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Taylorology Issue 20
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* T A Y L O R O L O G Y *
* A Continuing Exploration of the Life and Death of William Desmond Taylor *
* *
* Issue 20 -- August 1994 Editor: Bruce Long bruce@asu.edu *
* TAYLOROLOGY may be freely distributed *
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CONTENTS OF THIS ISSUE:
Mini-Reviews: Munn and Martinez
Did James Kirkwood Kill Taylor?
Hollywood Social Events 1914-1922
Wallace Smith: February 15, 1922
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What is TAYLOROLOGY?
TAYLOROLOGY is a newsletter focusing on the life and death of William Desmond
Taylor, a top film Paramount film director in early Hollywood who was shot to
death on February 1, 1922. His unsolved murder was one of Hollywood's major
scandals. This newsletter will deal with: (a) The facts of Taylor's life;
(b) The facts and rumors of Taylor's murder; (c) The impact of the Taylor
murder on Hollywood and the nation. Primary emphasis will be given toward
reprinting, referencing and analyzing source material, and sifting it for
accuracy.
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Mini-Reviews: Munn and Martinez
Two books recently crossed our path for the first time. THE HOLLYWOOD
MURDER CASEBOOK was written by Michael Munn, published by St. Martin's Press
in 1987, and devotes a 25-page chapter to the Taylor murder ("William Desmond
Taylor: The All-Star Murder Mystery", pp. 18-42). The author appears to have
made a concerted effort to produce the most error-filled Taylor case recap of
all time, blindly accepting and magnifying the errors in previous recaps,
distorting film history, and containing an utter disregard for the facts of
the case. This book's chapter on the Taylor case is worthless and should be
avoided (except perhaps by Taylor case buffs who might want to engage in a
trivia contest to see who can find the most errors). It contributes nothing
but disinformation. Aside from the many standard errors and absurd rumors
found in recaps of this nature, here are two of the author's exceptional
mistakes: He gives the date of the murder as November 1, 1922--nine months
after the actual murder date. He also states that perhaps Zelda Crosby killed
Taylor. (In reality Crosby committed suicide in New York in 1921, so I assume
the author is suggesting that she turned into a zombie, rose from her New
York grave, walked across the continent to Los Angeles, and killed Taylor.)
On a scale of 0 to 10, this recap gets a 0.
Slightly better is the chapter, "In Those Silent Days," in MURDER IN
NORTH AMERICA by Lionel Martinez, published by Wellfleet Press in 1991. The
author mentions the Kirkpatrick and Giroux books, and briefly discusses the
theories they propound. But much of this recap is still old absurd errors:
that Sands and Denis Deane-Tanner were the same person, that Minter was
really 30 years old at the time of the murder, that Taylor was shot twice,
etc. Characters are still slandered--for example it is stated that after
Mabel Normand was knocked out (in 1915), Sennett uncermoniously dumped her
body on Fatty Arbuckle's porch. [1] But perhaps because this recap is briefer
than the one by Munn, there are far fewer errors. On a scale of 0 to 10, this
recap gets a 3.
The Munn and Martinez recaps should both be skipped. For a short recap
of the Taylor case, "The Director" in TRUE CRIME: UNSOLVED CRIMES from Time-
Life Books (True Crime Series) is still the best yet, far surpassing any
other short recaps of the case we have yet encountered.
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Did James Kirkwood Kill Taylor?
Leroy Sanderson suggested that perhaps actor/director James Kirkwood was
a co-conspirator in Taylor's death, either committing the murder or assisting
Charlotte Shelby.[2] In the decade following the murder, there was never a
whisper of suspicion against Kirkwood; his name first surfaced publicly in
connection with the case during the 1937 Grand Jury investigation, when
Margaret Shelby revealed that Kirkwood had impregnated Mary Miles Minter
(resulting in a 1917 abortion), and that Charlotte Shelby had for many years
kept love letters written by Kirkwood to Mary.
Reporters went scurrying to locate Kirkwood, and found him acting in a
stage play in Michigan. When questioned about the Taylor case, Kirkwood
stated: "Looking back fifteen years, I can't even be positive I was in Los
Angeles at the time [of Taylor's murder]."[3] This sounds like an evasive
answer, but the truth is that Kirkwood traveled a great deal throughout his
movie and stage career. He truly could not remember where he was on a
specific day so long ago.
But contemporary newspapers do reveal Kirkwood's whereabouts on the
night of the murder. In mid-1921, he went to Europe, traveling to England,
France and Italy, acting in European films like "The Man From Home.". On
December 18, 1921, the NEW YORK TELEGRAPH reported Kirkwood was in Paris.
Other press items indicate that Kirkwood finally returned to the USA on the
Aquitania, docking in New York on February 3, 1922--one of his fellow
passengers was Cecil B. DeMille. [4]
So two days earlier, at the time of the Taylor murder, James Kirkwood
was on an ocean liner in the Atlantic Ocean. He had not been in Hollywood
for many months prior to the Taylor murder, and he clearly was not involved
in the murder in any way.
When examining the historical material on the Taylor case, it is
impossible to determine with certainty who killed Taylor. But it is sometimes
possible to determine that certain individuals like James Kirkwood did not
kill Taylor.
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Hollywood Social Events 1914-1922
The book WILLIAM DESMOND TAYLOR: A DOSSIER contains information verifying
Taylor's presence at some social activities in early Hollywood. However, then
as now, most press attention was focused on the stars and not the directors.
So there were many other social events in Hollywood which Taylor probably
attended. It is reasonable to assume Taylor was present at most of the
following events (all of the items below were datelined from Southern
California):
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 21, 1914
MOTOGRAPHY
The Photoplayers Club of Los Angeles held their second annual ball at
the huge Shrine Auditorium on St. Valentine's night. It was a brilliant
affair in every respect and benefitted the Photoplayers artistically and
financially. From the time the band struck the first stirring strains for the
impressive grand march with its beautiful women and handsome men and the
wonderful dresses to the time the last of the boys returned to the club to
discuss the function by the rising sun, there was no hitch with the possible
exception that the floor was uncomfortably crowded at times. It is no use
giving a list of "those present" for everybody who was anybody "don't you
know" graced the ball with his or her august presence.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 21, 1914
THE CLIPPER
Nearly two thousand members of the moving picture colony around Los
Angeles, Cal., gathered on the evening of Saturday, Feb. 28, 1914 in the
large ballroom of the Virginia Hotel, Long Beach, Cal, as the guests of
Messrs. H.M. & E.D. Horkheimer, proprietors of "Balboa Feature Films" the
event being an invitation celebration of the opening of the extension of the
Balboa studios at Long Beach, Cal. Prominent players, producers and camera
men engaged in dancing until the small hours of the morning, and special
electric cars conveyed those who lived in Los Angeles to their destination,
from the beach city.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
September 20, 1914
NEW YORK TELEGRAPH
The Photoplayers' Club is looking up and the supper last Wednesday was
splendidly attended. Larry Peyton, recently returned from San Diego, was in
the chair, and a capital programme was provided. The well-known actor, Howard
Scott, was the guest of honor.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
October 11, 1914
NEW YORK TELEGRAPH
We had a great supper at the Photoplayers' Club last Wednesday, although
the pleasures were tinctured with some reserve, for it was virtually a good-
by dinner to Henry Walthall, who is leaving for the East. How we do hate to
see him go, for Wally is one of the most lovable of fellows as well as being
an accomplished motion picture actor. We made it very clear to him that he
was leaving some good pals behind.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
November 9, 1914
NEW YORK TELEGRAPH
The Photoplayers held their first annual gambol at the Mason Friday and
Saturday nights, and there was a collection of stars and near-stars, behind
and before the footlights, that would have made the most blase press agent
weep for joy.
Everybody in filmland was there, and the lobby was a veritable florist
shop, while eager men sought to buy candy, flowers and programmes from the
host of leading ladies and ingenues that seemed nearly unable to supply the
demand. Film heroes and heroines stepped from the portrait frames with a
cordiality that gave the whole affair an informal touch and made it such a
splendid success. Miss Laura Oakley, Chief of Police of Universal City, kept
the enormous crowd moving in the already packed theatre.
The audience was nearly as interesting as the show itself. It included
Isadore Bernstein, Mayor of Universal City; Mabel Van Buren, Beatrice Van,
Vera Sisson, Anna Little, Dorothy Davenport, Bessie Eyton, Edith Johnson,
Elsie Greeson, Enid Markey, Leona Hutton, Stella Razeto, the Gish sisters,
Cleo Madison, Grace Cunard, Mabel Normand, Carlyle Blackwell, Billy Stowell,
George Periolot, Donald Crisp, Bobby Harron, William Clifford, Herbert
Rawlinson, James Singleton, Wallace Reid, J. Warren Kerrigan, Harry Carter,
Tom Mix, Sidney Smith, Cortenay Foote and D. W. Griffith. There were many
others in evening dress making the rounds of the boxes greeting friends and
admirers.
Tom Wilson opened the song programme with original parodies that held
the audience from the start. His appearance in blackface was a
disappointment, as every one wanted to see him as he appeared on the screen.
In excellent voice and with a choice collection of semi-classical songs,
Myrtle Stedman of Bosworth, Inc., earned the plaudits of the audience.
