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Mary Pickford – Hollywood Pioneer


Mary Pickford – Hollywood Pioneer

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Gladys Louise Smith (April 8, 1892 – May 29, 1979), known professionally as Mary Pickford, was a prolific Canadian-American film actress and producer. She was a co-founder of both the Pickford-Fairbanks Studio (along with Douglas Fairbanks) and, later, the United Artists film studio (with Fairbanks, Charlie Chaplin and D.W. Griffith), and one of the original 36 founders of the Academy of Motion Picture Arts and Sciences who present the yearly “Oscar” award ceremony.[3]

Known in her prime as “America’s Sweetheart”[4][5][6] and the “girl with the curls”,[6] Pickford was one of the Canadian pioneers in early Hollywood and a significant figure in the development of film acting. Pickford was one of the earliest stars to be billed under her name (film performers up until that time were usually unbilled), and was one of the most popular actresses of the 1910s and 1920s, earning the nickname “Queen of the Movies”.

She was awarded the second ever Academy Award for Best Actress for her first sound-film role in Coquette (1929) and also received an honorary Academy Award in 1976. In consideration of her contributions to American cinema, the American Film Institute ranked Pickford as 24th in its 1999 list of greatest female stars of classic Hollywood Cinema.

Mary Pickford Season is screening in our Cinematheque Live. Join us in viewing those rare classic films

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Mary Pickford - Ziegfeld - c. 1920s - by Alfred Cheney Johnston

An Introduction to Mary Pickford by Mary Pickford Foundation – on Film Dialogue YouTube Channel 

Mary Pickford Foundation Copyright

Early life 

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Mary Pickford was born Gladys Louise Smith in 1892 (although she would later claim 1893 or 1894 as her year of birth) at 211 University Avenue,AToronto, Ontario.[1] Her father, John Charles Smith, was the son of English Methodist immigrants, and worked a variety of odd jobs. Her mother, Charlotte Hennessey, was of Irish Catholic descent and worked for a time as a seamstress. She had two younger siblings, Charlotte, called “Lottie” (born 1893), and John Charles, called “Jack” (born 1896), who also became actors.
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To please her husband’s relatives, Pickford’s mother baptized her children as Methodists, the faith of their father. John Charles Smith was an alcoholic; he abandoned the family and died on February 11, 1898, from a fatal blood clot caused by a workplace accident when he was a purser with Niagara Steamship.[1]
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When Gladys was age four, her household was under infectious quarantine, a public health measure. Their devoutly Catholic maternal grandmother (Catherine Faeley Hennessey) asked a visiting Roman Catholic priest to baptize the children. Pickford was at this time baptized as Gladys Marie Smith.[7][8]

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Charlotte Smith began taking in boarders after being widowed. One of these was a theatrical stage manager. At his suggestion, Gladys (age 7) was given two small roles, one as a boy and the other as a girl,[1] in a stock company production of The Silver King at Toronto’s Princess Theatre. She subsequently acted in many melodramas with Toronto’s Valentine Company, finally playing the major child role in their version of The Silver King.

She capped her short career in Toronto with the starring role of Little Eva in their production of Uncle Tom’s Cabin, adapted from the 1852 novel by United States writer and abolitionist Harriet Beecher Stowe.[9] Stowe’s novel was, coincidentally, based on the memoirs of another Ontarian, Josiah Henson.[10]

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Career

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Mary Pickford on stage 1905

Early years

By the early 1900s, theatre had become a family enterprise. Gladys, her mother and two younger siblings toured the United States by rail, performing in third-rate companies and plays. After six impoverished years, Pickford allowed one more summer to land a leading role on Broadway, planning to quit acting if she failed. In 1906 Gladys, Lottie and Jack Smith supported singer Chauncey Olcott on Broadway in Edmund Burke.[11]
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Mary Pickford in 1908

Gladys finally landed a supporting role in a 1907 Broadway play, The Warrens of Virginia. The play was written by William C. DeMille, whose brother, Cecil, appeared in the cast. David Belasco, the producer of the play, insisted that Gladys Smith assumes the stage name Mary Pickford.[12] After completing the Broadway run and touring the play, however, Pickford was again out of work.

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Mary Pickford on stage in The Warrens of Virginia 1907

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The Warrens of Virginia newspaper advert 1907

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The Warrens of Virgina Belasco Theatre Poster 1907

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Mary Pickford promotional photo for The Warrens of Virgina – Belasco Theatre

On April 19, 1909, the Biograph Company director D. W. Griffith screen-tested her at the company’s New York studio for a role in the nickelodeon film, Pippa Passes. The role went to someone else but Griffith was immediately taken with Pickford. She quickly grasped that movie acting was simpler than the stylized stage acting of the day. Most Biograph actors earned $5 a day but, after Pickford’s single day in the studio, Griffith agreed to pay her $10 a day against a guarantee of $40 a week.[13]

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Mary Pickford in one of her first film roles in DW Griffith’s The Lonely Villa 1909 – Biograph Productions

Pickford, like all actors at Biograph, played both bit parts and leading roles, including mothers, ingenues, charwomen, spitfires, slaves, Native Americans, spurned women, and a prostitute. As Pickford said of her success at Biograph:

“I played scrubwomen and secretaries and women of all nationalities … I decided that if I could get into as many pictures as possible, I’d become known, and there would be a demand for my work.”

