***************************************************************************** * T A Y L O R O L O G Y * * A Continuing Exploration of the Life and Death of William Desmond Taylor * * * * Issue 37 -- January 1996 Editor: Bruce Long bruce@asu.edu * * TAYLOROLOGY may be freely distributed * ***************************************************************************** CONTENTS OF THIS ISSUE: Mary Miles Minter in Hawaii Mary Miles Minter Moves Out Minter and Chaplin ***************************************************************************** What is TAYLOROLOGY? TAYLOROLOGY is a newsletter focusing on the life and death of William Desmond Taylor, a top Paramount film director in early Hollywood who was shot to death on February 1, 1922. His unsolved murder was one of Hollywood's major scandals. This newsletter will deal with: (a) The facts of Taylor's life; (b) The facts and rumors of Taylor's murder; (c) The impact of the Taylor murder on Hollywood and the nation; (d) Taylor's associates and the Hollywood silent film industry in which Taylor worked. Primary emphasis will be given toward reprinting, referencing and analyzing source material, and sifting it for accuracy. ***************************************************************************** ***************************************************************************** Mary Miles Minter in Hawaii Six weeks after Taylor's murder, Mary Miles Minter and her grandmother sailed to Hawaii. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 15, 1922 SAN FRANCISCO CALL Mary Miles Minter Sails for Orient under Assumed Name Dainty Mary Miles Minter, comely motion picture star, sailed today from San Francisco on the Matson liner Wilhelmina for Honolulu and an extended tour of the Orient. Every effort was made to keep her identity a secret. On the ship's passenger list Miss Minter used the name Miss J. B. Shelby. Accompanying her was Mrs. J. B. Miles, her grandmother. Shelby is her mother's name. Passengers on the Wilhelmina did not recognize the motion picture star as she strolled about the decks just before sailing time. Attired in a jaunty tailor-made suit of lavender colored cloth and evidently enjoying the situation of wandering about unknown, Miss Minter's joy was short-lived when representatives of The Call approached her. "Oh, and I had so hoped to get away without any publicity!" she exclaimed. "And to think that in twenty minutes more I would have been sailing out the Golden Gate with nobody the wiser. "Well, boys, I suppose I must be interviewed. Please don't ask me anything about the Taylor case. That has been gone over and over. I want to forget all of its horrors. I was an unfortunate victim of circumstances in that case because of some foolish girl notes written to a man I admired greatly as a friend. Please don't ask me to give any statement regarding that case." Miss Minter was asked where she was going on her trip. "Both Grandmother Miles and myself are physically worn out with the recent affair in Los Angeles. This came on top of many weeks of hard work on a picture I am to appear in. We decided upon a rest and will go to Honolulu, Hong Kong and other Oriental ports. We will be gone several months. "On our return I will 'pitch in' on three pictures my contract calls for. I hope to make three pictures a year. To do this I must be in the best of physical and mental trim." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 15, 1922 OAKLAND TRIBUNE ......"This terrible murder of Mr. Taylor has fallen like a shadow across my path. I must get away from America for a while, so people will keep from talking to me about it. In Los Angeles my home is besieged from morning till night by newspaper reporters and by mere curiosity seekers. It is driving me crazy and I must forget. That is why I am going to Honolulu." From behind the window of her stateroom Miss Minter so declared five minutes before the vessel had removed from its dock. Though her face still bore traces of the studio paint and rouge, the youthful actress seemed sad and forlorn and her gray eyes had a haunted look. Miss Miles stated that her granddaughter is also suffering from a severe cold, which is troubling the family, and which they believe can only be broken by a sea voyage and visit to Honolulu... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 22, 1922 E.D.B. HONOLULU ADVERTISER A dainty, sweet rosebud is Mary Miles Minter, winsome and petite, and like a rose opening to the morning sun her large, expressive eyes gazed in wonderment at the mountains and hills as the last rays of the Hawaiian sun set them a-gleam when the Wilhelmina steamed into the harbor last evening. The little screen favorite was more than interested in the changing panorama of the Oahuan shore as the Wilhelmina passed by Waikiki, for she has just finished a picture called "South of Suva," and that, of course, dealt with the great Pacific, the South Seas, and the Hawaiian Islands are South Seas to many. There was the tropical setting of mountain, valley, shore and sea, just such scenes as are portrayed in "South of Suva." So her first impressions of Honolulu were delightful. Mary Miles Minter is a rosebud, but for the adornment of that bud came trunks and trunks--all no doubt, filled with the dainty frocks which must be just like dainty little Mary. She appeared on the deck as the vessel approached the harbor, clad in a pretty outing suit of flannel and a fetching droopy-rimmed hat, all seeming to blend charmingly with her fair hair. "I have come to Honolulu because I have heard it is all so charming," said the screen favorite. "I came also because I know I can get rid of a cold. I know that Honolulu will be a pleasant place for a sojourn, and if I can, I hope to be able to learn how to ride a surfboard at Waikiki. Anyhow, I'm here to enjoy all that I have heard so much about and to forget about pictures for a while." Miss Minter is accompanied by her grandmother, Mrs. Miles and the grandparent showed just as much interest in the new scenes as her talented granddaughter. When the Wilhelmina docked and the band played many pretty melodies of Hawaii, Miss Minter told Chief Engineer Forbes, who looks after all the young folks on board the Wilhelmina when Captain Soule isn't crowding the spotlight in that role, that it was just lovely. When she came down the gangplank there were whisperings in the crowd below. There were excited pointings. "There she is, there she is!" And then some one would dart out and throw a fragrant lei about her shoulders. More leis came, and as she emerged from the wharf she was plentifully adorned with these Hawaiian expressions of "Aloha." But her ordeal was when she started for a motor