STAR OF THE MONTH: Olive Thomas

Olive Thomas: "The Most Beautiful Girl in the World."

As are too many of our fallen idols, Olive Thomas is famous for dying. However, unlike all of the other Movie Town tragedies history has accrued over the years, unlike all other saucy scandals and continuing tales of human debauchery, Olive maintains the notorious position of being the First: Hollywood's first major movie star death and Hollywood's first major "Uh-oh" moment. At her death in 1920, she also served as our first glimpse into the true power of cinema celebrity: immortality. While Olive's body made the transport from Paris to New York City to be laid to rest, her movies were being shown in theaters across the nation. How was it possible? She had died, and yet she lived??? Audiences gasped at the sight of her face-- once remarked upon as the "most beautiful" in the world-- still laughing and smiling, still vibrant, though her skin was ice cold. This was the start of a whole other level of human fanaticism and adoration for the screen star: we had at last tapped into the fountain of youth, and none of us would ever be the same.

One of Olive's many costumes in the Follies.

But who was this girl who started it all? She was just that. A girl. The girl. Even at a young age, growing up in Charleroi, PA, Oliveretta Elaine Duffy marched to the beat of her own drummer, though she more likely skipped and twirled. Life was a sweet nectar she chose to savor to the fullest extent, and she made big plans for herself from the get-go. After losing her father, a steel worker, in a tragic accident at work, Olive was forced to step up and help take care of her mother and two younger brothers. The naive, bustling energy of youth convinced "Ollie" that she was ready for the real world anyway, and she promptly dropped out of school and got a job. But small town life wasn't enough for a girl with such huge dreams, especially with her drop-dead gorgeous looks. More than one head turned when she passed by, including that of clerk Bernard Krug Thomas, whom she promptly married. After trying on married life for a time, Ollie decided it was a bit too glum, and though she kept quite a handsome home, her spending habits often cramped Krug's style. Divorce was the next logical step. Armed with nothing more than courage, Olive left her husband and struck out on her own to pursue life in NYC, having decided that-- heck-- she was just as good-looking as those Ziegfeld girls she kept seeing pictures of. The world would disagree: she was better. After spending some time working as a salesgirl in Harlem, Olive blithely entered a beauty contest for artist Howard Chandler Christy-- who was looking for the "perfect model"-- and won. She was thus labeled as "The Most Beautiful Girl in New York City," only to top herself when Harrison Fisher would name her "The Most Beautiful Girl in the World"-- Not too shabby for a teenager from Pittsburgh.

Simply Ollie

Olive's gorgeous features made her a popular model, and soon her face was on magazine covers and advertisements everywhere. It wasn't long before Florenz Ziegfeld came calling with an offer, and Olive found herself in the Follies (though she would protest that she brazenly had  asked for the job herself). An affair between the gorgeous new muse and her notoriously womanizing patron began, despite his marriage to the long-suffering Billie Burke. Due to her public appeal and her natural charms, she soon became a featured girl in the act, participating in several numbers. Wealthy men from all around the world would lavish at her feet and douse her with jewelry. She would thus strut around bedecked in accoutrement that was worth more money than most people would make in a lifetime. Only thing was, while Ollie enjoyed the pretty stuff, she never took any of it seriously, and she was constantly losing these baubles. As her popularity grew, she was moved to the new and uber-risque Midnight Frolic. While she could have had her pick of any of the many swooning men left gasping in her wake, Ollie would finally succumb to ladies' man and scalawag Jack Pickford, whose irresistible charms immediately won her over-- much to Ziegfeld's chagrin. In addition to her incredible beauty, Ollie's general goodness, wit, and spirit, won Jack over as well. The two fell madly in love. Ziegfeld was about to lose his main attraction, but not just to Jack.

Olive was a great animal lover.

The movies finally got a hold of Olive in 1916 when she appeared in an episode of the Beatrice Fairfax series: "Play Ball." That did it; she had a new obsession. Thomas Ince of Triangle scooped her up and put her to work in her first lead role in Madcap Madge. Olive was no great actress, and she knew it, but she wanted to be. Her ferocious energy was just as present in her mind as in her physicality. She quickly became known around the Triangle lot as "Miss Inquisitive" or "Miss Encyclopedia," for she asked endless questions about everything. Not just the filmmaking process-- EVERYTHING. She quickly learned the racket and mastered it, becoming as popular a personality on the silver screen as she had been on the Follies stage. Many friends predicted that with her temperament and knowledge, she would have gone on to direct pictures in the future. In the meantime, while honing her skills in films like Heiress for a Day, she secretly married Jack. She specifically chose to keep the nuptials from the public, because she wanted to prove herself as an actress without any help from the powerful "Pickford" name. After starring in film after film to great success, her popularity and box-office appeal revealed that she had paved her own way, and she finally announced that she was indeed Mrs. Jack Pickford-- though it is rumored that mother-in-law Charlotte and sister-in-law Mary never approved. 