Then came Ben Deeley with his famous "Good Old Common Sense" song, and
scored a hit. He was called to give an encore, and sang his latest popular
success, "My Heart's Way Out in California," which he put over in a fashion
that finally forced him to make a short speech, which was a gem in itself.
"Discovered," a short sketch, featuring Kathlyn Williams and a group of
Selig Players, was replete with tense situations, and the comedy climax
surprised and delighted every one. Miss Williams was ably assisted by Guy
Oliver, Wheeler Oakman, Charles Clary, and Jack McDonald. The act was superb,
every one scored a personal success. Mr. Clary as the friend, and Mr. Oakman
as the husband, were especially good, easily maintaining their reputations
behind the footlights that they have gained before the camera.
Max Asher with a patter act assisted by a pack of cards, showed a
dexterity with the pasteboards that won him instant favor. In faultless
evening clothes and grand opera voice, Wm. Worthington rendered operatic
selections to good advantage.
George Cohan's first sketch, with its laughable lines, was offered with
great success by Filson & Errol, who gave it the first production, and from
the way the house enjoyed it proved that it has not outgrown popularity. "The
Tip on the Derby" was very good.
After the intermission Ruth Roland, assisted by Harry McCoy at the
piano, proceeded to stop the show, the audience not being satisfied till the
supes brought the piano back and the pair sang another song. Miss Roland left
nothing to be desired either in her singing or her gowns, and the patter of
the act brought one continuous roar of laughter.
Charley Murray, of Murray & Mack, offered a monologue up to his usual
standard, and was given a big hand.
"The Sheriff of the Shasta," that Theodore Roberts made famous, was
offered with a cast that made the sketch far superior to its presentation in
vaudeville. Mr. Roberts is always good and, as the sheriff, he was a delight.
Miss Smythe, the only one of the original case, was equal to bearing the only
female role of the piece, and her scenes with Mr. Roberts were in her usual
inimitable manner. Murdock McQuarrie, as the jealous husband, and Hobart
Bosworth, as the acrobat, played these parts as only such actors of sterling
quality are able.
Lydia Yeamans Titus, with songs and character studies, fully contributed
to the enjoyment of the affair.
The Oz Film Company presented Violet McMillan, Frank Moore and Fred
Woodward. Miss McMillan has often been compared to a doll and, as she dances
like a sprite, her success was always assured. Woodward and Moore were great,
and "Hank" is a favorite wherever he goes. This trio presented one of the
cleverest acts on the programme, while one of the best dancing teams in
vaudeville closed a show that will be always be remembered and a credit to
the photo-players.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
November 22, 1914
NEW YORK TELEGRAPH
The Photoplayers Club has taken on new life with a vengeance. Last
Wednesday night the supper had a bumper attendance, and Carl Laemmle was
among "those present." The members have raised bonds among themselves to the
tune of over $2,000, and this, with the $1,200 raised by the vaudeville
performance, has cleared the club of debt and placed it on a good footing
again. Apart from this the right spirit has again been infused into the club,
and its future is of the brightest. On Saturday a tango supper will be held,
and the ladies have promised to be there in force. Good!
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
November 29, 1914
NEW YORK TELEGRAPH
Theodore Roberts was the chairman at the Photo-Players weekly supper,
and there was a bumper attendance. Next week Fred Kley, of the Lasky studios,
will be the chairman, and he is a mighty popular man in the colony. Big
preparations are already being made regarding the annual ball to be held in
February, and all the members are giving their services free of charge. The
result can only be one way. The club is stronger today than ever before.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
December 6, 1914
NEW YORK TELEGRAPH
At a big Thanksgiving dance held at Venice, Barney Sherry, of Inceville,
and Mabel Normand, of the Keystone, led the grand march. It was a great
evening and a number of motion picture stars were present.
At the weekly dinner at the Photo-Player's Club Fred Kley, the popular
studio manager for the Lasky forces, was chairman and there was an
overflowing house. William De Mille and Oscar Apfel were present and William
made a witty and interesting speech--very much in favor of the picture game.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 24, 1915
NEW YORK TELEGRAPH
There are no available figures as to how many people attended the ball
at Shrine Auditorium, given in honor of Mary Pickford by the exhibitors of
Los Angeles [on Saturday, January 16]. At 9 o'clock the auditorium was
packed, and outside was a crowd larger than the one inside. The line
stretched for blocks, and traffic was impossible. There were automobiles of
every size, age and description.
Before the arrival of the guest of honor an exhibition of fancy ballroom
dancing was given by a clever team. Immediately after the coronation ceremony
the grand march started, led by Carlyle Blackwell and Dorothy Gish, and all
of the photoplayers participated, while the spotlight in the balcony played
on the screen artists.
At 11 o'clock the crowd outside was still gathering, and as a few of the
spectators were leaving, some of the patient ones were admitted, and by 12
o'clock there was an entire new set of faces in the balcony, but at that
hundreds were unable to obtain admission.
Among those who it was possible to see were Donald Crisp and Al
Kauffman, of the Famous Players; Jesse Lasky, of the Lasky Company; Isadore
Bernstein, of the Universal; Victoria Forde, Rene Rogers, Ruth Roland,
Dorothy and Lillian Gish, Francelia Billington, Lucille Young, Gypsy Abbott,
Mrs. Russell E. Smith, Laura Oaklay, Stella Razeto, Helen Leslie, Agnes
Vernon, Robert Harron, Henry King, William Stowell, George Periolat, Lee
Moran, Christy Cabanne, Al E. Christie, R.E. Smith, Mr. and Mrs. W. E. Wing,
Ray Gallagher, and a host of others.
There were many beautiful gowns, especially the one worn by Miss Gish.
The ball was a splendid success and a credit to the exhibitors of
Southern California.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 31, 1915
NEW YORK TELEGRAPH
The second annual ball of the Static Club was held Wednesday evening,
January 20. Margarita Fischer, wonderfully gowned in a creation of white
satin brocaded in silver and carrying a huge bouquet of American beauties,
led the grand march with Robert Leonard.
Lights of all shades decorated the hall and motion pictures of the grand
march and some of the dances were taken. Filmdom gathered to do honor to the
camera boys and the attachment between players and the men behind the camera
was made stronger by adding another link to the chain of their friendship.
There were some beautiful gowns that attracted much applause, and the
picture players more than earned the reputation as being of the best dressed
profession.
Among those that attended were Isadore Bernstein, Mayor of Universal
City; Fred Balshofer of the Sterling Company, Abe Sterns of the L-Ko, Mr. and
Mrs. Jack Dillon, Mr. and Mrs. Elmer Clifton, Victoria Forde, Eugenie Forde,
Rena Rogers, Connie Johnson, Virginia Chester, Marie Walcamp, Vera Sisson,
Mrs. McCoy, Penny Ferol, Lee Moran, Thomas Santschi, Tom Mix, Mr. Forde,
Harry Pollard, J. Farrell McDonald, Harry McCoy, Beverly Griffith and many
others.
The reception committee were Leonard M. Smith, William Alder, Walter T.
Griffin, Enrique Vallejo and D.K. Gray. The members of the club were there to
the last man, and they are all to be congratulated for the splendid manner in
which the affair was handled.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
April 4, 1915
LOS ANGELES TIMES
The Film Club, composed of some hundred motion-picture actors of
Southern California, will give a ball at the Hotel Potter, Santa Barbara, the
evening of May 28.
Lottie Pickford and Irving Cummings, stars of the "Diamond in the Sky"
serial, now being shown at the Woodley, will appear in a special dance.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
May 29, 1915
SANTA BARBARA PRESS
An attendance considerably smaller than had been anticipated attended
the Film Club ball last night in the palm room of the Hotel Potter. There
were less than 100 percent, and several film stars who had promised to be
there failed to put in an appearance. Those who were there enjoyed
themselves, nevertheless. Music was furnished by Hester's orchestra.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
July 9, 1916
NEW YORK TELEGRAPH
The Directors' Association, a new Coast organization composed entirely
of directors and their assistants, gave a very nice party at the Alexandria
this week in the shape of a beefsteak dinner. The new club is purely for
social purposes and they will have clubrooms in the Alexandria, where the
boys can go and play pinochle and tell each other how much they like their
pictures. The chief director is Otis Turner of the Universal, his assistant
is Allen Curtis of the same company and the man who looks after the expenses
account is Eddie Dillon.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 3, 1917
LOS ANGELES HERALD
Motion picture directors held a banquet at the Athletic club Thursday
night [March 1].
