Madge Kennedy: Pioneer Actress.

Madge Kennedy: Pioneer Actress.It is virtually unique to encounter an actress who had not only been a silent star, but an equally prominent performer on the Broadway stage, but Madge Kennedy was such an actress.




Although born in Chicago, on April 19, 1891, Madge and her family moved to California and then to New York, where the actress began her professional stage career in 1910. When Samuel Goldwyn formed his own production company in 1917, Madge was the third star he signed, following Mabel Normand and Mae Marsh. Between 1917 and 1920, Madge starred in 21 five-reel features for Goldwyn, beginning with “Baby Mine.” When Madge’s contract with Goldwyn expired in 1921 after her last films, “The Girl with a Jazz Heart,” “The Highest Bidder,” and “Oh Mary Be Careful,” she decided to return to the stage. Madge’s return to stage was in “Cornered” (1920), and although she was to make six independent feature films between 1923 and 1926, she primarily devoted her energy to theatrical work. “Poppy” with W.C. Fields, which opened at New York’s Apollo Theatre on September 3, 1923, is the most famous of those stage productions.

With her first husband Harold Bolster, a former Goldwyn executive who died in 1927, Madge formed an independent film production company, Kenma Corporation. Madge produced and starred in “The Purple Highway” (1923) and “Three Miles Out” (1924), both relatively unsuccessful.

In the 1930’s, Madge’s career began to falter. She made her last Broadway appearance in “Bridal Wise” (1932). That might have been the end of Madge’s career had it not been for three fans, Ruth Gordon, Garson Kanin, and George Cukor. In the summer of 1951, the trio was involved in pre-production of “The Marrying Kind,” which the Kanins had scripted and George Cukor was to direct. Judy Holliday and Aldo Ray had been cast in the starring roles, but the three were looking for someone to play Judge Carroll, in whose divorce court Holliday and Ray would air their marital differences. “The Marrying Kind” was followed by fourteen film roles including “Lust for Life” (1956), “North by Northwest” (1959) and “They Shoot Horses, Don’t They?” (1969).

Madge’s later years weren’t easy and she relied upon a pension from the Actor’s Fund to pay the bills. Madge died on June 9, 1987. She was 96 years old.

"The Red Kimona" (1925).

“The Red Kimona (1925) is a silent romantic drama starring Priscilla Bonner, Carl Miller, and Theodore von Eltz. Directed by Walter Lang in collaboration with Adela Rogers St. John and Dorothy Arzner, who wrote the story, and Dorothy Davenport Reid, who co-directed and produced, this film was the subject of a landmark California lawsuit. The story begins with a naïve small town girl, Gabrielle Darley, played by Priscilla Bonner, who finds escape from her cruel home life in the arms of a handsome stranger, Howard Blaine, played by Carl Miller, who promises to marry her in New Orleans. Soon Gabrielle finds herself working as a prostitute in New Orleans and clinging to the belief that Howard really loves her. When Gabrielle discovers Howard buying an engagement ring for another woman, she ends up killing him. Gabrielle’s murder trial draws much publicity and she finds herself befriended by a rich society woman, Mrs. Beverly Fontaine, played by Virginia Pearson, who professes concern for her. After her acquittal, Gabrielle goes to live with Mrs. Fontaine intending to start a new life. Unfortunately, with the publicity value of being seen with her protégé gone, Mrs. Fontaine sends Gabrielle riding alone. Unable to find an honest job because of her past, Gabrielle becomes homeless and penniless.


“The Red Kimona” (1925) is a social commentary film that was made from a woman’s point of view. Dorothy Davenport Reid had entered film production following the drug-related death of her husband, Wallace Reid in 1923. Her first two films were produced in association with Thomas H. Ince, but for her third effort, “The Red Kimona” (1925), a strange main title spelling for Kimono, which was corrected in the publicity for the film, she formed her own company. Gabrielle Darley, on whose life story the film was based and who had since married a prominent physician was unhappy with “The Red Kimona” (1925). Gabrielle Darley sued, claiming the film denied her right “to pursue and obtain happiness,” as guaranteed by the California constitution. Eventually, in 1931, she won, and Dorothy Davenport Reid began the decade penniless.
I think “The Red Kimona” (1925) is an interesting film that seems very modern in its sensibilities. In fact, the film denounces the social hypocrisy towards Gabrielle Darley. Overall, I found it to be a frank discussion of a society that often fails women. Priscilla Bonner gives a restrained but moving performance as an abandoned woman. Her eyes were so expressive and conveyed so much emotion. One of my favorite scenes is the one in which Priscilla Bonner looks in the mirror and sees herself wearing a wedding dress and veil and then all of a sudden she notices that she is not wearing a wedding dress and veil but instead, a red kimono. I liked how the red kimono stood out because of its crimson color in contrast to the usual black and white. Only 80 minutes in duration, “The Red Kimona” (1925) includes a thrilling finale with crossed fates, redemption, and true love.





Born in Washington, D.C., on February 17, 1899, Priscilla Bonner’s first featured film was “Homer Comes Home” (1920) with Charles Ray. While she never became a star, Priscilla appeared in some 30 silent films and co-starred with such luminaries as Will Rogers in “Honest Hutch” (1920), Lon Chaney in “Shadows” (1922) and Ronald Colman in “Tarnish” (1924). Priscilla had one of her greatest film successes in “Drusilla with a Million” (1925), which only helped to support Hollywood’s opinion that she was an accomplished actress taking on more fulfilling roles. In July 1925, Priscilla was thrilled to know that she would be John Barrymore’s leading lady in “The Sea Beast.” Priscilla’s acting ability didn’t cause her to lose her role, but rather John Barrymore’s meeting and infatuation with Dolores Costello. If modern audiences know Priscilla at all, it is because of her role as Harry Langdon’s leading lady in “The Strong Man” (1926) and “Long Pants” (1927), which were directed by Frank Capra. At the time Harry Langdon was rejecting the advice of Capra. Priscilla was very fond of Capra and thought Langdon would have soared with him. In 1927, Priscilla appeared in Clara Bow’s most famous film, “It” (1927), as a single mother. Priscilla retired from films after “Girls Who Dared” (1929). She died on February 1, 1996. She was 97 years old.