One of many magazine covers she would grace.

On the surface, Jack and Ollie seemed to be the perfect couple. They both spent exorbitantly, buying expensive gifts for each other and for themselves. They enjoyed throwing caution to the wind and living loud and large. Both had "lead feet" and got into constant fender benders, both enjoyed the night life and party crowds, but only Olive seemed to possess the ability to keep it from affecting her work. There were strains: jealousy, fiery tempers, high-strung personalities... but these volatile qualities also amplified the duo's passions, and it honestly seemed that they were the only people who could keep up with each other. Distance was a contributing factor to marital discord: Jack was often making movies back West in L.A, always with Mary's help, while Olive was in New York. Her fame increased after she signed with the newly formed Selznick Pictures in 1918 as its first official star. With Myron Selznick at the helm, father L.J. and brother David  Selznick all put their faith behind Ollie and advertised her out the wazoo. She had the great honor of having her name up in electric lights for her film Upstairs and Down. In addition to being the center of the largest electric advertisement of the time, she had countless ads drawn up for her in magazines, and once had three billboards up in Times Square at the same time, setting a record in doing so. Not even Mary Pickford ever accomplished that. Of course, all of the attention may have had something to do with the fact that Myron, like many men, had fallen in love with her. She seemed to have that effect. Selznick Pictures certainly did its best to make her feel safe and loved, even sending her more cash when she (frequently) overdrew her accounts.

The Flapper

As a woman of firsts, Olive would also be the first "Flapper." Colleen Moore would later be credited with truly defining this version of feminine youth, but it was Olive who initially breathed life into one of the most notorious characters of the Twentieth Century. She still maintained her long, light-brown locks, no 'bob,' but what she possessed that would indeed translate to those eternal girls of the 1920s was her spirit. A new woman was about to be born in a new decade: one potently sexual, rambunctious, liberated, and independent. Her appearance in The Flapper seems like a far cry from what Clara Bow or Louise Brooks would later bring to the table, but the spark is still there, and the world would soon catch fire. After wrapping on the film, Olive decided to reunite with Jack, with whom she was still having problems, and the duo went on a well deserved vacation and shopping spree in Paris. Jack would return. Olive would not.

Ollie shows her fun side and goofs with a drum set.

Just what happened to Ollie remains a mystery. What is known is that she and Jack went on the town on Sept 5, 1920, partying and dancing with the Dolly Sisters at infamous Parisian hot-spots like The Dead Rat, before returning to The Ritz somewhere between 1 and 3am. In the early morning hours, Jack claimed he went to bed and was awakened by Olive's screaming. She had swallowed a fatal dose of bichloride of mercury and was dying. For years, it has been debated as to whether the act was one of accident, suicide, or even murder. The truth may never be known, since the only man to witness it all, Jack, had his own reasons for distorting facts. See, the only reason that the bichloride of mercury was even present in the room was because Jack, who was now popularly known around Hollywood as "Mr. Syphilis," had been using the substance to topically treat his disease. It has been alleged that when Olive discovered her husband's malady, and equally the fact that he had been unfaithful-- and perhaps had infected her-- she had killed herself. It too has been suggested that in the midst of one of their many turbulent arguments, the oft impulsive Olive had defiantly taken the poison as a way to enact revenge against her husband and end her own personal suffering. However, the idea of suicide to many just doesn't seem to be in keeping with Olive's light-hearted demeanor. This leaves murder a possibility, but though Jack was imperfect, this too is often ruled out-- the only person Jack ever really hurt was himself. This leaves the theory that it was an accident, and author Michelle Vogel suggests that Olive  stumbled into the bathroom in the night to take a sleeping pill-- as she often suffered from insomnia-- and mistakenly ingested Jack's concoction in the dark. Then again, perhaps there were darker corners to this bright, young woman's mind that may have driven her to a desperate state. The mystery continues...

Olive with Jack, leaving for Paris.

It took 5 days for Olive to finally die, during the span of which she both lost her ability to see or speak. Early attempts that Jack had made to have Olive regurgitate the poison had only served in burning her vocal chords further and prolonging her painful death. It was unfitting for a woman so full of life, so beautiful... On the morning of September 10, with friend Dorothy Gish and Jack by her side, Ollie finally succumbed to acute nephritis. Ironically, Jack would pass away 12 years later in the same hospital, The American Hospital in Paris, at only 36 years of age. Olive's death was ruled an accident, and the incident sent shock waves across the world. The first Hollywood tragedy, society had as yet no idea how to handle the situation. For now, Hollywood itself was safe, pointing the finger at dirty, debaucherous Paris as the true villain-- a nasty city of depravity who had seduced a young girl to ruin! Magazine articles vividly depicted and exaggerated Olive's last night, painting her as an innocent woman tempted by drugs and booze who had taken her own life in shame. But, in almost exactly one year's time, the death of Virginia Rappe would bring the finger of blame back to Hollywood, and this time there would be no scapegoat except for poor Fatty Arbuckle. Olive became, thus, our first martyr; a symbol of the highest of highs, the most beautiful of girls, brought to the lowest and ugliest of lows. After Fatty came William Desmond Tayor; after WDT came Wallace Reid, and so on and so on and so on. The train wreck continues.