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
June 1917
PHOTOPLAY MAGAZINE
A ball game rivaling in interest only that historic battle which
destroyed the mighty Casey took place in Los Angeles' Washington Park on
Saturday afternoon, March 31. The screen Tragics were up against the screen
Comics. The Comics' lineup was as follows: Charles Chaplin, p.; Eric
Campbell, c; Charles Murray, 1b; Slim Summerville, 2b; Bobby Dunn, ss; Hank
Mann, 3b; Lonesome Luke [Harold Lloyd], lf; Ben Turpin, rf; Chester Conklin,
cf. In the same order of position, the Tragics were Wallace Reid, William
Desmond, George Walsh, 'Gene Pallette, Antonio Moreno, Franklyn Farnum, Jack
Pickford, George Beban and Hobart Bosworth. Umpire and referee: Barney
Oldfield and James J. Jeffries. The carnage was terrible. In the blood, dust
and grand confusion the game broke up after two innings, and the Lord knows
who won. The one really dreadful holocaust was the fanning of Wallie Reid--
just as at least a thousand chickens had risen in the bleachers to give him
the Chautauqua salute. George Walsh, a former pro, slammed the ball clear out
of sight for a real home run. Chaplin pushed the sphere into the bleachers,
and beat it straight across the diamond to second and back. Barney Oldfield
properly called it a foul, whereat Barney was rolled in the dirt by fifty
Keystone cops; after which, rising, he admitted that, owing to a superiority
of numbers, he was forced to change his decision. [This baseball game was a
benefit for the Red Cross.]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
July 29, 1917
E.V. Durling
NEW YORK TELEGRAPH
One of the finest tributes ever paid to a dramatic critic was the
Maitland Davies Memorial Benefit held Sunday night at the Mason Opera House.
Davies, who was the dramatic critic of the Los Angeles Tribune, died last
week, and left his family in rather poor circumstances. The profession led by
Guy Price, dramatic editor of the Los Angeles Herald, quickly rallied to the
aid of the family, and the result was a performance which probably will never
again be equaled anywhere.
Charles Chaplin, Theda Bara, Douglas Fairbanks, Mary Pickford and W.S.
Hart appeared in person. Blanche Ring, Tyrone Power, Julian Eltinge, Louise
Glaum, L.K. Anspacher, Carl Randall, Elsa Ruegger, Flanagan & Edwards, Dainty
Marie, Kathleen Clifford, Bessie Barriscale, Grace Travers and Charlie
Winniger also did their bit.
All in all it was a wonderful benefit, and a very good sum was realized
for the Davies family.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
December 7, 1917
NEW YORK TELEGRAPH
The Club of Forty gave its second dance this week, and it was even
better than the first. George Beban showed the boys how a Russian solo dance
should be executed. The news went around the town that the Club of Forty was
giving a dance, and about 500 of the native sons gathered to see the crowd
come out. They waited seven hours, but it was worth it. Flo Ziegfeld and
Charley Dillingham would have broken down and sobbed like children to see so
much beauty on view free of charge.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 13, 1918
Antony Anderson
LOS ANGELES TIMES
The titanic task of preparation is ended. The great play is finished.
The modern epic--the tremendous story of love and war--was swiftly flashed,
last night, before a vast assembly of men and women at Clune's Auditorium, an
assembly thrilled and exalted by the gripping power, the overwhelming beauty
and the poignant pathos of David Wark Griffith's masterpiece in photoplay,
"Hearts of the World."
The tale was told, not in words but in motion pictures. The newest of
the arts--destined, perhaps, to become one of the greatest of them all--spoke
to our souls through our eyes, which are the windows of the soul, windows
washed clean and clear, on this occasion at least, with tears wrung from our
very hearts.
...Clune's Auditorium was packed as full as it could hold--packed full
and overflowing....The theatrical world was represented by many of its
leading directors and stars--Jesse L. Lasky, Cecil de Mille, William de
Mille, Jeanie McPherson, Wallace Reid, Dorothy Dalton, Mary Pickford, Jack
Pickford, Thomas H. Ince, Lillian and Dorothy Gish, William Desmond, Julian
Johnson, Texas Guinan, Marshall Neilan, Edith Storey, Blanche Sweet, Sessue
Hayakawa, Tsura Aoki, Lois Weber, Phillips Smalley, Olive Thomas, Jack
Conway, Viola Dana, Anita King, H.D. Horkheimer, Mary McLaren, Joseph
DeGrasse, Ida May Park, Chet Withey, Douglas Fairbanks, Charlie Chaplin,
Douglas MacLean, Sid Chaplin, Mack Sennett, and scores of others.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
June 9, 1918
NEW YORK TELEGRAPH
The first meeting of the newly formed Motion Picture War Service
Association held in Clune's Auditorium, Los Angeles, last Sunday [May 25],
clearly demonstrated just how the film colony feels about getting behind the
man behind the gun. The meeting was restricted to the people associated with
the motion picture industry and they did away with all fancy preliminaries
and got right down to business. A constitution was adopted and D. W. Griffith
was elected chairman of the governing board. Mack Sennett was elected
treasurer, and S.E.V. Taylor, secretary. Others selected for the board were
Lois Weber, Charlie Chaplin, Mary Pickford, Douglas Fairbanks, William S.
Hart, Marguerite Clark, Maurice Tourneur, Cecil B. Demille, J.S. Dawley, S.M.
Rothapfel, Lee Ochs, J. Gordon Edwards, Henry McRae, Frank Woods, G.W. Bitzer
and William D. Taylor.
Mr. Griffith put the well-known speech of Patrick Henry far in the
background for a starter. He was followed by Lois Weber, who appealed to the
women in the industry. Cecil De Mille then spoke and started a fund for the
purchase of a hospital with 1,000 beds to be presented to the Government by
the motion picture industry. This will cost, it is expected, $185,000.
Mary Pickford stepped upon the platform with her smile for the moment
laid aside for a determined expression. Portia was never in it with Mary. She
had the crowd crying, sighing and laughing in turns, but always at the right
time. She autographed membership ticket number one for the association, and
sold it to Dustin Farnum for $2,500.
Charlie Chaplin then arose and announced he was ready to do anything,
even sing if requested. All the crowd wanted was to see Charlie walk, being
kind of suspicious regarding his anxiety to sing. Charlie did and then, not
to be outdone by Mr. Farnum, bought a membership ticket and paid $2,600. Mack
Sennett paid $2,400 for Clara Kimball Young's autographed ticket, Mr.
Griffith bought Mae Murray's for $2,500, Sessue Hayakawa gave $2,000 for
Cecil De Mille's, Phillips Smalley $2,000 for Lois Weber's, Henry McRae
$1,000 for Mack Sennett's, Douglas Fairbanks $2,500 for Marguerite Clark's,
Fannie Ward paid $2,500 for Frank Keenan's and Frank turned right around and
bought Fannie's for the same price. Harry Sherman paid $2,750 for Dustin
Farnum's. Altogether some $40,000 was raised in this fashion.
Charlie Murray acted as auctioneer, and needless to say his remarks
alone were worth the money.
The idea of the War Service organization originated with the Motion
Picture Directors' Association, who of late have devoted all their meetings
to the war questions and have done much to demonstrate just to what extent
the motion picture industry is behind the United States and her allies in the
present crisis.
This meeting is only the beginning. It will be followed by a series of
the greatest benefits ever staged and in addition to this many other money
raising efforts will be put forth by the Motion Picture War Service
Association.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
June 10, 1918
Grace Kingsley
LOS ANGELES TIMES
Tremendous financial success attended the show given at the Lasky studio
last Saturday night [June 8], by various members of the acting profession,
for the benefit of the families of United States soldiers and sailors, who
formerly were members of the Lasky organization. A sum amounting to nearly
$9000 was taken in, and as all the articles sold were donated, and as stars
likewise donated their services, said sum was clear.
Many articles were auctioned off. Among others, Clara Kimball Young, who
appeared in evening dress and wearing a magnificent hat, auctioned off her
wearing apparel, delivering the hat and gloves at first hand, and thereafter
retiring behind a screen, over the top of which she sold her dress and some
other garments, and whence she emerged following the sale, mysteriously clad
in street clothes.
Charlie Chaplin purchased a bit of lingerie for $80, and thereafter wore
it about his neck.
Douglas Fairbanks offered to box Kid McCoy, but the fight closed after
the second round for the simple reason that Mr. Fairbanks, in the heat of the
contest, fell into the swimming pool on the platform adjoining which the
dance was held.
Mrs. Lillian Brockwell gathered in money to the amount of about $200--up
to the point, in fact, when the footbridge across the little stream beyond
which her candy booth was situated fell in owing to the heavy traffic.
The bar, which was presided over by William S. Hart, and his cowboys,
took in a small fortune, and Sister Mamie Hart sat near by as a sort of
guardian angel to see that nobody drank too much, but even at that Fred Stone
reeled away following his fifth chocolate ice cream soda. Antony Anderson
offered to help Bill Hart at the bar, but after drinking three out of five
drinks himself, was discharged. However, as he led scores of his own and
Hart's admirers up to the brass rail, his lapse was overlooked.
Booths were presided over by Lillian Gish, Dorothy Gish, Gladys
Brockwell, Edna Earle, Mary O'Connor, Loyola O'Connor, Constance Talmadge,
Carmel Myers, Winifred Kingston and many others.
Mme. Aldrich contributed a dignified patriotic flavor to the occasion by
singing "The Star Spangled Banner."
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
September 1918
Frederick James Smith
MOTION PICTURE CLASSIC
Out in Los Angeles some weeks ago they staged a bazaar for a war
benefit. Blanche Sweet sold flowers, Doug Fairbanks and Kid McCoy contributed
a boxing match, Bill Hart acted as bartender, selling soft drinks only, and
so on. But, most important, Clara Kimball Young retired behind a screen and
auctioned off her garments, piece by piece. These garments, fresh from "her
warm, pulsating body," as the auctioneer remarked, went to the highest
bidders. For the benefit of posterity, we record the purchasers, as far as
neutral observers were able to recall:
Gown, to Tally, Los Angeles exhibitor.