“Sunrise: A Song of Two Humans” (1927)

“Sunrise: A Song of Two Humans” (1927) is a silent romantic drama starring George O’Brien, Janet Gaynor, and Margaret Livingston. Directed by F.W. Murnau, this film ranks among the best ever made. The story begins with a small town farmer, played by George O’Brien, neglecting his wife, played by Janet Gaynor, and having an affair with a vacationing woman, played by Margaret Livingston, from the big city across the water. When the woman suggests that the man kill his wife by drowning her on a boat ride to the big city, he is consumed with the thought of escaping his life in the village. Once he is on the boat and ready to commit his horrible act, he looks into his wife’s eyes and realizes the love that she has for him is more powerful than the fling he is having with the woman from the big city. After reaffirming their love for each other they embark upon a second honeymoon through the city. Unfortunately, a storm hits as they are crossing the water back to their home.

In terms of production design and photography, “Sunrise” represents the very best of Hollywood. Even though its commercial success was limited by the competition of the new talkies, “Sunrise” was an enormous critical success. The impact of “Sunrise” as a film, and of German director F.W. Murnau as a new artistic leader was enormous, especially at Fox where directors tried to emulate his style. The story is rather simple, but the innovative cinematography is mesmerizing and stands alone as a wonderful display full of beautiful scenes and images. Many of the camera techniques used in the film were avant- garde for the time and seta new foundation of filmmaking for future directors. I noticed that the camera was extremely mobile, especially in fairly small and limited areas. I liked the suspense and tension as well as humor and humanity that the film offered in some scenes, particularly the one where O’Brien breaks down in tears in front of Janet Gaynor when he remembers their wedding vows. What impressed me the most about the film was that it was almost told with just visuals and music. There are hardly a dozen subtitles for a 90 minute film. This is a testament to Murnau’s talent for storytelling. A beautiful, poignant film with superb performances by the two leads, “Sunrise” is a masterpiece of the silent era. It is interesting to note that Janet Gaynor won the Best Actress Academy Award for her body of work that also included “Seventh Heaven” (1927). Cinematographers Charles Rosher and Karl Krauss got an Oscar for their work in “Sunrise” (1927). “Sunrise” itself received an Academy Award for “Most unique and artistic production.”

With his good looks, outgoing personality, and athletic credentials, George O’Brien was a natural for Westerns, a genre in which almost all of his sound career was spent. He became a star in John Ford’s “The Iron Horse” (1924) and ended his career as a character actor in two Ford films, “Fort Apache” (1948) and “She Wore a Yellow Ribbon” (1949). O’Brien was able to immerse so totally in the character of the husband in Murnau’s “Sunrise” (1927) that one cannot wonder why an entirely different career did not open for him. O’Brien was very much the answer to the Latin-lover type, a well built, all-American who could ride and fight. He was a former boxer, who had initially wanted to be a cameraman, and he starred in two boxing features, “The Roughneck” (1924) and “Is Zat So?” (1927). O’Brien looked good stripped to the waist, as he usually was in most of his early films. “Sunrise” changed O’Brien’s image; it proved that he was also a very fine, sympathetic actor, but it went contrary to his studio-created personality. It did, however, obtain for the actor the starring role in “Noah’s Ark” (1928), which again brought out a strong performance from O’Brien, playing both a Biblical and modern hero. O’Brien’s sound films, virtually all action pictures, are fun to watch because of the actor’s cheery disposition, but they all hint at lost opportunities. George O’Brien died on September 4, 1985. He was 86 years old.

"Torrent” (1926)

“Torrent” (1926) is a silent romantic drama starring Ricardo Cortez, Greta Garbo and Gertrude Olmstead. Directed by Monta Bell and adapted from the novel by Spanish author, Vicente Blasco Ibanez, “Entre Naranjos,” this film is a story of lost love and missed chances. Leonora Moreno, a peasant girl, played by Greta Garbo, and Rafael Brull, played by Ricardo Cortez, have grown up in the same Spanish village. Although they are in love, Rafael is from an aristocratic family and dominated by his mother, Dona Bernarda Brull, played by Martha Mattox. Dona Bernarda forbids the relationship causing Leonora’s family to be kicked out of their home. Leonora’s father, Don Pedro Moreno, played by Edward Connelly, decides to take his daughter off to Paris where her trained voice is sure to be a hit. Meanwhile, her mother, Dona Pepa Moreno, played by Lucy Beaumont, is left behind to work as a maid for Dona Bernarda. After Leonora leaves for Paris, Dona Bernarda convinces Rafael that Remedios Matias, played by Gertrude Olmstead, would be the ideal wife for him mainly because her father, Don Matias, played by Mack Swain, has grown rich in hog raising, and he becomes engaged to her. While living in Paris, Leonora becomes a famous opera singer, La Brunna, and develops a reputation for being a loose woman. When Leonora returns to her home to see her mother, she and Rafael meet again and their love is rekindled. Unfortunately, Dona Bernarda separates them again, and he marries Remedios. Years later, Leonora and Rafael meet again. She is still beautiful, but he looks older than his years and is an unhappily married man with two children. The ending is surprising.











