Posts Tagged ‘Douglas Fairbanks’

Unsung Film Pioneer: William H. Clune; theater and film producer

Saturday, July 8th, 2017

William Henry Clune

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By Allan R. Ellenberger

Film history is filled with many pioneering men and women, other than Griffith, DeMille and Chaplin. In fact, there are many that are little known or forgotten today. Hollywoodland will explore the lives of some of these great trailblazers. Today, we look at the life of William H. Clune. 

William Henry Clune was a pioneer motion-picture theater owner, whose name is associated with the early days of film production. Born in Hannibal, Missouri, on August 18, 1862, Clune came to California in 1887. His interest in railroading ceased with the successful termination of a real estate venture, which provided him with sufficient capital to enter the field to which he devoted himself—the motion picture industry.

Clune began with a film exchange in 1907 which distributed the films of the pioneer producers including the old Essanay, Edison, Biograph and others. While operating the exchange, he opened his first theater, a penny arcade on Main Street, in Los Angeles. This was followed by the building of Clune’s Theater on Fifth at Main Streets where the Rossyln Hotel now stands. His next venture was leasing the property on Broadway between Fifth Avenue, and Sixth Street, where he built Clune’s Broadway Theater. Then he took over the Clune’s Auditorium at Fifth and Olive Streets, later renamed the Philharmonic Auditorium. He also built Clune’s Pasadena Theater and Clune’s Santa Ana Theater. At one time, his chain included theaters in Los Angeles, Pasadena, San Bernardino, Santa Ana and San Diego. .

Clune’s Broadway Theater as it appeared in 1910. (Cinema Treasures)

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Clune’s Broadway Theater (later called the Cameo), as it looked in 1999 (lapl)

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Clune’s Auditorium, originally located at Olive and Fifth Streets
across from Pershing Square. It is now a parking lot.

Clune’s Pasadena Theater is believed to be the city’s first movie house. The building, no longer a theater, still shows the original name. (Hometown-Pasadena)

In 1913, Clune and his wife Agnes sold their Pasadena mansion at 1203 Fair Oaks Avenue at the corner Monterey Road. The site is now a Pavilions grocery market. At this time, Clune separated from his wife and moved into an apartment at the Los Angeles Athletic Club at 431 West 7th Street. Agnes and their son James took up residence in another mansion at 314 South New Hampshire Avenue.

In 1915, Clune assumed control of Adolph Zukor’s Famous Players Studios on Melrose. On the property, Clune built rental studios for lease to independent production companies. ..

Clune’s Studio on Melrose (now Raleigh Studios).

At this studio, Clune produced and filmed Ramona (1916), the famous book dealing with early California life. Following that, Clune made other films including The Eyes of the World (1917) from the story of Harold Bell Wright.

William Clune stood out in motion picture production. In his room on the twelfth floor of the Los Angeles Athletic Club, many of the largest movie deals made were negotiated. Clune had faith in D.W. Griffith, and backed the director financially and agreed to exhibit The Clansman, which was later retitled The Birth of a Nation (1915) at Clune’s Auditorium where the world premiere was held.

As the executive head of a chain of screen houses, Clune was an active and shrewd showman. For a number of years, he fought an enforcement of old city ordinances prohibiting electric sign displays. City bureaus complained against Clune’s electrical advertisements, but Clune refused to budge from his determination to “light up Broadway.” ..

Clune liked to use electricity to “light up Broadway” much to the dismay of the city council..

In 1924, Clune retired from the theatrical business, having sold all his theaters and leased his studios on Melrose to the Tec-Art Company. Retirement from film production did not mean retirement from active business as he had acquired large holdings in downtown real estate, dating back to 1900, and had many other interests.

Shortly after noon on October 18, 1927, William H. Clune died of a stroke in his apartment at the Los Angeles Athletic Club. His body was taken to the Sunset Mortuary at 8814 Sunset Boulevard and he was interred in the Cathedral Mausoleum at Hollywood Cemetery..

William H. Clune’s crypt (no. 994) in the Cathedral Mausoleum at Hollywood Forever Cemetery

In addition to his other activities, Clune was on the regional board of the Bank of Italy, a member of the Brentwood Country Club, Jonathan Club and Elks Club.

Clune’s estate was bequeathed to his son James, the president of Clune’s holding company. Thought to be a millionaire several times over, yet few were able to estimate his actual fortune. His wife Agnes, according to his will, was not named but received her share of the estate by a property settlement years earlier. Publicly, the only estimate of the value of Clune’s estate at the time said that it “exceeds $10,000,” but most experts determined that it was close to $6 million which in today’s exchange would be around $81.5 million.

At the studios Clune owned on Melrose (across the street from Paramount), Douglas Fairbanks made The Mark of Zorro (1920) and The Three Musketeers (1921), Walt Disney rented space in the 1930s and the Hopalong Cassidy television series was filmed here, as were Superman. Robert Aldrich filmed Whatever Happened to Baby Jane? and Ronald Reagan hosted Death Valley Days. In 1979, the heirs of William Clune sold the film plant and it became Raleigh Studios. The studio that William Clune created is believed to be the oldest continuously operating film studio in Hollywood. ..