Alberto Vargas's "Memories of Olive," finished after her death.

But there is more to Ollie than her death. Her life is just as forgotten as her silent grave in Woodlawn Cemetery, where she rests alone without her Jack, whom was buried in the family crypt in Forest Lawn of Glendale-- again, the lovers separated by a continent. Olive will never go down as an amazing actress, but she was one of Hollywood's brightest personalities. What she brought to the camera wasn't her grand emotional skill nor her malleable abilities of characterization. She brought energy and fun. She brought her "A" game and left plenty of room to play. Too few of her films remain, with only The Flapper being available to mainstream audiences. But still, in just this one film, or any of the meager scraps and scenes that haven't been ravaged by time and decay, you catch a glimpse of Ollie's magic; as in her life, you can't take your eyes off her. And so, Olive Thomas, dead too soon at 25, continues to live forever, and we continue to drink from the great silver screen chalice of her eternal youth. Before Elizabeth Taylor, Olive was the first girl with the violet eyes. Before Marilyn Monroe, Olive was the first sex symbol, influencing Alberto Vargas even after her demise in one of his most famous paintings. Before David O. Selznick, there was just David, who added the "O" to his name in memory of the woman whom he said had helped cement his family's reputation in Hollywood. Before now, there was then; and then, Olive was very "now"-- present, alive, vivacious, always.

STAR OF THE MONTH: Olive Thomas

BITS OF COINCIDENCE: Part Six

Rita Hayworth helps her boyfriend-- and future husband-- Orson Welles

with one of his Magic Shows.

One of many descriptive words applied to Orson Welles is "magician." As he played the role of a sort of intellectual trickster figure in Hollywood, creating hypnotic illusions and entrancing audiences, the title seems to fit. However, Orson had a fascination for magic that was literal as well as figurative. Captivating a live audience, keeping them enthralled, and shocking them to resulting ecstatic applause was a way of marrying both the ambitious man and his idealistic and playful youth. It was one of few ways that the overgrown boy allowed himself to indulge in his more childish nature, so often hidden. This is because the curiosity he held for the art started in his boyhood, and was one of few things that he and his father shared-- that and alcohol. Richard Welles enjoyed a good magic show, and while his son perfected his own tricks, he decided to give him a special treat: he took him to see the great Harry Houdini! When going back stage, Orson was probably as close as he would ever be to starstruck. Of course, his already scintillating ambition won the day, and he performed a handkerchief trick for Houdini, who watched appreciatively. Afterward, Harry praised the young chap but told him to keep practising and practising until the gag was perfect, even if it took a thousand times. Orson did. When he returned at a later date to show Houdini his improvement, he was surprised to see another magician teaching the master a new trick. This disappointed the peeping boy, who realised that maybe Houdini was, after all, just a man applying a craft like everyone else and not as Godlike as he had assumed. While this crushed Orson's little, innocent heart, it also taught him a great lesson-- never let them see what's up your sleeve; maintaining the illusion is the real power. This tactic was heartily applied. Later, Orson prepared a very elaborate magic show, which he performed for the servicemen during WWII. He used his current girlfriend, Rita Hayworth, as his assistant during the show, through the length of which he made several costume changes. After Columbia Pictures'  Harry Cohn objected to Rita's involvement in the show, much to her chagrin, she had to bow out, and Marlene Dietrich stepped in on her behalf. (Previously, Orson had also done a performance where he sawed ex-girlfriend Dolores Del Rio in half).

 

Marlene fills in for Rita Hayworth as Orson's assistant. Marlene was also

an avid wartime entertainer and was always happy to do her part.

When Lon Chaney was a young theatrical performer trying to eek out a living in vaudeville (left circa 1905), he traveled around a great deal. As was typical in those days, actors would join up with a troupe only to find themselves abandoned in a strange city when the financing went kaput and left them penniless. Dusting yourself off and starting over became second nature to him early on, and for an ambitious youth with unquenchable passion and itchy feet, the trials were worth it. At the very least, he got to travel around the country-- sometimes on trains that were moving so slowly that one could hop off and take a brief stroll before hopping back aboard. He too got to meet some interesting and talented people. In 1910, he and his first wife, Frances "Cleva" Creighton were living in Los Angeles, and Lon got a gig working with the Ferris Hartman Company at the Grand Opera House on Main Street. He was in gifted company, including a chubby young singer and comedian with light feet and a kind heart. Then, people called him Roscoe Arbuckle, but later he would be known as "Fatty." Lon also rubbed shoulders with Robert Z. Leonard, who would later become a film director and re-team with Lon in Hollywood for Danger-- Go Slow. Most importantly, Lon met the woman who would become his second wife, Hazel Hastings, though at the time, the married man took little notice of her. She and the other chorus girls helped out in babysitting his young son: Creighton Chaney, later known as Lon Chaney, Jr. Cleva had little time, since she was performing herself as a singer and equally was descending into alcoholism. Hazel would recall Lon's early ambitions toward comedy and his natural penchant for making people laugh, as well as his talents as a song and dance man. However, his later career in Hollywood would become the exact opposite. Odd how time (and a damaging divorce) can change things...

