seemed to not really produce it till he was in California, which was likely to flee the Blanca thing.

But HOW he became such a good actor is a mystery. Nothing of his survives before 1918 (Married Virgin and All Night) which leaves those 4 years in question. But when he does appear hes fantastic. Natural styled acting, comedic timing, and well...he did indeed look good.

"Eyes of Youth" wasn't made too much later and though playing the heavy his acting is again amazing. Shades of his 'Sheik' come through when taking her coat and holding his hand over her mouth. Switching it up he looks completely natural in the court scene, all sober and guilty of something. Just amazing. I think its easy to see what June say back then.

Cinefest 2009: Putting Cali to shame!


A tentative schedule for Cinefest 2009 (which takes place in Liverpool, New York) has been released and amongst some talkies and other titles they have these gems:


*Less than Dust (1916) starring Mary Pickford
*They shall pay (1921) starring LOTTIE PICKFORD
*Everybody's Sweetheart (1920) starring Olive Thomas


AHHHHHHHHHHH!!! Its moments like this that I curse the fact I don't have $800 stashed away for a plane ticket. But seriously this fest for 29 years and they do a heck of a job. Honestly as thrilled as I am that California (and particularly Los Angeles) have so many silent screenings I am quite annoyed that they veer off into 'arty' more often than not (*cough* Silent Movie Theatre's January Schedule *cough*). Hipsters prefer random crap to some lesser remembered stars vehicle any day. I think I'd kill for a Pickford sibling screening and the fact that minus Jack Cinefest pulled it off puts LA to shame.

Maybe the SF Silent Film Festival can do better this year (though last year they were caught up in similarly boring things), or maybe the Silent Theatre or Evenings at the Barn will show a little more interesting fare. I can sum it up easily: we had a Lloyd month with at least 8 films, 1 impromptu Buster screening, and 2 last minute cancelled Chaplin screenings while 2 Chaplins went forward (but not anywhere that usually plays Silents: New Beverly and the Aero Theatre). Damn hipsters.

Well I'm off my soap box. If you are around NY or able to travel here's the Cinefest info:

Cinefest 2009
March 19th-22nd
Liverpool, NY
$65-70 (they recommend you register before February 16th)

Tuesday, January 6, 2009

Silents Talk: Clara Bow, Norma Talmadge, and John Gilbert



I've been teasing Norma Talmadge a lot lately, as I found it interesting that she may have been the inspiration for Lina Lamont (and the bad Brooklyn accent) in "Singin in the Rain" instead of Clara Bow. However I had never heard her talk...or seen a silent of hers. I feel the Talmadges are bit boring and overrated but a lot of people would disagree with me.

That 'Lina Lamont' that 'silly silent stars with the bad talkie voices' myth just...wont die. In all the stars I've ever read about or seen there was ONE I would agree had too heavy an accent for English talkies (Vilma Banky...and even that could have been fixed). I've never seen an all American turn out to be a Lina...someone with a high pitch silly voice and really bad regional accent. Hell I've never seen a foreign star turn that way either! So let's KILL IT ONCE AND FOR ALL! 

Clara Bow





Clara is possibly the one star to get more hell than anyone. "Oh she was a stupid girl from Brooklyn who was a slut and had a bad accent!" No. She was actually a very fascinating and sad character in film history and anyone who has seen her on screen can attest she definitely had 'it' (and I mean 'it' beyond just sexuality).

Clara was one of the transitioners. She came in the middle of the Silents game and didn't become a superstar till the end of it. Paramount enjoyed fucking with her head (not hard to do to a schizophrenic) and gave her all of 2 weeks to film her first talkie. Her only trouble with talkies was she had terrible mic fright (much like Miss Pickford). Her first talkie was in 1928 with "The Wild Party" and was actually a success. In fact her fame peaked in 1930 and didn't fall till 1931 when her mental and personal issues became too much. Ironically the clip above is from one of her 'comeback' films: 1932's "Call her Savage". Clara always had her popularity well into talkies, it was her mental state that did not allow her to continue.

She had a strong voice, but not a major accent. She wasn't rejected by the public for her voice, and she definitely was no Lina Lamont. Lina couldn't have gotten away with that many talkies and still been popular like Clara was. Add to that Clara could SING!

Clara's Talkie Career
Film:
*The Wild Party (1929)
*Dangerous Curves (1929)
*The Saturday Night Kid (1929)
*Paramount on Parade (1930)
*True to the Navy (1930)
*Love Among the Millionaires (1930)
*Her Wedding Night (1930)
*No Limit (1931)
*Kick In (1931)
*Call Her Savage (1932)
*Hoop-La (1933)

Radio:
*Truth or Consequences (1947)

Norma Talmadge


Norma Talmadge Talks to Mother Jessel - Talmadge, Norma

While Norma had nothing but respect during the Silent era, her and her sisters were old news by the arrival of talkies. Her pending divorce from PR specialist Joseph Schenck probably wasn't helping either. The only way to describe the Talmadges is like the Pickfords who thought they were the Barrymores but were really as working class as Lasky and Goldfish. They were wildly popular in their own day thought.