Raleigh Studios (the old Clune Studios) today…

 

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An Extra’s Story…

Saturday, June 10th, 2017

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One day as a screen star

An extra tells of rise to fame in twenty-four hours for $5 on lot with Doug in “Thief of Bagdad”

By G. A. E. Panter, 1923

We are all potential screen stars! At 9 a.m.  we saw the following “ad” in the morning paper: “For Douglas Fairbanks company, 2,500 men, 25-50.” Let’s go! We Went! At 10 a.m. we lined up with some 500 other aspirants for screen fame, in the rear of an old building. An hour later we emerged, the proud possessor of a ticket entitling us to a day’s work — salary $5, less 35 cents commission and 10 cents car fare. Also informing us that we had to be at the depot at 4 a.m. the following day.

We work nights. So, after two hours’ sleep and a good breakfast at 3 a.m., we hiked into town and found the crowd already assembling. A small cafe adjoining was literally swamped, but an enterprising, if unduly optimistic, newsboy did not meet with such success.

ON OUR WAY

Finally, after much jostling, accompanied by such remarks as: “Let me get my own hands in my pockets!” we achieved standing room in one of the cars provided. After a ride of twenty minutes we arrived at the studios, outside which, on a vacant lot, the earlier arrivals had kindled fires.

About 6 a.m. we commenced to file into the sacred inclosure, where we were allotted to Co. Z and filed past a window labeled “White Soldiers,” where we each drew a black and white striped helmet surmounted by a crescent and spike, a webbing collarette and belt covered with tin disks the size of a dollar, a pair of very baggy trousers and moccasins.

With these we repaired to a tent where we dressed, rather undressed, and emerged shivering into the raw morning air. We were then formed up in file behind a leader who carried a board bearing our company letter and marshaled by a guide wearing a black gown similar to those worn by university graduates. We proceeded to draw our weapons, consisting of a long bow and wooden quiver of arrows, then on to the set.

 

Aerial view of The Thief of Bagdad set

ON THE SET

A truly magnificent representation of old Bagdad with gateways, turrets, domes and minarets, quaint balconies and embrasures hung with rugs and bannerets. Company after company was marched up, dismissed and told to mingle with the crowd, forming a glittering, kaleidoscopic mass.

In front was a contrivance which aroused much curious comment. It resembled a long, slender girder of steel lattice work, one end being pivoted to a platform and at the other end were attached two small wodden structures. The girder was soon raised like the arm of a crane. The small wooden structures held the director and cameramen and slung from the top was the magic carpet, which appeared to be floating in the air over our heads. It was supported by a number of practically invisible steel wires.

Doug and his leading lady took their places on the the carpet and were hoisted into the air on a level with the cameras. The beam then swung out over our heads and the crowd “went mad” in the most approved style, incited thereto by numerous assistant directors armed with megaphones.

The idea of movement was greatly enhanced by a draught from two wind machines which fluttered the pennons and bannerets attached to the pikes.

 

Fairbanks on the set

 

MUCH BADINAGE

In the intervals of waiting between shots, Doug and his assistants were subjected to a crossfire of badinage by the crowd, all of which was taken in good part, although the directors had difficulty in making themselves heard. Every vantage point on the buildings forming the background was filled with men and women wearing gorgeous eastern robes.

The sun was now well up, despite the season hot enough to scorch the skin. How comic the other fellow looked. Fortunately no mirrors were provided, so we all kept the illusion that we were sheiks and the ladies on the balconies our dark-eyed fatima’s.

That the crowd was getting hungry was evinced by shouts of “When do we eat?” About 12:30 p.m. we were given a box lunch consisting of sandwiches, cake, chip potatoes, pie, fruit and bottle of milk. If the crowd was a trifle lethargic afterward — well the lunch was fine.

 

Our extra, Mr. Panter, is one of the soldiers at the top of this photo

 

After lunch, the white soldiers, after being painted terra cotta, were marched and countermarched through cheering throngs that, perhaps, had a trifle the best of the bargain! Finally, Doug, on a gaily caparisoned charger, headed the troops in a final triumphant march through cheering throngs right up to the cameramen, who, after showing the NG sign a few times, finally gave the O.K. and the day’s work was finished.

At 4 p.m., having handed in our costumes and accouterments, and obtained the final signature on our checks, we found ourselves once more outside the magic circle and free to return to our homes and  a much-needed bath.

I once played opposite Douglas Fairbanks in The Thief of Bagdad. Yes, we earned that five.

— Source: Los Angeles Times, November 25, 1923

 

The Thief of Bagdad premiere at the Egyptian theater

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Who Named Oscar?

Sunday, February 26th, 2017

The Birth of Oscar

 

 

By Allan R. Ellenberger

  

Oscar – the name on everyone’s lips in Hollywood at this time of year. Once again on February 22, nominees will stroll down the red carpet at the Kodak Theatre to attend the 81st Annual Academy Awards. There, the phrase, “And the Oscar goes to…” will be repeated numerous times, but who originally coined the term, Oscar? Depending on who you talk to, it could be any one of several suspects, but first, some history.

 

Oscar’s parents, the Academy of Motion Picture Arts and Sciences was chartered on May 4, 1927, when 36 film industry leaders met and organized the non-profit corporation dedicated to improving the artistic quality of the film medium.