Former vaudeville star Fatty Arbuckle teams up as a movie star 

with Charlie Chaplin in The Rounders.

Greenwich Village in the the roaring twenties was the place to be. A spiritually and intellectually liberated city, it became a quite the den for artists, youth, creativity, and expression in the 1920s... with a little debauchery, of course. One thing that made it so enticing was its openness to sexuality, and it was one of few places where homosexual couples could walk around openly and without fear of persecution. It was here that future film star William Haines (right) would find himself at home and also meet two lifelong friends: Mitchell Foster and Larry Sullivan. At the time, the couple did much to polish Billy into a more stylish and cultured young man. Later, after Billy made it big, they would help him in his antique business and interior design company as well. While enjoying the nightlife, including seeing female impersonator Jean Malin at Paul and Joe's or Charles Spangles put on his "Josephine and Joseph" routine, Bill would make some other acquaintances. All types of artists migrated to the bustling Village, and it was here that he would meet comedians George Burns and Jack Benny for the first time, both of whom he would call friends for the remainder of his life. He too would meet a young painter, Jack Kelly, who would later become the famous designer Orry Kelly, and a young vaudevillian, Archibald Leach, who would later become Cary Grant. It is also believed that it was here in the village that Billy first met director George Cukor. George was already working in showbiz-- as a doorman at the Criterion Theater. They too would re-team in Hollywood, where Billy would help George inch his way into cinema and too decorate his lush pleasure palace. 

 

Archie Leach aka Cary Grant. The young cockney is already looking

polished here, but he had a way to go before he reached "suave."

Groucho Marx had a great love for the ladies (left with his favorite mark, Margaret Dumont). An intelligent man, he enjoyed the company of equally interesting and funny women, whom he admired. He would remark in later life that he always made the grievous mistake of marrying for beauty over intelligence. At least in his friendships, he was rich in sharp and sassy female companionship. One such gem he enjoyed was Gracie Allen. Their attraction was never physical, but Groucho respected the "Irish tap dancer" and her great humor. One night, he and his gal pal were dining in Schenectady when he spotted another friend across the room. With that, George Burns came over and said "Hello," and Groucho introduced him to Gracie. Groucho would later say that, then and there, George fell in love. George had seen Gracie before, of course, for in the small entertainment world everyone gets to know each other professionally if not personally, but the two had never officially met. Groucho took pride in the fact that it was he who finally brought the two together. Maybe they would have met without him, maybe not, but certainly Groucho held the debt over George's head for the rest of his life. For his part, George was eternally grateful. He would later say that the real talent in the George and Gracie act was all in the latter part. He was nothing without her. Together, they were comic dynamite.

 

The recipe for a successful marriage: love and laughter-

George Burns and Gracie Allen. Take note, Groucho.

Howard Hughes (right) had many relationships with and engagements to beautiful starlets over the years. An awkwardly handsome and eccentric man, he was as alluring as he was confusing. But then, maybe it was all the dough... He once gave the same sapphire ring he had given to Ginger Rogers to Ava Gardner after an exasperated Ginge' gave him the heave-ho. He too was deeply involved with Kathryn Grayson, Katharine Hepburn, etc etc etc. As always, the great innovator saw potential in many things- cinema, air travel, and women. He too saw a goldmine in Norma Jeane Baker, though whether this was of the purely professional or sexual nature we'll never know, (though based on his track record it is easy to guess). While Howard was recuperating from his infamous Beverly Hills plane crash, he saw a picture of Norma Jeane in a bathing suit on the cover of Laff Magazine (below, summer of 1946). Apparently, the picture helped his recovery. He sent his associates on a manhunt to find out who she was and put her under contract at his studio. Her agent at the time, Bunny Ainsworth, caught word of his interest and used the information to advantage-- not to forge a love connection but to help Norma's career. Bunny planted a story with Hedda Hopper that Howard was seeking Norma out and used this as leverage to score her a contract with 20th-Century Fox. "Howard Hughes wants her, so you'd better act fast!" The ploy worked. Soon enough, the beautiful girl was making the screen test that gave cinematographer Leon Shamroy the chills-- both in excitement and in a fearful premonition. Thanks to Howard, Darryl F. Zanuck scooped the ingenue up and put her on her way to becoming Marilyn Monroe.

Marilyn Monroe was still going by her married name, Norma Jean Dougherty

when she did this shoot. It, and her hair color, would soon change.