Stockings, to Cecil DeMille.
Corsets, to Elliott Dexter.
---- (slightly censored) ----, to Bill Hart.
Please read these lines slowly.
---- (censored) ----, to Doug Fairbanks.
---- (heavily censored) ----, to Charlie Chaplin for $185.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
[Taylor was in the British Army between August 1918 and April 1919, and was
absent from Los Angeles during that time.]
July 6, 1919
Margaret Ettinger
NEW YORK TELEGRAPH
The Motion Picture Directors' Association had a big entertainment the
other evening in the grill room of the Hotel Alexandria. A cabaret opened the
evening show and was followed by a speech given by Joseph Scott, a well-known
attorney, who addressed the audience on the power of the motion picture and
the relation of the directors to it. Carter de Haven and his wife gave an
exhibition dance.
Besides all the colony directors those present were: Douglas Fairbanks,
Roscoe Arbukcle, Maurice Tourneur, W. H. Clune, Sid Grauman, F. McGrew
Willis, Milton Hoffman, Carl Laemmle and Harry Kline.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
July 13, 1919
Margaret Ettinger
NEW YORK TELEGRAPH
The Brentwood Country Club on Saturday, July 5, and Sunday, July 6, was
the site of much festivity. The club was given over to the motion picture
industry and the members of the colony were bidden to come and show their
prowess on the club's golf course. I drove out in the afternoon with Sarah
Mason and S.P. Trood and arrived at the course just in time to see Victor
Schertzinger had been victor (no pun intended) in the morning's game, and had
won the loving cup donated by O. C. Kingsley.
Goldwyn certainly shone in the morning's contest with Vic copping first
and Rex Taylor winning second prize. In the afternoon Joe Morgan of Brentwood
"came up smiling." He won a gorgeous loving cut. Wallie Reid was one of the
Laskyites who made a wondrous score on Saturday and grabbed a prize on
Sunday. King Vidor did likewise and George Melford came so near getting one
of those cups that we--well we just held our breath. Colin Campbell was out
both days, and so was Neil Burns and the Flannagan and Edwards team.
On Saturday night the club was given over to the motion picture folk and
their families and a dinner dance was staged.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
December 7, 1919
Margaret Ettinger
NEW YORK TELEGRAPH
The biggest social event in the motion picture world came on
Thanksgiving eve when the Directors' Ball was given in the Rose Room of the
Alexandria. This ball, an annual one, is the only occasion during the year
when stars and directors from all studios hobnob for an evening's pleasure
and exhibit their best Parisian gowns and formal evening clothes.
This year the ball proved even bigger than before. Some said because
there had been no ball last year, on account of the war. Others because more
motion picture people were on the Coast than at any other time. At any rate,
it was a grand and glorious success both financially and socially.
Supper was served in the grill and midnight and two jazz orchestras
strummed dance music from 10 till dawn.
Some of those present were Pauline Starke, Bebe Daniels, Nazimova,
Charles Bryant, Bessie Barriscale, Howard Hickman, Pauline Frederick, Tom
Moore, Edna Purviance, Charles Ray, Betty Blythe, Mr. and Mrs. Mahlon
Hamilton, William Russell, Mary Miles Minter, Marcia Manon, B. R.
Frothingham, Wanda Hawley, Wallace MacDonald, Viola Dana, Bert Lytell, Alice
Lake, Jack Pickford, Antonio Moreno, Herbert Howe, Mabel Condon, Grace
Kingsley, Anna Q. Nilsson, Lew Cody, Douglas Gerrard, Lynn Reynolds, Frank
Lloyd, Reginald Barker, Clara Williams, Mr. and Mrs. Maxwell Karger and
Roscoe Arbuckle.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
December 28, 1919
Margaret Ettinger
NEW YORK TELEGRAPH
On the evening of December 23 the local office of Realart gave a dinner
to Arthur Kane. All the press were present, and besides that, Mary Miles
Minter, her mother, Mrs. Shelby, and her director, William Desmond Taylor.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 22, 1920
Margaret Ettinger
NEW YORK TELEGRAPH
The Wallace Reid ball was held in the Hotel Alexandria on February 12 in
behalf of the Theatrical Charities Fund. A host of favorites were there,
including Viola Dana, Shirley Mason, Bebe Daniels, Kathlyn Williams, Bryant
Washburn, Bessie Love, Bert Lytell, William Russell and many more. The
hostesses were Mrs. Wallace Reid and Mary Miles Minter.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 21, 1920
LOS ANGELES EXPRESS
The American Legion kept its faith with those who died; will you break
faith with those who live?
It is so easy to forget; will you remember?
Tonight you will have the opportunity to show whether yours is a memory
or a "forgettery."
If you remember those who died and keep the faith with those who live
you will be "among those present" tonight at the benefit entertainment to be
given by the Los Angeles post, No. 8, American Legion, at Clune's Auditorium.
The American Legion has never asked you for a donation. It does not now.
It offers you a better show than you can see anywhere else in this city for
the money. The performers are topnotchers. But that is not all. They will
work tonight with a patriotic urge. It will be their way of keeping faith.
Give this program a look:
1. Opening--"Memories"
2. "A Bit of Life," Will Rogers.
3. "From the Orient," Miss Margaret Loomis, danseuse.
4. Miss Bebe Daniels and her jazz band.
5. "Five Minutes," Mary Miles Minter.
6. Mana Zucca, pianist.
7. "Imperial Russian Ballet School," Theodore Kosloff and Vera Fredowa.
(a) "Romance of Russian Winter," Vera Fredowa.
(b) "Valse," Gladys Conrad and Flower Huger.
(c) "Russian Peasant Dance," Theodore Kosloff, Vera Fredowa,
assisted by Ivan with Balalaika.
8. Los Angeles Symphony Orchestra.
The entertainment was promoted by S. F. Schumacher, assistant secretary
of the post, with Marshall Zeno in charge of general arrangements and Van
Zimmerman arranging the program.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
May 2, 1920
Margaret Ettinger
NEW YORK TELEGRAPH
Tiajuana, Mexico, and Raymond Hitchcock's "Hitchy Koo" vied for screen
honors last week. On Sunday we glimpsed at the former place, Viola Dana,
Lottie Pickford, Teddy Sampson, Ormer Locklear, Mr. and Mrs. Tom Mix, Stuart
Holmes, Bennie Leonard, Charles Christie, Leatrice Joy, Walter McGrail, Jack
Gilbert, Roscoe Arbuckle, Julius Stern, Sophie Bernard, Lou Anger, J. Gordon
Cooper and scores more in the profession.
Monday night's opening of "Hitchy Koo" found Thomas Meighan, Frances
Ring, Jack Pickford, Olive Thomas, Mabel Normand, Tom Mix, Franklyn Farnum,
Mr. and Mrs. Conrad Nagel, Sylvia Breamer, Rosemary Theby, Lew Cody, Reggie
Morris, Mr. and Mrs. William Seiter, Fritzi Ridgeway and Antonio Moreno at
Hitchy's show.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 6, 1921
Frances Agnew
NEW YORK TELEGRAPH
The members of the American Society of Cinematographers proved Saturday
night that they can be just as successful as hosts as they are at "shooting."
To the allied cameramen goes the blue ribbon for staging the first motion
picture ball of the year and the first motion picture gathering at the new
Ambassador Hotel. It was the society's second annual ball, attended by all
the celebrities of filmland, including stars, directors, producers and
technical folk.
The ballroom was attractively decorated with flowers, with special
stress laid by the cameramen on their forte, lighting. Varied colored
spotlights played on the dancers throughout the evening and early morning
hours. The boxes around the ballroom were occupied by the leading stars and
directors of cinemaland, among the boxholders having been Mary Pickford, May
Allison, Roscoe Arbukcle, George Melford, Gloria Swanson, Louis Gasnier, Mary
Miles Minter, William Hart, Pauline Frederick, Madame Nazimova, Sid Grauman,
James Kirkwood and all the leading stars.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
May 1921
Cal York (Adela Rogers St. Johns)
PHOTOPLAY
The American Society of Cinematographers (which Fatty Arbuckle says is
French for cameramen) gave a ball at the new Ambassador Hotel in Los Angeles
the other evening that was quite THE social event of the season, pictorially
speaking.
Roscoe Arbuckle helped lead the orchestra part of the evening and did
very well, but his prize performance of the night, to my way of thinking, was
the last dance, which he had with a lovely little Follies girl. The rotund
comedian had had a hard day, apparently, the evening had been long--and
rather wet--and Roscoe went to sleep on the floor, resting his head gently
against his partner's rosy cheek and continuing to move his feet occasionally
to the music. If they covered more than six feet the whole dance, San
Francisco is a suburb of New York.
Pauline Frederick had a box, which she shared with her mother and some
friends, including her very constant attendant, J. Allen Boone, head of the
western organization of Robertson-Cole. Polly looked gorgeous in white, and
was as cordial and charming as ever.
May Allison was her next door neighbor, surrounded as usual by so many
black coats her pretty blonde head only appeared occasionally to the gaze of
the multitudes.
