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Hollywood, Broadway & More! Memorial Sex Symbols

Keith’s Theatre – 2/7/2025

(Move over Hedda Hopper, Louella Parsons & Adela Rogers St. Johns)

I often find myself on YouTube (since I have a Roku box, directed to my TV screen), watching a barrage of videos from all manner of content creators.  Just can’t imagine how anyone could bear to watch an itsy-bitsy phone for any length of time.  That would ruin it all for me since I’m hopelessly addicted to this medium…

Especially so when a classic film is being shown, and such was the case this week watching Circe the Enchantress on YouTube (with Czech intertitles & Spanish subtitles).  I had to settle for the Czech/Spanish version since no one’s posted the complete film with English intertitles.  Reference please:

If you don’t understand Czech or aren’t fluent in Spanish (como yo), watching Mae Murray (aka the Princess Mdivani) emote is likely all you’ll need.  Very glad I watched this since it showed me that she was truly one of the greats of the silent era.

Circe, the Enchantress, 1924, starring Mae Murray

I also suggest watching the film jewel in Mae Murray’s crown, 1925’s The Merry Widow, directed by Eric von Stroheim, for anyone who wants to see “poetry in motion.”  Von Stroheim brought out a unique quality in Mae which resonated with filmgoers worldwide.  Reference please this link and incidentally, Miss Murray doesn’t appear until almost 11½ minutes into the film.  Certain there were long arguments between said actress and director von Stroheim about that decision!

1925: Mae Murray (1885 – 1965) stars as dancer Sally O’Hara in the film ‘The Merry Widow’, directed by Erich Von Stroheim for MGM.

The 1950 film, Sunset Boulevard, simply had to be based on Mae Murray’s life.  Sunset Boulevard’s Norma Desmond is the essence of Mae Murray, and since reading Michael G. Ankerich’s biography, “Mae Murray, the Girl with the Bee-Stung Lips,” any lingering doubts I had were permanently dissolved. 

These two women are one and the same.

The Ankerich book is quite well-researched, and next to “Swanson on Swanson,” one of the best accounts ever written on the silent era.  The Jane Ardmore 1959 book, “The Self-Enchanted,” which regrettably relied on the recollections of Mae Murray (still alive and kicking at the time), was the only biographical account I’d previously digested, until the Ankerich offering some 50 years later. 

“Self-Enchanted,” indeed! Clearly more “self-deluded,” which likely explains why Mae was found on the streets of St. Louis, Missouri in 1964, aimlessly wandering about in a state of confusion at age 79.  Reference please, this article: 

https://news.google.com/newspapers?id=YrMyAAAAIBAJ&pg=990,1605441

Hate to think of what’ll happen to me then.  Wait, that’s only 8½ years from now, perish the thought!

Other happenings this week…got to brush up on my latest Hollywood gossip.  Shall I do another movie review? NO! Let’s not and say we did, n’est-ce pas? Think that my Emilia Pérez review from last week will tide me over for quite some time, thank you very much.  

But really, I just gotta trash some other film since there’ve been so many recently.  Guess I’ll just peruse the Oscar nominations and come up with a sufficiently delectable menu.  Don’t cha think?

My mind wanders, or haven’t you noticed? Guess it’s my age…going to be 71 in June.  One of my co-workers not-so-lovingly disparaged my mind as being a “senior citizen brain-dump!”

Evil woman…

Where oh where is Miss Marion Davies when you need her most? WRH’s mistress was much to my dismay (according to Adela Rogers St. Johns, a longtime Hearst columnist), the very person who had NOT wanted dear WR to divorce Millicent (Mrs. Hearst).  I’d always heard differently, all those many claims and memoirs stating it’d been Millicent Hearst herself, not Marion Davies, that had made all the fuss, the former having been so staunchly Catholic. 

Guess time eventually reveals all truths and guess I’ll find out soon enough when it’s time for me to cross over. 

Don’t cha think, or don’t cha? Until next time…

Categories
Hollywood, Broadway & More! Memorial Sex Symbols

Girl with Bee-Stung Lips

Mae Murray w/Prince David Mdivani
Mae Murray, “The Girl with the Bee-Stung Lips”

Before Mae West came along in the early sound era, sex symbol Mae Murray sashayed onto the silent screen in the late 1910s.  Starting as a talented dancer, the beauty and the sensuality she projected to audiences drew the attention of dancer Vernon Castle, with whom she first appeared and later, Florenz Ziegfeld, who featured her in his legendary Ziegfeld Follies.