BITS OF COINCIDENCE: Part Six

MENTAL MONTAGE: A Star by Any Other Name...

Theda Bara, the original "Vamp."

Our relationships with our celebrities has changed over the past century and a quarter. Perhaps due to the fact that celebrities are so accessible today, we don't have the awe and wonder of them that we used to. There is no need to humanize them, because the jig is up: we know that they're human. The rag mags tell us alllllll about it. At best, we respect, but we don't admire. But it wasn't always so. Before, movie stars were mythic creatures that lived in the mystical world called La La Land, where they literally cavorted on Mt. Olympus. They were impenetrable beauties, trickster figures, and heroes-- real life cowboys, passionate vixens, and knights in shining armor. We looked upon them just like children, engaging in make believe, pasting their pictures to our walls, and dreaming the dreams that the movies taught us were safe. So deep was our love for them that we crafted nicknames (with studio help) after they'd worked their way into our hearts. This represented, if nothing else, how they had endeared themselves to the American public. As we celebrate our final week with Mr. Haines, I thought it would be a little fun to play the nick-name flick-game. Enjoy!

WILLIAM HAINES: THE WISECRACKER

Billy won his moniker for two reasons, the first of which should be obvious: he was a smart-ass. For every lame statement, he had a quick-as-a-whip retort, often running mental circles around those who dared to engage in conversation with him. His onscreen persona reflected this perfectly, for when his characters were faced with challenges, he merely laughed them off-- his wit used as a protective armor against responsibility. The youth of the roaring twenties responded to this rebellion with relish, especially when it seemed that Billy's personality off screen was not very different. In interviews with fan magazine reporters, Billy always deflected personal questions by making a joke of it, often turning the tables on the interviewer who suddenly found himself the interviewee. But too, his "wisecracker" status symbolized something else, for this was a code word often used to label men as homosexual. Thus, when people would say, "Billy Haines? Oh yeah... He's a real wisecracker," they were telling a double truth. As it stands in history, however, it seems that up until the emergence of the smart aleck Groucho Marx, Billy remained the king of zingers, taking the self-important divas he often found himself surrounded by down a peg or two. Or three.

BARBARA LA MARR: THE TOO-BEAUTIFUL GIRL

One of Billy's best friends (with supposed occasional benefits) in his early Hollywood days was Barbara La Marr. With dark hair and large hypnotic eyes that often appeared almost violet (a la Liz Taylor), she remains remembered most for her stunning physical presence and the looks that seemed to almost coin the phrase "knock-out." But, as many Hollywood ladies could certainly attest, beauty can be a burden, and since in the silent era Barbara held her position at the top post of "lookers," it comes as no surprise that the attention she received often worked against her. Perhaps there is such a thing as being too beautiful-- both too beautiful for words, and too beautiful for life. She earned her nickname in juvenile court, of all places, when she was spotted by writer Adela Rogers St. Johns, who gasped at the sight of her-- who is that gorgeous girl?! Barbara, then Reatha Watson, was allegedly brought in when found in the company of an older man. As a single young woman living in the city,  Reatha often fell prey to "friendly" gentlemen who wanted to help her out. Of course, the unspoken rule of quid pro quo often came into play. Standing before the judge, the youthful and tender La Marr was too lovely to punish. Indeed, Judge Monroe offered only the statement: "You are too beautiful to be allowed alone in a big city." Poor, poor pretty little thing. She made the papers the next morning, already named the "too-beautiful girl."

ROSCOE "FATTY" ARBUCKLE: THE PRINCE OF WHALES

This one needs no explanation. Not only was Roscoe's birth name quickly replaced with an insulting adjective, making him "Fatty"-- a nickname he hated-- but his size was furthermore emphasized when, as the reigning silent film comedian, he was dubbed the Prince of blubbery mammals with a wicked pun. He took it in stride, despite the fact that he had been sensitive about his size his whole life. Ironically, he ate relatively little. Even in his youth, when his family fed on a meager to invisible food supply, he was always a "big boy." Much larger than his waistline, however, was his personality. Possessing a huge heart and an energy that could light up a room, Fatty was surprisingly light on his feet and inescapable in his optimism. Audiences adored him for his at times smiling/at time befuddled mug that got into and escaped trouble to the soundtrack of uncontrollable laughter. Remembered today only for the crime of which he was innocently accused and rightly exonerated, Fatty deserves his throne back.