 

Academy banquet at the Biltmore Hotel (LAPL)

 

A week later on May 11, a banquet was held in the Crystal Ballroom at the Biltmore Hotel where more than 300 gathered, and Douglas Fairbanks, the Academy’s first president, presided. Film industry leaders such as Louis B. Mayer, Joseph M. Schenck, Will Hays, Mary Pickford, Cecil B. DeMille, Frank Lloyd and Conrad Nagel gave their support.

 

It was Louis B. Mayer who suggested handing out awards as a way of focusing attention on films. Conrad Nagel agreed, saying, “Whatever we give, it should be a symbol of continuing progress – militant, dynamic.”

 

Inspired by the evenings proceedings, MGM art director, Cedric Gibbons began sketching a form on the tablecloth (some versions say a napkin). The figure was a brawny man standing on a reel of film gripping a crusader’s sword. Gibbons transferred the sketch to paper and it was given to sculptor George Stanley, who molded the trophy in clay. Since then very few changes have been made.

 

“They are a little distorted now because the original mold has been used so often,” Stanley said in 1957. The sculptor later designed and worked on the three well-known statues at the entrance of the Hollywood Bowl.

 

As with many actors, Oscar’s birth name would have been hard to fit on a marquee – the Academy of Motion Picture Arts & Sciences Award of Merit – more than a mouthful. So perhaps this fated him to a moniker, but just how Oscar received its unusual name is debatable. Several Hollywood notables have claimed the distinction of originating the name.

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 Margaret Herrick and Col. W. N. Selig (LAPL)

 

On their website, the Academy does not attribute the nickname to a specific person, however, one version of the story gives credit to the Academy’s executive secretary, Margaret Herrick. The story goes that in 1931, she reportedly saw the statuette, studied it carefully and exclaimed, “Why he looks like my Uncle Oscar.”

 

Sitting in an adjoining office was a newspaper correspondent who, the following day, printed the line: “Academy employees have affectionately dubbed their famous gold statuette Oscar.” (unfortunately there is no known published validation for this story)

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 Irving Thalberg, Bette Davis and Frank Capra (LAPL)

 

Two-time Oscar winner, Bette Davis believed that she created the term Oscar to describe the golden trophy.

“I am convinced that I was the first to give the statuette its name when I received one for my performance in Dangerous, made in 1935,” Davis said in 1955.

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 Bette Davis and her then-husband, Harmon Oscar Nelson, Jr.
Was the coveted award named for him?

 

“I was married at that time to Harmon O. Nelson, Jr. For a long time I did not know what his middle name was. I found out one day that it was Oscar, and it seemed a very suitable nickname for the Academy statuette.”

 

Davis, knowing there were other petitioners to the name, hinted that she would be willing to resort to fisticuffs to support her contention.

 

“Of course, that’s all so very long ago – who knows? But I’d suggest that if the other claimants become very insistent we settle the whole thing with a duel.”

 

Still other stories say that John Barrymore first coined the name – in the early days Oscar was reportedly a facetious term. Animation pioneer, Walt Disney has also been quoted as thanking the Academy for his Oscar as early as 1932. However, the person who may have the best claim for originating the name is columnist Sidney Skolsky.

 

Many references credit Skolsky for using the term “Oscar” in a 1934 column in reference to Katharine Hepburn’s Best Actress award for Morning Glory (1933). Still another names Skolsky as the anonymous reporter who supposedly overheard Margaret Herrick christen the statue in 1931; but since Skolsky had not arrived in Hollywood until 1932, that part is unlikely.

 

Skolsky claimed the term referenced an old vaudeville joke that began, “Will you have a cigar, Oscar?”

 

Though Oscars true beginning is unknown, what can be proven is the use of “Oscar” in Time magazine on March 26, 1934. If it’s not the original, it certainly is one of the first times the term was used:

 

“In the cinema industry the small gold-washed statuettes which the Academy of Motion Picture Arts and Science annually awards for meritorious productions and performances are called ‘Oscars,’” the article stated.

 

This also negates Bette Davis’ claim of naming the award when she received hers in 1936 – by then the term Oscar had already been in use for two years.

 

Whatever its origin, it definitely will not to be an issue when this years nominees walk the red carpet in hopes of getting their own Oscar.

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Hollywood’s “Jinx Mansion”

Wednesday, February 22nd, 2017

 

 

 

By Allan R. Ellenberger

 

At this time of year our thoughts are on ghosts and goblins and things that go bump in the night. Bad luck and superstition has followed Hollywood and those who lived and worked there long before the film people arrived.

A house that had its share of bad luck and tragedy was built on the northeast corner of Hollywood Boulevard and Fuller Street almost 100 years ago. Louella Parsons called the home that once stood at 7269 Hollywood Boulevard, “the jinx mansion.” Over the twenty-five years of its existence, it was home to a grocery store founder, a meat packing heir and a successful film producer and his movie star wife. All experienced misfortune and heartbreak during their stay there.

The builder and first resident of the “jinx mansion” was George A. Ralphs, the founder of Ralph’s grocery store, the largest food retailer in Southern California. There’s probably no one in Los Angeles that has not shopped at a Ralphs store at one time.

George Albert Ralphs was born in Joplin, Missouri in 1850. His family moved to California on a prairie schooner with a yoke of oxen when he was a boy. In Kansas they joined a caravan and when they reached Colorado they were attacked by Indians. Half of the caravan became separated in the fight, and nothing was ever heard from them. It was presumed that they were massacred.

The caravan arrived in Los Angeles after eighteen months of travel and George Ralphs was trained as an expert bricklayer. After losing an arm in an accident, he gave up bricklaying and found work as a clerk in a small grocery store. In 1873 he had saved enough money to purchase his own grocery at Sixth and Spring Streets. From then on Ralphs prospered, operating three of the largest stores in Los Angeles.

In 1897 Ralphs married Wallula von Keith and together they had two children, Albert and Annabel. In May 1913, Ralphs began construction on a new house on a three-acre lot in Hollywood that he reportedly bought from George Dunlap, the second mayor of the town.

Located on the north side of Hollywood Boulevard at Fuller Street, architect Frank M. Tyler was hired to design the Mission Revival house at a cost of $35,000. With a plastered exterior and a red clay tile roof, the house had sixteen rooms with three baths. The interior was richly furnished in oak and mahogany; onyx and tile mantels adorned the fireplaces. There was a tennis court on the property, and a swimming pool which was emptied often to water the citrus orchards.


The Ralphs mansion as it looked shortly after being constructed

On June 21, 1914, a few months after moving into the house, Ralphs took his family for a week-end outing to the San Bernardino Mountains near Lake Arrowhead. He had just gone up Waterman’s Canyon with his wife and children for an early morning stroll and, having walked a little faster than the others, sat on a boulder to wait for them to catch up.

As his wife approached, he moved over to allow her sit beside him when the boulder, weighing about three tons, gave way and rolled twenty feet down into the canyon, carrying Ralphs with it. His leg was caught beneath the boulder and nearly torn from the socket. He was immediately rushed to the Ramona Hospital (now Community Hospital of San Bernardino) where his leg was amputated. Ralphs came out from under the anesthetic shortly after and talked to his wife for a few minutes but the shock of the operation was too great. George Ralphs died within the hour at 4:15 o’clock that afternoon.

Ralphs body was returned to his home in Hollywood where funeral services were held. The Ralphs grocery stores were closed that day in memory of their founder. After the service, Ralphs was buried in Evergreen Cemetery.

The grave of Ralph's grocery store founder, 
George A. Ralphs at Evergreen Cemetery

Mrs. Ralphs owned the mansion for several years, sometimes living there and at times, renting it out to such well-known residents as Mira Hershey, owner of the Hollywood Hotel and to actor Douglas Fairbanks. On August 20, 1918, Mrs. Ralphs hosted a political garden party in honor of California Governor, William D. Stephens and as a fund raiser for the war effort.

However, the “jinx” continued.

In 1920 Mrs. Ralphs leased the mansion to John “Jack” P. Cudahy, the son of the millionaire meat-packer, Michael Cudahy. The town of Cudahy, California which is east of Los Angeles, was named for the family.

In 1899, Jack Cudahy married Edna Cowin, daughter of General John Clay Cowin of Omaha. They had four children, Edna, Marie, Anne and Michael. For a time, Cudahy was general manager of his father’s packing plant in Kansas City. While there, he and his wife became estranged after Cudahy attacked Jere Lillis, the president of the Western Exchange Bank, who he suspected of having an affair with his wife. They were divorced shortly after but reconciled two years later, were remarried and moved to Pasadena, California.

Cudahy had his problems. In 1914, he was sued for $30,000 in damages after throwing a doctor’s wife against a table. After a stint in the army, Cudahy was given a medical discharge following a nervous breakdown. He was sued by the Hotel Maryland in 1919 for failure to pay a two-year hotel bill amounting to almost $10,000.

Shortly after moving into the Ralphs mansion, Cudahy was under a doctor’s care for an extremely nervous condition and for insomnia. In early April 1921, he disappeared for ten days and it was later learned that he had been living at the Rosslyn Hotel under a fictitious name. Previous to that he had spent three months in a sanatorium.

At the time, Cudahy was reportedly having financial problems. On April 19, 1921 he received a letter from a trust company in Chicago stating that they would not carry a loan unless his sister Clara would vouch for him. Later that night Clara sent a telegram briefly stating, “Sorry, but find it impossible to do what you ask.”

The following morning, at about 10:30am, Cudahy went into his bathroom, retrieved his Winchester shotgun, which he used for trap-shooting, and took it into his bedroom. Edna claimed that at the time he did not seem to be unusually despondent. At exactly 11:45am, Edna was in her dressing room when she heard a shot and rushed into her husband’s bedroom where she found him dead. He had committed suicide by blowing off the top of his head. John Cudahy was buried at Calvary Cemetery in East Los Angeles.

 

Edna and her children moved out of the house shortly after her husband’s suicide. Thirteen years later she was living in a mansion near Vine Street and Franklin Avenue in Hollywood. Actor Lou Tellegen, who had fallen on hard times, was living with her and committed suicide in his bathroom by stabbing himself in his heart seven times with a pair of scissors.

After Cudahy’s suicide, the mansion stood empty for about a year. In October 1922 Mrs. Ralphs sold the house and property to a local realty company for $150,000. They planned to raze the house and build a 350 room apartment hotel at a cost of one million dollars. For unknown reasons, the hotel was never built and the mansion was spared.

Film producer, Joseph M. Schenck and his wife, the actress Norma Talmadge, were the next owners of the “jinx mansion.” The Schenck’s, who were married in 1916, probably moved into the house in late 1922 or early 1923. For the first few years their lives were routine, at least for film people, with the exception of several break-ins where Norma’s jewelry was stolen.

Norma Talmadge and Joseph M. Schenck

Gradually the couple began to grow apart. They separated in 1927 and moved into separate residences; Norma to an elegant apartment building on Harper Avenue in West Hollywood and Schenck moved to a large house in Beverly Hills. They remained married, however, and kept ownership of the Hollywood Boulevard mansion.

In July 1930, Talmadge traveled to Europe for a rest amid rumors that they were getting divorced but the couple denied the rumors, each claiming they were still in love. The following year Talmadge asked for a divorce and Schenck agreed but she never filed for it. In 1932 she again asked for a divorce and traveled to Europe, supposedly to get one, but once there, she denied the so-called rumors.

During 1932 alone, the Schenck divorce rumors were many and were announced and denied several times. One time she planned on going to Reno and several months later it was reportedly a Mexican divorce. In the meantime, there was an affair with comedian George Jessel until finally in April 1934 Talmadge and Schenck were divorced in Juarez, Mexico. Three weeks later Norma married Jessel.

The Talmadge-Schenck home as it looked from Fuller Street in the 1920s

Above is the site from the same angle on Fuller Street as it looks today

During all of this the Schenck’s kept the mansion, and may have rented it out but he reportedly moved back after the divorce. In May 1936 Schenck redecorated the property, adding a two-story cabana and a 60-foot swimming pool that replaced the one installed by the Ralphs which was later filled in by the Cudahy’s.

Bad luck continued to follow Schenck. In 1936 he agreed to pay a bribe to avoid strikes with the unions, but because he made the payoff with a personal check, it came to the attention of the IRS and he was eventually convicted of income tax evasion. In 1940 he finally sold the Hollywood Boulevard “jinx mansion” and all its furnishings in an auction, supposedly to help pay his legal fees. In 1946 Schenck spent time in prison before being granted a pardon by President Harry Truman.

Notice for the Joseph Schenck auction

After Schenck sold the mansion, it was razed to make way for Peyton Hall, the first apartment house to go up on Hollywood Boulevard west of La Brea. The colonial-style garden apartment complex included more than 70 apartments. A red carpet rolled all the way from the grand portico to Hollywood Boulevard. There were discreet private entrances and a loudspeaker on the grounds that summoned stars to the studios.

The architect and builders kept the 60-foot swimming pool that Joseph Schenck installed four years earlier and it was used by the residents, including Shelley Winters and Johnny Weissmuller, who once jumped from the roof into the deep end. Other celebrity residents at Peyton Hall included Susan Hayward, George Raft and Janet Gaynor. Cary Grant stayed there during World War II and Claudette Colbert actually owned the complex and sold it in 1946 for about $450,000 to the first of a succession of owners. In 1960, an investment group bought it for $790,000.

Beginning in 1978, preservationists waged a two-year battle to save the landmark complex –but to no avail. Peyton Hall was demolished in the early 1980s and the recently renamed, Vantage Apartments (formerly the Serravella) was built in 1988 and remains there today.


The Vantage Apartments above is the site of the 
Ralphs-Cudahy-Schenck-Talmadge mansion

Whether you believe in the “jinx mansion” or not is up to the reader—but it makes an interesting story. If you happen be in the neighborhood of the 7200 block of Hollywood Boulevard on Halloween night, do so at your own risk.

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Beatrice Dominguez: Valentino’s “La Bella Sevilla”

Friday, May 24th, 2013

HOLLYWOOD PROFILES

Beatrice Dominguez: Valentino’s “La Bella Sevilla”

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By Allan R. Ellenberger

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She was a vamp. With Spanish mantillas and high combs, and dancing to the sounds of a strumming guitar, she endeared herself to those she entertained. She was born Beatriz Dominguez on September 6, 1896 in San Bernardino, California. Descended from an old California Spanish family, a race of dons, her lineage can be traced back to old Castile who had been Americans for generations. Like her three older sisters, Beatriz was educated at Sacred Heart Convent, and like her younger sister Inez, she appeared in a few short films, but unlike Inez, she liked the medium. Her family, however, wanted her to be a doctor or lawyer; there had been no theatrical people or dancers in their ancestry. But dancing was in her blood. Her mother Petra was born in Sevilla and never had a dancing lesson, yet she simply danced. Beatrice learned to dance from her. “You see,” Beatriz said, “Spanish dances are all symbolical.” And from her, too, she inherited the priceless mantillas, combs, jewelry and embroidered shawls that she wore.

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In 1915 and 1916, Beatriz danced her way into fame when she appeared at the Panama-Pacific Exposition in San Diego. Billed simply as “La Bella Sevilla,” she lent the old Castilian touch to the air of the place.  To the click of castanets and a swirl of silken skirts, through an open archway she danced to the tune of the classic La Jota, black eyes snapping as the applause of the expositions throng bought in more crowds. When Theodore Roosevelt saw her dance, he called her “California’s sweetheart—fairest dancing daughter of the dons.”  

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exposition

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While performing in San Diego, she had an uncredited role in the Douglas Fairbanks film, The Americano (1916). After the exposition, Beatrice returned to dancing in vaudeville.

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“After I left San Diego,” Beatriz recalled, “and had danced at the Mission Inn in Riverside—I wished to act. I called at some of the studios and did not say that I was the premiere dancer at Balboa Park (San Diego). I simply registered as ‘La Bella Sevilla.’ Mr. O. H Davis, who was a vice-president of the Exposition, was appointed general manager of Universal. One day, when I called there, he suggested that I use my own name, because directors were rather afraid to employ a dancer because they reasoned that she could not act. I was baptized ‘Beatriz,’ but at the studios they have turned that into the American ‘Beatrice.’”

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The newly rechristened ‘Beatrice’ returned to films in 1919 in a small role in the Rex Ingram picture, The Day She Paid (1919) followed by another Ingram film, Under Crimson Skies (1920). Carl Laemmle saw her and considered her “an exceptional motion picture type” and gave her a part in The Fire Cat (1921) at Universal. Beatrice became one of the first Hispanic actresses to receive screen billing and to be mentioned in the press. Then the film that she would be remembered for today was offered to her. “Beatrice Dominguez, a Spanish dancer, has been engaged to play in the Metro production of The Four Horsemen of the Apocalypse, which Rex Ingram is directing,” the local trade papers announced. The film starred the relative newcomer, Rudolph Valentino and his dancing the Tango with Beatrice glamorized the dance and gave him instant celebrity.

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In December 1920 Beatrice appeared in the prologue to The Mark of Zorro starring Douglas Fairbanks during its seven week run at the Mission Theater. The following February she was filming The White Horseman (1921) with Art Acord when she collapsed with a ruptured appendix and was rushed to the Clara Barton Hospital at 447 South Olive Street. Doctors believed she would recover, but as with Valentino five years later, peritonitis set in; a second operation was necessary. She died from the complications of the operation on February 27, 1921. She was 24. One week later, The Four Horsemen of the Apocalypse opened in New York City to rave reviews and made Rudolph Valentino a star, in part because of the Tango scene with Beatrice.

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DOMINGUEZ-HOUSE

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The home of Beatrice Dominguez at 2522 Elsinore Street in Los Angeles where her funeral was held. (PLEASE NOTE: This is a private home. Please do not disturb the residents)

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Beatrice’s funeral was held at her home at 2522 Elsinore Street, where she lived with her mother and sister Inez. The funeral mass was held at the Plaza Church in old Los Angeles with burial at Calvary Cemetery.

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dominguez-grave1

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dominguez-grave2

 

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At the time of her death, her role in The White Horseman was not yet completed, so they had to find a way to write her out of the remainder of the film. Her purpose in the film was to find a treasure. The director brought in a stand-in, of about the same height, dressed her in Beatrice’s costume and had her walk into the scene with her back to the camera and announce that she was called back to her home. She entrusted her mission to another, who was then responsible to find the treasure. Just before her death, she was signed to play the role of a Hindu girl in an adaptation of the Rudyard Kipling story, Without Benefit of Clergy at the Brunton Studios (now Paramount).

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Doug and Janet at the Oscars

Thursday, February 21st, 2013

AMPAS HISTORY

Douglas Fairbanks presenting the very first Best Actress Oscar to Janet Gaynor

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Pia Zadora destroyed Pickfair because it was haunted

Sunday, November 18th, 2012

HOLLYWOOD HISTORY

Pia Zadora confesses and admits a ghost made her destroy Pickfair

 

 

 

 

By Allan R. Ellenberger

 

Remember Pickfair?

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It was the historic estate bought in 1919 by silent film actor, Douglas Fairbanks for his new bride, Mary Pickford, known to everyone as “America’s Sweetheart.” Pickfair had four stories, 25 rooms, stables and tennis courts. Doug and Mary lived there as husband and wife for the next seventeen years until their divorce in 1936. During that time they entertained heads of state, royalty and Hollywood royalty. Some of the world celebrities that visited Pickfair included George Bernard Shaw, Albert Einstein, Helen Keller, H.G. Wells, Lord Mountbatten, Amelia Earhart, F. Scott Fitzgerald, Noel Coward, President Franklin D. Roosevelt and his wife Eleanor, Charles Lindbergh, Sir Arthur Conan Doyle, Thomas Edison, and The King and Queen of Siam.

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Pickford kept the house after the divorce and lived there with her third husband, actor Charles “Buddy” Rogers until her death in 1979. Afterward, the house stood vacant for a few years until it was sold to Los Angeles Lakers owner, Jerry Buss, who continued to update and care for the historic estate.

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In 1988, Pia Zadora, the even-then-so-called actress and singer, and her husband at the time, Meshulam Riklis, bought the home from Buss for $7 million. Two years later, Miss Zadora revealed that instead of renovating Pickfair, she had it razed and constructed a huge purported “Venetian style palazzo” in its place. Zadora was immediately criticized for destroying an irreplaceable part of Hollywood history, and rightly so. Defending herself, she claimed the house was allegedly in a run-down condition and was riddled with termites. When asked, Douglas Fairbanks, Jr., said in a public statement: “I regret it very much. I wonder, if they were going to demolish it, why they bought it in the first place.”

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On a recent episode of the Biography Channel’s, Celebrity Ghost Stories, Zadora changed her story and claimed the real reason that Pickfair was destroyed was because the house was haunted.

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Zadora said in the interview that as soon as she and her family moved into the house, a female ghost appeared to her children at night and would frighten them. Within time, she too, saw the ghost—a woman dressed in 1920s attire who was always laughing (the ghost evidently watched her performance in The Lonely Lady). Zadora says that she did her own research (really?) and determined that the ghost was the mistress of Douglas Fairbanks, and the woman actually died on the estate. She doesn’t name the woman, say how the woman died or how she came to this conclusion.

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Zadora brought in an exorcist but that didn’t help and ghost continued to visit her. She decided the only thing to do was to level the house.

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“It was a difficult decision, but we had to live in it and we couldn’t live in it with what was going on,” Zadora says in the episode. “This is the first time I’m coming out publicly saying that termites weren’t the real reason we had to raze Pickfair. If I had a choice, I never would have torn down this old home. I loved this home. It had a history; it had a very important sense about it. You can deal with termites. You can deal with plumbing issues. But you can’t deal with the supernatural.”

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Pickfair–Then & Now  (squidoo)

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It’s not like people were dropping like flies at Pickfair so shouldn’t it be fairly easy to identify this laughing ghost? I’m not an expert on Pickfair but I don’t recall anyone dying there (if someone knows the answer, please post it here), not even Pickford, who suffered a cerebral hemorrhage there but died later at Santa Monica Hospital. Wouldn’t a death at Pickfair have made the newspapers unless it was covered-up by Fairbanks and Pickford? If so, how did Pia Zadora find out the “truth” in her so-called “research?” Once again, she doesn’t say how she came by that information in the interview, but producers of the show recreate a scene of her reading through books and paper.

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Pia Zadora will be criticized from all sides for this new revelation—first by those who don’t believe in the paranormal, and by those who do, who may question how razing a house will remove a spirit. While the paranormal interests me, again, I’m no expert, but wouldn’t the ghost just move in to the new house? All I know is that supposedly Pickfair is gone because of a ghost. I hope people don’t start using that excuse to destroy other Hollywood landmarks, if so preservation in this town will not have “a ghost of a chance.”

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Hollywood Heritage on proposed studio demolition

Wednesday, March 28th, 2012

HOLLYWOOD NEWS

Hollywood Heritage comments on the proposed demolition of the historic Pickford-Fairbanks Studio

 

In recent days, there have been inconsistent reports of the scope of the demolition, ranging from the demolition of select buildings to leaving only a facade remnant along Santa Monica Blvd.

 

Unfortunately, this is a case which stretches back a number of years and received approval at that time for the scope of work then submitted. The original development plan was approved in 1993. In 2006, the City of West Hollywood issued a Supplemental Environmental Impact Report (EIR) for a revised development plan, focusing on the project’s impacts on historic resources.

 

Both the Los Angeles Conservancy and Hollywood Heritage testified at the Planning Commission and the City Council hearings, focusing on the Supplemental EIR’s failure to consider alternatives to demolition. In May 2007, the West Hollywood City Council approved a revised development plan that included the demolition of some, but not all of the buildings at the site.

 

Any loss of a building which relates to community and industry leaders like Douglas Fairbanks and Mary Pickford is a significant loss. In addition to the studio, Pickford and Fairbanks were also instrumental in the construction of the Hollywood Roosevelt hotel and the formation of the Motion Picture Academy and the Motion Picture Country Home.

 

For more information, please go to the Hollywood Heritage website which will be updated as the project develops: Hollywood Heritage. Information is also available on the Los Angeles Conservancy website at Los Angeles  Conservancy

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Old United Artists Studio to be razed

Wednesday, March 28th, 2012

HOLLYWOOD NEWS

Storied West Hollywood studio buildings to be demolished

 

 

 

The studio lot, once owned by Mary Pickford and Douglas Fairbanks, has had many names and housed many productions over the years. Its new owner intends to raze and replace several buildings.

 

By Bob Pool
Los Angeles Times
March 26, 2012

 

Mary Pickford and Douglas Fairbanks worked there. So did Charlie Chaplin, Marilyn Monroe, Elizabeth Taylor, Clark Gable, Marlon Brando and practically everyone else. Soon, though, wrecking crews will be at work at the storied West Hollywood movie lot at the corner of Santa Monica Boulevard and Formosa Avenue.

 

Once known as the Warner Hollywood Studio, it’s now called “The Lot.” Its new owner, CIM Group, intends to raze its aging wooden office buildings and sound-dubbing stages and replace them with glass-and-steel structures.

 

According to West Hollywood planning officials, the first phase of work involves the demolition of the studio’s Pickford Building — built in 1927 and remodeled in 1936 — and Goldwyn Building, which was built in 1932 and is used for sound editing. Later phases will involve the removal of the studio’s Writers Building, Fairbanks Building and Editorial Building and a block-long row of production offices that line Santa Monica Boulevard. Replacement buildings will rise to six stories.

 

The redevelopment plans have riled many in the entertainment industry, particularly those who know the studio from past film shoots and television programs. “A lot of people have a lot of affection for the place,” said Doug Haines, a film editor who has worked on movies there for two decades. “You really had a sense of history when you worked there. Another glass building — that certainly says ‘Old Hollywood,’ doesn’t it?” CIM Group executives declined to discuss details of their development plans.

 

Film and TV production companies that rent space at the studio say owners have let leases expire in buildings slated for demolition.

 

The studio was built in 1919 by silent-movie maker Jesse Hampton. A short time later, he sold the lot to screen stars Pickford and Fairbanks, who renamed the 18-acre place Pickford-Fairbanks Studio. It later became known as the United Artists Studio when the pair teamed up with Chaplin and D.W. Griffith to form United Artists. Over the years, the now-11-acre lot was also called the Samuel Goldwyn Studio and the Warner Hollywood Studio.

 

The studio’s old buildings are packed with tradition. Legend holds that a tunnel once connected the soundstages to a bar across the street — the Formosa Cafe — so that stars like Errol Flynn could slip off for drinks between scenes without being pestered by fans. Fairbanks had a steam bath and gym and is said to have had a private outdoor area where he could exercise in the nude. Eccentric billionaire Howard Hughes, who kept an office at the studio during his movie-making days, had a secret garage he could wheel into from Santa Monica Boulevard and park without anybody noticing.

 

One studio building was said to be equipped with an ornate wooden door hand-built by Harrison Ford, who was working as a studio carpenter when he was “discovered” by filmmaker George Lucas. Director Sam Peckinpah not only worked at the lot but lived there as well in the 1970s. “Sam had a suite on the ground floor of the Writers Building right down the corridor from Mike Medavoy’s office,” recalled producer Katy Haber, who worked with Peckinpah on eight feature films at the studio. “He used one of the rooms as a bedroom.” Haber said Peckinpah loved the place. “Working at a studio like that, you always felt you were part of it. It was a creative environment. I’m sad to see anything with an historical heritage torn down. The walls there speak multitudes. It’s sad indeed: Developers aren’t into aesthetics or history.”

 

Although West Hollywood has described the studio as a landmark, officials have never taken action to formally designate it as one. A street sign on Santa Monica Boulevard in front of the studio calls it a “historic building.” But smaller print on the sign labels it “Potential Cultural Resource No. 60.”

 

West Hollywood senior planner David DeGrazia said that CIM Group intends to begin demolition in a few weeks and that construction will be done in six phases. The project will more than double the studio’s space to 671,087 square feet, he said. Three new soundstages will join the seven that are now mostly used for production of the HBO vampire series “True Blood,” according to plans filed with West Hollywood. DeGrazia said the development agreement expires in March 2013, although he said CIM Group’s position is that the agreement remains in place once construction of the first phase begins. Complicating things is that the West Hollywood-Los Angeles city boundary slices through several sound-dubbing buildings on the south edge of the studio lot.

 

A nearby bungalow that Frank Sinatra used when he worked on the lot is on the Los Angeles side of the boundary. It is out of West Hollywood’s jurisdiction, although the six-room structure is listed by DeGrazia as scheduled for demolition.

 

As part of the development agreement, CIM Group will preserve a wall-like facade that extends along Santa Monica Boulevard around Hughes’ secret garage entrance. Preservationists at the Los Angeles Conservancy said they have been asked to help get historic landmark status conferred on the whole studio to block the demolition. “We’ve gotten calls from people who are concerned. The problem is it’s an approved development. The West Hollywood City Council essentially has already approved the project,” said Adrian Scott Fine, the conservancy’s director of advocacy. “Saving a facade is not preservation.”

 

bob.pool@latimes.com

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Missing footprints at Grauman’s Chinese

Thursday, January 20th, 2011

GRAUMAN’S CHINESE

Tracing lost steps of Grauman’s first footprints

 

 

Iconic Hollywood tradition began by accident, and original concrete slabs are now in airport hangar

  

By Tara Wallis-Finestone and Chuck Henry

 

It’s an iconic event known throughout the world. For the past 85 years, only the biggest stars in Hollywood have been immortalized with their hands and feet in cement at Grauman’s Chinese Theatre.

 

But NBCLA has discovered a critical piece of Hollywood history is missing from the theater’s famous forecourt.

 

The original footprints that started it all have been hidden for decades. In fact, not even the company that owns Grauman’s Theatre knew about these potentially priceless footprints.

 

“I was not aware that the ones we have in the forecourt are not the originals,” said Peter Dobson, CEO of Mann Theatres, the company that owns Grauman’s Chinese. “If they are missing and we just got the practice slabs in there, I’m devastated to know that.”

 

“I have no interest in giving them back to Grauman’s,” said Nick Olaerts, a former Hollywood developer who claims to own the slabs. “Decades ago, I had wanted to give them back to Grauman’s, a donation in the name of my children, but the theater’s owner at the time, Ted Mann, wasn’t interested in taking them back.”

 

Instead, Olaerts gave the slabs to his friend Larry Buchanan, an airplane mechanic who put them in storage at his airport hangar east of Los Angeles. Over the years, Buchanan and Olaerts have tried numerous times to sell the slabs, Buchanan even at one point put them on eBay.

 

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