Posts Tagged ‘Clara Bow’

Clara Bow’s birthday

Saturday, July 29th, 2017

Clara Bow (July 29, 1905, Brooklyn, New York)

.

Clara Bow’s childhood home: 857 73rd Street, Brooklyn, New York

On the second floor of this unpretentious Brooklyn house, lived Clara Bows family in 1922. Clara Bow was then a school girl. Her father worked in Coney Island. Her mother was a bed-ridden invalid. The little red-head mailed a cheap postcard picture of herself to several motion picture magazines then conducting a contest. The winner was to be given a screen opportunity. Clara Bow won.

Please follow and like us:

Peggy Shannon at Hollywood Forever

Wednesday, January 16th, 2013

HOLLYWOOD FOREVER CEMETERY

.

 

 

 

By Allan R. Ellenberger

 

On Broadway, she was a Ziegfeld Follies girl and successful ingénue, enough so to have Hollywood take notice.  Once considered the successor to Clara Bow, the titian-haired Peggy Shannon, a pretty actress whose appearances in major roles gave her the potential for stardom, ended her life in heartbreaking loneliness.

.

Peggy Shannon was born Winona Sammon on January 10, 1910 in Pine Bluff, Arkansas. As a child, her interest in music led her to study the piano and violin. She hoped to be a teacher until Madge Evans came to Pine Bluff on a tour promoting her line of hats. “I was only about 10 and knew then I wanted to be in show business,” Peggy recalled.

.

In 1924, her mother Nancy took her and her sister Carole to visit their aunt in New York, who happened to live in the same building as Goldie Glough, the secretary of Florenz Ziegfeld, who was preparing a new Follies show. Goldie told Will Page, a press agent for Ziegfeld, about Peggy’s beauty and he had her pose for publicity pictures with Ziegfeld.

.

“It was just a stunt, but I didn’t know it then,” Peggy later recalled. “They took me to Ziegfeld’s New Amsterdam offices and photographed me, curls, silk gingham dress and all, with Mr. Wayburn and Mr. Ziegfeld. The next day newspapers carried the story form Ziegfeld’s office that he had signed an Arkansas newcomer. They said I could be in the chorus for a while, more to justify their story than became they wanted me.”

.

She appeared in The Ziegfeld Follies of 1924, along with Will Rogers, Lupino Lane and Mary Nolan (also buried at Hollywood Forever). After one season, Earl Carroll hired her for his Vanities of 1925. She kept busy during this time, modeling during the day, then after appearing in the Vanities she joined the floor shows at Texas Guinan’s.

.

In 1926 Peggy married actor Alan Davis. The following year Earl Carroll put her in the ingénue lead in What Anne Brought Home opposite William Hanly and Mayo Methot. For the next three years she appeared in comedic roles for William Brady, a noted producer who planned to make her a star.

.

That would all change when B.P. Schulberg, the head of production at Paramount saw her in Napi on Broadway and signed her to a contract. It was during this time that Paramount was recruiting many Broadway actors for film, including Sylvia Sidney, Claudette Colbert and Miriam Hopkins.

.

.

Within four days of her arrival in Hollywood, Clara Bow had her second nervous breakdown. Peggy was summoned into Schulberg’s office and was told she would replace Bow in her next picture, The Secret Call (1931) opposite Richard Arlen. “The interview was very brief,” Peggy said of her meeting with Schulberg. “He sent me away telling me I had many things to do as production started the next morning.”

.

She read the script and was impressed by it and somewhat staggered by the realization that the role was the most important in the film, and the longest. That meant learning hundreds of speeches. But she discovered that films were different from the stage. “I didn’t have to learn the entire role at one time,” she said. “I could study it every night and keep ahead of production.”

.

Peggy admitted that the assignment frightened her. “Frankly, I was scared,” she said. “I expected to be taken out of the cast any minute. I couldn’t believe that such a wonderful break had come to me. I kept thinking, ‘That’s some other girl with the same name. It really can’t be me. And if it is me, I’d better keep my enthusiasm under control.’”

.