DOUGLAS FAIRBANKS: MR. PEP/MR. SMILE

Another man known for his enthusiasm was the seemingly irrepressible "Doug." Not only did he burst off the screen with his intoxicating positivity, exciting viewers with his heroic acrobatics and daring-do, but behind the scenes he worked with the same impassioned vim and vigor. Committed to creating and performing his own stunts, Doug was diligent about pushing the envelope and giving audiences the enthralling and inspirational stories they deserved. This demanded that he push himself to the physical limit, and today when one watches him in films like The Thief of Baghdad, his body remains something to behold. Yowzah! He was simply unstoppable, a manic maniac, who would rather run a hundred-yard dash than sit down to discuss politics or the recent findings of Freud. He was a force to be reckoned with. He even penned inspirational pieces of literature that his fans gobbled up: "Keep your chin up!" "Keep fighting the good fight!" "Reach for the stars," etc. He made anything seem possible, and when he spoke, people listened. Starring in war propaganda shorts during WWI and traveling around the country selling bonds, he united a country both in and out of the theater. We have yet to see another like him.

JOHN BARRYMORE: THE GREAT PROFILE

Oh, the illustrious Barrymore clan... So much talent, so much tragedy. The leader of the pack was always John, who ironically was the baby of the infamous acting trio, which too included Lionel and Ethel. John earned a commendable reputation as an actor with guts and gusto for his chilling and powerful performances on the stage, where he brought new depths to some of the most classic characters in literary history. His Hamlet was said to be profound, gut-wrenching, and provocative. When he entered the movies, his cinematic career followed suit. But despite his reputation for his acting gifts, it was his face that earned him his title. The startling beauty of his features, particularly as seen from the side, sent more than one woman's heart aflutter. Though his machismo was probably offended at his objectification-- which for once put a man on a woman's side of the fence-- he also embraced it. Being the sexual creature that he was, he certainly put his good looks and charismatic personality to use and wooed many an unsuspecting but willing lady into his bed. If ya' got it, flaunt it.

LANA TURNER: THE SWEATER GIRL

Lana was pegged with her nickname from almost the moment she set foot in front of the camera. She was noticed not for her gorgeous face or dripping sensuality, but for the way her sweater fit over her... parts. One of the many successful makeovers concocted by MGM, Lana went from being a brunette to a blond, from an average girl to a sex-kitten. Studios often had a way of shopping their latest ingenues around in bit parts, seeing if the public would latch onto them. When Lana strutted down the street in They Won't Forget, they didn't, and she caught more than one drooling male fan in her trap. People began writing into the studio asking for more of "the sweater girl." This was a specific ploy of the studio, who completely altered Lana's more modest costume to reveal her best assets. Thus, her original bonnet and polka-dot dress were exchanged for a sweater and that infamous walk to fame. While it was Lana's bosom that garnered her initial attention, the feisty minx's natural gifts before the camera were more than physical. Thus, she was able to stake her claim in Hollywood as a bona fide movie star and a lasting leading lady. But that damn sweater always haunted her, no matter how legitimately she strove to prove herself.

MABEL NORMAND: THE "I DON'T CARE" GIRL

Try as you may have to stop her, Mabel Normand was pretty much going to do whatever the Hell she wanted. Her rebellious and fearless nature was reflected in some of her earliest films, wherein she was known as "The Diving Girl", the bathing beauty who nonchalantly dove into the water-- backwards, forwards, you name it-- from daunting heights. Rising to fame with the aid of boyfriend Mack Sennett, Mabel attacked her comedic film roles with the same naive courage, hurtling in head first, never caring if she came off looking like a damned fool. She ignored her god-given beauty and mugged it up, enjoying a free-spirited nature completely devoid of vanity. She willingly took a pie in the face, fell on her bottom, rolled in the mud, whatever the situation called for. Unfortunately, this same lack of caution got her into trouble in her private life. She indulged in a love affair with drugs and alcohol in a foolish attempt to live in the moment. She just never considered the consequences, which would eventually destroy her. All the while, despite the rumor and folly that was to come, during her day in the sun, she reigned supreme as the first screwball queen, whose fun-loving, no-holds-barred persona won the respect of heavyweights like Charlie Chaplin, whom she could more than hold her own with. It was perhaps her joke of a husband, Lew Cody, who described her best: "She was just a little girl who neglected to look before crossing the street." But that's why they loved her.

 JEAN HARLOW: THE BLONDE BOMBSHELL

"Baby" is a name used far too often. Lovers use it to refer to each other, certain men (who seemingly hid in a cave during the feminist movement) may still use it to refer to any and all members of the opposite sex... But there is one lady whom everyone referred to as "Baby," and she didn't mind at all: Jean Harlow. For several years, Harlean Carpenter didn't even know her true name, because everyone in her family called her "baby." Warm and loving as she was, and adorable to boot, the name suited her and she carried it with her wherever she went. When she hit Hollywood, friends still referred to her as Baby, which she preferred to her stage name, Jean Harlow. Indeed, when she passed away suddenly at the age of 26, it was "Our Baby" that graced the face of her tomb. However, during her life, her fans more commonly knew her as "The Blonde Bombshell," the first of her kind, whose atomic arrival on the silver screen sent shock waves throughout the nation and changed the image of the sex symbol for all time. 