“Torrent” (1926) was Garbo’s American film debut and it helped establish her as a big star. With magnificent sets and costumes, this was MGM filmmaking at its best. The special effects must have been quite remarkable for their time. With no language barrier to deal with, the Swedish actress was able to play a Spanish peasant turned temptress with no disbelief from the audience. Handsome Ricardo Cortez was quite convincing as a Spaniard and does an admirable job appearing foolish and growing old ungracefully. One of the things I liked most about the film was the use of sepia, blue, lavender and red hues throughout. I liked the scene where Cortez braves the torrent in a row boat trying to rescue Leonora. One of my favorite scenes is when a lovesick Cortez wanders back to Garbo’s home and tells her he needs her and they dissolve into each other’s arms. The scene in which Cortez and Garbo are lying near the orange blossoms is breathtakingly romantic and very well done. “Torrent” is worth watching just for its stunning cinematography and Garbo’s impressive American film debut.

Ricardo Cortez, who looked like Latin Lover Rudolph Valentino, was invented, named and groomed to become a direct rival. Ironically, he wasn’t Latin at all, having been born Jacob Krantz to an Austrian Jewish family in New York City. He became starstruck growing up in Manhattan, began playing bit parts in New York-based films, and after moving to Hollywood, his appearance in a dance contest won him a Paramount contract. Jesse Lasky of Paramount was in the audience and noticed how much Krantz resembled Valentino. Lasky immediately offered Krantz a contract and began preparing him to take Valentino’s place. Lasky’s secretary picked the name Ricardo Cortez when it was decided the young actor needed a Latin name. Krantz stuck with his new name and went on to make ninety pictures from 1924 to 1958, all under the name of Ricardo Cortez. He also achieved a considerable degree of prominence during the silent era with films such as “Argentine Love” (1924), “The Spaniard” (1925), “The Swan” (1925) and “Torrent” (1926). Cortez moved easily into talkies and starred in such films as “The Maltese Falcon” (1931), “Symphony of Six Million” (1932), “Midnight Mary” (1933) and “Torch Singer” (1933). When Cortez retired from the film business, he went to work as a stockbroker on Wall Street. Cortez died in New York City on April 28, 1977. He was 76 years old. He was the brother of noted cinematographer Stanley Cortez (born Stanislaus Krantz).


Dona Bernarda has in mind Remedios Matias, played by Gertrude Olmstead, as a daughter-in-law mainly because her father, Don Matias, played by Mack Swain, has grown rich in hog raising.

“Camille” (1921)

“Camille” (1921) is a silent romantic drama starring Alla Nazimova, Rudolph Valentino, and Patsy Ruth Miller. Directed by Ray C. Smallwood, this film was adapted from the novel by French author, Alexandre Dumas, “La Dame aux camelias,” and the scenario for this modern day version was written by June Mathis.

The story begins with a Parisian courtesan, Marguerite Gautier, played by Alla Nazimova, despising her life and not being able to break free of it. She also has tuberculosis and is frequently beset by bouts of illness. One evening, Marguerite meets a young law student, Armand Duval, played by Rudolph Valentino, at the opera. Armand pursues her, but she rejects his advances at first. Eventually, Marguerite and Armand begin a relationship and they start living together. Marguerite’s love for Armand is a way out of her sordid way of life. Unfortunately, Armand’s father, Monsieur Duval, played by William Orlamond, demands that Marguerite renounce Armand for the sake of his own future and that of his sister. Marguerite finally relents and runs away to a wealthy client, leaving a note for Armand.


By the fall of 1921, Valentino was solidly established in the movies, and he was a name. Playing Duval to Nazimova’s modern-dress Camille was no easy assignment. Nazimova was an actress of great experience and talent. Against her somewhat cold but forceful performance, Valentino seems low-key and subtle, and he blows her off the screen. Nazimova knew it, and cut him completely out of her death scene. Valentino absolutely commands attention, despite Nazimova’s Art Deco costumes and bizarre settings. In “Camille” (1921), Valentino was expected to be her co-star, yet he managed to establish himself much more strongly in the film than she did. “Camille” (1921) was not a financial success, but Valentino was not harmed by it. He and Nazimova made a curious pair and a sharp contrast in film acting styles. Valentino was a movie star as opposed to an actor. Nazimova was more theatre- oriented and at times her performance goes far over the top. “Camille” (1921) was designed with magnificent sets and costumes by art designer Natacha Rambova, who became Valentino’s second wife. One of my favorite scenes was the daydream sequence where Nazimova appears as Manon Lescaut and Valentino as Manon’s lover. Even though I like the 1936 version with Greta Garbo and Robert Taylor, I think Valentino was more expressive than Robert Taylor. The love scenes with Valentino and Nazimova were subtle and very well done.




Alla was born Mariam Edez Adelaida Leventon in the Ukraine on June 3, 1879, of Jewish parents. At age 17, abandoning her training as a violinist, she quietly studied theatre with assorted young actresses with whom she shared a boarding house. At age 17, she auditioned at the Philharmonic School in Moscow with Konstantin Stanislavsky. Her work with the Moscow Art Theatre led to tours of the United States, where she impressed the Shubert Brothers. The theatrical giants opened her in “Hedda Gabler” in English. For the following several years she established a reputation as the outstanding portrayer of the Ibsen works, “A Doll’s House,” “The Wild Duck,” “The Master Builder,”and “Little Eyolf.” During the early years of World War I, Alla appeared on the stage in a one-act pacifist drama, “War Brides.” Alla also debuted in films in “War Brides” (1916) and immediately created a sensation with her exotic manner, powerful presence, and sincere portrayal. Metro offered her a five-year, $13,000 a week contract, and she had a meteoric career appearing in 17 silent films. As her success in films grew, Alla became convinced that she alone could best direct her efforts. After several major companies refused to finance the projects, she made the unwise decision to produce both “A Doll’s House” (1922) and “Salome” (1923) with her personal savings. “A Doll’s House” (1922) was extremely well acted and Alla was said to be truly effective in her emotional scenes. Alan Hale, Alla’s leading man in the film, was a pioneer film actor in hundreds of films from 1911 to 1950. “Salome” (1923) is so outlandishly stylish and bizarre that it is actually enjoyable. Unfortunately, both “A Doll’s House” (1922) and “Salome” (1923) were critical and commercial failures. After her production of “Salome” (1923), Alla lost what remained of her fortune. Left with few options, Alla returned to perform on Broadway. In the early 1940’s, she appeared in a few more films, playing Robert Taylor’s mother in “Escape” (1940) and Tyrone Power’s mother in “Blood and Sand” (1941). Alla died on July 13, 1945. She was 66 years old.