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Biograph Offices in 1909

She appeared in 51 films in 1909 – almost one a week. While at Biograph, she suggested to Florence La Badie to “try pictures”, invited her to the studio and later introduced her to D. W. Griffith, who launched La Badie’s career.[14]

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Mary Pickford in DW Griffith’s The Country Doctor 1909

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Mary Pickford in DW Griffith’s The Hessian Renegades 1909

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Mary Pickford in DW Griffith’s The Violin Maker Of Cremona 1909

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Mary Pickford in DW Griffith’s Willful Peggy 1910

In January 1910, Pickford traveled with a Biograph crew to Los Angeles. Many other film companies wintered on the West Coast, escaping the weak light and short days that hampered winter shooting in the East. Pickford added to her 1909 Biographs (Sweet and Twenty, They Would Elope, and To Save Her Soul, to name a few) with films made in California.

Actors were not listed in the credits in Griffith’s company. Audiences noticed and identified Pickford within weeks of her first film appearance. Exhibitors in turn capitalized on her popularity by advertising on sandwich boards that a film featuring “The Girl with the Golden Curls”, “Blondilocks”, or “The Biograph Girl” was inside.[15]

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Mary Pickford in DW Griffith’s They Would Elope 1909

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Mary Pickford in DW Griffith’s To Save Her Soul 1909

Pickford left Biograph in December 1910. The following year, she starred in films at Carl Laemmle‘s Independent Moving Pictures Company (IMP). IMP was absorbed into Universal Pictures in 1912, along with Majestic. Unhappy with their creative standards, Pickford returned to work with Griffith in 1912. Some of her best performances were in his films, such as Friends, The Mender of Nets, Just Like a Woman, and The Female of the Species. That year Pickford also introduced Dorothy and Lillian Gish (both friends from her days in touring melodrama) to Griffith.[1] Both became major silent stars, in comedy and tragedy, respectively. Pickford made her last Biograph picture, The New York Hat, in late 1912.

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Mary Pickford in DW Griffith’s Friends 1912

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Film Poster for Mary Pickford in DW Griffith’s The Mender of the Nets 1912

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Mary Pickford in DW Griffith’s The New York Hat 1912

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Mary Pickford in DW Griffith’s The Female of the Species (1912)

She returned to Broadway in the David Belasco production of A Good Little Devil (1912). This was a major turning point in her career. Pickford, who had always hoped to conquer the Broadway stage, discovered how deeply she missed film acting. In 1913, she decided to work exclusively in film. The previous year, Adolph Zukor had formed Famous Players in Famous Plays. It was later known as Famous Players-Lasky and then Paramount Pictures, one of the first American feature film companies.

Pickford left the stage to join Zukor’s roster of stars. Zukor believed film’s potential lay in recording theatrical players in replicas of their most famous stage roles and productions. Zukor first filmed Pickford in a silent version of A Good Little Devil. The film, produced in 1913, showed the play’s Broadway actors reciting every line of dialogue, resulting in a stiff film that Pickford later called “one of the worst [features] I ever made … it was deadly”.[1] Zukor agreed; he held the film back from distribution for a year.
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Poster for A Good Little Devil (1914) with Mary Pickford

Pickford’s work in material written for the camera by that time had attracted a strong following. Comedy-dramas, such as In the Bishop’s Carriage (1913), Caprice (1913), and especially Hearts Adrift (1914), made her irresistible to moviegoers. Hearts Adrift was so popular that Pickford asked for the first of her many publicized pay raises based on the profits and reviews.[16] The film marked the first time Pickford’s name was featured above the title on movie marquees.[16] Tess of the Storm Country was released five weeks later. Biographer Kevin Brownlow observed that the film “sent her career into orbit and made her the most popular actress in America, if not the world”.[16]

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Poster for In the Bishop’s Carriage (1913) with Mary Pickford

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Poster for Caprice (1913) with Mary Pickford

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Poster for Hearts Adrift (1914) with Mary Pickford

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Mary Pickford in Tess of the Storm Country (1914)

Her appeal was summed up two years later by the February 1916 issue of Photoplay as “luminous tenderness in a steel band of gutter ferocity”.[1] Only Charlie Chaplin, who reportedly slightly surpassed Pickford’s popularity in 1916,[17] had a similarly spellbinding pull with critics and the audience. Each enjoyed a level of fame far exceeding that of other actors. Throughout the 1910s and 1920s, Pickford was believed to be the most famous woman in the world, or, as a silent-film journalist described her, “the best known woman who has ever lived, the woman who was known to more people and loved by more people than any other woman that has been in all history”.[1]

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Silent film superstars: Fairbanks, Pickford and Chaplin

Stardom

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Adolph Zukor with Mary Pickford and her mother, Mrs. Charlotte Smith in 1916

Pickford starred in 52 features throughout her career. On June 24, 1916, Pickford signed a new contract with Zukor that granted her full authority over production of the films in which she starred,[18] and a record-breaking salary of $10,000 a week.[19] In addition, Pickford’s compensation was half of a film’s profits, with a guarantee of $1,040,000 (US$ 17,330,000 in 2017).[20][clarification needed] Occasionally, she played a child, in films such as The Poor Little Rich Girl (1917), Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919) and Pollyanna (1920). Pickford’s fans were devoted to these “little girl” roles, but they were not typical of her career.[1]

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Mary Pickford in The Poor Little Rich Girl (1917)

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Mary Pickford in Rebecca of Sunnybrook Farm (1917)

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Mary Pickford in Daddy Long Legs (1919)

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Mary Pickford in Polyanna ( 1920)

In August 1918, Pickford’s contract expired and, when refusing Zukor’s terms for a renewal, she was offered $250,000 to leave the motion picture business. She declined, and went to First National Pictures, which agreed to her terms.[21] In 1919, Pickford, along with D.W. Griffith, Charlie Chaplin, and Douglas Fairbanks, formed the independent film production company United Artists. Through United Artists, Pickford continued to produce and perform in her own movies; she could also distribute them as she chose. In 1920, Pickford’s film Pollyanna grossed around $1,100,000.[22] The following year, Pickford’s film Little Lord Fauntleroy was also a success, and in 1923, Rosita grossed over $1,000,000 as well.[22] During this period, she also made Little Annie Rooney (1925), another film in which Pickford played a child, Sparrows (1926), which blended the Dickensian with newly minted German expressionist style, and My Best Girl (1927), a romantic comedy featuring her future husband Buddy Rogers.