Norma was the 'Mary' while Constance was the 'Jack' and Natalie was the 'Lottie'. Norma did drama, Constance did comedy. Norma was wildly regarded as a good dramatic actress, but she had never acted before joining up with flickers. She was extremely popular till the mid 20s when by 28 her last two films had been failures. This didn't bode well for the impending talkies.

Her first talkie did fine, but it was a dull film. Her second talkie Du Barry, Woman of Passion was a resounding flop that killed her career. She eventually took her sister's advice to enjoy their trust funds and never acted again. I think there is some physical resemblance between her Dubarry film and the Lamont clip at the top.

However listening to it Norma's voice was fine, not too Brooklyn or anything out of the ordinary. In fact in the clip above ripped from a 1938 episode of Thirty Minutes from Hollywood. Thanks to Greta de Groat for ripping the clip. Click here to see her wonderful Norma site.

Norma's Talkie Career
Films:
*New York Nights (1929)
*Du Barry, a Woman of Passion (1930)


John Gilbert



John Gilbert was obviously not the inspiration for Lina Lamont. However in the above clip Gene Kelly's character asks if he can do the 'I love you I love you' thing which is a reference to one of Gilbert's disastrous first talkies.

Gilbert did have a higher toned voice than say Valentino, but it wasn't again anything out of the ordinary. People have proven time and time again that it was bad recording technology + Mayer's want to ruin Gilbert. Gilbert actually made a few talkies, including "Downstairs" which received critical acclaim (but sadly failed to revive his career).

John Gilbert's Talkie Career
Films:

*His Glorious Night (1929)
*The Masks of Satan (1930)
*Redemption (1930)
*Way for a Sailor (1930)
*Gentleman's Fate (1931)
*The Phantom of Paris (1931)
*West of Broadway (1931)
*Downstairs (1932)
*Fast Workers (1933)
*Queen Christina (1933)
*The Captain Hates the Sea (1934)

Introducing...Miriam Cooper!


D.W. Griffith had in my opinion an odd taste in women. He liked them svelte, sweet, and innocent...at least in looks. It has been said over and over again (rightly so) that Lillian Gish was his ideal in this area (Mary Pickford was too spunky).

While Griffith worked very well with women he totally lost his head when Carol Dempster came round; and subsequently barely discovered anyone star worthy after 1916 (Clarine Seymour I'd say would be the sad exception). At his height with Birth it was said Griffith had the perfect 3 leading ladies: the blonde and occasionally goat like Gish, the obnoxious red headed annoying Mae Marsh, and the dark brunette Miriam Cooper. Of the 3 Cooper is the only one who never had a relationship with Griffith (though according to her he tried at least twice!). And of the 3 Cooper is the only one I find remotely interesting.

No one can deny Gish is an amazing actress. However I tire of her constant death scenes. When I first seen Birth of a Nation I wondered who the dark haired one (Margaret Cameron) was. Once I found it was Miriam Cooper, and that she had written a book, I had to have it! That's one of the two films of hers I've seen (the other is Intolerance, she played the Friendless One). In both films she plays with a bit of natural acting; which is a nice relief from Marsh's obnoxiousness. I think her portrayal in Birth is absolutely excellent...so its curious as to why she really never became much after that.

Turns out she was a bit nutty. I must confess reading her autobiography "Dark Lady of the Silents" I kinda like her. But I have a feeling if we were to meet we would disagree epically. She was extremely jealous of Theda Bara and thought nothing of her, same for von Stroheim. On the other hand she liked Mae Marsh. When she wrote the book just a few years before her death she was an unrepentant old woman, who told it as she seen it (and thankfully didn't ramble like Minta Durfee). She had spunk that much has to be given.

Miriam claimed she never wanted to go into films; and did so strictly for the money (hey at least she was honest!) The minute she met and got with Raoul Walsh (mid 1915?) she had a new obsession and purpose in life. Note that was 1915...right as her two biggest rolls were out.

Seriously I would call the relationship an obsession (she talks of him like he is still her husband yet claims the divorce was bitter, she also tells of the first time she thought he was cheating she drank cleaning product thinking that would show him, etc). She vowed to retire to become a wife and mother but that didn't work out so well (they were unable to have children and eventually adopted). When Raoul asked her to star in his films (threatening to find some pretty young thing to play with if she didn't) she made a brief return to the screen retiring for good in 1924 (2 years before they divorced). It might just be the most curious case of career sabotage I have ever read...


Interesting things about Miriam Cooper...

*She never wanted to be a star, and barely made more than $65 a week with Griffith even though she could have gotten more elsewhere by that point

*Claims Raoul's first feature film "The Honor System" (1917, now lost thanks to that damn Fox Vault Fire in 37) was the greatest thing ever right up there with Birth. Keep in mind she did tend to play him up as God like.