SHARED NAMES

Surprisingly, there are times that certain names have proven themselves to be recycled. Here are some examples of this equally fascinating phenomenon:

Most people are certainly familiar with the reference to Lon Chaney (right) as "The Man of a Thousand Faces." Never was there a more accurate description, for not only was this renegade actor able to flesh out countless and varied interpretations of characters in his stellar cinematic resume, but he also devised intriguing, shocking, and sometimes frightening makeups to further distinguish one creation from the other. His martyred stance for his craft communicated that his performances were not about him, but about the people he was playing, and thus people in general. But before Lon, the first movie star-- Florence Lawrence-- had already been pegged as "The Girl of a Thousand Faces." While Flo probably applied her own makeup, as many did in those early days, she never went quite as extreme as Mr. Chaney. However, her gift at relaying every shade of every emotion still won her the same title. She was given this lengthy handle due to the fact that her audiences did not know her true name, as at the time studios kept this under wraps. Afraid of resulting bloated egos and power struggles within the system, moguls tried to keep their guinea pig actors anonymous and spinning on the reels that kept the money coming in. In addition, Flo was referred to as "The Biograph Girl" and later "The IMP Girl" as she transitioned to different studios. Ironically, one of these names would also be usurped. After she left Biograph for IMP, a new ingenue stepped in and became the latest mystery face people were falling in love with. Thus, Mary Pickford became the new "Biograph Girl," though after she too became a phenomenon, she was also referred to as "The Girl with the Golden Curls."

Florence, with her happy face on.

Mary and her token curls.

There was also a steady competition going for various translations of "The Great Lover," "The Screen's Most Perfect Lover," etc. At various times in their careers, Wallace Reid, Rudolph Valentino, and John Gilbert all had titles of this sort bestowed upon them, which is interesting since they were all such different men. Wally (right) was the baby-faced, lovable cad of Carmen and The Roaring Road fame. In addition to finding him handsome, older women were often infatuated with him, taking a maternal stance. He was the all-American son they adored, who-- when he was naughty-- they couldn't help but forgive. He just had one of those faces. Valentino was distinctly different. He represented the opposite of Americana: a tantalizing and seductive foreigner, who was just as enticing as he was dangerous. Women veered from the more wholesome appeal of Wally to the powerful allure of the man who wouldn't take "no" for an answer. The desire to be dominated thus overruled the desire to be loved, though when Valentino got romantic he also sang to the emotional nature of the female heart. To see such a masculine powerhouse in a vulnerable moment again awoke feminine sympathy, and the duality of Valentino's complex nature made him irresistible. Unlike Wally, however, Rudy caught a lot of flack from members of his own sex, who despite his he-man roles in films like The Sheik and more particularly Son of the Sheik labeled him as a "sissy." Jealousy, anyone?

Rudy, alert and on the prowl.

Falling in between these two heartthrobs was John Gilbert, whose star had started soaring right when Rudy sadly passed away. John was left carrying the torch, providing a mixture of the heroic lover and the sensitive romantic. More concerned with being a true actor, John took on vastly different roles in vastly different films, sometimes playing the war hero (The Big Parade), sometimes the vengeful lover (Monte Cristo), and sometimes a downright villain (Downstairs), but always he carried off his performances with class and sophistication. And his movies with Greta (left in A Woman of Affairs)... oh my! The way he looked at her was the way every woman dreamed of being looked upon. John had a way of portraying both uncontrollable desire and undying love-- both animal and emotional-- presenting the perfect package. He could be boyish and lovable, but his dark features also relayed a warning to ladies, who were powerless to his charms. With John, the art of love was an art-- not the bashful, "ah shucks" of Wally or the domineering and savage embraces of Valentino. John offered poetry. In the end, a woman's favorite said a lot more about her than it did about the man. Choices, choices... How awful our plight.

Kim Novak: The Lavender Girl

The list could go on and on, but since you all have lives, I'll stop here, and let you ruminate about the others I've unfortunately left out-- The Great Stone Face, Old Blue Eyes, The It Girl... Though there are occasional nicknames given to our celebs today, usually referring to action heroes (The Muscles from Brussels or The Italian Stallion), for the most part, our camaraderie with our celebs is at a stalemate. And I'm sorry, but giving yourself a nickname doesn't count-- I'm looking at you "JLo"/"Jenny from the block," whatever. I think it is indicative of a disease in our culture when we remain more enamored of the stars of the past than the present. Perhaps it's just nostalgia, but I think it's a little bit more. Maybe even that lil' sum sum we all refer to as Magic.

MENTAL MONTAGE: A Star by Any Other Name...

HOT SPOTS... On the Internet!!!

As any movie lover knows, in this modern age of consumerism it is never enough to see a movie just once. When you fall in love with a film, just like any other romance, you are filled with an unquenchable need to possess the object of your desire. Unfortunately, we true movie-buffs find this difficult, because sometimes the most sought-after and adored films of all time are unavailable to the general public. Sure, there's the occasional re-release of a beloved classic and great venues like The Egyptian or The Silent Movie Theater that will unlock the vault of cinematic past for our present pleasure, and there is nothing like seeing a feature on the big screen. However, if you are as compulsive as I am, when you see something you like, you want it! Even though you know your bank account is low; even though you know buying new shoes would be a wiser choice of expenditure.