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Mary Pickford signing United Artists documents – with Douglas Fairbanks, Charles Chaplin and DW Griffith

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Mary Pickford in Little Lord Fauntleroy (1921)

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Mary Pickford in Rosita (1927)

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Mary Pickford in Little Annie Rooney (1925)

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Mary Pickford in Sparrows (1926)

The arrival of sound was her undoing. Pickford underestimated the value of adding sound to movies, claiming that “adding sound to movies would be like putting lipstick on the Venus de Milo“.[22]

She played a reckless socialite in Coquette (1929), a role for which her famous ringlets were cut into a 1920s’ bob. Pickford had already cut her hair in the wake of her mother’s death in 1928. Fans were shocked at the transformation.[23] Pickford’s hair had become a symbol of female virtue, and when she cut it, the act made front-page news in The New York Times and other papers. Coquette was a success and won her an Academy Award for Best Actress,[24] although this was highly controversial.[25] The public failed to respond to her in the more sophisticated roles. Like most movie stars of the silent era, Pickford found her career fading as talkies became more popular among audiences.[24]

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Mary Pickford in Coquette (1929)

Her next film, The Taming of The Shrew, made with husband Douglas Fairbanks, was not well received at the box office.[26]Established Hollywood actors were panicked by the impending arrival of the talkies. On March 29, 1928, The Dodge Brothers Hour was broadcast from Pickford’s bungalow, featuring Fairbanks, Chaplin, Norma Talmadge, Gloria Swanson, John Barrymore, D.W. Griffith, and Dolores del Rio, among others. They spoke on the radio show to prove that they could meet the challenge of talking movies.[27]

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Mary Pickford and Douglas Fairbanks in The Taming of the Shrew (1929)

But the transition came as Pickford was in her late 30s, no longer able to play the children, teenage spitfires, and feisty young women so adored by her fans, and was not suited for the glamorous and vampish heroines of early sound. In 1933, Pickford underwent a Technicolor screen test for an animated/live action film version of Alice in Wonderland, but Walt Disney discarded the project when Paramount released its own version of the book. Only one Technicolor still of her screen test still exists.

Mary Pickford Technicolor test for The Black Pirate 1926 – Courtesy of George Eastman House – watch it on Film Dialogue YouTube Channel

She retired from acting in 1933; her last acting film was released in 1934. She continued to produce for others, however, including Sleep, My Love (1948; with Claudette Colbert) and Love Happy (1949), with the Marx Brothers).[1]

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Mary Pickford behind the camera
Mary Pickford talking about her life and career – CBC Radio Interview May 25th 1959 – on Film Dialogue You Tube Channel

The Film Industry

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Pickford, Fairbanks and Chapling promoting the sale of Liberty Bonds

Pickford used her stature in the movie industry to promote a variety of causes. Although her image depicted fragility and innocence, Pickford proved to be a worthy businesswoman who took control of her career in a cutthroat industry.[28]

During World War I, she promoted the sale of Liberty Bonds, making an intensive series of fund-raising speeches that kicked off in Washington, D.C., where she sold bonds alongside Charles Chaplin, Douglas Fairbanks, Theda Bara, and Marie Dressler. Five days later she spoke on Wall Street to an estimated 50,000 people. Though Canadian-born, she was a powerful symbol of Americana, kissing the American flag for cameras and auctioning one of her world-famous curls for $15,000. In a single speech in Chicago she sold an estimated five million dollars’ worth of bonds. She was christened the U.S. Navy’s official “Little Sister”; the Army named two cannons after her and made her an honorary colonel.[1]

 At the end of World War I, Pickford conceived of the Motion Picture Relief Fund, an organization to help financially needy actors. Leftover funds from her work selling Liberty Bonds were put toward its creation, and in 1921, the Motion Picture Relief Fund (MPRF) was officially incorporated, with Joseph Schenck voted its first president and Pickford its vice president. In 1932, Pickford spearheaded the “Payroll Pledge Program”, a payroll-deduction plan for studio workers who gave one-half of one percent of their earnings to the MPRF. As a result, in 1940, the Fund was able to purchase land and build the Motion Picture Country House and Hospital, in Woodland Hills, California.[1]

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Charles Chaplin, Darryl Zanuck, Samuel Goldwyn, Douglas Fairbanks, Joseph Schenck and Mary Pickford

An astute businesswoman, Pickford became her own producer within three years of her start in features. According to her Foundation, “she oversaw every aspect of the making of her films, from hiring talent and crew to overseeing the script, the shooting, the editing, to the final release and promotion of each project”. She demanded (and received) these powers in 1916, when she was under contract to Zukor’s Famous Players In Famous Plays (later Paramount). Zukor acquiesced to her refusal to participate in block-booking, the widespread practice of forcing an exhibitor to show a bad film of the studio’s choosing to also be able to show a Pickford film. In 1916, Pickford’s films were distributed, singly, through a special distribution unit called Artcraft. The Mary Pickford Corporation was briefly Pickford’s motion-picture production company.[29]

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Mary Pickford with her crew members