*Had the shooting script for "The Honor System" on the back of an envelope and almost threw it out...until Kevin Brownlow stopped her!

*She said her acting technique came from a love of captivating an audience (as she did repeating 'The Raven' to make her sister do the dishes) and drifting off/day dreaming to escape reality (she likened it to astral projection).

*She never thought of acting and had only seen one picture when a friend suggested for shits and giggles they should go to the Biograph Studio and see what goes on there. They were hired as extras but the friend ran out too chicken. Ironically Miriam would become a star at Kalem before she became a star with Griffith (she wanted the $5 a day paycheck)

*Was extremely jealous (by her own admission) of women and Raoul. However she seems to not admit this when slamming Theda Bara (who Raoul directed twice against his will) who she claims was crazy over him. She goes as far as to say Raoul came home every day tired of Theda 'mooing' over him. Might be a bit much...

*Was extremely possessive of Raoul and unhappy that he had two vices (gambling and women). The first night after they were married that she suspected he was out cheating she drank a cleaner powder thinking that would show him. According to her it didn't work and she spent many more nights wondering where he was and who he was with

*Though she had 2 leads in Griffith's 2 major films (Birth and Intolerance) she quit his company at the start of her fame. Griffith wanted to use her as a sole lead in a new project but the next day she left for New York and wired him that she had married Raoul. The film was never made.

*Was moderately successful when she returned to films for Raoul. She claimed she did it to be with him and more so to keep other women away from him.

*Towards the end of her life she was greatly amused to see the resurgence of silent film let alone classes and books on the subject. She sat in on many classes and gave lectures about her time in film while traveling to screenings and writing "Dark Lady of the Silents".

*Kept the Walsh name till the end of her life, insisted she was called "Mrs. Walsh", and was buried under the name 'Miriam Cooper Walsh' though they'd been divorced 50 years...

*On the set of Birth Griffith would call the Northerners "Damyankee". Miriam insisted she be called a 'damyankee' as she was from New York (despite the fact she was playing a Southerner). Griffith refused.

*Early during her Biograph days she tried to say hello to Griffith and he didnt respond. She vented to Mae Marsh about it calling him all sorts of names. Marsh told Griffith who then called Miriam out on set by dubbing her 'the Queen of Sheba'. They made up later that day but she said the nickname stuck around for months and she hated it.


Without doing a Complete Filmography its quite safe to say some of her more important works didn't survive. I find it a shame she didn't keep with acting as she was quite good with it. I've seen Raoul Walsh I just cant imagine he's worth swallowing cleaner let alone giving up a career for! Valentino or Chaplin maybe...Walsh? Come on! Anyways at least we can still enjoy her work with Griffith which we still have.

Saturday, January 3, 2009

Debunking Hollywood Babylon: Part 2

Once upon a time I had more time to write epic articles. Now I don't. But we must finish this damn book (and #2)! So continuing from long ago's Part 1 (which ended with the Valentino chapter) lets get on with hopefully the final part...2!

Debunking Hollywood Babylon Part 2





*Dirty Huns

How convenient as my Stroheim biography just arrived yesterday! This chapter seeks to show Erich von Stroheim as a power detailed crazed (in fairness he was a bit) Director who squandered money (he did). However Anger says on the all his sets from Merry Go Round, Merry Widow, and Queen Kelly (he specifically names these 3 films) von Stroheim had barred all studio folks and no one watched the bills he was racking up. For certain this is mostly untrue in all 3 cases as he was fired notoriously several times for such offenses. Gloria Swanson tells in her autobiography how Joseph Kennedy (producer of "Queen Kelly") hired von Stroheim but insisted on keep a close eye on him. At first he did, but the more artistic von Stroheim grew (he had darker non commercial intentions for the film) Gloria became upset and Joseph found a bunch of wracked up expenses. This mostly goes against what Anger says.

Not that it matters, as always Anger's favorite topic is sex. He claims in a movie (or possibly all the movies...he doesn't really specify) that the orgy and bordello scenes Stroheim filmed were genuinely naughty...giving booze to extras and encouraging kinky acts. Gloria never mentioned any of this and I'm sure she would have been horrified as such. Surely rumors did fly (and have continued on thanks to Anger) but even Anger says such scenes were chopped to bits, meaning no proof one way or the other exists.

Beyond those sensationalist claims this chapters not so bad. However it ends with saying Stroheim said, "Hollywood killed me" and makes him sound unfulfilled and broken down in his later years. In actuality Stroheim found artistic solace in Europe (particularly France) where he took to acting and received tons of praise for his earlier works. None of this is mentioned.



*Hollywood Headlines

Not too much to disagree with here other then the 'Mae Murray to von Stroheim' story. Apparently it was the same ol same ol: the (in my humble opinion untalented) Murray wanted something light and pretty, von Stroheim wanted his usual darkness. They had a fight over her dance scene (she had this obsession with the waltz) and she called him a Dirty Hun. Apparently Thalberg never slugged Stroheim though and his remarks about 'all women being whores' seems either Murray or Anger's invention.