I have sought in vain for many a film, particularly when I am deep in researching a certain individual. The number of titles that are either completely lost or being held hostage astound and frustrate me every time. So many great storylines and brilliant performances have either deteriorated, been burned for silver, or are sitting in a lonely vault somewhere. But, through my diligence i.e. obsession, I have been able to find quite a few sites that can offer the needle-in-a-haystack pieces that even the almighty Amazon.com cannot provide, (though praise be to Allah that such a site exists too)! Since I consider us comrades in arms, I want to aid you in your common quest. Here is a list of sites for the most loyal of you movie-hunting lovelies. I would say don't spend your money all in one place, but if you live in a glass house, you shouldn't throw stones! Haha ;)

See it through the Grapevine:

When I randomly stumbled onto Grapevine Video's website, I thought I had died and gone to heaven! So many films from the silent era, starring its biggest as well as its lesser remembered stars, are here for the plucking! Salivating at the mouth, I managed to put 4 movies in my cart before I remembered that I had rent to pay and should probably restrain myself. The great thing about this site, aside from the number of titles and the great quality of the films, is that the majority of the discs are double-features or include some sort of short film or comedy, so it's more bang for your buck. The site is also easy to navigate, because it allows you to search by title, director, genre, or performer, so if you have a favorite actor, he and his work will be easy to find. If Rudy's your man, look no further. If you're partial to Blanche Sweet (above, left), it doesn't get any sweeter! They accept credit or Paypal, so the money exchange is a cinch. 

Vintage is always in fashion:

Vintage Film Buff has quite the plethora of forgotten 1930s and 1940s productions. If you like B-movies, horror films, westerns, or noirs, you will find great flicks and hidden jewels at this website. Overlooked stars like George Raft, Miriam Hopkins and Anna May Wong (right) are finally given a chance to shine here, and there are fabulous and scandalous pre-code films sure to aid you in indulging your naughty side. Many of these films are boundary pushing oddities, which makes them interesting to watch and easy to enjoy.

Unknown, But Not Forgotten:

I was able to find this company after buying a couple of their dvds through Amazon. Unknown Video houses a great deal of silent classics, particularly comedies and westerns. Mabel Normand and William S. Hart (left) are highly favored here, as well as racing gent, Wally Reid. The website doesn't seem to list all of their available movies, but each time I order from them, a small catalog is provided, which includes more of their releases. A cute bonus about these films is that they each come with a collectible magnet. I now have Fatty Arbuckle and Mabel hanging on my fridge.

Clara Bow Bound:

If you love Clara-- and let's face it, who doesn't-- this website is fantastic for finding nearly all of her films!!! Yeah, I know; I too found it almost too good to be true. Yet, there it is. The Clara Bow Page contains Bow's greatest silent and talkie films, so you can sink your teeth into Mantrap and Hoopla with no trouble at all! (Who needs the Library of Congress)?! These films are burned onto a dvd at your specification, and you get two for the price of one! The quality is great and the transaction is easy, with the option of checks, money order, or Paypal. There are also several other titles available with various stars, such as Ann Harding and Pola Negri. Definitely worth the gander.

Lon Ain't Gone!

Since Chaney remains my favorite actor, and it seems that his throne is secure from future usurpation, I was more than miffed when in the beginning of my adolescent studies, I was unable to find the majority of his titles on video (this was back in the age of VHS). Still, with the coming of Digital Video Discs, he was nowhere to be found. I sadly cherished my copy of The Phantom of the Opera and The Hunchback of Notre Dame and considered all other films exiled into oblivion. Not so! Unique Dvd has an ENTIRE collection of Chaney's greatest films in one fantastic pack! The downer is that you can't purchase one film alone, and you have to get the whole shebang; but for $50 you get 20 films, plus a copy of a Lon Chaney documentary. Where East Is East, Tell It To the Marines, and While the City Sleeps... They're all there! Chaney's diverse film work is available at long last, and the "Man of a Thousand Faces" can finally be appreciated for some of his less monstrous ones! Each film is the best known surviving copy of its kind, and a few incomplete films are included and edited together for the best possible version. For a true fan, it's like a dream come true. (Also available at the site are a collection of fascinating, banned cartoons and other various series). (Unfortunately, it looks like this site has been shut down. I hope it is only temporary, as avid Lon fans need access to his work. Stop holdin' it hostage, people!).

I hope that this information helps you all in your quest for the preservation of our cinema's history. If you purchase from these sites, be sure to thank them for the great contribution and honor they are doing for our artistic heritage. It is a truly noble effort, too little recognized. So, spoil yourself, get a little movie treat, and enjoy!

HOT SPOTS... On the Internet!!!