Jim Kirkwood was the sensation of the evening, for when he appeared on
the floor wearing his long, silky yellow beard--grown for his part in "The
Money Master"--there was an absolute gasp of horror over the room. Jim had
Lois Wilson with him, and danced a lot of dances with her. Lois looked very
"debutante" in a pale blue taffeta frock and, as usual, maintained her
dignity throughout the evening.
Tommie Meighan and his wife, Frances Ring, were there. Tommie doesn't
dance--or at least he didn't--but Mrs. Meighan, in a lace and satin frock
with long lines didn't lack partners, believe me. "My Frances," as Tommie
calls her, is a stunning person in evening gown.
Nazimova, in a yellow satin costume made exactly like a hula dancer's
flitted in with her husband for a few moments and gave the spectators a treat
by dancing twice, giving likewise a very good imitation of a hula. Also, she
provided the laugh of the evening by issuing positive orders to the ballroom
committee that, if she condescended to come, no one should be presented to
her. No one was. And the party seemed to ramble on just the same.
Mr. and Mrs. Wallace Reid were guests of May Allison. Bessie
Barriscale--who in spite of having a son as tall as she is--was there looking
like an ingenue at her first ball.
Madame Elinor Glyn, in the most beautiful gown in the room, and an
emerald headdress and necklace, caused something of a sensation. She dances
very beautifully and I saw her and Rupert Hughes stepping several measures
with evident gusto.
Gloria Swanson, with fewer clothes on than I have ever seen in a public
place, was there, too, so beautiful that she outshone her old self. She wore
something made of black jet beads.
I don't think it was a queen of Sheba costume, Betty Blythe wore--she
was there with her husband, Paul Scardon--but it was magnificent enough to
be.
Mary Alden had a box party, I think; anyway I saw her in black as usual
and among the rest of the guests were Mildred Harris, in crimson and gold,
with her hair built in a pyramid, accompanied by Herbert Rawlinson, King and
Florence Vidor, Doris May and Wallace MacDonald, Penrhyn Stanlaws, Colleen
Moore in a most fetching silver frock, Mr. and Mrs. Jack Mulhall, Jack
Donavan, Darrell Foss, Mr. and Mrs. Charles Meredith, and oh, yes, I almost
forgot, Mrs. Gertrude Atherton, Bryant Washburn, Mr. and Mrs. Earle Williams,
Cullen Tate, Mr. and Mrs. Pat O'Malley, and I think I saw Helen Jerome Eddy
floating about.
Anyway, it was a grand party and everybody seemed to have the time of
their lives.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
May 1921
PHOTOPLAY
...And we can now present to you--Mr. and Mrs. Tom Moore.
Tom Moore and Renee Adoree met in New York New Year's Eve.
They were married in Beverly Hills, California, on February 12th.
...They were married, in the lovely drawing room of Tom Moore's home in
Beverly Hills, just at noon. Nice, fat, jolly Judge Summerfield married them,
and Mabel Normand was maid of honor, and Jack Pickford was best man. Dear old
Mrs. Moore, mother of the Moores, was the only guest present.
...Afterwards they drove to a famous Inn in Pasadena, where a bridal
breakfast was served for forty of their friends, among them May Allison,
Alice Lake, Edna Purviance, Mr. and Mrs. Mahlon Hamilton, Lottie Pickford,
Teddy Sampson, Mr. and Mrs. Clifford Robertson, Mr. and Mrs. Cedric Gibbons,
and the bridal party.
Everybody drank the bride's health--in the stuff that runs under
bridges, we suppose--and they motored away in a cloud of rice, and blessings
to Santa Barbara, Del Monte, San Francisco and finally took shop to Honolulu,
where they spent a three weeks honeymoon.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 14, 1921
Grace Kingsley
LOS ANGELES TIMES
Who says we can't Mardi Gras? We not only can but do, oh, fluently! It
was a prize pow-wow, that Saturday night Mardi Gras at the Ambassador.
We used to fiesta when our City Council and Chamber of Commerce felt a
mood of joyous abandon coming on; but never in our palmiest days did we
fiesta as we Mardi Gras'd Saturday night. Probably a part of the difference
is due to the fact we have movie stars these days, and how the movies do make
things move, to be sure.
Of course it was a Mardi Gras with the meter on, so to speak. Though
there may have been gentlemen with enlarged hips on the place, there were no
hip-hip-hoorays consequent thereon. Even Dick Ferris's service station
apparently had not been tempered with. But even without any fine old Southern
gentlemen with heir fine old whisky breats, we managed to Mardi Gras with vim
and vigor.
It wasn't a mild Mardi Gras, at that. How could it be, with one of
Pavlowa's wildest Russian steppers in our midst? Three times did her partner
toss her aloft on his shoulder, and it's said that a couple of stars nearly
did the cat-step! So there! And if you don't believe we were plumb devilish,
you should have seen the boy dressed in girl's clothes, and--I'm glad you
asked me that, dearie--last tights clear to his hips!
Mary Pickford looked lovely in a pale blue silk, and with Douglas
Fairbanks, helped to entertain the crowds who gathered around the two. We
thought maybe Doug would do a stunt, but he had a sore hand, so he couldn't
hop over anything.
Mary Miles Minter was there with Mother Charlotte Shelby, looking
beautiful in a simple shepherdess costume of pink and white satin helping to
put the "Mar" in Mardi Gras.
Mildred Harris as Juliet had no particular Romeo; she played the field.
Rudolpho Valentino wore a Spanish cavalier's costume, but no mask.
Somebody suggested he couldn't bear to be out of the public eye that long.
Oh, but there were some devils present! Some dressed for the part, some
not. Take Wally Reid, for instance. That nonchalant gentleman didn't bother
about advertising. He just wore evening clothes. Besides, he was in a
protective mood. Had he not brought Mary McIvor Desmond?
Mitchell Lewis just put on one of his regular Canuck costumes and romped
around. He wore no dagger, so he was sufficiently disguised. Tom Mix
disguised himself by leaving off his checked overcoat.
Harold Lloyd and Mildred Davis wore evening clothes, and found they
danced so nicely together they didn't bother dancing with anybody else.
Anyhow, what could be sweeter.
Larry Semon had parked his comedy make-up and wore the moonlights; and
lovely Lucille Carlisle, just to show there was no hard feeling, any more,
was the partner of his terpsichorean joys and sorrows, looking very spankable
in a kid outfit.
Al Kauffman neatly held up the tail of his claw-hammer coat, when he
danced, and Charlie Murray was a hot tamale in a vaquero outfit.
Even the Governor made a speech and said it was the best Mardi Gras ball
he had ever seen and that he was something of an expert at that. So you can
see for yourself that a good time was had by all.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
June 1921
Cal York (Adela Rogers St. Johns)
PHOTOPLAY
Everybody in Hollywood was at the Washington's Birthday races at the Los
Angeles speedway, when Ralph dePalma cleaned up one of the most thrilling
speed races ever won.
May Allison had a box--and a box party, consisting mostly of men, as far
as we could see. May always has a regular attendant group of young men--but
she agrees with Elinor Glyn that stars shouldn't marry so I guess it's quite
hopeless. Her sister was acting as chaperone.
Tom and Nell Ince were there--with their oldest boy, who nearly fell out
of the box with excitement. I heard a dozen people speaking about how well
Mrs. Ince is looking. She had on a marvellous sable coat and the smartest
little blue bonnet-hat. Jackie Saunders was in their box, in a suit of blue
duvetyn, with a collar of marten. Jackie certainly believes in short and
convenient skirts. And she has at least two perfectly good reasons.
Mabel Normand arrived just as the race was starting, looking as fat and
sassy as she did five years ago. Most of the western film colony hadn't seen
her since her rest cure, and everybody had to run over and congratulate her.
Characteristically, Mabel had picked up some small urchin on the way--aged
about nine--and giving him the seat of honor, had a gorgeous time
entertaining him. She had on a sport coat of blue and henna plaid and a smart
straw sailor.
Mrs. Wallace Reid, whom her husband adequately described as the best
looking thing around the track, entertained a box party, while her husband
worked in the pits most of the day with the cameras,--getting stuff for his
new automobile picture. With Mrs. Reid were Mr. and Mrs. Bill Desmond and
Hank and Dixie Johnson.
Jack Pickford, who had been seriously ill for some days, was there too,
looking white and thin, wrapped in coats and robes. His sister Lottie, in a
magnificent coat of velvet and fur, and Teddy Sampson, in a sport frock of
blue, were with him.
Mr. and Mrs. Cecil deMille were there of course.
Tom Mix and his wife, Victoria Ford, were among those present--Tom being
very much in evidence with a plaid overcoat that must have been designed to
match his bandanas. And Hoot Gibson had a bevy of pretty girls in a box next
to May Allison's.
Doug Fairbanks arrived on the run when the races were about half over
and watched them from the judge's stand, where Tony Moreno was having the
time of his young life, rooting like a yell leader for de Palmer.
Mary Alden, with the smartest black had I've seen this year, entertained
Mr. and Mrs. Rupert Hughes and some other friends.
Alice Lake wore a cape of wool with fringe and an adorable tam over her
eye, and I saw Elliott Dexter, just back from a week at Catalina brown as a
berry, and pretty Seena Owen, in black and coral.