“The Show- Off”(1926)

“The Show- Off”(1926) is a silent comedy drama starring Ford Sterling, Lois Wilson, and Louise Brooks. Directed by Malcolm St. Clair, this is the first of the four film adaptations of the George Kelly play. The story begins with Aubrey Piper, played by Ford Sterling, posing as a railroad executive even though he is really just a $30 a week clerk. He manages to convince a girl from a nice family, Amy Fisher, played by Lois Wilson, that he is rich and successful. Amy’s mother and father dislike Aubrey, but Amy loves him dearly despite his boastfulness. After the wedding, Amy realizes that Aubrey is not rich nor famous. They move into a small apartment, but life is tough because they have trouble paying the bills. When Amy’s father dies, the couple decides to move back into her mother’s home. Surprisingly, Aubrey wins a car in a raffle. Unfortunately, he picks up the car not knowing how to drive and causes some accidents by driving in the wrong lane. At Aubrey’s court hearing the judge hands him a $1,000 fine. Amy’s brother, Joe Fisher, played by Gregory Kelly, pays it with the $1,000 check his father gave him before he died to pay the mortgage. Joe actually prefers losing the house than to have a family member locked up in jail. What happens next is interesting and surprising.


Even though “The Show-Off” is fairly predictable, it is worth watching just to take a look at the legendary and beautiful Louise Brooks in a supporting role as the girlfriend of Joe Fisher, played by Gregory Kelly. I liked the scene where Clara, played by Louise Brooks, catches Aubrey counting portions during the prayer before dinner. I also liked the scene in which Joe and Clara reacted to the death of Pop Fisher. No subtitles were needed because their expressions said it all. Ford Sterling, best known as the chief of the Keystone Cops, gives a wonderful performance as the boastful and pompous Aubrey Piper. His body language and facial expressions bring his character to life. He was certainly a natural comedian. Lois Wilson, who was one of the most dedicated actresses of the silent screen, gives a sympathetic performance as Aubrey’s loving wife.


Born Mary Louise Brooks in Cherryvale, Kansas, on November 14, 1906, she began her entertainment career as a dancer appearing with the Ziegfeld Follies as well as the Ruth Saint Denis’ dance company. Signing with Paramount, Louise’s film debut was in “The Street of Forgotten Men” (1925) in an uncredited role. In 1926, Louise made six pictures at Paramount: “The American Venus,” “Love ‘Em and Leave ‘Em,” “A Social Celebrity,” “It’s the Old Army Game,” “The Show-Off,” and “Just Another Blonde.” Embittered over studio politics and longing for a new adventure, Louise shocked the industry by abandoning Paramount to work with director G. W. Pabst in Berlin, Germany. When Pabst saw Louise in Howard Hawks’ “A Girl in Every Port” (1928), he was convinced that she was ideal for the role of Lulu in “Pandora’s Box” (1929). At the time Louise was involved with a Paramount contract and was not available. Pabst settled on Marlene Dietrich, but before shooting began, a cable came from Paramount saying that Louise was willing to play the role. The film was not well liked in Germany, where there was resentment in having an unknown American play an important German dramatic role. In the United States, the film had no chance at all. It was reedited by its importers to make it seem that Lulu was reformed by joining the Salvation Army. Ironically, it was Louise’s waif like role as the doomed flapper Lulu that made her an international sensation and an icon of the Jazz Age. Her sleek, bobbed hairstyle was talked about in every film and fashion magazine and countless women copied it. In 1929, Louise reunited with Pabst and starred in “Diary of a Lost Girl” (1929), a silent study of a troubled young woman that would in time gain cult status. In 1930, Louise Brooks starred in “Miss Europe,” a French film released in both silent and sound versions and titled “Prix de beaute” in its native land. After being cast in B pictures by studio executives as punishment for her defiance, Louise retired from film in 1938. She returned to Kansas and tried teaching dance, but she was not suited for the job. Louise moved to New York City where she worked as a sales clerk at Saks. She lived in obscurity and destitution until former lover, Bill Paley, the founder of CBS, set up a monthly stipend that supported her for the rest of her life. In the 1950’s, French film historians discovered Louise in Rochester, New York. With the help of such film writers as James Card and Kenneth Tynan, she became a sought after film historian and accomplished writer. Louise Brooks died on August 8, 1985. She was 78 years old.

“The Clinging Vine” (1926)

“The Clinging Vine” (1926) is a silent romantic comedy starring Leatrice Joy, Tom Moore and Robert Edeson. Directed by Paul Sloane, this film was produced by DeMille Pictures Corporation. The film begins with A.B., played by Leatrice Joy, as the masculine assistant to the President of a big paint company, T.M. Bancroft, played by Robert Edeson. A.B. is actually the real force behind the Bancroft Paint Company. A.B. wears a man’s tie, vest, shirt, haircut, and a skirt. Even though she had hired, wired, and fired men, she had never kissed one. When A.B.’s boss, T.M. Bancroft, has gout and work has to be done at his home instead of the office, she arrives for an overnight stay and is befriended by Grandma Bancroft, played by Toby Claude, the boss’ wife. The wise and youthful Grandma decides to give A.B. a makeover: permanent wave, feminine clothes, and plucked eyebrows. Grandma even shows A.B. how to wrap her hands across a man’s shoulder and cling to him. She also gives her tips on batting her eyelashes and only say the phrases to win a man: “Do go on!” and “Aren’t you wonderful?” Sensing that A.B. has no experience when it comes to love, Grandma hooks her up with her grandson, Jimmie, played by Tom Moore, at the weekend house party. Jimmie soon falls in love with A.B. without realizing she is the one who recently fired him by wire from his grandfather’s company.