Paramount’s advertisement for The Secret Call called Peggy “The new Clara Bow,” “The successor of the ‘It’ girl,” “Greatest find of the year” and “Clara Bow’s redheaded rival.” The film did well at the box-office however the reviews were lukewarm. The New York Times reported that Peggy would “be remembered as the young lady who succeeded Clara Bow, when that actress became indisposed. Miss Shannon is attractive, but The Secret Call does not present many situations calling for much more than a gentle stroll through its various scenes.”

.

Peggy made four more films for Paramount and a few independent films, including False Faces (1932) in which she had some good scenes with Lowell Sherman. Leaving Paramount, she signed a contract with Fox in February 1932 and appeared as a nightclub singer in The Painted Woman (1932), opposite Spencer Tracy. She was billed as Tracy’s first romantic lead. The New York Sun reported that Peggy was “improving” but Fox executives disagreed and dropped her option.

.

.

She worked as an independent in such films as Girl Missing (1933), directed by Robert Florey and Turn Back the Clock (1933) with Lee Tracy. Peggy’s career was beginning to lag and second rate films followed such as Fury of the Jungle (1933), The Back Page (1934) and The Fighting Lady (1935).

.

In late 1934, Peggy decided to return to Broadway in Page Miss Glory with newcomer, James Stewart. “James Stewart and Peggy Shannon are amusing as one of the bums and his fiancée,” wrote the New York Evening Post.

.

Then it was back to Hollywood and Universal where Lowell Sherman directed her in the lavish production of Night Life of the Gods (1935). Next it was off to Warner Brothers in the Perry Mason who-done-it, The Case of the Lucky Legs (1935). Still not happy, Peggy returned once again to the stage to do The Light Behind the Shadow. Unfortunately Peggy was replaced early in production, reportedly due to a tooth infection but rumors were that it was due to her drinking, a habit she was quickly developing.

.

After another failure on Broadway, Peggy reported to Republic for a film with Marian Marsh. Then it was Girls on Probation (1938) for Warner Brothers. The film co-starred Ronald Reagan and was notable as Susan Hayward’s first film.

.

In mid-1938, Peggy and a female companion were involved in a car accident with another driver receiving lacerations on her nose and cuts on her legs. It was rumored that alcohol was involved. Friends in the business tried to help giving her small roles but in some cases her drinking would get in the way. One of her last films was Café Hostess (1940) for Columbia.

.

In 1940, Peggy decided to end her fourteen year marriage to Alan Davis. She declared that he struck her on one occasion at the home of actress Wynne Gibson, who testified for her friend that he struck her “over something very inconsequential.” She added that because of her husband’s disinclination to work she had to support him as well as herself during their marriage. “He was just lazy—he played all the time,” she told the judge.

.

Several months later, in October 1940, Peggy married cameraman, Albert “Al” Roberts in Mexico. They set up housekeeping at 4318 Irvine Street in North Hollywood, along with their German Sheppard, Spec. By now, Peggy was forgotten by the studios and seldom received offers, causing her to drink even more.

.

.

In early May 1941, Roberts and his friend Elmer Fryer left for a few days on a fishing trip. When they returned on Sunday, May 11, Roberts found Peggy slumped dead across the kitchen table with her head on her arms; she was barefoot and clad in a sun suit. A cigarette, burned to the tip of her fingers, was in her right hand. Three glasses and a soft-drink bottle found in the sink were turned over to the Coroner to check for traces of poison. Peggy Shannon was 31. She was laid to rest at Hollywood Cemetery a few days later without much fanfare.

.

.

Roberts was devastated by Peggy’s death. He was afraid that someone might think he had something to do with her death. In a conversation with Detective William Burris, Roberts said, “Bill, you’ve got something on your mind. You don’t suspect me of Peggy’s death do you?” Burris assured him that was not the case and he was merely awaiting the report of the autopsy.

.

“Well, Bill,” Roberts told him, “if you have anything on your mind, get it off, because you won’t see me again.” Burris asked what he meant and Roberts told him that he was going to commit suicide. “I told him not to be like that,” Burris said, “that he had had one too many.”

.

Three weeks after Peggy’s death, in the early morning hours of Memorial Day, May 30, 1941, Roberts took Spec to visit Peggy’s grave at Hollywood Cemetery. Afterward he returned to his home on Irvine Street and wrote three notes: one to ‘those concerned’ and two to his sister Phoebe, who lived in Glendale.