And everybody went home so hoarse from cheering, they couldn't speak.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 20, 1921
Frances Agnew
NEW YORK TELEGRAPH
The motion picture event of the week was the local premier of Metro's
greatest production to date, "The Four Horsemen of the Apocalypse," staged at
the Mission Theatre Wednesday evening. The opening was a gala social event,
with seats for this special performance commanding a price of $5, and even at
that many were turned away. All the headliners in the film colony were there,
with after-theatre parties as the order of the evening. William S. Smith,
Gloria Swanson, George Melford, May Allison, Theodore Kosloff, Viola Dana,
Alice Lake and Madame Nazimova were just a few of the favorites who gave
special parties for the opening, followed by supper gatherings later.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 16, 1921
LOS ANGELES EXAMINER
The audience at the opening of the Ambassador Theater last night
represented the most brilliant angles of Los Angeles social life. Men and
women of every profession, and of notable wealth, were observed throughout
the house, and handsome gowns, brilliant jewels and magnificent furs gave the
assemblage the aspect of the grand tier at the Metropolitan.
Among those who had reserved their seats in advance were ...Tom Moore,
Mabel Normand, Wallace Reid, Louise Glaum, Carmel Myers, Tom Mix, Tully
Marshall, Wallace MacDonald and Doris May, William Conklin, May Allison, Jack
Coogan, Lila Lee, Harry Garson, Shirley Mason, Louis B. Mayer, Wanda Hawley,
William Desmond, Earl Williams, Mildred Harris, Sam Woods, Jack Warner,
Charles Murray, Mack Sennett, Elinor Glyn, James Kirkwood, Al Christie,
Carter de Haven, John M. Stahl, Bessie Love, Joseph De Grasse, Gloria
Swanson, Harold Lloyd, Phyllis Haver, Sol Wurtzel, Charles Chaplin, Allan
Dwan, Betty Compson, Al Kauffman, Hal Roach, Irving Thalberg, Katherine
MacDonald, Benjamin B. Hampton, King Vidor, Naomi Childress, Anita Stewart,
Mary Miles Minter and Virginia Fox.
Carl Stockdale and party, Mrs. Shelby in decollete black net and jet,
Maurice Tourneur and party, Bebe Daniels....
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
April 6, 1921
Cholly Angeleno
LOS ANGELES EXAMINER
Another brilliant event marked the second evening of the grand opera.
All the gayety and the beauty of the opening night was repeated last evening
in the personnel of the audience, the dazzling beauty of the gowns and the
women who wore them.
Many who attended "Othello" were present again last evening to hear Mary
Garden sing her famous Carmen role.
...Antonio Moreno and Rudolpho Valentino were among the screen stars
present.
...Mary Miles Minter wore a gown of silver cloth and lace and a silver
bandeau in her hair.
...Miss Mabel Normand was attractive in a gown of white satin, made
without any suggestion of color, and an ermine wrap.
...Eva Novak, who was with William S. Hart, was in black lace with an
exquisite coat of black heavily embroidered in gold.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
April 10, 1921
Herbert Howe
NEW YORK TELEGRAPH
By far the most magnificent affair in which the film colony has ever
participated was the pageant ball presented on the Monday following Easter in
the great ballroom of the Hotel Ambassador as a benefit for the Children's
Hospital of Los Angeles. The carnival of many splendors netted $15,000 for
the fund, largely through the co-operation of the celebrities of filmdom.
The pageant consisted of a series of tableaux, dazzling in color and
richness, based on historical episodes. The entire room was in darkness when
a trumpet blared and a gigantic searchlight swept down the flowered aisle of
the long salon, ushering in Queen Elizabeth before whom Shakespeare was to
plead his case. This English number was presented by Mrs. H. D. Sheperd under
the stage direction of William Parke.
Shakespeare in the person of Wedgewood Nowell made his case by
introducing his favorite characters. Kathlyn Williams as Rosalind, and Mary
Miles Minter as Juliet brought an ovation. But the real thrill came when the
velvet curtains parted and the spotlight discovered Betty Blythe as Cleopatra
clad in all her glory--and a few brilliant trifles. A gasp, followed by
volleys of applause, went up as Cleopatra moved with stately grace before the
queen and took from Charmian the regicidal asp which she crushed against her
bosom. Miss Blythe was attired in a rich, yet effectively simple, robe which
she wears as Queen of Sheba in the Fox extravaganza soon to be unfurled in
New York.
The English group was followed by the Russian, presented by Mrs. Cecil
B. De Mille and other women prominent in film society circles. Marguerite de
la Motte as the fire bird in crimson and gold held breathless attention as
she danced through the room. Lila Lee and Lois Wilson also contributed beauty
and grace to this number.
The Indian-Persian portrayal of "The Marriage of Seven Steps" was
presented by artists of the Brunton studios. The Indian processional was a
flow of riotous color, Indian music, and furious dancing.
Gloria Swanson appeared as the moon goddess in the Chinese pantomime. In
the throng surrounding her were Milton Sills, Lionel Belmore, Mr. and Mrs.
Rupert Hughes, Mr. and Mrs. Rob Wagner and others of film fame.
Priscilla Dean appeared as queen of the carnival in the Italian piece.
Margaret Loomis as the Spirit of the Adriatic led a ballet of sea-green
nymphs. Mahlon Hamilton was the Doge of Venice. In the ensemble were Helen
Jerome Eddy, Kara Schram, Ora Carew, Rosemary Theby, Tully Marshall and Clyde
Cook.
A regime of French historical events was an elaborate series, the
tricolor and "la Marseillaise" bring the thousands of spectators to their
feet. Irene Rich was Joan of Arc, Elinor Glyn impersonated the Empress
Josephine, led by Tim Frawley as Napoleon; William Desmond was Francois
Villon, Josephine Crowell gave realism to Catherine de Medici, Charles
Kenyon, Richelieu; Winifred Kingston, Madame Pompadour. A graceful Watteau
pastoral in minuet form was led by Mae Allison and Herbert Rawlinson,
followed by Mary MacIvor and Conrad Nagel, Mary MacLaren and Mr. Hughes,
Doris Pawn and Nigel Barrie. Other prominent leaders of the French tableau
were Kathleen Clifford, Theodor
e Roberts, John Davidson, Sydney Franklin and
Dana Todd. Not forgetting Master Jack Coogan, who, in the historic garb of
The Kid, created a sensation greater than Napoleon or Foch and comparable to
that of Cleopatra herself.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
September 1, 1921
Henry Dougherty
LOS ANGELES EXPRESS
The list of those who attended the initial showing of "The Three
Musketeeers" at the Mission theater reads like "Who's Who in Filmland."
Probably never before in the history of the film industry--with the
possible exception of one or two D.W. Griffith productions--has there been
such a brilliant assemblage in a Los Angeles theater for the purpose of
witnessing a "first night" performance of a motion picture.
A score of stars whose faces are familiar to millions of people
throughout the world, last night sat in on the performance, applauded
generously, and when the end of the picture came they spoke as with one
voice: "Marvelous. It is the greatest thing Douglas Fairbanks has ever done."
And speaking from a critical standpoint, one is justified in the
assertion that "The Three Musketeers" is probably the greatest achievement
since the birth of the motion picture industry...
Among some of the "first-nighters" were: Alla Nazimova, Katherine
MacDonald, Roscoe Arbuckle, Clara Kimball Young, Mary Miles Minter, Bebe
Daniels, Phyllis Haver, Mary MacLaren, Jesse L. Lasky, Eric von Stroheim,
Ferdinand Pinney Earle, May Allison, Kathleen Clifford, Elinor Glyn, Eileen
Percy, William Conklin, Tod Browning, Colleen Moore, Betty Compson, Irvin
Willat, Fred Niblo, Barbara La Marr, Marguerite de la Motte, Charles Ray,
Ruth Roland, Ruth Stonehouse, L.E. Behymer, Max Linder, Wanda Hawley, Elliot
Dexter and probably a score of others.
In addition, a majority of the best-known directors in Los Angeles were
present.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
November 20, 1921
Frances Agnew
NEW YORK TELEGRAPH
Everybody who was invited--which meant almost everybody in the blue book
of the Coast film colony--donned their best evening togs, ordered the
chauffeur drove their own or rented an auto and plunged into the jam for the
formal opening of Marcus Loew's new State Theatre here Saturday night. It was
a big night for Mr. Loew and the film stars. The thousands of "fans" who kept
the Los Angeles police busy while they stormed the theater and lined up on
the streets to see the celebrities arrive and depart will bear witness to
this fact.
This new State Theatre is the principal part of an imposing new office
building on the corner of Seventh Street and Broadway. The Theatre is a
beautiful one, equipped with all the luxury and convenience of the modern
playhouse.
In one of the boxes sat Governor Stephens and his party and in the other
Mayor Cryer with a group of his friends. Both executives spoke while arc
lights played on their faces and the cameras recorded them in action, both
lauding Mr. Loew for his achievement and proving good press agents for him by
urging interest in this new theatre. Mr. Loew himself made a brief speech,
after being introduced by Bert Lytell, while the ever-dependable and always
entertaining master of ceremonies, Fred Niblo, again did the honors for the
clever showman.