car. The boys recognized a favorite of the screen. They ran after her and crowded about and became so dense that the car had difficulty plowing through the mass of young humanity. At first the little actress wondered, and then began to realize that it was merely youth interested in what to it are the greatest of all people--those who delight them on the silver screen. And then she was whisked out to the Moana, beside Waikiki beach. Who knows but that Mary Miles Minter may use a little of all this in a photoplay some day! * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 22, 1922 Martin Connor HONOLULU STAR-BULLETIN Hey boy! Page Madam Pele! Miss J. Shelby is in Honolulu. What's that? You don't know her? Well, that's funny, for she is none other than Mary Miles Minter, famed motion picture star, who arrived her yesterday on the Wilhelmina for a visit in Hawaii. And her real name is Shelby, but she is known to thousands the world over as Miss Minter. Mary had lots of pilikia--though she doesn't yet use that word--on the trip from the mainland. Chum, her dog playmate, missed the boat and had to remain on the coast, forsaken and forgotten. No, not forgotten, for Mary thinks of him every minute. "Oh, if Chum isn't sent down on the next boat I'll have to return to the coast," signed the beautiful screen actress, as she leaned over the steamer's rail to catch a view of Diamond Head and Waikiki beach. "I am not like most folks," explained the film star, "when it comes to dogs. The majority of people like dogs, but I love them; and when Chum isn't around I feel dreadfully lonesome; in fact I can hardly live without Chum."[1] "What are your future plans regarding films?" Miss Minter was asked. "Please don't ask that question," entreated Mary, "for I can't answer it other than to say that I am here to escape from the strenuous life of the studio. Motion picture people work hard and the life they lead is strenuous, and when they get a chance to play they want to really play and not talk about films. I am here not on business, but for a rest. I can't say how long I will remain in Hawaii; that depends upon conditions and how the beauty of Hawaii charms me. Still, Honolulu looks beautiful after a week at sea. I am sure that I can't learn to ride the surfboard, but I am willing to try that sport." Miss Minter is accompanied by her grandmother, Mrs. Julia Miles of Los Angeles, a motherly woman, who won the hearts of every passenger on the Wilhelmina during the trip from San Francisco. They will stay at the Moana while in Honolulu. When the newspapermen boarded the Wilhelmina off port yesterday afternoon they saw many trunks just outside the stateroom of the pretty film actress. They contained--clothes. "Yes, I brought along a few gowns," smiled Miss Minter. Miss Minter was wearing a white sports suit when the Wilhelmina arrived. She was reading a book when the newspaper reporters appeared. It was "Mr. Wu," a weird tale of Chinese intrigue, by Sax Rohmer, and it had a snappy yellow cover. "Excuse me," said the film star, "I must return this book." She ran quickly up the steps leading from the social hall of the steamer and in a twinkling of an eye had returned to answer the questions of the reporters. Miss Minter possesses beautiful blue eyes and a dazzling peach and cream complexion. She has an animated expression and her eyes shyly rise and fall when one asks questions that really interest her. She is a charming little lady, as one of the stewards expressed it. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 25, 1922 HONOLULU ADVERTISER Garbed in the most sensational purple imported French model bathing robe of the finest silk with the very latest "Hula" model bathing cap, Mary Miles Minter yesterday afternoon took her first dip in the water at Waikiki after a most enjoyable ride in a canoe piloted by Duke Kahanamoku, world champion sprint swimmer. Waikiki bathers crowded and pushed their way toward the attractive star of filmdom. "Wow, but it was exciting. Honolulu is just full of surprises and thrills and this was one of them. Your water is wonderful and I don't believe I'll miss a day after this," said Miss Minter as she was helped to alight from her canoe by Duke. "Do you suppose I can learn to master the surf boards? I should just love it." [A photo taken on the beach, showing Mary and Duke Kahanamoku standing by a surfboard, accompanies the original newspaper item.] * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 26, 1922 Ruth Stacker HONOLULU ADVERTISER Mary Miles Minter, mistress of her own Los Angeles Company, and whose pictures are released through the Lasky Famous Players, is visiting in Honolulu and resting preparatory to returning to Los Angeles to do one of her biggest productions. For the benefit of Miss Minter's admirers, let me say that she is a real blonde with a real complexion. The three freckles which she has already acquired under the tropical sun of Hawaii and quickly eliminated with the powder puff, but being a real sportswoman she doesn't care and wouldn't for one moment give up a minute's pleasure for the sake of the much advertised complexion. She has a smile which is deliciously refreshing showing an even set of ivory white teeth. But her smile isn't in any way limited to her mouth. Nope, it is much more evident through two Irish blue eyes, but the Irish part I'll tell you about later. Miss Minter, who by the way is registered at her hotel as Juliette Shelby with her grandmother, Mrs. Miles, has often been said to have risen from obscurity. She emphatically denies this. That is, since she was five years old she has played on the legitimate stage, her first real success having been in Mark Twain's "Prince and the Pauper." She has had a constant string of success to her credit ever since and these successes embrace widely different roles on both the speaking stage and the silver screen. And she is not yet 20. She'll not be 20 until April. "You know," said Mary the other day when we were up in her room looking over the sea and she was trying on various hats for my particular benefit, "some people think I've been 16 for eight years. But I really haven't. I'll tell you how it happened. A long, long time ago, when I was about eight and a half years old we were playing in Chicago where they had passed a law whereby children under 16 could not appear upon the stage, I took the long jump and was 16. I got by, but it's rather hard on me now." But really, anyone who looked at her might know that Mary Miles Minter (dressed up) and Juliette Shelby with the very feminine fondness for hats as she appeared very intimately in a Paris model dressing gown, barefooted and trying on those hats