I thought “The Clinging Vine” (1926) is a rather amusing film that might have been better if there had not been so much emphasis on the masculine side of the heroine early in the picture. Although some viewers and critics might view this film as a commentary on a gender identity crisis or women vs. men in the workplace, I saw this film as an entertaining satire. I found it amusing that the two female leads, A.B. and Grandma are the only ones with any brains at all. The company’s executives and Jimmie are portrayed as inept in business matters and overwhelmed by A.B.’s flirtations with them. I think this film suggests women could be just as efficient in the office as well as the home without giving up their femininity. One of the few surviving films of Leatrice Joy, “The Clinging Vine” is a charming silent comedy that is worth discovering.

One of the most glamorous stars to grace the silent screen was Leatrice Joy. Born on November 7, 1893 in New Orleans, Leatrice learned her craft as an extra at the major Eastern film companies and a leading lady at small, short-lived studios. She moved to Hollywood in late 1917 to advance her career. By 1921, she was a leading lady at the Goldwyn Studios and caught up in the much-publicized, tempestuous love affair with romantic idol John Gilbert. When Paramount’s premier director, Cecil B. DeMille, chose her to succeed Gloria Swanson as his leading actress, Leatrice was catapulted to stardom, appearing in such lavish productions as “Manslaughter” (1922) and “The Ten Commandments” (1923). Under DeMille’s guidance, she was transformed into an alluring, chic, contemporary woman who was as much at home in the business world as in high society. Leatrice’s favorite part, however, was a striking departure from her glamorous persona. In “Minnie” (1922), made on loan out to Marshall Neilan, she played a homely little girl. DeMille gave her free rein, encouraging her to develop her own acting style, and she was soon recognized by critics as one of the most accomplished actresses in Hollywood. In the 1926 films, “The Clinging Vine” and “For Alimony Only,” Leatrice portrays assertive, no-nonsense businesswomen, reflecting the spirit of women’s emancipation and anticipating independent heroines of the thirties like Rosalind Russell and Katharine Hepburn. It is interesting to note that Hepburn, as a budding actress, was one of Leatrice’s most devoted fans. When DeMille left Paramount to form his own company in 1925, he took Leatrice with him but their relationship was not the same. The once kindly father figure with a genuine sense of elegance and dedication to his art became to Leatrice a remote tycoon, indifferent to her career. Leatrice thought that the films she starred in for DeMille’s company from 1925 to 1928 were terrible pictures. In 1928, she left DeMille, freelancing for the next two years in late silent and early sound productions, but her career never regained its momentum. Nevertheless, Leatrice continued to act intermittently, both on the screen and in summer stock, into the 1950’s. Offscreen, in the midst of her glory days at Paramount, Leatrice attempted to reconcile her ambition for stardom with her love for John Gilbert. They were married first in 1921 in Mexico before Gilbert’s divorce from his first wife was final, and then in 1922, after the divorce came through, in a private ceremony in Hollywood. Although passionately in love, they would clash over Gilbert’s flirtations or Leatrice’s work, then for months live apart. In 1924, Leatrice had enough and finally initiated divorce proceedings. She and John Gilbert had one daughter together, actress Leatrice Joy Gilbert. Leatrice Joy died on May 13, 1985. She was 92 years old.

“Teddy at the Throttle” (1917)

“Teddy at the Throttle” (1917) is a silent comedy short starring Gloria Swanson, Wallace Beery and Bobby Vernon. Directed by Clarence G. Badger, this film was made at Mack Sennett’s Keystone Film Company.

The story begins with Gloria Dawn, played by Gloria Swanson, living with her faithful dog, Teddy, in a mansion also occupied by her boyfriend, Bobbie Knight, played by Bobby Vernon. They have separate bedrooms. Also living in the home is Bobbie’s guardian, Henry Black, played by Wallace Beery, who oversees Bobbie’s inheritance. A letter arrives from Bobbie’s rich relative stating that Bobbie will get all the money and not need a guardian as soon as he marries. Henry invites his sister, played by May Emory, to vamp Bobbie into marrying her to insure he stays in the money. Everything seems to be going to Henry’s plan as Bobbie ends up proposing to his sister. However, a second letter arrives that states that Bobbie only gets the money if he marries Gloria. If he marries anyone else, Gloria gets it all herself. At this point, Henry starts to flirt with Gloria. When Gloria finds the second letter and discovers what Henry is up to she tries to talk to Bobbie. A huge storm hits, and Gloria ends up chasing Bobbie and his girlfriend through the rain while she is pursued by Henry, who wants to stop her from telling his secret.

“Teddy at the Throttle” (1917) is an amusing Mack Sennett slapstick comedy. Only 18 minutes in duration, it is fast paced and totally silly. I liked how Gloria Swanson whistles for her dog when she is pursued by Wallace Beery, who was actually her husband at the time this film was made. Gloria would graduate from the two-reeler to the feature film less than two years later after Cecil B. DeMille brought her to Paramount and starred her in a series of bedroom dramas. Wallace Beery would finally achieve stardom in the early 1930’s. “Teddy at the Throttle” (1917) is a fine example of early slapstick comedy that features two future stars at the beginning of their careers.