Mae Murray was born Marie Adrienne Koenig on May 10, 1885, in New York City, and not the city of Portsmouth, Virginia as she often stated.  She died in Los Angeles on March 23, 1965.

Mae Murray, early in her career, came under the tutelage of director Robert Z. Leonard, whom she eventually married.  Third husband Leonard carefully crafted the sensuous persona she projected.  It has been written that the close-up photographed through a layer of gauze was created specifically for Mae Murray by Robert Z. Leonard.  That same technique was later used by French Impressionist directors like Abel Gance, Germaine Dulac and Marcel L’Herbier.

“Princess Virtue,” “A Mormon Maid,” “The Delicious Little Devil,” “Mademoiselle Midnight,” and “Circe the Enchantress” are but a few of the Leonard films that starred Mae Murray in which she was able to showcase her many charms, and for which theatre goers had an eager appetite.  Eventually Murray and Leonard divorced.

During the silent film era, some publicity-seeking stars, notably Pola Negri and Gloria Swanson, opted to marry European royalty, and thus gain a title.  Not to be outdone, in 1926, Mae Murray married one of the questionable Mdivanis of Georgia – the country of Georgia that is, not the U.S. state.  

Regrettably, Prince David Mdivani of Georgia became the manager of his Princess, thus signaling the beginning of the end of her career.  He persuaded her to leave MGM Studios, thus offending the powerful Louis B. Mayer, who had her blacklisted.  Mdivani also managed to squander the millions of dollars Mae had earned through her successful starring roles.  An attempt at transitioning to sound roles with her 1930 remake of “Peacock Alley” proved futile.  

Mae’s “Royal Wedding” featuring Matron of Honor, Pola Negri & Best Man, Valentino

Mae Murray did not go down in defeat, however.  Before this dramatic fall from grace, she had been cast in the leading role of Erich von Stroheim’s 1925 film, “The Merry Widow.”  The film turned out to be the jewel in her crown.  Yet it was no longer 1925, it was now 1930 and sound was here to stay! Mae Murray had lost favor with the Hollywood moguls, with the public at large, and thus began Mae’s retreat into her own world of make-believe.

1925: Mae Murray (1889 – 1965) stars as dancer Sally O’Hara in the film
‘The Merry Widow’, directed by Erich Von Stroheim for MGM.

Mae Murray’s penchant for living in a fairytale world only grew worse with age, and she eventually morphed into a Norma Desmond-like character.  Many believe the inspiration for Billy Wilder’s famous 1950 film “Sunset Boulevard” was Mae Murray’s overly extravagant sense of self-worth and her steadfast refusal to accept that she was no longer a star.

The 1959 biography of Mae Murray called “The Self Enchanted,” written by Jane Ardmore, is the source for many of the photographs featured here.  Unfortunately, a lot of the material Miss Ardmore cites was provided by Mae Murray.  There is no mention of her childhood growing up in New York City, the daughter of an alcoholic father.  Additionally, the book simply leaves blank a 20-year period from the 1930s through 1959, when the book was released.  A much better source of information is from her second biographer, Michael Ankerich, who authored “Mae Murray:  the Girl with the Bee-Stung Lips.”

Mae posed for a magazine, having designed a fashion line to be named for her

I urge you to search out on YouTube the 1950 video “Mae Murray Speaks on Heart Throbs of Yesterday” as well as one of the many Mae Murray films that are posted.  If you can find a copy of “The Merry Widow,” it is a must-see film.  Currently, TGZ Classic Movies has this film posted on YouTube.  There is also a 3-part radio interview with Mae Murray from 1960, which is worth listening to.  I am listing a Wikipedia link to a February 24, 1964 Ottowa Citizen newspaper article, which reported that the former star was found wandering in a state of confusion in St. Louis, Missouri, mistakenly believing she was on her way to New York.

Yes, Mae Murray had hit rock bottom, wandering hither and yon in a state of delusion. 

https://news.google.com/newspapers?id=YrMyAAAAIBAJ&pg=990,1605441

The dancing, frolicking sex symbol who danced with Vernon Castle, starred in the Ziegfeld Follies, went on to be a major silent screen idol, Mae Murray…who had all the right curves in all the right places…the girl with the bee-stung lips…Once at the top of the world, her millions had been squandered, and Mae Murray died in obscurity.