*Clara's Beaux

Alongside Olive, Fatty, and Valentino...Clara Bow maybe got it the worst of anyone. Which is insulting as David Stenn wrote a solid bio on her in the 80s.  To this day Anger's stupid rumor is repeated as fact, so much so snopes.com has an article debunking it. The chapter starts out describing Clara's affair with a married doctor...in the most uncouth of terms. While Clara verged on a breakdown Clara's secretary sold stories about her...ones that are oft repeated still as truth (in short: wild sex). Clara took her to court and was so upset she ended up being committed in 1931.

Clara did have long affairs with Gilbert Roland, Gary Cooper, Harry Richman, and Victor Fleming. However Anger only gets Cooper right (well and Rex Bell, her future husband). Anger claims Bow ended up in the sanatorium ONLY because of the secretary scandal. In fact she was pretty much there before that: Paramount had begun to treat her as second tier and goid her by giving her bad scripts, docking her pay, and charging her for unused costumes.

He also makes it out as if Clara married Rex Bell to save her reputation then to the sanatorium then fired from Paramount. Actually she entered the sanatorium in April 1931, Paramount terminated her contract shortly after, and in 1932 she married Rex Bell (retiring in 1933).

Anger then claims Clara's first talkie "The Wild Party" (which he makes out like she shot after all that, in reality she shot it before in 1929...and she didn't peak fame wise till 1930) was hampered by her accent and that she blew the sound valves because of her booming voice. Its possible (sound technology at the time was so sensitive it picked up jewelry dangling) but despite legend "The Wild Party" did well and she was quickly featured in several more talkies. Click here to listen to Clara speak. In reality it was her mental problems (and treatment by those close to her and her studio) that did away with her career...not her voice. Rumors (which are not in this book) have it that Lina Lamont in "Singin in the Rain" was based on her and all of Clara's talkies were failures because of her voice. When I heard her I was shocked! She's fine. People gotta kill this one once and for all.

Back to Clara and Anger. He makes it out as if her (apparently real) wild sex life and accent was the end of her career. He is right the papers had a field day, but he's wrong in his assessment overall.



*Saturn over Sunset

Ironically the pic on the next page is of Norma Talmadge and a mic. I'll agree that the market crash was a final nail in the Silent era coffin. But then Anger goes on to another well demonized star: John Gilbert. I wonder if Anger was the first to spread this rumor...he probably was.

Anger admits Gilbert's voice was fine (click here to listen), but goes on to say his first talkie failed and his voice was the reason. In fact contemporary reports never mentioned any laughs or problems with Gilbert's voice...therein lies the rumor. His supposedly infamous "I love you I love you I love" was actually in his second talkie, and to this day people are split over whether this affected him or not. Either way its obvious that his voice wasn't recorded very well in the early silents, but that wasn't really the downfall. The downfall was his fight with studio boss Louis B Mayer...who promptly set out to destroy him.

Anger does repeat that so I'll give him points there. He says Ina Claire rubbed salt in his wounds but again no proof. She herself only had a limited career. Anger seems to imply its all the talkies fault or Mayers. While true its likely the final blow to Gilbert's career was his alcoholism...which eventually killed him.

Marie Prevost is then mentioned. Anger just gets it baffling wrong by saying she had a 'bronx honk'. If Marie ever lived in NY I do not know but she was born in Ontario, grew up in Denver, and then LA. How this would be a 'bronx honk' I have no clue. Anger claims her drinking started because of talkies, but in actuality she hit the bottle due to her mother's sudden death in car accident in 1926 (ya know talkies were a year away from being major).

Her voice again was not the trouble. Her marriage to Kenneth Harlan ended in 1927 which forced her to drink harder and gain weight. In 1928 filming "The Racket" (with Thomas Meighan) she had an affair with Howard Hughes that also ended sending her further into a spiral. According to a Hughes biography this was the end of her leading lady days. Prevost actually avoided talkies until 1930...by which time she was severely alcoholic and overweight from binge eating. Talkies didn't do her in, men did. NONE of this is mentioned by Anger...absolutely NONE of it. In fact just to show how silly it is, her reviews for "Paid" (1930) were quite good. But by 1934 she was unable to handle herself and quit acting.

Marie died on January 21st, but wasn't discovered until the 23rd. Her dachshund had nipped at her legs trying to wake her up. Anger publishes a death photo captioned 'doggy's dinner' and says her corpse was 'half-eaten' which even by the pictures is quite an exaggeration. He makes it out as if her dachshund sat and fed on her for survival. In reality I'm pretty sure the dog could go 2 days without eating half a human corpse (or wiener dogs can eat a lot more than they appear to!)

Anger claims the 37 version of "A Star is Born" was 'mostly based off John Gilbert with the death scene more so to John Bowers'. Most sources don't mention Gilbert at all leading me to doubt that.