In 1919, she increased her power by co-founding United Artists (UA) with Charlie Chaplin, D. W. Griffith, and her soon-to-be husband, Douglas Fairbanks. Before UA’s creation, Hollywood studios were vertically integrated, not only producing films but forming chains of theaters. Distributors (also part of the studios) arranged for company productions to be shown in the company’s movie venues. Filmmakers relied on the studios for bookings; in return they put up with what many considered creative interference.[citation needed]

 

United Artists broke from this tradition. It was solely a distribution company, offering independent film producers access to its own screens as well as the rental of temporarily unbooked cinemas owned by other companies. Pickford and Fairbanks produced and shot their films after 1920 at the jointly owned Pickford-Fairbanks studio on Santa Monica Boulevard. The producers who signed with UA were true independents, producing, creating and controlling their work to an unprecedented degree. As a co-founder, as well as the producer and star of her own films, Pickford became the most powerful woman who has ever worked in Hollywood. By 1930, Pickford’s acting career had largely faded.[24]

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Al Jolson, Mary Pickford, Ronald Colman, Gloria Swanson, Douglas Fairbanks, Joseph Schenck, Charlie Chaplin, Samuel Goldwyn and Eddie Cantor

After retiring three years later, however, she continued to produce films for United Artists. She and Chaplin remained partners in the company for decades. Chaplin left the company in 1955, and Pickford followed suit in 1956, selling her remaining shares for three million dollars.[29]

Madge Bellamy on Mary Pickford, Charlie Chaplin and United Artists – Radio Interview – on Film Dialogue YouTube Channel

 

Personal life

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Pickford was married three times. She married Owen Moore, an Irish-born silent film actor, on January 7, 1911. It is rumored she became pregnant by Moore in the early 1910s and had a miscarriage or an abortion. Some accounts suggest this resulted in her later inability to have children.[1] The couple had numerous marital problems, notably Moore’s alcoholism, insecurity about living in the shadow of Pickford’s fame, and bouts of domestic violence. The couple lived together on-and-off for several years.[30]

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Mary Pickford with Owen Moore 1917

Pickford became secretly involved in a relationship with Douglas Fairbanks. They toured the U.S. together in 1918 to promote Liberty Bond sales for the World War I effort. Around this time, Pickford also suffered from the flu during the 1918 flu pandemic.[31] Pickford divorced Moore on March 2, 1920, after she agreed to his $100,000 demand for a settlement.[32]She married Fairbanks just days later on March 28, 1920. They went to Europe for their honeymoon; fans in London and in Paris caused riots trying to get to the famous couple. The couple’s triumphant return to Hollywood was witnessed by vast crowds who turned out to hail them at railway stations across the United States.

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Mary Pickford and Douglas Fairbanks wedding day

The Mark of Zorro (1920) and a series of other swashbucklers gave the popular Fairbanks a more romantic, heroic image. Pickford continued to epitomize the virtuous but fiery girl next door. Even at private parties, people instinctively stood up when Pickford entered a room; she and her husband were often referred to as “Hollywood royalty”. Their international reputations were broad. Foreign heads of state and dignitaries who visited the White House often asked if they could also visit Pickfair, the couple’s mansion in Beverly Hills.[12]

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Mary Pickford and Douglas Fairbanks at Pickfair

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Dinners at Pickfair included a number of notable guests. Charlie Chaplin, Fairbanks’ best friend, was often present. Other guests included George Bernard Shaw, Albert Einstein, Elinor Glyn, Helen Keller, H. G. Wells, Lord Mountbatten, Fritz Kreisler, Amelia Earhart, F. Scott Fitzgerald, Noël Coward, Max Reinhardt, Baron Nishi, Vladimir Nemirovich-Danchenko,[33] Sir Arthur Conan Doyle, Austen Chamberlain, Sir Harry Lauder, and Meher Baba, among others.

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Special guests at Pickfair: Natalie Talmage, William S Hart, Charles Chaplin, Mary Pickford’s mother, Joseph Schenck, Sidney ChaplinRudolph Valentino and others

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Mary Pickford with Frances Goldwyn, Samuel Goldwyn, John Abbott and Mary Pickford

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Mary Pickford with Paulette Goddard, Charlie Chaplin, Maria Christina Marconi and her husband Guglielmo Marconi at Pickfair 

The public nature of Pickford’s second marriage strained it to the breaking point. Both she and Fairbanks had little time off from producing and acting in their films. They were also constantly on display as America’s unofficial ambassadors to the world, leading parades, cutting ribbons, and making speeches.

When their film careers both began to flounder at the end of the silent era, Fairbanks’ restless nature prompted him to overseas travel (something which Pickford did not enjoy). When Fairbanks’ romance with Sylvia, Lady Ashley became public in the early 1930s, he and Pickford separated. They divorced January 10, 1936. Fairbanks’ son by his first wife, Douglas Fairbanks Jr., claimed his father and Pickford long regretted their inability to reconcile.[1]

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Mary Pickford and Douglas Fairbanks

On June 24, 1937, Pickford married her third and last husband, actor and band leader Buddy Rogers. They adopted two children: Roxanne (born 1944, adopted 1944) and Ronald Charles (born 1937, adopted 1943, a.k.a. Ronnie Pickford Rogers). As a PBS American Experience documentary noted, Pickford’s relationship with her children was tense. She criticized their physical imperfections, including Ronnie’s small stature and Roxanne’s crooked teeth. Both children later said their mother was too self-absorbed to provide real maternal love. In 2003, Ronnie recalled that “Things didn’t work out that much, you know. But I’ll never forget her. I think that she was a good woman.”[34]