Born in Chicago on March 27, 1897, Gloria Swanson was not a one-dimensional actress. Even in “Sunset Boulevard” (1950) when she impersonates Chaplin, as she had done in “Manhandled” (1924), there is evidence of a comedic brilliance. Early in a career that began in 1914 with the Chicago-based Essanay Company, she had been considered as a leading lady to Chaplin, but just as she rejected the notion of being typecast opposite him, so, later, she turned down Mack Sennett’s suggestion that he turn her into a second Mabel Normand. Cecil B. DeMille, who appears in “Sunset Boulevard” made Gloria a star in a series of six films, “Don’t Change Your Husband” (1919), “For Better, For Worse” (1919), “Male and Female” (1919), “Why Change Your Wife?” (1920), “Something to Think About” (1920), and “The Affairs of Anatol” (1921). DeMille sensibly cast her opposite some of the biggest leading men of the day, including Thomas Meighan and Wallace Reid. In the 1920’s, Paramount continued the star-making process, allowing Gloria free reign in the production in France of “Madame Sans-Gene” (1925). For an example of Gloria’s dramatic power, one need look no further than “Zaza” (1923), directed by Allan Dwan, with whom Swanson formed the perfect combination. With “The Love of Sunya” (1927), Gloria formed her own production company with financial assistance from Joseph P. Kennedy, who later became her lover. Kennedy helped promote her second independent production, “Sadie Thompson” (1928) and allowed her to hire Erich Von Stroheim to direct her in “Queen Kelly” (1928). Gloria made a good transition to sound with “The Trespasser” (1929), but her career was basically over by the 1930’s and, in large part, revived thanks to “Sunset Boulevard” (1950). Always a capable businesswoman, Gloria found an outlet for her energy and intelligence in many ventures. There were her fashion designs and her health food lectures. Gloria was famous for having become a health nut very early, a nutritionist before it was fashionable. She lived on a diet of seaweed, bread, herb tea, and organically grown vegetables cooked in her own pressure cooker, which she hauled everywhere with her. Despite all the foolishness of her personal life with its luxury, publicity, rumors, and marriages and divorces, Gloria raised two daughters and a son and never made any attempt to hide them or deny her motherhood. She never became one of those aging movie stars for whom there is no life and no laughter. Somewhere deep inside her there still seemed to live that little clown from her Keystone years. Gloria Swanson died on April 4, 1983. She was 86 years old.

A Christmas Carol (1910, Edison)

“A Christmas Carol” (1910) is an early version of the classic Charles Dickens’ novel. Ten minutes in duration, this silent short was directed by J. Searle Dawley at the Edison Film Manufacturing Corporation. The story begins with an old miser Ebenezer Scrooge, played by Marc Mc Dermott, who is so harsh that on the day before Christmas he refuses to donate to the Charity Relief Committee. Scrooge also denies his worker Bob Cratchit, played by Charles Ogle, the permission to leave early. He even rejects his nephew’s invitation to spend Christmas at his house. That night, Scrooge sees the ghost of his former business partner Marley, who warns him of the punishment he will suffer in the next life if he does not change his ways. Late that night, Scrooge is visited by three spirits who show him more than he wants to see.

Even though it is ten minutes in duration, “A Christmas Carol” (1910) is faithful to the Charles Dickens’ novel, and it manages to condense the most important parts of the tale without losing the novel’s meaning. The highlights of the film are the visits by the four ghosts done with excellent special effects considering the film is one hundred years old. While it might seem primitive by today’s standards, “A Christmas Carol” (1910) has nicer sets and costumes compared to the average Edison shorts. The Edison Company contributed little to screen progress, but they did have some good actors like Viola Dana and Marc Mc Dermott, who gives a great performance as Scrooge. Hired by film pioneer Edwin S. Porter to make new and original films at the Edison Company, J. Searle Dawley adapted many popular novels to film. A Christmas Carol (1910) is a curiosity piece of the early years of American cinema when the first filmmakers were shaping the new art form.


Born in Brooklyn, New York, on June 26, 1897, Viola Dana, who was born Virginia Flugrath, began dancing at the age of three at Coney Island eating places. Patrons would throw coins at her, and Viola would pick up the money for her mother. From Coney Island, she became a legitimate child actress, appearing with Dustin Farnum and William Faversham. Her first major stage role was as Gwendolyn in Eleanor Gates’ “The Poor Little Rich Girl” which opened at New York’s Hudson Theatre on January 21, 1913, and ran for 160 performances. It led to Viola being billed as “Broadway’s Youngest Star.” The play was filmed in 1917 as a starring vehicle for Mary Pickford. Long before “The Poor Little Rich Girl,” Viola and her mother had discovered the Edison Company, and the actress first worked there in 1910, making her debut in “A Christmas Carol.” She was to remain with the company through 1916, playing primarily in the short subjects that Edison emphasized over features long after the advent of the long format production. The final major films that Viola made at Edison were five-reel features, “Children of Eve” (1915) and “The Cossack Whip” (1916), both directed by John Collins, who became her husband in 1915. The emphasis of Edison was on drama, and Viola gained a reputation as a dramatic actress, with the ability to cry often. It was a reputation that led to a contract in 1916 with Metro, with whom the actress remained through 1924, starring in some 51 feature films. By the early 1920’s, Viola Dana was the highest paid female star at the studio where she played both drama and comedy. Her diminutive stature, 4’11”, and good looks made Viola easy to cast, but by the 1920’s, she was tired of serious drama. She was fond of remarking, and her saucy grin was ideally suited to comedy. Viola had a wicked sense of humor. She always claimed that Frank Capra had chosen her for his first Columbia feature, “That Certain Thing” (1928 ) because, when she walked, she had the “cutest little wiggle.” With her stage background, Viola could easily have continued in talkies but chose to retire comfortably. Viola died on July 3, 1987. She was 90 years old.