over undressed blonde hair might think that she had just passed her seventeenth year. "It was then that I changed my name from Juliette Shelby to Mary Miles Minter, the name of my little dead cousin who had she lived would have been 16 that year, and the name stuck. You see, my real, very real name is just plain Julia O'Reiley!" [sic] And that's where she gets the little twinkle in her eye. Mary Minter speaks French. She doesn't mince it, she really speaks it when she isn't answering the telephone or arranging the masses of floral tributes which arrive at the hotel daily, she sits down and reads poetry in the original French. She loves bits of Oscar Wilde, Shakespeare, Milton and Elinor Glyn and carries with her at all times volumes of each author. "I love Madame Glyn awfully," said Miss Minter, after I had made reference to one of Elinor Glyn's latest novels. "She's a perfect dear with red, red hair and the most queenly air, and besides she wears her clothes awfully well. She's a sister of Lucille, you know." When asked if Hawaiian scenarios were passe and no longer consider "possible" by the directors, Miss Minter said: "Oh--I should say not. Very emphatically NO. In the picture before the last, 'The Sultan of Suva,' we played a lot of South Sea location and I loved it and think it one of my very best. It is to be released shortly. Everyone loves the Hawaiian Islands, and Hawaiian atmosphere is always very popular in pictures." Miss Minter was asked what her very favorite role was. "'Anne of Green Gables.' I loved Anne. Played it when I was 17 and have never forgotten it. I write sometimes for magazines and when I do I always use the name Anne and sometimes Anne Shirley, the heroine of Green Gables." Miss Minter's very best chum is her six months old collie by that name ...Then her next best chum is Jeanie McPherson, the star scenario writer for Cecil B. DeMille. "But my grandmother is my very best sweetheart, and as long as I have her with me I can't possibly be lonesome." And so Mary Miles Minter, the very "real thing," is in Honolulu and will remain until May third when she will depart for San Francisco and then immediately go out on location for the new production. She loves Honolulu, Chinatown best of all, and declares that it is the only place in the world that has lived up to her expectations. "It's wonderful and I love it and some day I'm coming back to make a picture here. "And before you go, won't you please thank the people of Honolulu for their kindness and hospitality and particularly the very nice man who, in behalf of Honolulu, put those joyous leis around my neck when I landed," and then Mary, with her very sweet smile, closed the door and I went down in the elevator and came back to the office just wanting to write the nicest story in the world about her. Thank you, Mary. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 28, 1922 HONOLULU STAR-BULLETIN Movie Actress has Candy and Kisses for Dog Love me, love my dog. Flowers, candy, kisses and lovin'. Chum, the beautiful Scotch collie belonging to Mary Miles Minter, was the recipient of all of these goodies this morning when the dainty movie actress met the Matsonia off-port and greeted her canine pal who was left behind when Mary sailed for Honolulu a few weeks ago. Mary got up before breakfast this morning to meet the Matsonia and Chum, and even went out to the ship in a tug to hasten the happy reunion, climbing the swaying ladder to the liner's deck with commendable bravery. Damage done by tears and kisses bestowed on Chum was quickly repaired with powder puff and lipstick. "We are both very happy," Mary smiled through a veil of tears. "Chum and I have been such good pals that I could hardly wait for the boat to arrive. I know that Chum has missed me and I have certainly missed him." Miss Minter was wreathed in smiles as she stooped down and patted Chum and the manner in which the collie looked into his mistress' face as he curled up at her feet showed plainly that Mary's affection was returned. The little actress and her dog were alone on the steamer, as far as they were concerned, and Miss Minter kissed her pal again and again. Chum was as enthusiastic over the meeting as his mistress, and returned each kiss with tongueful tenderness. It was a big occasion for both and the rest of the world was forgotten for the moment. Husbands were greeting wives who had just returned from the mainland, and everyone on the deck was waving to friends on the dock, but none of the greetings appeared more sincere than those exchanged by Chum and his mistress. "Yes, we will have to be separated for a few days more," Miss Minter replied when reminded that Chum must be held in quarantine. The smile disappeared for a moment and then her face lighted again as she said, "But I can go down and visit with him every day. Of course Chum must go to quarantine the same as other people's dogs do. There is no reason why I should be given any special privileges. Everyone has been very kind in helping me." "Oh, by the way!" the little actress exclaimed suddenly, "I am meeting you as a fellow newspaper representative today. I am your--what do you call it now? Oh, yes! I am a 'sob-sister.' I went out on a small boat this morning and met the Matsonia off-port, and they let me go aboard up the ladder just like you newspapermen do, so you see I am a real, honest-to- goodness newspaperwoman." After this outburst Miss Minter turned to Chum again and the press was forgotten for a moment. "Oh, pardon me just a moment," Miss Minter exclaimed suddenly, and she was gone again. She hurried along the deck of the Matsonia, down the gangplank and opened the door of her car, which was waiting just outside the dock. First several bouquets were lifted from the machine and then she produced a huge basket of roses. She set them down on the ground and called Chum. Whether or not Chum really appreciates flowers is a question, but at any rate he showed his good breeding by dancing around the bouquets and thanking his mistress for her gifts with looks and actions which showed plainly that he knew he was the guest of honor. A moment later the quarantine officials arrived and informed Miss Minter that the time had come for Chum to be taken from her again. Mary picked up the dog and carried it to the automobile, but while saying farewell she suddenly decided it wasn't necessary to part just yet and with a hasty "Good- bye, everybody," she jumped into the machine and accompanied the officials to the dog quarantine station. Under the present regulations Chum will have to remain in quarantine for 36 days, according to the authorities, and even if the anti-rabies serum arrived on the boat this morning, which could not be ascertained until the mail was distributed, special permission would have to be granted by the governor and the board of health before it would be possible to release Chum from quarantine in less than the required length of time. Chum enjoyed his voyage from the coast. He wasn't sick a minute and did full justice to his chicken bones and dog biscuits three times a day. And he didn't flirt with any of the girl passengers; he is a one-girl dog, and the girl is Mary Miles Minter. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 29, 1922 E.D.B. HONOLULU ADVERTISER Mary Miles Minter (Miss Shelby), famed in the realm of the silvered screen as an interpreter of "sweet-young-thing" and flapper roles, branched out as a "stunt queen" at Honolulu's harbor mouth yesterday morning. Encumbered by a heavy fur-trimmed cloak, and quite unused to the eccentricities of the festive ground-swell, the dainty little picture star, disguised as a "sob-sister," hurled herself from a rolling launch to a Jacob's ladder suspended from the main deck of the Matsonia and made her perilous way upward amidst the encouraging cheers of the incoming passengers and a party of local celebrities on the small craft below. And all for the sake of a dog! ..."I'm so afraid he'll have forgotten me," signed Mary, as she gazed up the towering side of the Matsonia and waited for a chance to climb on board; "he's such a puppy--only six months old--and I am not yet sure as to how heartily he reciprocates my affection for him." She knows now. Everything that an ecstatic canine with half-a-year's experience in this world of ours could do to express his delight over the reunion, "Chum" did--and then repeated it all several times over, lest there by any mistake about the state of his emotions. ..."Don't you worry, baby," said Miss Minter at parting, "It will only be for a little while, and then what romps we'll have in this wonderful little place. I'll be down to see you every day, puppykins, and these nice men have promised to take wonderful care of you when I'm not here!" Whereupon "Chum" gave a final wiggle of his caudal appendage and disappeared into the building set aside for the observation of visiting canines... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 29, 1922 HONOLULU STAR-BULLETIN Mary Miles Minter, movie star now on a vacation here, made adoring friends of 1400 children this morning. "Oh, I just love them to death!" exclaimed Miss Minter as she clasped an armful of little ones to her at the Kauluwela school, where she took part in the morning flag raising exercises. For several days the children had been studying unusually hard, having been told by their principal, Mrs. Isabella L. Creighton, that if they were good Miss Minter would visit them. The film star has been the chief interest and topic of conversation at the school ever since her arrival on the Wilhelmina last Tuesday. Now the children idolize her. "Your singing is finer than any I have ever heard in any school or church," Miss Minter said sincerely after the children had sung to her in English and Hawaiian. "I love the school children in California but when they sing it sounds like dish pans and whisk brooms. I have to stop my ears. But your singing is real music and is magnificent. "I am coming back to see you again and many times for I love your islands." The children lavished adoring looks at Miss Minter, many of them speechless in their excitement. It was a never-to-be-forgotten day for them. Duke Kahanamoku accompanied Miss Minter to the school and the two of them posed for many pictures with the children and their teachers. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * April 13, 1922 HONOLULU ADVERTISER Miss Minter Tells Women to Find Selves "Every human being is endowed with full intelligence and there is nothing you cannot accomplish if you make up your mind to do it," Mary Miles Minter told members of the Business and Professional Women's club at their meeting yesterday. "Charles Paddock is an example of this. He found that he could run better than he could do anything else and developing that talent has made him the fastest runner in the world. "Find the thing for which you are best suited and then don't let anyone dissuade you until you have accomplished your purpose. There is something in everyone of us to be expressed--no one is put into the world without a reason, although sometimes it is difficult to find the thing which we can best express," she said. If any member of the club had any illusions as to the romance of motion picture producing or novel writing Miss Minter dispelled them. She related an incident in a conversation with Elinor Glyn, the novelist, in which the author said that she did not write her books to be read but to make money. And taking up the same theme in movies and the cry for uplifting pictures Miss Minter said: "While everyone is talking about uplifting movies I want you to bear one thing in mind. Movies are not being made for you or for me-- they sell best to the masses. When we make pictures we make them to please 'Lizzie' in the audience and she likes problem plays." The actress gave an amusing account of the actual making of pictures using some of the studio slang. "It takes 30 days to make a picture," she said, "and it is seldom that the scenes are taken consecutively--lots of times I fall off a cliff into the water on Monday and don't get out of the water until Saturday, and then for the 10 days during the taking of the picture I have to go about in wet clothes. "I do not believe that anyone but the extremely intelligent should be allowed inside of the studios because the scenery and make-believe houses seem so unreal, so false. The motion picture industry is just a giant child which no one seems to understand, least of all those of us who are in the business. It seems to be a mystery which fills a need in the world today." Miss Minter said that she was a great "fan" of Rudolph Valentino who appeared in the "Sheik" last week... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * April 14, 1922 HONOLULU ADVERTISER Arbuckle Will Again Be Seen In Film World Mary Miles Minter Believes He Will Regain Former Popularity [after the announcement that Arbuckle had been acquitted in the Rappe manslaughter case] "Roscoe Arbuckle has been done a grave injustice. I am glad that he has been vindicated," said Mary Miles Minter over the luncheon table at the Moana yesterday. "I think that I am speaking not only for Filmdom, but for the whole world in general, when I say this. "His pictures, which have been of a wholesome, clean variety, have brought happiness to millions of people, particularly to the children and I am glad that we will have them back again. For, of course, we will. A meeting of the producers may be held, but the public want those $5,000,000 worth of films, ready to be released, which have been held up for the past few months, awaiting this final verdict of the jury." ...Mary Miles Minter left for Hilo on the Maui yesterday afternoon with her grandmother, Mrs. Miles. They will visit the volcano and Hilo, returning on Monday... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * April 14, 1922 HONOLULU ADVERTISER Miss Minter Loses Present From Taylor A little gold mesh bag with a diamond shaped top disclosing the initials "M. M. M.," the property of Mary Miles Minter, has been lost sometime this week, somewhere in Honolulu. Has anyone picket it up? According to Miss Minter, the bag was first missed about a week ago. A rigorous search of her suite of rooms at the Moana has not revealed it. "It is not the bag. There are millions of them," she said, "but it is its sentimental value. It is a little token of friendship given to me by the late William Desmond Taylor, and I want it back very, very much." If anyone has found the little bag which means so very much to the film actress, will they please return it to the Moana hotel to her and receive a reward? * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * April 10-19, 1922 HONOLULU STAR-BULLETIN R-E-E-L L-I-F-E A Series of Articles on "How to Break into the Movies," written for The Star-Bulletin by-- Mary Miles Minter, Famous film star who is now in Honolulu When The Star-Bulletin asked Mary Miles Minter to write a series of articles on "How to Break into the Movies," the little star of the silver screen was diffident. "Do you really think that people of Hawaii would be interested in what I would write about the movies?" she asked. "If you think so, I will be willing to write a series of articles, for it has been one of my principles never to refuse any reasonable request." Assured that the people would be interested in what she might have to say, Miss Minter replied: "All right. I will write the articles on one condition. That I may say just what I really think--that I may be sincere." And that's why Miss Minter chose "Sincerity" as the title for her first chapter. by Mary Miles Minter Chapter One--Sincerity There is no royal road to learning and neither is there any royal pathway to success in the world of motion pictures. If there is any short cut to success in the film world I am not aware of it. Such is my sincere belief, and that is why I must affirm that sincerity is one of the greatest attributes leading toward the achievement of success in movieland. Without sincerity one cannot succeed in anything, and this is particularly true in the world of pictures. While I do not pretend to be a "leading authority on how to break into the movies," if I were asked to define just what is needed most by aspirants to screen honors I would sum it all up in one word-- S-I-N-C-E-R-I-T-Y! If you are sincere you will succeed, whether it be starring in the land of pictures or selling shoes in a country village. Nine-tenths of the qualifications needed to achieve even a modest success in pictures may be totaled in sincerity and determination. Express yourself. Be sincere. Don't ape another actor or actress for you will fail to bring out your latent qualities and will become commonplace, and if you become common there is no room for you in the world of pictures. There is only one Mary Pickford, so don't attempt to become a useless imitation. If you are a flapper, be a real one. Don't flap mildly, but flap wildly. Be sincere and express yourself. If you are a burglar, be a bold, bold one. Even criminals admire originality! And if you want to be a motion picture player try to be a real one by expressing your natural self. In other worlds, develop your ego--it's the real Y-O-U and it will pay thrice over, and I am not speaking primarily of material rewards, for the sense of satisfaction that comes from expressing yourself sincerely far exceeds in pleasure the monetary returns of life, regardless of all opinions to the contrary. Summed up, the first key to success in the world of pictures, is S-I-N-C- E-R-I-T-Y. Tomorrow I will talk about the part the Goddess of Luck plays in the land of the movies. Chapter Two--The Goddess of Luck "'Tis all a Chequer-board of Nights and Days Where Destiny with Men for Pieces plays: Hither and thither moves, and mates and slays, And one by one back in the closet lays." --From the Rubaiyat So said Omar, the poet. The philosophy of a fatalist? Yes, but who can gainsay the truth of his utterances? Is it not true that fate, or the goddess of luck, plays the leading role even in the lives of the most ordinary people? Look back on your life for a moment. Did not chance put you in your present position? Or was it deliberate choice? Be honest. If you are sincere you'll have to admit that luck has dominated many phases of your life as well as those about you. And luck, or term it what you will, also plays an important role in the lives of both successful and unsuccessful motion picture actors and actresses, in fact, many film celebrities of my acquaintance have arisen to the heights due to no other reason than that they were favorites of the goddess of luck! Trivial incidents often have proved the turning point in the lives of most film stars. I know a star of the "movies" whose whole current of life was changed by her decision to walk down Main St. rather than down Broadway. Many film favorites, on whom fortune has lavished favors, possess real acting ability and probably would have succeeded regardless of circumstances. Yet luck favored them and they rose quickly to fame and wealth. Other film stars on whom the fickle goddess cast her favors did not possess any talent whatsoever. They just happened to land a "job in the movies" and stuck: luck did the rest, and moved them into the gallery of the famous. Sill other screen favorites got into the motion picture industry when it was in its formative stage and naturally "grew up" with the business. They merely followed the procession and it doesn't take "brains" to follow a crowd. Please do not misunderstand me. I am not trying to belittle the motion picture profession. Far from that, for I am proud to be a member of the profession that compromises so many gifted and talented people. What I have to say in this respect applies to all lines of human endeavor, and I am only speaking of the motion picture world in this connection because I know it better than any other profession. Incidentally I am attempting to explode the theory that film stars rise to the heights by "sheer ability