Photoplay (Jul-Dec 1948)

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It was merely, “Male and Female.” Thomas Meighan, a great star since “The Miracle Man,” and Gloria Swanson were the leads. Gloria, who became the clotheshorse of the screen, played one scene, in a cage full of wild lions. Little did she dream then, that Pola Negri, whom Chaplin had gone to meet — and stayed to date — in Europe was about to drive her wilder by invading her studio territory. Other studios took such fire from the De Mille, Griffith and Ingram essays into — not boy meets girl — but man meets woman and how — that the public got too excited. Will Hays, a big politician, was hired by Hollywood to clean up and clamp down on everything. His initial work would have been a lot easier, if right at that moment, Nita Naldi and Barbara La Marr hadn’t clicked and Pola Negri hadn’t arrived in California. None of these girls were the demure types and Pola was seen everywhere with Charlie Chaplin, in his big car, on which he had painted his coat of arms. IN ITS eleventh year, Hollywood experienced its first really serious series of events. Wally Reid died and Pearl White, in France, retired into a convent. Charlie Ray, trying to prove that he could produce, direct and act all on his own, put out “The Courtship of Miles Standish,” and lost not only his fortune, but his public. Mary Miles Minter, out of pictures, and very over-weight, though still barely out of her teens, tried to get some of her earnings back from her mother. The law ruled that her parent could keep the cash, just as it was later to do in the case of Jackie Coogan. Barbara La Marr got in sundry types of trouble and was tagged, “the too beautiful girl.” William Hart got hurt by being mixed up in a paternity suit, though he was eventually cleared of the charges, and De Mille, once again sensing which way the tide was running, put out “The Ten Commandments.” And the head boys of Hollywood began worrying over the threat of something called radio. But the whole world was in the big, bootleg-prosperity mood and Hollywood couldn’t stay downbeat for long. There was, by 1924, a new beauty in town called Dorothy Mackaill, a new discovery named Clara Bow and a new handsome male, Ronald Colman. Charlie Chaplin forgot Pola Negri, replacing her with his second child-bride, Lita Grey. Tom Ince built the first of the big, big homes of Hollywood, but the chic Valentinos were living in a villa on the Riviera. Doug and Mary were ideally happy entertaining royalty, not even knowing of the existence of a chorus girl, later named Joan Crawford. She had just been signed by Metro as Lucille LeSueur. And they most definitely didn’t know about a Kansas kid named Buddy Rogers. It was an era of titles in Hollywood, anyhow. Gloria Swanson had shed Somborn to marry the Marquis de la Falaise, never dreaming that one day Connie Bennett, then living with her second husband, millionaire Phil Plant, would marry him, too. Mae Murray, divorced from Bob Leonard, wed Prince David Mdvani, and Pola, not to be outdone, married his brother, Prince Serge. (Barbara Hutton, married another brother. Prince Alexis.) As a matter of counter -balance, a small Princess of Hollywood was born. She was promptly named Beatrice Joy Gilbert and her dashing father scored his first big success, in “He Who Gets Slapped,” at M-G-M, not giving so much as a second look to the protege of the Swedish director, Mauritz Stiller. Nobody paid any attention to the girl, anyhow. She was Greta Garbo and ji had only been given a little contract to f keep Stiller happy. But, there were two i important feminine discoveries that the ' whole town was excited about. One was a dark, mysterious beauty from Mexico, Dolores del Rio. The other was lovely, | blonde Vilma Banky, nicknamed the Hun ■ garian Rhapsody. She was brought over to i play opposite Valentino, but when she and | Ronald Colman co-starred, people said !| there never had been such romantic Jove J scenes. ON-SCREEN love, that is. Off-screen, Hollywood swooned over the private life love scenes between Clara Bow and Gilbert Roland, to be quickly succeeded by the love scenes between Clara Bow and a shy , cowboy called Gary Cooper. But even these seemed icy, compared to those of Valentino’s, when he consoled himself in the arms of Pola Negri, following his parting from Natacha. Wow! When Rudy died , in August of 1926, there never was such a > picture of grief as Pola — a perfect picture < which a thousand cameras caught. Two pictures were in production, during those months of 1925: “The Torrent” with Greta Garbo and “The Big Parade” with John Gilbert and Renee Adoree. Women everywhere were reading “The Green Hat” and wanted to be like its freelove heroine. With the release of “The Torrent,” Garbo became the embodiment of this longing. She changed the whole screen siren type, from the grossly physical to the distinctly passionate and spiritual. Off screen, she also lived up to it. In all of Hollywood’s glittering story, there has never been a romance, on screen and off, as great as that of John Gilbert and Garbo. They acted divinely, with an exciting blend of earthiness. They were divine looking. Once, they nearly eloped to Santa Ana. Why they never married, only Garbo can ever tell. For Jack Gilbert is dead, and before he died, he knew the bitterness of defeat in his work and the ashes of too many, too-light loves within his heart. Olivia Burwell, his first wife, and . Beatrice Joy, his second, had divorced him — and he and Garbo parted. In haste he married Ina Claire. In haste he married Virginia Bruce and had a child by her. ■ And betwixt and between he — well, let’s call it, flirted — with everyone, includmg , Pola and the newly arrived Marlene Dietrich, imported by Paramount as a rival to Garbo. Yet one of the great gestures of Hollywood was Garbo’s, insisting on having him as her leading man four years later in “Queen Christina,” after he failed • so ignominiously in the sound pictures which she had so successfully mastered. Undoubtedly, Garbo hoped that would save him. Possibly, she wanted to make up to him for any hurt she had ever given him. “Queen Christina” didn’t restore Gilbert and losing out on it was a very ^ bitter blow to another actor, originally ' brought over from England for the role — i Laurence Olivier. It is easy to say, now, that Hollywood should have realized what the advent of sound would do. The point is nobody did— not even Warner Brothers who were doing all the experimenting with it. Next month you can continue this fas “ cinating history of Hollywood — right up to i the present day. Don’t miss it.