A Trap for Santa (1909, Biograph)

“A Trap for Santa” (1909) is a holiday film that was directed by D.W. Griffith at Biograph. Sixteen minutes in duration, this heartwarming melodrama was produced as a cinematic Christmas card to moviegoers of the era. The story begins with an unemployed man, played by Henry B. Walthall, with a wife, played by Marion Leonard, and two children, played by Gladys Egan and John Tansey. He turns to alcohol and eventually leaves his family when he feels he has let them down. Time passes and the mother inherits a fortune from her deceased aunt. On Christmas Eve, the children set a trap for Santa Claus to come through the window because their house has no chimney. The father, unaware that the house belongs to his family breaks into the house and falls into the trap.



Filmed in Fort Lee, New Jersey, “A Trap for Santa” (1909) is a relatively well-made film considering it was made over 100 years ago. Griffith had personally directed for two years from the summer of 1908 all Biograph films. Thereafter as general director he superintended all Biograph productions and directed the more important features until October 1, 1913. Even though from a technical aspect there are a couple of weaknesses, it’s quite an interesting film. The acting style is a bit old-fashioned, but Henry B. Walthall turns in a good performance as the father. Fans of early silent films should recognize an uncredited Mack Sennett in a few scenes. Despite its shortcomings, “A Trap for Santa” is an interesting curiosity piece of the early years of cinema.






















Like his mentor D.W. Griffith, Henry Brazeale Walthall was a Southerner, with perhaps a little more affluent family background than the director. He was born, one of eleven sons, on a farm near Columbiana, Shelby County, Alabama, on March 16, 1878. He studied law, but quit to fight in the Spanish-American War, and then took up acting, making his New York debut in 1901. In 1909, a chance encounter with a friend and fellow actor, James Kirkwood, resulted in a meeting with D.W. Griffith at the American Biograph Company. Griffith was already familiar with Walthall’s stage work, and immediately cast him in “A Convict’s Sacrifice”(1909). Walthall appeared in more than 100 Biograph shorts from 1909 through 1913, and, with a short break at Pathe, was to remain with Griffith until 1915. Walthall played Holofernes in Griffith’s first and Biograph’s only feature-length production, “Judith of Bethulia” (1914). Walthall had played many Southerners in many Biograph shorts, and he was the obvious choice for Ben Cameron, the “little colonel” in “The Birth of a Nation” (1915). Walthall left Griffith and first joined the Balboa Amusement Company in Long Beach, California, and then the declining Chicago-based Essanay Company in late spring of 1915. Both Walthall and his actress wife, Mary Charleson, remained with Essanay through May 1917. Walthall formed his own independent production company, releasing through Paralta, the first two films which were directed by Rex Ingram. In 1918, Walthall returned to Griffith’s direction. He was cast in Griffith’s minor and “lost” production of “The Great Love.” By the late teens, Walthall’s career was in rapid decline. He made many films, but only a handful in the late 1920’s are famous titles: “Three Faces East” (1926), “The Scarlet Letter” (1926) and “London After Midnight” (1927). With the coming of sound, the situation improved. Walthall had a solid stage background, and his voice was quiet yet authoritative. Some of the sound films he made were “Abraham Lincoln” (1930), “Chandu the Magician” (1932), “Judge Priest” (1932), “Dante’s Inferno” (1935), and “The Devil-Doll” (1936). Walthall was to have played the High Lama in Frank Capra’s production of “Lost Horizon” (1936), but died on June 17, 1936, before shooting commenced. Walthall was 58 years old.

The Blot (1921) Louis Calhern

“The Blot” (1921) is a silent drama starring Louis Calhern, Claire Windsor, Phillip Hubbard, and Margaret McWade. Directed by Lois Weber, this film is a realistic look at genteel poverty in the 1920’s. This domestic drama is about a weary college professor, Andrew Theodore Griggs, played by Phillip Hubbard, who does not make a living wage. His pretty daughter, Amelia, played by Claire Windsor, is a threadbare librarian while his wife, Mrs. Griggs, played by Margaret McWade, maintains a shabby house of tattered furniture, frayed carpets and an empty pantry. On the other hand, the Griggs’ next door neighbor, Peter Olsen, a self-employed immigrant shoemaker, is prosperous and his large family lives a comfortable lifestyle. Amelia has two suitors, Phil West, son of the wealthiest college trustee, played by Louis Calhern, and Reverend Gates, who is dirt poor. Well-born, but ill equipped for the daily struggles of poverty, Mrs. Griggs despairs to the point of insanity when Amelia is diagnosed with malnutrition. She even decides to go into debt in order to buy her daughter nourishing foods. Unfortunately, the grocer demands cash upfront for all the purchases. Mrs. Griggs returns home and notices that the Olsens have a very tempting chicken cooling in the kitchen window. What happens next with Mrs. Griggs, Amelia, Phil West, and the Olsens is interesting.

“The Blot” is certainly a realistic look at some social issues of America in the 1920’s. Unlike most films at the time that showed the poor as country folk living on a farm or as urban dwellers living in crime-ridden tenements, “The Blot” demonstrates that the poor can live in middle class areas with the façade of a middle class lifestyle but lacking the money to finance anything out of the ordinary. I found it interesting that Mrs. Griggs thought the immigrant shoemaker and his family didn’t have good taste in shoes or cars. It seems like she was envious of the success of the Olsens. I also noticed Mrs. Griggs encouraged the romantic interests of Phil West, the rich suitor, and was displeased with the minister, the poor suitor, even though both men were worthy of Amelia. I loved the use of shoes in this film to point out class differences. It looks like Reverend Gates’ chances with Amelia might be undermined because he cannot afford shoe polish or nice looking shoes. I also loved how Phil West, Louis Calhern’s character changed for the better at the end of the film. His character appears genuinely concerned about Amelia and her family’s plight. Even at this early stage in his career the twenty-six-year- old Calhern had great screen presence. I thought Claire Windsor was wonderful as the gentle, trusting young woman to whom life happens rather than someone who creates her own life. A little known silent gem with historical value, “The Blot” deserves much more recognition.