The few who paid money for the opening performance undoubtedly got their
money's worth, though we have no doubt that they shared the wish of the
invited guests that the regular vaudeville program had been eliminated,
leaving the field to the notable speechmakers and to the stars who appeared
and performed.
The booking wheel unfortunately brought six very mediocre acts to the
house for the week and the orchestra was in a much too serious mood when they
selected the opening performance numbers. So we have no doubt that no one
ever appreciated the magnetism of the cinema spotlight and the versatility of
some of the stars better than did Mr. Loew that night when they put the
"punch" into his opening show along about midnight. In fact, they gave it
such a "punch" that there was no time left for the best feature of the
regular program provided for the week, the Bert Lytell picture, "A Trip to
Paradise."
Buster Keaton was the headliner of the evening with his eccentric dance,
labeled "The Death of Salome," with a travesty on "The Great Moment," and due
apologies to Elinor Glyn, finishing it. Ruth Roland pleased with two songs,
one yodled. And other who acted out were T. Roy Barnes, Walter Hires, Robert
Edson and Snitz Edwards, who put on a highly amusing ventriloquist act; Ora
Carew, Buck Jones, Larry Semon and Al St. John.
In the stellar rows were Anita Stewart, Rudolph Cameron, Enid Bennett,
May Allison, Robert Ellis, Bert Lytell, Bayard Vellier, Viola Dana, Alice
Lake, Rex Ingram, Alice Terry, Gareth Hughes, Rudolph Valentino, Doris May,
Irene Rich, Bebe Daniels, Wanda Hawley, Constance Binney, Nazimova, Jackie
Coogan, Gloria Swanson, Dustin Farnum, Thomas H. Ince, Sid Grauman, Constance
Talmadge, Natalie Talmadge Keaton, Sylvia Breamer, Madge Bellamy, Leah Baird,
King Vidor, John Bowers, Ethel Clayton, Betty Compson, June Mathis, James
Young, Antonio Moreno, William Duncan, Jack Gilbert, May Collins, Mary
Thurman, Mabel Normand, Harold Lloyd, Mr. and Mrs. Carter de Haven and so on
and so on through a longer list than we could ever remember at one sitting.
It is doubtful if any event here ever drew out more celebrities than did
Mr. Lowe's opening. Certainly his theatre has had an auspicious and history-
making beginning. Here's to its success!
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
December 12, 1921
Frances Agnew
NEW YORK TELEGRAPH
Crowds of admiring fans and clicking cameras who recorded the arrival
and departure of the silver sheet luminaries shared the street and lobby
space in front of the Mission Theatre, Wednesday evening. The cause was the
formal opening of Mack Sennett's best production, "Molly-O," with the
irresistible Mabel Normand as Molly.
It was an invitation affair, the house being crowded with as many of the
friends and acquaintances of the star and producer as it would hold, and
hosts of them disappointed in not being present. And what an ovation they
gave to Mabel, who, looking as lovely as always, sat in a loge between
Charlie Chaplin and Abraham Lehr, two of her guests for the occasion. Even
the scores of floral tributes banked on the stage and featured in the opening
spotlight came in for special applause, further testimony of the popularity
and appeal of the delightful star.
Fred Niblo, master of ceremonies deluxe, appeared in his customary
opening night role and christened "Molly-O" with a humorous and, of course,
dry toast to its success. Here's hoping Mr. Sennett will give us another
"Molly-O" very soon, if for no other reason than to let us again appreciate
the delightful art and beauty of Mabel Normand.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
December 15, 1921
Lee Ettelson
LOS ANGELES EXAMINER
The Examiner Christmas Benefit all-star performance last night was a
huge success, a great event. No actors benefit ever had a more magnificent
array of talent, no throng of people, such as bulged Philharmonic Auditorium
last night, was ever so satisfied.
Nothing was missing, from Fred Niblo, who was chairman, toastmaster and
master of ceremonies, to the Fox Sunshine Comedy Four who closed the program
with a mystic something in gyrations called, "The Whirl of Mirth."
To mention the names of stars who took part in what, in recollection,
becomes a huge spectacle, would be to give a stage a motion picture
directory. Few stars of note were absent last night; and those who were not
there were ill or out of the city, mostly.
...[Here follows a description of the various acts in the show] And then-
-what all waited for:
This was the 1921 Book of Fame, a famous book indeed, some nine feet
high, gilded entrancingly, whose pages as they successively opened revealed
the stars of the movie heavens, those who had won such a prominent place
during the past year, personal appearances of names that thrill in any studio
and household.
And as the book's pages were opened, the volume spoke"
May Allison, Agnes Ayres and Wesley Barry. Madge Bellamy, Lionel Belmore
and John Bowers, Sylvia Breamer, May Collins, Jackie Coogan, Viola Dana,
Mildred Davis, Marguerite de la Motte and Richard Dix. William Duncan, King
Evers, Dustin Farnum, Helen Ferguson, Virginia Fox and Raymond Hatton. Jack
Holt, Edith Johnson, Dorothy June and Alice Lake.
The book still turned back its pages, revealing Cullen Landis, Lila Lee,
Bessie Love, Doris May, May McAvoy and Douglas MacLean; Frank Mayo, Mary
Miles Minter, Baby Peggy Montgomery, Colleen Moore and Carmel Myers, Kathleen
Myers, Mabel Normand, Dorothy Phillips, Pauline Starke and Anita Stewart,
"Sunshine Sammy," Florence Vidor, George Walsh, Bryant Washburn, Lois Wilson
and Claire Windsor.
A heaven of stars...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 8, 1922
LOS ANGELES EXAMINER
Unattended by directors shouting "action" and in an atmosphere that was
utterly lacking in suggestion of the sets of a studio, Lottie Pickford Rupp,
sister to Mary Pickford, was married last night to Alan Forrest Fisher, known
to the cinema world in which he is a star as Alan Forrest.
The ceremony was performed in the First Methodist Church of Hollywood by
the Rev. Dr. Willsie Martin, its pastor, and in the presence of nearly every
motion picture star on the Pacific Coast, to say nothing of several hundred
residents of Hollywood and Los Angeles.
Following the wedding, the bridal party, accompanied by a few intimate
friends, went to the Ambassador Hotel, where a wedding dinner was served.
This morning Mr. and Mrs. Fisher will leave on an extended honeymoon jaunt.
Where are they going?
They refuse to tell.
The wedding ceremony was marked by its beautiful simplicity and lasted
less than ten minutes. Long before it began, though, the guests, both those
of the motion picture colony who knew the couple well and those who have met
them through the "silver screen," had gathered outside the church.
The doors were not opened until a few minutes before seven-thirty, the
hour set for the marriage. When the guests were finally admitted the large
edifice was filled within a few seconds and so large was the crowd that
failed to gain admittance that a detail of police officers from the Hollywood
station was pressed into service to handle it.
Arrangements had been made for the bride and groom to enter the church
from different vestibules, but when 7:30 came and it was time to start the
wedding march, "Mary and Doug" had not arrived and there was a short delay.
Miss Rupp arrived early with her mother, Mrs. Charlotte Pickford, and her
brother, Jack, who was to give her away.
When "Doug" and "Mary" arrived there was a hurried whispered conference
of all the party and "Doug" was sent into the church to take his seat with
the other members of the family.
"Doug's" appearance was the signal for an enthusiastic outburst of
applause from the ensembled guests. It was enthusiasm that could not be kept
down apparently, though the edifice was a church and the occasion a wedding.
The object of the outburst, however, appeared none too well pleased and
attempted to gain silence by nodding his head. It had no effect.
Many times have the members of last night's wedding participated in
beautiful wedding ceremonies before the camera, but last night, face to face
with reality, they appeared lost, and they frankly admitted they felt that
way.
Miss Rupp was attended only by her sister. There was no bridesmaid and
no ring bearer or flower girls.
Just as the wedding march commenced, when Miss Rupp and her sister and
brother were waiting in the vestibule to start the processional, "Our Mary"
pleadingly asked what she was to do.
"I'm nervous," she said, and she meant it.
"I'm nervous too," responded Jack. "Don't ask me."
"Well, let's go in," added the bride.
There was a hurried scamper and Mary took a position before the other
two. No one was quite sure which arm Jack was supposed to offer the bride but
with the aid of a reporter they finally were straightened out and started
into the church.
Mary, forgetting her nervousness, head in the air and looking straight
ahead like a little grenadier, led the bride and her brother up the side
aisle and down the center of the chancel.
Both the bride and her maid-of-honor were beautifully gowned and both
deserved the subdued exclamation of homage that came from the standing
guests. The bride has always had an honest claim to be called pretty. As for
Mary--well, who is there in the world who doesn't know of her almost
childlike beauty, and she never looked prettier than last night.
The bridgroom and his best man, Eddie Sutherland, were waiting near the
foot of the chancel and as the bride and groom met, Doctor Martin entered
from the chancel door. Almost, it seemed, before the audience realized the
ceremony had begun, it had finished and the recessional began.
There was a mad rush on the part of the guests to reach the street
before Mr. and Mrs. Forrest were driven away. Only a few, however, succeeded
in getting near them. The ushers, Hoot Gibson, Al Roscoe and Harry Cohn,
anticipating just such a move, saw to it that bride and groom were well on
the way to the Ambassador before the church was half emptied.