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Buddy Rogers and Mary Pickford wedding with Charles Chaplin and Paulette Goddard, 24th June 1937

Mary Pickford – Selection of Radio Interviews – 1938 – 1968 – on Film Dialogue YouTube Channel

Later years

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Mary Pickford later in life

After retiring from the screen, Pickford became an alcoholic, as her father had been. Her mother Charlotte died of breast cancer in March 1928. Her siblings, Lottie and Jack, both died of alcohol-related causes. These deaths, her divorce from Fairbanks, and the end of silent films left Pickford deeply depressed. Her relationship with her children, Roxanne and Ronald, was turbulent at best.
Pickford withdrew and gradually became a recluse, remaining almost entirely at Pickfair and allowing visits only from Lillian Gish, her stepson Douglas Fairbanks, Jr., and few other people. She appeared in court in 1959, in a matter pertaining to her co-ownership of North Carolina TV station WSJS-TV. The court date coincided with the date of her 67th birthday; under oath, when asked to give her age, Pickford replied: “I’m 21, going on 20.”[35]
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Mary Pickford visiting WSJS TV – 30th September 1953

In the mid-1960s, Pickford often received visitors only by telephone, speaking to them from her bedroom. Buddy Rogers often gave guests tours of Pickfair, including views of a genuine western bar Pickford had bought for Douglas Fairbanks, and a portrait of Pickford in the drawing room. A print of this image now hangs in the Library of Congress.[29] In addition to her Oscar as best actress for Coquette (1929), Mary Pickford received an Academy Honorary Award in 1976 for lifetime achievement. The Academy sent a TV crew to her house to record her short statement of thanks – offering the public a very rare glimpse into Pickfair Manor.[36]

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Mary Pickford receiving an Academy Honorary Award in 1976

Pickford had become an American citizen upon her marriage to Fairbanks in 1920.[37] Toward the end of her life, Pickford made arrangements with the Department of Citizenship to regain her Canadian citizenship because she wished to “die as a Canadian”. Her request was approved and she became a dual Canadian-American citizen.[38][39]

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Mary Pickford with her Academy Honorary Award

Mary Pickford Documentary – American Hollywood History Documentary – watch it on Film Dialogue YouTube Channel

Death

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The tomb of actress Mary Pickford in the Garden of Memory, Forest Lawn Glendale

On May 29, 1979, Pickford died at a Santa Monica, California, hospital of complications from a cerebral hemorrhage she had suffered the week before.[40] She was interred in the Garden of Memory of the

She was interred in the Garden of Memory of the Forest Lawn Memorial Park cemetery in Glendale, California.

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Mary Pickford’s tomb in the Garden of Memory, Forest Lawn Glendale

Legacy

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Pickford’s handprints and footprints at Grauman’s Chinese Theatre in Hollywood, California

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Pickford Center for Motion Picture Study in Hollywood, California

 

You can watch many Mary Pickford documentary clips and audio recordings – on our YouTube Channel

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  • Pickford was awarded a star in the category of motion pictures on the Hollywood Walk of Fame at 6280 Hollywood Blvd.[41]
  • Her handprints and footprints are displayed at Grauman’s Chinese Theatre in Hollywood, California.
  • Pickford Film Center in Bellingham, Washington is a three-screen, two-venue art house cinema dedicated to showing the best in independent, foreign and documentary film and world class performing arts in high definition.
  • The Pickford Center for Motion Picture Study at 1313 Vine Street in Hollywood, constructed by the Academy of Motion Picture Arts and Sciences, opened in 1948 as a radio and television studio facility.
  • The Mary Pickford Theater at the James Madison Memorial Building of the Library of Congress is named in her honor.[29]
  • The Mary Pickford Auditorium at Claremont McKenna College is named in her honor.
  • A first-run movie theatre in Cathedral City, California, is called The Mary Pickford Theatre. The theater is a grand one with several screens and is built in the shape of a Spanish Cathedral, complete with bell tower and three-story lobby. The lobby contains a historic display with original artifacts belonging to Pickford and Buddy Rogers, her last husband. Among them are a rare and spectacular beaded gown she wore in the film Dorothy Vernon of Haddon Hall (1924) designed by Mitchell Leisen, her special Oscar, and a jewelry box.[citation needed]
  • The 1980 stage musical The Biograph Girl, about the silent film era, features the character of Pickford.
  • In 2007, the Academy of Motion Picture Arts and Sciences sued the estate of the deceased Buddy Rogers’ second wife, Beverly Rogers, in order to stop the public sale of one of Pickford’s Oscars.[42]
  • A bust and historical plaque marks her birthplace in Toronto, now the site of the Hospital for Sick Children.[43] The plaque was unveiled by her husband Buddy Rogers in 1973. The bust by artist Eino Gira was added ten years later.[44] Her date of birth on the plaque is April 8, 1893. This can only be assumed to be because her date of birth was never registered – and throughout her life, beginning as a child, she led many people to believe that she was a year younger so she would appear to be more of an acting prodigy and continue to be cast in younger roles, which were more plentiful in the theatre.[45]
  • The family home had been demolished in 1943, and many of the bricks delivered to Pickford in California. Proceeds from the sale of the property were donated by Pickford to build a bungalow in East York, Ontario, then a Toronto suburb. The bungalow was the first prize in a lottery in Toronto to benefit war charities, and Pickford unveiled the home on May 26, 1943.[46]
  • In 1993, a Golden Palm Star on the Palm Springs Walk of Stars was dedicated to her.[47]