Claire Windsor was born Ola Kronk in Cawker City, Kansas, on April 14, 1897. She was already a professional dancer, a single parent with a three-year-old son, when she arrived in Los Angeles in 1920. After working as an extra in a couple of features directed by Allan Dwan, Claire was spotted by Lois Weber while carrying a luncheon tray in the Robert Brunton Studios cafeteria. She was signed to a one-year contract and renamed Claire Windsor. The name was selected by Lois Weber because she felt it captured what she perceived as the English, patrician beauty of the actress. Claire’s best work is in the five feature films produced and directed by Lois Weber between 1920 and 1921: “To Please One Woman” (1920), “What’s Worth While?” (1921), “Too Wise Wives” (1921), “The Blot” (1921), and “What Do Man Want?” (1921). Each of the films deals with the male-female relationship, and Claire and Lois Weber are helped tremendously in that the male in three of the films is Louis Calhern who was to go on to a distinguished stage and film career. Lois Weber and Claire might have continued to work together had their films been successful at the box office, but they were not. Claire signed a contract with Samuel Goldwyn and she was later under contract to MGM from 1924 to 1926. From 1925 to 1927, Claire was married to Bert Lytell, who had once been the highest paid male star at Metro, but whose career was rapidly declining. Claire was a very busy actress in the 1920’s, but none of her post-Weber films are worthy of consideration. Claire passed away on October 23, 1972. She was 75 years old.

An Unseen Enemy (1912, Biograph)

“An Unseen Enemy” (1912) is a Biograph short directed by D.W. Griffith that is most notable for being the first film of sisters, Lillian and Dorothy Gish. Fifteen minutes in length, this exciting suspense film was probably Griffith’s most complex race to the rescue drama at the time. The story begins with two sisters, played by Lillian and Dorothy Gish, who are mourning their recently deceased father. The sisters have inherited a small sum of money which is deposited in a safe in their home by their brother, played by Elmer Booth, who then leaves for work. Unfortunately, the sisters are left in the care of a housekeeper, played by Grace Henderson, who goes after the money. At this point, we meet Bobby, the younger sister’s boyfriend, played by Robert Harron, who is about to leave for college, but is unhappy that she is too shy to give him a farewell kiss. Meanwhile the housekeeper enlists the help of a disreputable partner, played by Harry Carey, who cracks the safe while she has the sisters locked in a room and terrorize them by firing a gun through a hole in the wall.

"An Unseen Enemy" is very melodramatic, but it is effectively suspenseful. The set up is rather accurate and the action takes up around half of the duration of the film. I loved the way Griffith threw in various little twists to heighten up the tension like the phone line going dead and the close-up of the gun emerging through a hole in the wall. I was quite impressed with the great photography and the natural style of acting of the Gish sisters and Robert Harron. This Biograph short is worth watching just to see the Gish sisters at the dawn of their film careers.

Dorothy Gish, who as an adolescent entered films in D.W. Griffith’s one-reelers, helped establish the art of silent film acting and motion picture development. Even though she enjoyed a career that spanned six decades, she is barely remembered. Dorothy was famous as a comedienne in an era dominated by male clowns. Were it not for her relation to Lillian Gish and her dramatic performance in D.W. Griffith’s “Orphans of the Storm” (1921), she probably wouldn’t be remembered at all. Dorothy was born on March 11, 1898, in Dayton, Ohio into a broken family after her father walked out on his wife and first child, Lillian. Their mother had the two girls onstage at a very early age. The girls and their mother lived a less than glamorous life, but took whatever roles they could to survive. Virtually all of the Gish girls’ youth was spent in the theatre until 1912 when they decided to go visit the studio where their good friend from the theatre, Gladys Smith, known as Mary Pickford on the screen, was working. The girls visited the Biograph studio on East 14^th Street in New York City and were introduced to D.W. Griffith. He immediately put them to work, and their first starring role was in a suspense drama, “An Unseen Enemy” (1912). The Gish sisters became a mainstay of Griffith’s stock company appearing in dozens of shorts. Dorothy and Lillian were included in Griffith’s first attempts at feature length films such as “Judith of Bethulia”(1914) and “Home Sweet Home” (1914) but Dorothy was not used in his epic, “The Birth of a Nation” (1915). However, Dorothy’s role as the “Little Disturber” in “Hearts of the World” (1918) brought her recognition. Realizing her comedic talent, Paramount signed her to a contract and she made 14 films for the company over the next four years. One of these was “Remodeling Her Husband” (1920) which co-starred her husband-to-be, James Rennie, and was the only film ever directed by Lillian. Dorothy co-starred twice more with her sister in “Orphans of the Storm” (1921) and “Romola” (1924). Dorothy made 17 films from 1920 to 1929, one of the most popular was the English made Nell Gwynne (1926). Dorothy’s last silent film was “Madame Pompadour” (1927). After her first sound film, “Wolves” (1930), Dorothy spent almost all of her time in a very successful career on the stage. Dorothy returned to the big screen again for “Our Hearts Were Young and Gay” (1944), “Centennial Summer”(1946), “The Whistle at Eaton Falls” (1951), and “The Cardinal” (1963). Dorothy Gish died on June 4, 1968 of bronchial pneumonia. She was 70 years old.