alone." Ability counts, of course, but if you are lucky it's better than being wise--in the film world, and elsewhere! Examples? I could cite a score. Take the case of Rudolph Valentino, the talented screen star who appeared recently at the Liberty theater in "The Sheik." Mr. Valentino sprang into fame overnight with his work in "The Four Horsemen of the Apocalypse." That's all the public knows; yet back of Mr. Valentino's success is a story of sacrifice and heartbreaking disappointments. For weeks at a time he haunted the studios asking for small parts only to be refused by the directors. Just when he was on the verge of despair he was given an opportunity to prove his worth. A short time afterward he appeared in The Four Horsemen and the rest of his career is well known. That was luck and not ability, although Mr. Valentino is an actor of exceptional merit; but his first real chance was due to the Goddess of Luck, rather than to ability. And now you'll want to know how to acquire luck! I cannot tell you how to acquire the smiles of the little goddess any more than the scientist can explain the futurity of human existence. I only know when one has luck and when one hasn't it! So if you want to achieve fame or fortune in the "movies" you must at least pay heed to the Goddess of Luck. Chapter Three--Personal Appearance Ever since the day Eve began to adorn her person with leaves, humanity has laid stress on clothes, which, for the want of a better term, has been called personal appearance. Now according to my viewpoint, clothes, little or many, do not mean "personal appearance." By personal appearance I mean one's personality, for clothes are merely the outward expression of your inner self. They do not make personal appearance, but extend personalities. They bring out the best or worst, that's all. You have often met people whose appearance jars you. Perhaps you cannot explain just why, but you feel uncomfortable in their presence. That's clothes without personal appearance, nine times out of ten. Such people are generally wearing clothes which do not express their ego, character or personality. They are not to be blamed, for in many instances they do not realize that personal appearance is distinct from clothes, though they may be made to agree by the selection of apparel suitable to their personalities. The world today, that is, a certain element of it, is greatly perturbed over the "flapper." "What is to become of our daughters?" sighs the anxious parent. "She wears such outlandish clothes. I don't understand her at all." Yet the flapper is moving in the right direction. She is attempting to express herself by adapting her inner self to her apparel. And that is where I agree with the flapper. Let the modern girl flap if she wants to, but see to it that her personal appearance is in keeping with her clothes and vice versa. Personal appearance plus clothes counts for much in movieland; in fact it plays almost as important a role as luck does. A film star who wishes to remain before the public must have a personal appearance that commands respect and attention, for movie audiences are critical. Such an appearance cannot be manufactured by modistes, though it must be admitted that the fashion makers are of great assistance. Personal appearance is your real self and what you wear is pretense, or the feathers of the peacock. If the "feathers" harmonize with your inner soul you'll have "personal appearance." If I were not a film actress and wanted to get a start in pictures I would study my personal appearance. I would find out just what colors agreed with my complexion and use them. I would wear the right kind of hats, shoes and stockings. I would wear nothing that "jarred" with my personality. Then I would try myself out on my friends. I would parade before them and watch for their approval or disapproval. If they disapproved, and they will do so if they think you are "jarring" athem, I would return to my room and begin again, until I had succeeded in achieving a personal appearance that would attract and hold the attention of the most critical person. Chapter Four--What to Read "It were to be wished that they who devote their lives to study would at once believe nothing too great for their attainment, and consider nothing as too little for their regard; that they would extend their nature alike to science and life, and unite some knowledge of the present world to their acquaintance with past ages and remote events." --Samuel Johnson. It is a truism to say that books have influenced people to do something worthwhile with their lives. It is a statement that should be reiterated, for many screen aspirants seem to think that success in pictures requires no mental effort; and if they only had the face of a Gloria Swanson, or the physique of a William Farnum fame would camp on their doorsteps. Such is not the case, for nearly all the film people of my acquaintance are students and have an insatiable thirst for the knowledge contained in books. What do they read? Well, that is really not a fair question, for it doesn't really matter so much what one reads as how you read, though in the final analysis one should, at least, know something of Oscar Wilde, Shelley and Keats among the poets; and Stevenson, Samuel Johnson, Charles Lamb, William Hazlitt and Addison should be read for beautiful prose; Bacon, Spencer, Aristotle and Omar Khayam for philosophy. And, of course, it goes without saying that the would-be screen star should know Shakespeare, the master dramatist. So much for the writers of the past. Let us consider the writers of today, though I must confess that few modern authors really interest me. Since the film actor or actress appears before the "masses" I would suggest that a careful study be made of psychology, particularly as it relates to the crowd. Perhaps the most recent book, and one of the best I have read on the subject of psychology is "The Behaviour of Crowds," by Everett Dean Martin. It is an interesting book and is a truthful cross-section of how the crowd mind works, acts, and reacts under certain conditions. It is invaluable to the actor or actress or to any one who has to appear before an audience. Screen aspirants also should read textbooks on the technique of the photoplay. Sargeant has written an excellent book on this subject though there are other books on the photo drama equally as good, and the number is constantly growing. The list of authors mentioned in this article is not complete by any means; in fact I might name a thousand books that would aid a screen aspirant in the pursuit of his or her goal; yet space will not permit. Summed up are ten rules, as I see it, regarding the use of books: 1. Real books that appeal to your ambition; to your inner self. 2. Make it a practice to read an hour each day. 3. Memorize stanzas from the best poems; not for display but for the cultivation of your mind. 4. Learn the principles of psychology by reading standard textbooks. 