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 Pickford’s star on the Walk of Fame in Toronto
  • Pickford received a posthumous star on Canada’s Walk of Fame in Toronto in 1999.
  • Pickford was featured on a Canadian postage stamp in 2006.[48]
  • From January 2011 until July 2011, the Toronto International Film Festival exhibited a collection of Mary Pickford memorabilia in the Canadian Film Gallery of the TIFF Bell LightBox building.[49]
  • In February 2011, the Spadina Museum, dedicated to the 1920s and 1930s era in Toronto, staged performances of Sweetheart: The Mary Pickford Story, a one-woman musical based on the life and career of Pickford.[50]
  • In 2013, a copy of an early Pickford film that was thought to be lost (Their First Misunderstanding) was found by Peter Massie, a carpenter tearing down an abandoned barn in New Hampshire. It was donated to Keene State College and is currently undergoing restoration by the Library of Congress for exhibition. The film is notable as being the first in which Pickford was credited by name.[51][52]
  • On August 29, 2014, while presenting Behind The Scenes (1914) at Cinecon, film historian Jeffrey Vance announced he is working with the Mary Pickford Foundation on what will be her official biography.
  • The Google Doodle of April 8, 2017 commemorates Mary Pickford’s 125th birthday.

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Filmography

See also

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Mary Pickford with Charles Chaplin and Douglas Fairbanks

Mary Pickford Season is screening in our Cinematheque Live. Join us in viewing those rare classic films

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Notes

A. ^ 211 University Avenue at the time of Mary Pickford’s birth was at the corner of University Avenue and Elm Street, now the location of the Hospital for Sick Children. University Avenue was later extended south of Queen Street and the addresses renumbered.

References

  1. ^ Jump up to:a b c d e f g h i j k l m n Whitfield, Eileen: Pickford: the Woman Who Made Hollywood (1997), pp. 8, 25, 28, 115, 125, 126, 131, 300, 376. University Press of Kentucky; ISBN 0-8131-2045-4
  2. Jump up^ Photoplay, Volume 18, Issues 2–6. Macfadden Publications. 1920. p. 99.
  3. Jump up^ Obituary Variety, May 30, 1979.
  4. Jump up^ Baldwin, Douglas; Baldwin, Patricia (2000). The 1930s. Weigl. p. 12. ISBN 1-896990-64-9.
  5. Jump up^ Flom, Eric L. (2009). Silent Film Stars on the Stages of Seattle: A History of Performances by Hollywood Notables. McFarland. p. 226. ISBN 0-7864-3908-4.
  6. ^ Jump up to:a b Sonneborn, Liz (2002). A to Z of American Women in the Performing Arts. Infobase. p. 166. ISBN 1-4381-0790-0.
  7. Jump up^ Kevin Brownlow (1968). The Parade’s Gone by ... University of California Press. p. 123. ISBN 9780520030688. I was baptized Gladys Marie by a French priest — Gladys Marie Smith. David Belasco settled on Pickford after I told him the various names in my family…
  8. Jump up^ Gladys Smith (Mary Pickford) was baptized in the Catholic faith at the age of four at her home by a visiting priest, books.google.com; accessed May 19, 2014
  9. Jump up^ name=”Whitfield”
  10. Jump up^ “Josiah Henson Historical Plaque”.
  11. Jump up^ Pictorial History of the American Theatre 1860–1985 by Daniel C. Blum, c. 1985
  12. ^ Jump up to:a b “Mary Pickford at Filmbug.”. Filmbug. Retrieved January 24, 2007.
  13. Jump up^ Mary Pickford, Sunshine and Shadow, Doubleday & Co., 1955, p. 10.
  14. Jump up^ Zonarich, Gene (2013-08-03). “FLORENCE LA BADIE, BECOMING”. 11 East 14th Street. Retrieved 2017-04-08.
  15. Jump up^ “Mary Pickford at Golden Silents.”. Golden Silents.com. Retrieved January 15, 2007.
  16. ^ Jump up to:a b c Brownlow, Kevin (May 1, 1999). Mary Pickford Rediscovered. Harry N. Abrams. pp. 86, 93. ISBN 978-0810943742.
  17. Jump up^ “Mary Pickford, Filmmaker” (PDF). Retrieved February 25, 2010.
  18. Jump up^ Lane, Christina (January 29, 2002). Mary Pickford. St. James Encyclopedia of Pop Culture. Retrieved January 11, 2009.
  19. Jump up^ “Timeline: Mary Pickford”. American Experience. PBS. July 23, 2004. Retrieved January 11, 2009.
  20. Jump up^ Balio 1985, p. 159
  21. Jump up^ The New York Times, October 29, 1925
  22. ^ Jump up to:a b c “Timeline: Mary Pickford”. American Experience. PBS. July 23, 2004. Retrieved January 11, 2009.
  23. Jump up^ People & Events: Mary Pickford, Fan Culture, PBS.org; accessed December 4, 2015.
  24. ^ Jump up to:a b c The Long Decline, PBS,org; accessed December 4, 2015.
  25. Jump up^ Andre Soares. “Mary Pickford Oscar Controversy”. Alt Film Guide.
  26. Jump up^ “Douglas Fairbanks profile”, pbs.org; accessed May 19, 2014.
  27. Jump up^ Ramon, David (1997). The Dodge Brothers Hour. Clío. ISBN 968-6932-35-6.
  28. Jump up^ McDonald, Paul (2000). The Star System: Hollywood’s Production of Popular Identities. London, UK: Wallflower. p. 33. ISBN 978-1-903364-02-4.
  29. ^ Jump up to:a b c d “Mary Pickford biography”. Retrieved January 24, 2007.
  30. Jump up^ Peggy Dymond Leavey, Mary Pickford: Canada’s Silent Siren, America’s Sweetheart. Dundurn Press (2011), pp. 80–81
  31. Jump up^ Kirsty Duncan (19 August 2006). Hunting the 1918 Flu: One Scientist’s Search for a Killer Virus. University of Toronto Press. p. 16. ISBN 978-0-8020-9456-8. Retrieved January 12, 2013.
  32. Jump up^ Peggy Dymond Leavey, Mary Pickford: Canada’s Silent Siren, America’s Sweetheart. Dundurn Press (2011), p. 110
  33. Jump up^ Sergei Bertensson; Paul Fryer; Anna Shoulgat (2004). In Hollywood with Nemirovich-Danchenko, 1926–1927: the memoirs of Sergei Bertensson. Scarecrow Press. pp. 47–. ISBN 978-0-8108-4988-4. Retrieved July 19, 2010.
  34. Jump up^ “Buddy Rogers, Mary Pickford and Their Children”. American Experience. Retrieved August 26, 2007.
  35. Jump up^ “Mary Pickford “Going On 20″ (Or Is It 66?)”, The Ottawa Citizen, April 11, 1959, p. 18
  36. Jump up^ The 48th Annual Academy Awards. March 29, 1976.
  37. Jump up^ “Mary Pickford Files TV Bid”. Billboard. Nielsen Business Media, Inc.: 14 April 30, 1949. ISSN 0006-2510.
  38. Jump up^ Colombo, John Robert (2011). Fascinating Canada: A Book of Questions and Answers. Dundurn. p. 20. ISBN 1-554-88923-5.
  39. Jump up^ “City, fans honor Mary Pickford”. The Leader-Post. May 18, 1983. pp. D–8. Retrieved November 26, 2012.
  40. Jump up^ “Mary Pickford Is Dead At 86”. The Palm Beach Post. May 30, 1979. Retrieved 26 November 2012.[dead link]
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  43. Jump up^ “Mary Pickford Historical Plaque”. Retrieved February 3, 2011.
  44. Jump up^ Filey, Mike (2002). A Toronto Album 2: More Glimpses of the City That Was. Dundurn Press Ltd. p. 9.
  45. Jump up^ “ARCHIVED – Mary Pickford – Celebrating Women’s Achievements”. Collectionscanada.gc.ca. Retrieved February 15, 2014.
  46. Jump up^ “Yardwork at the Mary Pickford Bungalow”. Retrieved February 3, 2011.
  47. Jump up^ “Palm Springs Walk of Stars by date dedicated”(PDF). Retrieved February 15, 2014.
  48. Jump up^ “Canadians in Hollywood”. Canada Post. May 26, 2006.
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  50. Jump up^ “America’s Sweetheart Home in Toronto”. Torontoist. Retrieved November 16, 2016.
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Further reading