Anger then moves on to moguls affected by the stock market. He sums up William Fox's fall by saying he was ejected in 1930 via a hostile take over. In actuality Fox had been fighting all that since 1928, and combined with a car crash and the market crash that Fox lost his studio. He is most likely right about Zukor who ended up having troubles until his death (though I don't know if $40 million is an accurate figure). Anger claims Davies had to sell some of her jewels to save Hearst. Though the depression did hurt Hearst financially he died extremely wealthy...again this story is doubtful (also who would be buying such jewels during that time?)

Anger claims Gilbert was joined in talkie hell by a string of second rate actors (including BFed: Buddy Rogers). In reality they all made it through or chose not to. He claims Ramon Navarro went to quit movies and live in a monastery for a time. I highly doubt this via his filmography (he was very successful during the late 20s/early 30s). Navarro's biographers have a different stance: Ramon threatened it...to avoid a lavender marriage. He was secretly gay and extremely uncomfortable with it. A monastery would solve that conundrum.

Anger then mentions several actresses who also fell via talkies or the depression as he claims. Hes not fully accurate. Most of the actresses weren't exactly at the peak of popularity to begin with, and when they did give talkies a go they didn't have too many troubles (but not really many successes either) ala Colleen Moore or Corinne Griffith.

He claims Louise Brooks fell from grace to a Macy's counter (whether due to the depression or talkies he doesn't say). Brooks had effectively blacklisted herself in Hollywood (she was headstrong) during the late 20s and fled to Europe where she made Silents well into 1930 (Diary of a Lost girl anyone?) She made some talkies, but no one noticed. She was offered Jean Harlow's role in "The Public Enemy" (which set Harlow's star on fire) but turned it down to be with her lover in New York saying she hated Hollywood anyways. As Brooks biographer notes she had a way of self sabotaging herself. Most people feel THIS was the end of her career...not a lacking talkie voice. She actually made a few more films before bowing out.

After films Brooks tried a dance tour and studio which she again self sabotaged by being difficult. She worked at Saks Fifth Avenue...not Macy's...and not till a decade or so after her final films. She bounced back though: by dating rich men and talking about her career. Its not like she was a sales girl forever (and even that move was her own...not a forced one.)

Mae Murray then gets hell. He's not fully right that the depression took her money. Her faux husband was more to blame: he took a good chunk when he divorced her, and he also acted as her manager at the height of her career...convincing her to walk out of films with little more than a word thus effectively pissing off Mayer. Mayer refused to rehire her and her career was in essence over. Anger claims she was arrested for vagrancy for sleeping in a park. I can't find it and its a doubtful story. In reality she went plum crazy, was likely the inspiration for Norma Desmond, and ended up at the Motion Picture home.



*Drastic Doubts

Nothing too bad here. However I questioned if 31 was Clara's first trip to the nuthouse...the poor girl had had issues all her life. But I don't have her bio so I'll have to assume as such. Buster Keaton is briefly mentioned.




*Enditails

Anger claims Milton Sills killed himself by running his last limo off Sunset. In actuality Sills died of a heart attack at age 48 while playing tennis with his wife.

He claims actress Jeanne Eagels purposely OD'd on heroin due to talkies. In actuality she was highly respected at the time of her death and had made a successful talkie. However she had had a drinking problem since the early 20s and due to sinus and other issues she tended to 'self medicate'. After the divorce to her husband in 1928 her alcohol intake increased. As she prepared for a night on the town she took ill and went to the hospital where she died. Reports disagree but say it was either 1) Alcohol 2) Sleeping meds or 3) Heroin that did her in. Given her tendencies its possible it was all 3 but its unlikely it was suicide and extremely unlikely it was due to talkies.

Anger claims Robert Ames took the gas pipe in 1931. For some reason Ames is the hardest person I've had to find info on. He was stage trained and mostly acted in early talkies though he did do silents (thus ruling out Anger's 'talkie failure' theory). Of note were Gloria Swanson's "The Trespasser" and Vilma Banky's "A Lady to Love". He was doing quite well at the time of his death...it doesnt make sense he'd kill himself let alone 'take the gas pipe'. Anger what the hell does that even mean?

I consulted nitrateville and user Harold Aherne was able to find some more info on Ames. An article from The New York Times ("Ames's Death Laid to Natural Causes" from 11/29/31) said he hadnt drank booze 24 hours before, and had last been seen having dinner with friends including apparent gf Ina Claire (who was incosolable upon hearing the news). Suicide was never mentioned and foul play was ruled out. No gas pipe...hmm...

Another article from The NYT ("Finds Liquor Killed Ames" 12/01/31) ruled he died of delirium tremens from quitting alcohol too abruptly. A miserable way to go, but obviously not by choice. No gas pipe, no suicide. Nice one Anger.

Anger then goes to Karl Dane who he revisits in Hollywood Babylon 2. Showing he cant get shit right Anger says Dane died in 1932...he died in 1934. Anger also implies Dane did it due to talkies. We've already covered that's not true.