.

At about dawn he called his sister and said he was going to kill himself. “Al, don’t do it,” she screamed into the phone. Suddenly she heard a shot and then, the barking of the dog. When police reached the house, Roberts was dead. A rifle was found near the body. In one hand he still grasped the telephone receiver. His body rested on the same chair where he had found Peggy’s body; like her, his head had fallen forward on the table. Two empty liquor bottles and two soft drink bottles were on the table. Nearby Spec lay whimpering.

.

This home, at 4318 Irvine Street in Valley Village (formerly North Hollywood), is where

actress Peggy Shannon died and her husband, Albert Roberts committed suicide.

(PLEASE NOTE: This is private property. Please DO NOT disturb the residents)

.

In his note Roberts wrote:

.

“It happens that I am very much in love with my wife, Peggy Shannon. In this spot she passed away. So in reverence to her you will find me in the same spot. No one will ever understand, as it should be. Why don’t you all try a little bit harder—it wouldn’t hurt, I can truthfully say for both of us. Adios amigos. Al Roberts.”

.

In a note to his sister, he expressed bitterness against those who he said, had feigned fondness for his wife during her lifetime. Although he doesn’t name them, it sounds like he could be referring to family members:

.

“To Phoebe. If you have to ship the stuff to China do it. They can never prove what I have done with it. Spec and I went out to the cemetery around 1 a.m. They talk so much about her flowers for Memorial Day. Well, they have never been near the grave. Mrs. Ross and I put on fresh flowers as much as we could, but them dirty leeches, they wouldn’t take her a pansy but they would take her clothes and say they love her more than life. But you stress that, honey. You know how Peg supported them. Any denials just ask them to prove how they lived all these years. Al.”

.

In a second note to his sister, Roberts expressed concern for his dog, Spec.

.

“You take Spec,” he wrote, “and ship him to Johnny. If you don’t I will never forgive you. I promised him that. All five have said they could not be bothered with him. I know Johnny and he will be great pals. Peggy has said so time and again. So, please, take him, ‘our child’ and send him on. He certainly is entitled to that. With love Al. P.S. Hey, bury me in my gray suit. Al.”

.

The following day, the coroner released the results from Peggy’s autopsy. Her death was apparently caused by a combination of low vitality, run-down condition and a heart attack. “A chemical analysis has not yet been completed by the Coroner,” a police representative said, “but examination so far shows no traces of poison or any bruises or marks.”

.

Ironically, Albert Roberts’s body was not laid next to Peggy’s, but was buried at Forest Lawn Cemetery in Glendale. Whether it was the decision of his family or Peggy’s to not have them be together, is not known.

.

A few weeks after Peggy’s death, her mother hired  private detectives and attorneys to investigate deeper into her daughter’s death. Nothing apparently came of their search.

.

.

Peggy Shannon’s grave at Hollywood Forever is near the southern border of Section 5 in plot 31, grave 4. Her pink tombstone is inscribed “That Red-Headed Girl, Peggy Shannon.” Her mother and sister are buried nearby.

_______________________________________

 …

Please follow and like us:

Rex Bell, Jr. Obituary

Monday, July 11th, 2011

OBITUARY

Rex Bell Jr., former Clark County district attorney, dies at 76

 

Clara Bow with her husband Rex Bell and her two sons: Rex  Jr. and George.

  

By Doug McMurdo
and John L. Smith
Las Vegas Review-Journal

 

Rex Bell Jr., former Clark County district attorney, Las Vegas justice of the peace and the son of Hollywood royalty, died Saturday after a battle with cancer. He was 76.

 

Click here to continue reading the Las Vegas Review-Journal obituary for Rex Bell, Jr.

____________________________________

 

Please follow and like us:

Lost silent films found

Tuesday, June 8th, 2010

FILM HISTORY

Long-Lost Silent Films Return to America

 

 

 

 A scene from “Why Husbands Flirt” (1918), one of some 75 silent movies, found in a New Zealand archive, being returned to the United States.

 

By Dave Kehr
New York Times
June 7, 2010

 

A late silent feature directed by John Ford, a short comedy directed by Mabel Normand, a period drama starring Clara Bow and a group of early one-reel westerns are among a trove of long-lost American films recently found in the New Zealand Film Archive.