f1266_it2235_1924

Mary Pickford and her husband Douglas Fairbanks on a visit to Toronto in the 1920s

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Theda Bara


Theda Bara 3

Theda Bara
Theda Bara 16
Born Theodosia Burr Goodman
July 29, 1885
Cincinnati, Ohio, U.S.
Died April 7, 1955 (aged 69)
Los Angeles, California, U.S.
Cause of death Stomach cancer
Resting place Forest Lawn Memorial Park Cemetery, Glendale
Nationality American
Education Walnut Hills High School
Alma mater University of Cincinnati
Occupation Actress
Years active 1908–1926
Spouse(s) Charles Brabin (1921–1955)

Theda Bara (/ˈθdə ˈbærə/[1]thee-də barr; born Theodosia Burr Goodman, July 29, 1885 – April 7, 1955) was an American silent film and stage actress.

Bara was one of the most popular actresses of the silent era, and one of cinema’s earliest sex symbols. Her femme fatale roles earned her the nickname The Vamp (short for vampire).

Bara made more than 40 films between 1914 and 1926, but most were lost in the 1937 Fox vault fire. After her marriage to Charles Brabin in 1921, she made two more feature films and retired from acting in 1926 having never appeared in a sound film. She died of stomach cancer on April 7, 1955, at the age of 69.

Theda Bara 25

Early life

Theda Bara 12

She was born Theodosia Burr Goodman in the Avondale section of Cincinnati, Ohio. Her father was Bernard Goodman (1853–1936),[2] a prosperous Jewish tailor born in Poland. Her mother, Pauline Louise Françoise (née de Coppett; 1861–1957), was born in Switzerland.[3] Bernard and Pauline married in 1882.

She had two siblings: Marque (1888–1954)[4] and Esther (1897–1965),[2] who also became a film actress as Lori Bara and married Francis W. Getty of London in 1920. She was named after the daughter of US Vice President Aaron Burr.[5]

Bara attended Walnut Hills High School graduating in 1903. After attending the University of Cincinnati for two years, she worked mainly in theater productions, but did explore other projects.

After moving to New York City in 1908, she made her Broadway debut in The Devil (1908).

Career

Theda Bara 17

Theda Bara in A Fool There Was (1915)
Theda Bara 18
Bara in The She-Devil (1918)

Most of Bara’s early films were shot around the East Coast, primarily at the Fox Studios in Fort Lee, New Jersey.[6]

Bara lived with her family in New York City during this time. The rise of Hollywood as the center of the American film industry forced her to relocate to Los Angeles to film the epic Cleopatra (1917), which became one of Bara’s biggest hits.

No known prints of Cleopatra exist today, but numerous photographs of Bara in costume as the Queen of the Nile have survived.