Anger then takes aim at Paul Bern, Jean Harlow's husband. Again mostly untrue, but Bern wasn't a silent player really so I don't feel like going over it.

Anger continues making my brain hurt by more false suicides. He revisits John Bowers saying Bowers walked nude into waves in Malibu to off himself. Actually Bowers rowed a boat out in Santa Monica and then drowned himself (nude didn't seem to be part of it). He calls Bowers a has been but Bowers seemed to have made films steadily up to talkies (and a few talkies) and was 50 when he died...likely just being old not a has been.

Anger also labels James Murray a has been and says he drowned himself by jumping in the East River. Murray was a has been due to a love of alcohol, and people tried to help him including King Vidor. Anger even admits Murray was clothed, and due to that his death has never been ruled a suicide or accident. Its possible it was either or.

Anger then says George Hill blew his head off with a hunting rifle, implying it was just another has been suicide. In actuality Hill had been extremely successful even in talkies especially due to 1931's "Min and Bill". However he was disfigured in a car accident soon after, something that led to depression and likely his suicide. However he hadn't gone out as a has been: he had been preparing for a rule in the yellowface-riffic "The Good Earth" at the time of his death.

Making me tired of all this, Anger then goes onto Lou Tellegen who he claims was a pathetic has been who stabbed himself and laid out amongst his pathetic press clippings from happier times. Anger just leaves out the important bits: Tellegen had been extremely successful up to 1926...before his face was disfigured in a fire. To make matters worse he was soon diagnosed with cancer which was withheld from him and he became extremely concerned with his health. Fame obviously faded as did funds. He did kill himself in 1934 with a pair of scissors, and was supposedly surrounded by press clippings. He too was 50. For the record Tellegen did make talkies and also took to directing in his later years. He was Dutch but had been in America quite awhile (almost 24 years) and its likely his voice was fine. Anger also fails to mention his successes with Sarah Bernhardt but does mention his first wife Geraldine Farrar (he must have had a thing for theatre women...)

Anger then mentions Gwili Andre, saying she was a failed starlet. In reality she had been heavily promoted (solely a talkie star) and given a starring role and position by RKO. Her films didn't live up to expectations though and she was let go. He is right though: she did set herself on fire surrounded by her press clippings (so far I may have to give her the second most dramatic death award, right behind Lya De Putti).

Anger then finishes out this dreadful chapter by claiming Ross Alexander died of a sleeping pill overdose (he didn't, he shot himself in the head with a rifle his wife had shot herself with earlier...see he could be dramatic too!), as well as Tom Forman (who shot himself in the heart, and for the record he did so in 1926, not 1938 as Anger claims).



*Babylon Babblers

AHHH my head is gonna explode. Well onward (and thank God we're almost done with silents so I can put this dreadful book in the trash where it belongs)! Anger starts things off by putting Stroheim in the same category as Wallace Beery which shows just how insane he is. He claims Mary Nolan was a BDSM Queen and that her suing of a producer for beating her was part of this. Obviously there is no proof one way or the other. Anger then goes to penis talk (one of his favorite subjects) again claiming Chaplin well endowed. Sure let's take that one as fact.

Anger then goes into F.W. Murnau. Interesting theory here: has anyone actually ever PROVEN Murnau was gay? I just spent forever searching and couldn't find much about his private life, let alone that he was definitely gay or straight or whatever. This may be another case of Anger 'claiming a dead one for the team'. The few links I did find said he was 'gay but never open and self loathing about it'. That would almost indicate he may not have been at all...I want proof. Anger takes all the shots he can claiming Murnau's accidental death (a car accident) was because he was going down on his Filipino valet (who was driving) at the time. Not only that but Anger asserts Murnau was some sort of shameful blacklisted, and turning up at his funeral was a brave act. Every other thing I can find on him says else wise.

Anger then turns to lesbians, starting with Garbo then going to Dietrich. Even though he asserts it was more bisexual than lesbianism. He claims Lili Damita for the team, something I've never heard before (though the other names were in essence out and proud). Its possible but Damita had several intense marriages to men, one of which seen her moving to and loving IOWA where she is buried. You would have to love cock an awful lot to marry a man and live in Iowa for a few decades. In what I found about Damita she's not generally claimed for the team as Murnau is...thus likely no one listened to Anger on this one.

***This is the point where talkies begin to intermingle with silents quite a bit. As much as I love Mae West and Marilyn Monroe I just don't have the stomach or time to debunk each chapter. So finishing up with the silent ones***



*Diary in Blue

Mary Astor and her diary. In the early 1930s things weren't going so good for Astor. Her mooching terrible family was spending money she didn't have on improvements for their opulent mansion. She had to sue them to stop.