5. Do not accept the statements of any author without reflection. 6. Do not read for entertainment, but for knowledge. 7. Do not waste life's precious moments by devouring trash-- Fitzgerald's "The Beautiful and the Damned," for example. 8. Avoid sex stories unless they are treated in an unoffensive and truthful manner. 9. Discuss the books you read with friends. Such discussions challenge your memory. 10. Read the newspapers for it is the history of each day. Chapter Four--Happy Endings I received a letter from a reader of these articles just as I was preparing to leave Honolulu for a trip to the island of Hawaii. The writer, who is apparently an ardent movie fan, said in part: "Dear Miss Minter: I have read your articles in The Star-Bulletin with interest, especially the first, 'Sincerity.' Believing that you are attempting to give what you think is an accurate picture of studio life I am taking the liberty of asking you two questions. "1. When are the film producers going to stop turning out screen stories that end happily? "2. Have you ever appeared in sex photoplays, and what do you think of them? (Signed) "A FRIEND." This letter appealed strongly to me for the questions asked in it have been running through my mind for several weeks. They are "live" questions and deserve better answers than I will be able to give in the narrow confines of this column. However, I will attempt to set down what I think the answers are. Let us consider the first question: "When are film producers going to stop turning out screen stories that end happily?" Frankly, I don't know; but I hope that time will never come, for the world needs screen stories that end happily. However, I do not think that all screen tales should end with the hero and heroine clasping hands at the "finis." Life, real life, should be shown on the screen as well as romance, and realistic pictures, as a rule, do not end happily. But one must be practical in this age. The "film game" is a business proposition. Producers want to make money and they must give the public what it wants--stories that end happily. "Broken Blossom," Which appeared here, I understand, some time ago, was one of the best realistic pictures ever shown, according to the dramatic critics. Several actors and actresses who appeared in this production told me that they were actually inspired while acting in that picture. Yet "Broken Blossoms" was not a financial success. Such instances could be enumerated by the score, for many of the finest pictures from a pictorial and acting standpoint have turned out to be failures as box office attractions. In the face of these facts, the film producers cannot be blamed for making pictures that appeal to the popular taste, even if the stories do end happily and are in reality "grown up fairy tales." It costs considerable money to make a picture and film producers must cater to the popular demand, or be forced to retire penniless. The remedy? Again I say I don't know, yet I believe that if the American people were educated up to a point where they demanded "real pictures" instead of the "stuff" that is now being shown I think that the United States would lead the world in the production of real and beautiful pictures. The American people, however, must be educated up to this point. The minute the American public demands screen tales that are realistic in their portrayal the producers will be more than willing to meet the demand. Meanwhile we must not blame the producers for catering to the popular taste. Now for the second question: "Have you ever appeared in sex photoplays and what do you think of them?" No, I never have appeared in "sex" photoplays. Nearly all my work has been the portrayal of "the American girl." Of course, I have had offers to appear in "sex" tales, but I never signed the contracts. Wholesome plays, free of smut and free love stories, have been my vehicles regardless of all reports to the contrary. What do I think of sex photoplays? Well, between thee, me and the gatepost, "I would hate to tell you!" Chapter Five--Getting a Job in the Movies The problem that presents itself for solution to the aspirant for screen honors is not how to get a job in the movies, but how to keep it when obtained! During the time I have been in the land of the movies I have seen many people come and go. Some of these people retained their positions for years; others for moths, and still others were only able to hold on after a bitter struggle. Many other screen aspirants, after a few weeks as extras, became discouraged and were swallowed up by the "herd" and were seen no more in the studios. Now there is no magic method that may be used in obtaining a position in the movies. It is like other lines of endeavor. The motion picture game is strictly a business proposition, devoid of romance, and the inefficient and the week are crowded to the wall as in other lines of human activity. Only the fit survive, and it is perhaps best that this is so, for there is not sufficient room at the top of the ladder for all the talented aspirants to screen honors. So, in the first analysis, getting a job in the movies is quite similar to obtaining a position in a shoe factory. Most film aspirants that I have known have begun their careers as extras. An extra is one who plays only in a few scenes. Others have started in the business office of the film companies, and through contact with the directors, have been given an opportunity to appear on the screen. If they photograph well and can act, the chances of their remaining are excellent. As I said before there is no magic method about getting a job in the movies. Much depends on luck, though if you are connected in some manner with the film industry, no matter in what capacity, and want to act, you will find a way. Pull, of course, like in other occupations, counts. I don't say that it will make an actor or actress, but it will smooth the road to success. Many actresses of my acquaintance have gained their positions through "pull," though such cases are rarer than is commonly supposed. In my own case I was on the stage before I entered the motion pictures. I was playing in Chicago at the time, and a very good friend of the family, who was in the film game, suggested that I enter motion pictures. At that time the movies were more of an experiment than a real business, and of course I hesitated about accepting a position in a new