From the 1931 sound offering, “Bachelor Apartment.” Mae’s star had waned by now.
Categories
Hollywood, Broadway & More! Memorial

His Career Ended with the Coming of Talkies- Tragedy of Silent Star John Gilbert

The life of John Gilbert ended tragically on January 9, 1936 at the young age of 38.  Gilbert’s final performance involved no acting at all.  It was that of a dying man clutching at his chest, writhing in pain, and falling to the floor for his last gasps of air.  What must those last moments have been like for someone who had been at the top of the world, only to become one of the casualties of the nemesis feared most by silent actors…THE MICROPHONE!

John Gilbert’s complete biography can be found on Wikipedia, an excellent source of information.  Informative as well as convenient, Wikipedia always has the most up-to-date information on a variety of subjects.  I wouldn’t be without it when researching the old Hollywood stars.

John Gilbert was a longtime friend of comedienne Marion Davies who is probably best remembered as the decades-long love interest of newspaper publisher William Randolph Hearst.  In Davies’ posthumous memoir, “The Times We Had,” she spoke of Gilbert’s feelings for Lillian Gish with whom he’d been paired for the 1926 MGM film, La Bohème.”

Davies said, “Jack Gilbert would stay downstairs with a bunch of violets in his hand.  He might as well have waited for the sun to come out at night, because she was dodging him.  They were making ‘La Bohème’ and he was madly in love with her. Jack Gilbert was the sort of person who took the movies seriously.  When he played in a love scene with somebody, he fell in love with her. So he’d be down there, standing with a bunch of violets, waiting for Lillian.  But she was only there for the one picture.  She only did that one picture, and she paid no attention to Jack Gilbert with his violets – none whatsoever.”

Later in her memoir, she references Greta Garbo, who co-starred with John Gilbert in several films, notably 1926’s “Flesh and the Devil,” where the two created a romantic sensation.  Davies wrote, “I felt awfully sorry for Jack Gilbert.  He was in love with Greta Garbo, and she would have no part of him at all.  That was why he was blue.  He was very much the artist type, with flashing black eyes and nervous, emotional moods.  Those writers didn’t understand it.  They were just watching and pushing him.  And imagine the emotions going on inside him.”

Those emotions must have eventually overwhelmed him, for gossip columnist Louella Parsons wrote in her 1944 memoir “The Gay Illiterate” that, “John Gilbert landed in jail on a charge of disturbing the peace after Greta Garbo got as far as the courthouse – and then refused to marry him.”

Parsons reported exactly how Gilbert’s career was ruined by sound pictures.  “John Gilbert and Greta Garbo, in such silent pictures as ‘Flesh and the Devil,’ had become the great lovers of the movies.  In one fell swoop – to be exact, a dreadful movie called ‘His Glorious Night’ – Jack was ruined.  It has been said, and is now accepted almost as legend, that the great Gilbert had a falsetto voice that ill became his manly physique and that audiences tittered when he spoke.”

Louella Parsons went on to say, “While Jack’s voice wasn’t so deep as the ocean, it was a thoroughly normal speaking voice.  But in those days there was little ‘mixing’ or regulation of sound.  If the microphone was pitched along the leading lady’s favorite key the hero sounded ‘way up there’ with her, too.”

One part of the Marion Davies memoir really showed how troubled John Gilbert really was.  Davies wrote of Gilbert’s frequent mood swings and stated, “One night at the beach we had gotten tired of sitting around the swimming pool and had gone out on the sand. There were thirty or forty of us. There was a group of writers around Jack, and I could hear an argument. I heard Jack say, ‘I’m going to commit suicide.’ And they said, ‘Dare you to.’ Well, that was not the thing to say to a man who was in that mood, but they were teasing him. They said, ‘Prove it. You’ve talked about suicide so much, prove it to us. If you’ve got the guts to do it, show us.’ And Jack said, ‘All right, I will.’”

w/Norma Shearer & Lon Chaney, Sr.

“While everyone was chattering away, he went out and walked into the waves. And he kept on walking until I thought, This is not funny. I said, ‘Somebody stop him.’ But they said, ‘Let him alone. He’ll stop himself. Just watch him. He won’t do it.’ They thought it was a big joke. Maybe their voices carried across. Whatever, he suddenly threw himself down, and then he came wading in and went down on the sand. He burst into sobs and beat the sand and cried his heart out. He couldn’t do it; he had been challenged and he couldn’t do it.”

Ultimately, John Gilbert got his wish.  On January 9, 1936 after a massive heart attack, aggravated by chronic alcoholism, he took a final curtain call.