Other members of the family made their exit from side doors and they too
were whirled away from the huge and curious crowd. "Doug" may have held up
the wedding by being just a little bit late but he managed to get to the
hotel before the rest of the party and was in possession when they arrived.
Among the guests at the wedding dinner were Mr. and Mrs. Tom Moore,
Thomas Dixon, Steve Franklin, Hoot Gibson, Harry Cohn, Al Roscoe, May McAvoy,
Mabel Normand, Mr. and Mrs. Urson, Lila Lee, Mrs. Charlotte Pickford, Mary
Miles Minter, Bebe Daniels, Alice Lake, Mr. and Mrs. Canfield, Eddie
Sutherland, Mr. and Mrs. Scott, Jack Pickford, and "Doug and Mary."
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Wallace Smith: February 15, 1922
The following is another of Wallace Smith's sensationalizing dispatches on
the Taylor case.
February 15, 1922
Wallace Smith
CHICAGO AMERICAN
William Desmond Taylor was playing his last love scene, his final "fade-
out" locked in the embrace of one of screenland's favored beauties, when the
slayer's shot in the back ended his eccentric life.
This spectacular theory of the weird murder, reinforced by the latest
developments in the sensational case, was played before the district attorney
today following the report that, within a week, the actress and her newest
mate would be arrested and charged with the crime.
It was reported, too, that an assistant district attorney had questioned
Mack Sennett, producer, who for years has been an intimate friend of Miss
Normand. The result of this alleged interview, of course, was not disclosed.
Sennett, according to his assistants, has been ill for some days and unable
to be interviewed by newspaper reporters.
District Attorney Thomas Lee Woolwine, scanning the latest reports of
his operatives, declined to comment on the "kiss of death" theory. From a
semiofficial source--the only sort available in these parts, it was learned
however, that recent discoveries led more and more to the trail of the
actress and her paramour.
The arrests, it was declared, would loose a mighty volcano of scandal
that would bury Hollywood in its burning ashes and arouse the entire nation.
The actress, it was known, had quarreled violently with Taylor about six
weeks ago. The reason for their quarrel had never been divulged. His
friendship for many other women, revealed since his tragic death, now seems
to supply a motive. [5]
There had been a reconciliation and, a few days before the killing,
another bitter quarrel. It was their "last quarrel," both declared. It
proved so in fact.
The authorities considered today two angles of the new theory. One was
that she and the man she had persuaded to become executioner for her had
betrayed Taylor to his death. The other was that, visiting Taylor to renew
their "friendship," she had been forced to witness the slaying of her lover
by a jealous suitor and since has feared to tell her story.
Very careful of their reputations are these queens of the movies.
The actress' known fondness for morphine, the police declared, might be
a salient fact to back up the new theory. Such a crime, they declare, might
easily be directed by the fevered imagination of a "hopped-up"--that is, drug-
inspired, lady.
When Taylor's body first was found the chivalrous authorities refused to
consider that a woman was involved in the crime.
They are the same authorities who for two hours reported that Taylor had
"died of natural causes."
They insisted that the position of the wound proved positively that
Taylor had been seated at his desk with his arms lifted as if he had been on
the point of writing when the shot was fired. Now they are able to see that
Taylor's arms might have been raised to clasp the woman's body.
The very position of Taylor's body as it was found, neatly "laid out,"
and the orderly condition of the room, assumed a new significance. At the
time it was taken as a sure indication that there had been no struggle.
Now they are beginning to realize that, except perhaps in the movies, a
murderer does not jauntily enter the door, fire a shot, and retire while his
victim carefully adjusts his arms and legs as an undertaker might.
It is now believed that the slayer, before he left Taylor's study,
straightened up the room, removed such clews as might attract the eye of the
Los Angeles police and "laid out" Taylor's body. It was even suggested that
the woman may have helped in thus covering the trail.
"She may have been very fond of him," remarked one of the detectives,
with a serious face, "and so tried to leave his body as neat as possible.
Also the room. You know how women are."
Seeming to support the theory that a woman was present when Taylor was
slain is the tale told by a confessed--nay, a boasted--"bootlegger" picturing
a woman fleeing from the Taylor home at about the time of the crime, as it
was reckoned more or less arbitrarily by the police.
"I was delivering some very fine bonded stuff to Taylor," said the rum
renegade. "I had delivered there many times before. This consignment was in
half-pint bottles and I was carrying it in a case. I drove up in my car and
started for the house to see if everything was all right.
"As I did, I heard what I thought was a shot. Of course I stopped in my
tracks. In my business a man can't be too careful. I waited there for a few
seconds in the shadow. Then I saw a woman come out in a hurry. She ran down
the sidewalk and disappeared.
"Well, I was minding my own business and I got out of there in my car in
a hurry, you can bet."
The sight of a woman fleeing the Taylor place a few seconds after the
shot was heard might lead to the theory that the woman had done the crime.
But the police, reluctantly admitting that a woman was in the affair at all,
clung stubbornly to the contention that the weapon was too heavy a caliber
and make to be handled by feminine hands.
Nor would they pay any attention to the suggestion that every studio is
cluttered with property weapons of all descriptions and every moving picture
actress familiar with their use.
With the new clues and the new theories to direct the investigators,
there was some interest displayed in the total of $4,500 reward offered by
various concerns for the arrest and conviction of Taylor's slayer. Of this,
$2,500 was offered by the moving picture firm for whom Taylor labored.
$1,000 by a local newspaper, and $1,000 by the Screen Writers' Guild.
Some of the interest was in the amount offered as compared to the cost
of the productions Taylor directed and the money they made.
One unique explanation of the reward was that the story expected to be
told by the ultimate informant would be a very brief one. Actually, the
formal statement reads:
"The Famous Players-Lasky Corporation hereby offers and agrees to pay
the sum of $2,500 reward to the person or persons furnishing information to
the district attorney of Los Angeles resulting in the arrest and conviction
of the slayer of William Desmond Taylor; that is to say, in the event such
information is furnished by more than one person, such reward to be divided
equally among such persons, the total reward not to exceed $2,500."
Chief of Detectives David Adams bitterly denied the rumor that his men
were inclined to "give up" the riddle of Taylor's death. He pounded his fist
against the top of his desk to emphasize his declaration of unrelenting toil
until the mystery is solved.
"We'll never rest until the murderer is behind the bars," he exclaimed.
"There will be no let up in the search, even if it takes months."
Generally, the impression strengthened by the reports of semiofficial
agents has been that District Attorney Woolwine's office is in possession of
facts which will clear up the slaying within a few days or at the most a few
weeks.
The district attorney himself blandly denied this. During an interview
today he turned the talk to a discussion of his acquaintance with the man who
was killed.
"He was such a fine fellow," he declared, " that it is almost impossible
to imagine a motive for the crime. He had a most attractive personality. He
was the sort of man who, if you saw him in a crowd, you would instinctively
wish to know more about, and you would manage to gravitate toward that part
of room in which he was."
He was asked if the report that certain detectives supposed to be
working on the case had been reported off duty.
"Well, those men are tired," declared the district attorney. "They've
been working hard. They have only so many days off a month and if they don't
take them when they're due they won't get them at all."
The only definite information divulged by the prosecutor was a denial
that Mabel Normand's "blessed baby" letters had been returned to her. The
screen favorite had made a statement in which she declared that the much
discussed and very much protected letters had been returned.
Because of the fact that the letters were still locked in the
prosecutor's safe it was reported that Miss Normand was to be questioned
again to supplement the statement she made in her midnight interview at
Woolwine's hands last Saturday.
Another theory which was considered by the authorities was that Taylor
was killed by blackmailers who sought to involve his name with that of a
young motion picture actress. Taylor, according to this theory, made a
desperate battle for the reputation of an innocent girl.
It developed, however, that the young woman in question was not as
innocent as her pictures would have a trusting public believe. On the
contrary, according to semiofficial information about new letters discovered
among Taylor's effect.
The district attorney announced he would again question William Davis,
Miss Normand's chauffeur, who drove her to the Taylor home the night of the
slaying. It was stated that fresh information had led Mr. Woolwine to the
resolution to have the driver go over again his statement corroborating Miss
Normand's version of the events of that night.
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NEXT ISSUE: The Last Day of Taylor's Life
Wallace Smith: February 16, 1922
Has Mabel Normand Solved the Taylor Murder?
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NOTES:
[1] In reality, Mabel was driven to the Arbuckles by actress Fay Tincher. See
"Fatty's First" by Stuart Oderman and Minta Durfee in CLASSIC IMAGES #70, p.
42.
[2] See WDT:DOSSIER, p. 330.
[3] LOS ANGELES TIMES (May 7, 1937).
[4] See LOS ANGELES TIMES (February 4, 1922 and March 5, 1922).
[5] The quarrel "about six weeks ago" was obviously a reference to the New
Year's Eve quarrel between Taylor and Mabel Normand.
*****************************************************************************
For more information about Taylor, see
WILLIAM DESMOND TAYLOR: A DOSSIER (Scarecrow Press, 1991)
Back issues of Taylorology are available via Gopher or FTP at
etext.archive.umich.edu
in the directory pub/Zines/Taylorology
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