Theda Bara 27

Between 1915 and 1919, Bara was Fox studio’s biggest star, but tired of being typecast as a vamp, she allowed her five-year contract with Fox to expire. Her final Fox film was The Lure of Ambition (1919). In 1920, she turned briefly to the stage, appearing on Broadway in The Blue Flame.

Bara’s fame drew large crowds to the theater, but her acting was savaged by critics.[7] Her career suffered without Fox studio’s support, and she did not make another film until The Unchastened Woman (1925) for Chadwick Pictures Corporation. Bara retired after making only one more film, the short comedy Madame Mystery (1926), made for Hal Roach and directed by Stan Laurel, in which she parodied her vamp image.

At the height of her fame, Bara earned $4,000 per week. She was one of the most popular movie stars, ranking behind only Charlie Chaplin and Mary Pickford.[8]

Bara’s best-known roles were as the “vamp”, although she attempted to avoid typecasting by playing wholesome heroines in films such as Under Two Flags and Her Double Life. She also appeared as Juliet in a version of Shakespeare‘s Romeo and Juliet.

Although Bara took her craft seriously, she was too successful as an exotic “wanton woman” to develop a more versatile career.

Image and name

Theda Bara 19

Bara in one of her famous risqué costumes, in Cleopatra (1917)

 

The origin of Bara’s stage name is disputed; The Guinness Book of Movie Facts and Feats says it came from director Frank Powell, who learned Theda had a relative named Barranger, and that “Theda” was a childhood nickname.

In promoting the 1917 film Cleopatra, Fox Studio publicists noted that the name was an anagram of Arab death, and her press agents claimed inaccurately that she was “the daughter of an Arab sheik and a French woman, born in the Sahara.”[9][10] In 1917 the Goodman family legally changed its surname to Bara.[2]

Bara is often cited as the first sex symbol[11] of the movies.[12] She was well known for wearing very revealing costumes in her films. Such outfits were banned from Hollywood films after the Production Code started in 1930, and then was more strongly enforced in 1934.

It was popular at that time to promote an actress as mysterious, with an exotic background. The studios promoted Bara with a massive publicity campaign, billing her as the Egyptian-born daughter of a French actress and an Italian sculptor.

Theda Bara 26

Theda Bara in The Siren’s Song (1919)

They claimed she had spent her early years in the Sahara Desert under the shadow of the Sphinx, then moved to France to become a stage actress. (In fact, Bara had never been to Egypt or France.)

They called her the Serpent of the Nile and encouraged her to discuss mysticism and the occult in interviews. Some film historians point to this as the birth of two Hollywood phenomena: the studio publicity department and the press agent, which would later evolve into the public relations person.

Marriage and retirement

Theda Bara 4

Bara married British-born American film director Charles Brabin in 1921. They honeymooned in Nova Scotia at The Pines Hotel in Digby, Nova Scotia, and later purchased a 400 hectares (990 acres) property down the coast from Digby at Harbourville overlooking the Bay of Fundy, eventually building a summer home they called Baranook.[13]

They had no children. Bara resided in a villa-style home, which served as the “honors villa” at Xavier University in Cincinnati, Ohio. Demolition of the home began in July 2011.[14]

Theda Bara 24

In 1936, she appeared on Lux Radio Theatre during a broadcast version of The Thin Man with William Powell and Myrna Loy. She did not appear in the play but instead announced her plans to make a movie comeback,[15][16] which never materialized. She appeared on radio again in 1939 as a guest on Texaco Star Theatre.

These may be the only recordings of her voice ever made.

In 1949, producer Buddy DeSylva and Columbia Pictures expressed interest in making a movie of Bara’s life, to star Betty Hutton, but the project never materialized.[17]

Theda Bara 23

Death

Theda Bara 20

Niche of Theda Bara, in the Great Mausoleum, Forest Lawn Glendale.

 

On April 7, 1955, Bara died of stomach cancer in Los Angeles, California. She was interred as Theda Bara Brabin in Forest Lawn Memorial Park Cemetery in Glendale, California.

Legacy 

Theda Bara 1

For her contribution to the film industry, Theda Bara has a star on the Hollywood Walk of Fame.

Bara is one of the most famous completely silent stars – she never appeared in a sound film, lost or otherwise. A 1937 fire at Fox’s nitrate film storage vaults in New Jersey destroyed most of that studio’s silent films.

Bara made more than forty films between 1914 and 1926, but complete prints of only six still exist:The Stain (1914), A Fool There Was (1915), East Lynne (1916), The Unchastened Woman (1925), and two short comedies for Hal Roach.

Theda Bara 28

Theda Bara poster for East Lynne (1916)

Theda Bara 29

Theda Bara in East Lynne (1916)

Theda Bara 30

Theda Bara in The Unchastened Woman (1925) Lobby Card

Theda Bara 31

Theda Bara in The Unchastened Woman (1925)

In addition to these, a few of her films remain in fragments including Cleopatra (just a few seconds of footage), a clip thought to be from The Soul of Buddha, and a few other unidentified clips featured in a French documentary, Theda Bara et William Fox (2001).

Most of the clips can be seen in the documentary The Woman with the Hungry Eyes (2006). As to vamping, critics stated that her portrayal of calculating, coldhearted women was morally instructive to men. Bara responded by saying, “I will continue doing vampires as long as people sin.”[18]

In 1994, she was honored with her image on a United States postage stamp designed by caricaturist Al Hirschfeld.

The Fort Lee Film Commission dedicated Main Street and Linwood Avenue in Fort Lee, New Jersey, as “Theda Bara Way” in May 2006 to honor Bara, who made many of her films at the Fox Studio on Linwood and Main.

Theda Bara Interview for LUX Radio in 1936