 

Some 75 of these movies, chosen for their historical and cultural importance, are in the process of being returned to the United States under the auspices of the National Film Preservation Foundation, the nonprofit, charitable affiliate of the Library of Congress’s National Film Preservation Board. (This writer is a member of the board, and has served on grant panels for the foundation, though none related to the current project.) Chris Finlayson, New Zealand’s minister for arts, culture and heritage, is expected to announce the discovery and the repatriation officially this week.

 

The films came to light early in 2009, when Brian Meacham, a preservationist for the Los Angeles archive of the Academy of Motion Picture Arts and Sciences, dropped in on colleagues at the New Zealand Film Archive in Wellington during a vacation.

 

Click here to continue reading this New York Times article

_________________________________________

 

Please follow and like us:

New Biography on Joyce Compton

Monday, August 3rd, 2009

BOOKS

The Real Joyce Compton:

Behind the Dumb Blonde Movie Image

 

Joyce Compton bookcover

 

“People who like films and stars of that era, from the 1920s on through the 1950s, I think, would like to have such a personally-written account of some of the highlights of an actress’s life.  Most picture us all as rich and famous and never hear of another side.  I’ve even thought of the title: The Real Joyce Compton: Behind the Dumb Blonde Movie Image.  Sound good?  It’s a thought.”

 

–Excerpt of a letter from Joyce Compton to

Michael G. Ankerich, 27 January 1988

 

The Real Joyce Compton: Behind the Dumb Blonde Movie Image is the story that Joyce Compton, one of the screen’s finest comediennes and most versatile actresses, wanted told.

 

Her career, which consisted of an estimated 200 films, stretched from 1925 to 1957.  Breaking into films during the silent era, she appeared in a string of ingénue roles, imagining herself as a new Mae Murray, but it was after the beginning of sound that Compton found her niche in comedy.

 

In her own words, she recounts her frustrations over studio politics and shares her experiences of working and socializing with such screen favorites as Clara Bow, Cary Grant, Marlene Dietrich, Joel McCrea, George O’Brien, John Wayne, Humphrey Bogart, Johnny Mack Brown, Janet Gaynor, and George Raft.

 

Compton opens up about her often overly protective parents, her off-screen romances, her one heartbreaking attempt at marriage, her deep religious faith, and her struggle to support her family after her film career ended.

 

With candor and insight that only someone who was there can share, Compton discusses the transition from silents to talkies; working with incompetent directors in those early sound movies; living on locations; the competition she experienced with the “star” actresses of the studio; freelancing versus working under a studio contact; and the day-to-day life of an actress working in early Hollywood.

 

The Real Joyce Compton begins with a biography of the actress, written by co-author Michael G. Ankerich, based on formal interviews, conversations, and correspondence over their 10-year friendship. The book also contains a detailed filmography of Compton’s film appearances and is lavishly illustrated with over 80 photographs, many of which are from Compton’s own personal collection.

 

Ankerich is the author of Broken Silence: Conversations With 23 Silent Film Stars and The Sound of Silence: Conversations with 23 Stage and Screen Personalities Who Made the Transition from Silents to Talkies.

 

He is currently working on Dangerous Curves atop Hollywood Heels: The Lives, Careers, and Misfortunes of 22 Hard Luck Girls of the Silent Screen. Dangerous Curves, based partly on interviews with family, friends, and relatives, will feature such actresses as Agnes Ayres, Belle Bennett, Olive Borden, Gladys Brockwell, Grace Darmond, Marguerite de la Motte, Elinor Fair, Margaret Gibson, Juanita Hansen, Wanda Hawley, Natalie Joyce, Kathleen Key, Barbara La Marr, Martha Mansfield, Mae Murray, Mary Nolan, Marie Prevost, Lucille Ricksen, Dorothy Sebastian, Eve Southern,  Alberta Vaughn, and Clara Kimball Young.

 *****

Click here to purchase The Real Joyce Compton: Behind the Dumb Blonde Movie Image at Amazon

……….

Or from the publisher, BearManor Media

___________________________________

 

Please follow and like us: