Coming Soon! Beau Geste, Exhibitors Herald, 18 September 1926

Watch out for the What A Character Blogathon on 15 December!


My Lady’s Lips (1925)

In 1925 Clara Bow was on her way up to becoming one of Hollywood fastest growing stars. Clara had an unusual ability to switch her emotional response almost immediately upon direction, crying real tears on tap, displaying genuine happiness and all without the type of overwrought over emoting often seen from actresses at the time. This gave a realism to her performances that audiences could empathise with and were starting to respond to in a big way.

B P Schulberg, the proprietor of Preferred Pictures, whom Clara had been contracted since her arrival in Hollywood in 1922, also responded to this increased interest in his up and coming starlet by loaning her out to other studios for big profits. In 1925 Clara would be paid $750 a week by Preferred Pictures but Ben Schulberg arranged the loan outs for $3,000 a week – a tidy profit. Thus Clara became almost a machine on the shop floor, like all those factory girls who followed her so ardently.

William Powell made two pictures with Clara Bow during this loan out phase in her career. Powell himself had been offered a contract by Paramount in 1925. His talent as a character actor and consummate villain had been recognised and remunerated accordingly (which I’ll talk more about in my piece for the What a Character! Blogathon on 15 December), but My Lady’s Lips enabled him to play an honest joe – as you can see from the poster below:

The star of the vehicle was Alyce Mills, pictured above, who played Dora, leader of a gambling gang who reporter Scott Seddon, played by William Powell tries to infiltrate but falls in love with. Clara Bow is Lola, a spoiled rich kid, who becomes embroiled in the gang but also falls in love with Scott. The Photoplay Magazine reviewer, while enjoying the pace of the drama, found the plot rather preposterous and proceeded the damn the picture with the faintest of praise, saying it would be enjoyed by the ‘older folks if they like em crooked’. I think the film sounds like fun and as this is another picture that has been preserved, let’s hope it is released soon.

References/Recommended Reading:

Clara Bow: Runnin’ Wild – David Stenn

William Powell: The Life and Films – Roger Bryant

Photoplay Magazine, October 1925, p.92

Hearts and Spurs (1925)

1925 was a momentous year for a number of our heroes – William Powell’s output virtually doubled, Ronald Colman cemented his Hollywood career and his heartthrob status, Richard Barthelmess consolidated his already enormous fame and Myrna Loy was recognised and brought to the forefront thanks to Natacha Rambova.

We can add into this good fortune the beginnings of a career for 16 year old Jane Peters. We’ve covered her post accident work in Carole Lombard’s Mack Sennett days, and this seems a good time to have a look at the first major feature she appeared in. Now as we know when Jane Peters was 12 years old she appeared in the film A Perfect Crime with Monte Blue which provided her with the impetus to follow a movie career. Various acting classes and auditions followed during her teens, but like any other teenager in Hollywood Jane was drawn to the nightclub and party lifestyle and it was at the Cocoanut Grove’s regular dance competitions that Jane started to get really noticed.

With Edmund Lowe in Marriage in Transit (1925)

In 1925 Jane Peters was signed to the Fox Film Corporation and Carole Lombard was born – an amalgam of a family friend’s last name and the result of Elizabeth Peters’ liking for numerology – although a consistent spelling of Carole Lombard wouldn’t settle until around 1931.

Carole’s first substantial role came in 1925’s Marriage in Transit, but her lack of experience was apparent and the film was seen as lacklustre despite Carole’s admitted over-emoting!

“Poor Eddie Lowe! They told me to tear him to shreds! To this day Eddie can’t see me without ducking.”

And this then led to Hearts & Spurs, a now lost Western melodrama starring Buck Jones and coincidentally directed by W S Van Dyke, who of course was the director of The Thin Man. 

Needless to say Carole’s role as Sybil Estabrook although substantial involved nothing more than a lot of simpering while Buck Jones did the inevitable manly stuff with horses and fighting and the like. Carole was starting to become frustrated with the limitations of her roles which felt two dimensional and merely served as fragrant wallpaper for the all action hero.

However, a year later Carole’s fateful and horrific entanglement with a Bugatti would, due to her ties to Fox being cut, put her in the sights of Mack Sennett who would enable Carole to beef up her acting skills and cinematic presence.

References/Recommended Reading:

Carole Lombard: Twentieth Century Star – Michelle Morgan