In 1935 her marriage to Franklin Thorpe was deteriorating, and her lover George S. Kaufman let her know Thorpe had contacted him about it. Seems Thorpe found her diary. Thorpe promised to be quiet as long as Astor divorced him uncontested and let him get custody of their daughter promising after 6 months they could go on a 6 month rotation schedule. Astor agreed thinking it would save her bad publicity and rights to her daughter. In 1935 the divorce was settled with Thorpe getting sole custody of their daughter. In 1936 (assumedly he didnt keep his promise) Astor sued him for custody and wages returned to her. Thorpe went ape shit and submitted her affair and pages from her diary as evidence.

Astor claimed he stole her diary and the pages he submitted were fake. As Thorpe continued to threaten ruining her career she backed down and gave Thorpe control of her securities (he had threatened to ruin her if she didnt). After this Thorpe and his lawyers released the supposed diary anyways to the press, dubbing it 'The Purple Diary'. The letters were mostly sentimental and harmless, but it was damaging none the less. For the record no one ever verified if it was indeed her writing or from her actual diary.

As the custody battle went on the judge seized control of the diary and refused to release it to either Astor (who wanted it back for sentimental reasons) or Thorpe (blackmail reasons). It was quietly destroyed in 1952 with both parties consent. No one recorded its contents before it was destroyed. Astor eventually recovered custody of her daughter and went on to have a long career.

Anger doesnt get it right on pretty much any account. He calls it her 'blue book' (possibly being a smart ass in doing so...blue was the equivlant of dirty back in the day) though he does go on to call it 'blue bound book' later in the chapter. Anger claims she had an illicit affair with John Barrymore at the start of her career, when in actuality they were engaged.

Anger then goes on to publish what he claims are several entries. Not having the newspaper articles I cant say if this is indeed what was in the press. But it goes against it as other accounts say the entries were sweet and romantic and girly. Anger's are full of sexual things. He also has a bunch of court recountings...none of which can be proven true.

Anger then claims the judge ruled it 'pornography' and sent it to the fire. 1) The Judge never ruled it as such and took custody of it because he didnt want it to be part of the custody case (feeling the child's well being more important then tabloid mud slinging) and 2) it wasnt destroyed until almost 20 years later...Anger makes it out like it was right at the time.




*Death Garage

Thelma Todd barely qualifies as a silent star. In fairness she did work with Laurel and Hardy, Charley Chase, and Buster Keaton.

A beauty Queen discovered in 1925 she eventually entered movies mostly as a pretty face. In 1935 she was found dead, slouched in a car in the garage. Anger says it was in her lover Roland West's garage. It was actually his ex wife's garage: Jewel Carmen. The house was near a resteraunt Todd frequented, and had been at the night of her death. Anger doesnt mention it until way down, saying it was a beach cafe in Palisades.

Anger says she had blood on her face (something not really evident by the lovely death picture he includes) and her clothes were rumpled as if something illicit had happened. However this wasnt reported elsewhere and her death was ruled accidental carbon monoxide poisioning. She was cremated and buried with her mother upon her mother's death.

The LAPD did invesitgate her death, but even after everything still believed it was an accident. Pretty much every other theory Anger mentions (witnesses saying she was such and such, Lucky Luciano did it, etc) has no footing. He almost single handedly encouraged these conspiracy theories.

In the end there are two likely answers. 1) Is that Thelma had been prone to depression and intentionally offed herself. 2) According to History's Mysteries Roland West confessed towards the end of his life to accidentally killing her (dragging her from a party a little too roughly). If she was indeed killed in whatever manner he is the likely suspect regardless.



*Who's Daddy? Sugar Daddy

And for what is the millionth time in this book, Chaplin is revisted. And as usual Anger's sick fantasies are reported as facts.

He gets the beginning right. In 1942 (he says 43 then 41) nobody wannabe actress named Joan Barry was introduced to Chaplin who thought about usuing her as the lead in a proposed movie he never made. He had just ended his relationship (likely divorcing) with Paulette Goddard and was probably looking for a new something something.  This article covers it thoroughly.

Anger says Chaplin signed her to a contract, which he did though eventually he did his best to get rid of her. Anger claims she was forced to have 2 aboritions during her time with Chaplin, which is reportedly true.  He says he dumped her 'after she showed up to his house with a gun as part of erotic foreplay'.  While she did indeed do just that Chaplin didn't immediately end things with her...they were in touch for awhile.

What really happened was Chaplin had a brief relationship with her before she started exhibiting signs of mental illness much like his mother. One would assume the relationship ended very quickly after it began. She gave birth to a child in likely 1943 (thus pretty much ruling Chaplin out from the get go) long after whipping up a press storm.

Anger is right it was a war between Louella Parsons and Hedda Hopper which fueled it. And indeed Hedda Hopper had a taste for blood and definitly wanted to tear Charlie down. Hopper and Parsons were like TMZ and Perez Hilton in their own days (respectivly). Both bitchy, but one much more blood thirsty than the other. And unfortanitly that one was the one after Chaplin.

Anger claims Charlie postponed his marriage to Oona because of the trial. Its untrue as he married her in June 1943 (the suit had been filed in 1943, the child wasnt born until October 1943). The rest of it isnt too far off...the jury did indeed rule that even though blood tests proved the child wasnt his Charlie still had to support it (they figured blood tests were too new and thus inadmissable as evidence). Anger leaves out the part about Barry finally being instituionalized in 1953 after being found wandering the streets holding a pair of baby shoes and a child's ring muttering, "This is magic".  Reportedly Oona thought the child was his, and the little girl is still alive.  Whatever became of Joan Barry after the magic baby shoes is unknown.



*Chop Suicide

In a chapter about Lupe Velez, Anger starts out with getting Julian Eltinge's death wrong. He says he died purposly OD'ing on sleeping pills. Yet other reports give Eltinge as dying of a cerebral hemorage. He could have had use for suicide, but its just unknown. Anger also says clown Joe Jackson did the same. Jackson actually died in the wings after show.

I'm a little confused by the sentence 'The Second Suicide of Lupe Velez' as it seems hard to achieve that act more than once. I'm gonna bypass the lightly peppered junk of her relationships (flashing her undies in public seems a bit much Anger) and go straight for the meat of the chapter. In 1944 Velez became pregnant by her current beau Harald Maresch. Lupe distraught over giving birth to an illegitimate child killed herself at age 36. Anger gets it wrong point for point.

First he claims Harald's name was Harald Ramond for some unknown reason. He calls him a gigolo though nothing much is known about Maresch. Anger says she was heavy in debt, though nothing else verifies that (she was still steadily working though its possible she could have been a Valentino with her money). Anger also says Maresch agreed to a mock ceremony to give the baby his name only, but Velez refused. Apparently along the way they became engaged. This isnt mentioned anywhere else at all.

Anger says she did up flowers and candles, and a silver lame dress. Nowhere else reports this (its likely as embellished as his Olive Thomas death). He says she took sleeping pills, then crawled to the toliet to vomit where she unceremouniously drowned and was discovered by a chambermaid named Juanita. In actuality she OD'd on the pills, and her secretary and friend Beulah Kinder. Kinder claims to have found her ''sleeping'' peacefully in bed.

Anger's only claim to why Velez killed herself other than the child was debt. However her biographer notes she may have suffered from bipolar disorder, with an episode leading her to kill herself. Her biographer notes that she defied many social conventions of the time (including divorce, a very unCatholic thing to do) so killing herself over JUST an unborn illegtimate child seems unlikely.



*Hollywoodam Merung

My apologies to Marilyn but my brain hurts. Lets end this horrid book! Anger takes a grand finale by recounting more deaths and old life tales. Corinne Griffith's divorce is one. In 1966 Griffith wanted to divorce her fourth husband, and famously claimed to be...well not Corinne but her sister...claiming Corinne died ages ago. Anger for the most part gets the story right just missing the details. He says it happened in 1965, it happened in 1966. The man was 45, not 44. Anger also leaves out the part about her claiming to be her sister and says she wanted an annulment as the marriage hadnt been consumated. Nothing else says that. He also leaves out the part that 8 years later Griffith was STILL claiming to be her 20 something years younger sister.

Then enter the infamous Ramon Novarro myth. Anger claims that Novarro laid choking on his own blood with 'Rudolph Valentino's art deco dildo stuck down his throat'. I question how one could choke on blood over the supposed dildo but I digress. He also claims the dildo was given '45 years earlier' making it 1923. That would be interesting considering the hellit upseting bigamy charges going on against Valentino, his one man strike, and his constant attachment to Natacha Rambova.

But even more to the point: THERE NEVER WAS A DILDO! Not one used in the crime, not one from Valentino, not one stuffed down Novarro's throat. Novarro and Valentino had likely only met a few times and were not well acquainted. They didnt socialize together and Valentino was a bonafide straight man who was distraught when he lost his wife Natacha. Novarro on the other hand was extremely closeted and a no0b when Valentino was major. Its just...all around improbable beyond FANTASY.  Again both Michael Morris (Rambova biographer) and Andre Soares (Novarro biographer) have debunked this hardcore.

For the rest of Novarro's death Anger gets it wrong and wronger. He was murdered on the 30th of October, not the 31st (ala Halloween as Anger claimed). Anger says they just wanted $5000 they heard was hidden in Navarro's home from a hustler. In actuality they were hired via an agency by Novarro for sex. The brothers thought he had a large sum of money hidden in his house, and beat and tortured him until he died and they found nothing. Anger completly forgets the 'beat and tortured part' as well as oddly the hired sex part. He claims they just ransacked the house and left. Close but the hours of torture Novarro endured are much more relevant. Also for the record the brothers left with $20...all they could find. Anger doesnt mention this or what happened to them.

FINALLY DONE!

Seriously though this is a dreadful book. I regret I'll have to purchase the second one just to debunk it. #3 isnt so bad though...took 5 minutes.