and untried field. At that time I was only 13 years old and my salary was sufficiently large to keep me on the stage. My mother was consulted and after several months of discussion it was decided that I should take the plunge and enter pictures. I did so and I have never regretted my first step, though I have had my ups and downs like other screen aspirants. My first salary was $85 a week and I earned it! Hard work was my portion, for I had some difficulty in adjusting myself to facing ca camera rather than the faces of the audience. I cannot tell you the title of my first picture! However, I will state that one of the scenes in my first picture was that of a prison. It was the first time that any picture of a prison had been taken for motion picture purposes. And that is how I got my first job in the motion pictures. Chapter Six--Is the Day of the Film Star Waning? George Randolph Chester, the author who of recent years has devoted much time to writing stories for the screen, declared recently in the Saturday evening Post that the day of the film star is waning. His article is too long to quote here, but the substance of his article, was I recall it, was that the public was becoming "tired" of seeing a star, and were demanding more and more the work of noted writers. In other words, according to Mr. Chester, the American public does not want to view "stars" any longer, but prefers to see "literary masterpieces" produced on the screen and played by capable actors and actresses. "The day of the star is waning," states Mr. Chester. While I do not wish to enter into any controversy with Mr. Chester regarding this statement I wish to say here that I do not believe that the "day of the star is waning." I believe that the star of the movies is here to stay, although one cannot be too sure of anything in this world of changing conditions; still, I think the American public wants, and will continue to want, the "star." There are four reasons why I think the American people will continue to demand the appearances of stars. 1. America is a land of hero worshippers. 2. The stage has its stars; why not the screen? 3. Leading personalities are needed on the screen because they appeal to the ego of each member of the audience. 4. Box office receipts. Let us discuss the first reason. Take baseball for an example. Time was when the "baseball writers" declared that the day of "star players" was waning. Is it true? No. Baseball has a stronger hold than ever on the American public. Everyone knows "Babe" Ruth, the home run king of New York; Hornsby and Ty Cobb. Imagine what would happen if the baseball managers would issue a statement saying "The day of the baseball star is passed." The howls of the fans would be heard the world over. Now for the second reason. For years the growth of the legitimate stage has been the progress of its stars. In fact there would be no stage if it was not for the great actors and actresses. It is generally recognized that the motion picture has come to stay. If that is true, and of course it is, there is no reason why the screen cannot continue to retain its "stars"; for, like the stage, the growth of the film industry is the progress of its "stars." And that will continue to be true for many moons to come. The third reason is one of the best reasons of all, for it has to deal with the ego of the crowd mind. Everyone has a hero. Boys worship their fathers; girls their mothers. As we grow older our heroes and heroines assume different roles; yet every one worships "the ideal," the apparently unattainable; the person or thing that we feel we could emulate if given a chance. It is here the motion picture steps in. Each star represents a certain type of crowd mind, a hero or heroine, if you prefer; but the result is the same, for the public must be given its "star." Each member of the audience recognizes their type on the screen, or the type of a person that he or she would like to be in reality. If the present film stars were to pass away in a day the crowd mind, or the audience, would create new stars. This is a fact all producers and directors recognize. Now for the fourth and final reason; the greatest reason of all--the box office. One may theorize until doomsday, but the box office in the film industry is the barometer of public demand. When the day arrives, if it ever does, when the American public doesn't want to see film stars the box office will indicate it. That day has not yet arrived, for the present stars are proving to be bigger box office attractions than ever before and there is no indication that the demand for special films with big stars has abated in the slightest degree. Chapter Seven--Dogs Dogs! Fat dogs, lean dogs, small dogs, pretty dogs, ugly dogs, crippled dogs, medium sized, bulldogs, dogs of all colors, sizes and shapes. I love 'em! They are truly man's best friend. It may seem a little out of place to discuss what a dog means to me in this series of articles on "How to Break into the Movies," but I cannot help it. Anyway, The Star-Bulletin man told me that I might discuss anything I pleased, and with the utmost sincerity. So here goes: There is something about a dog, even the worse kind of a canine that catches hold of one's heart-strings. Perhaps it is their sincerity, steadfastness and constant loyalty that appeals to me. I cannot say for sure; for I never attempted to make a critical analysis of a dog's affection for a human being. One's best friends may fail in your hour of need, but a dog's friendship burns steadily on like the rays of a lighthouse. A dog serves and never demands. Nations may rise and fall; men may succeed or fail; yet the love of a dog changes not. Patient, lovable creatures! I love 'em! In the face of these well known facts one might well ask, "Does a dog use reasoning powers?" Jack London, lover of dogs and author of that delightful dog story, "The Call of the Wild," said in one of his last books that he thought dogs used reason rather than instinct, as has been commonly supposed. I agree with Jack London. I am sure that dogs, judging from my observation, use reasoning powers. The other day I was automobile riding along Beretania St. A few hundred feet ahead of the machine was a dog trying to get across the street. As our machine neared him the dog stopped and looked up inquiringly as if to ask, "Which way are you going?" I honked the horn and swerved slightly to the right of the street. The dog looked at the machine out of one corner of his eye and then trotted contentedly across the street to safety. Now I contend that the dog used reason rather than instinct in this instance. He gauged the distance of my automobile and then realizing that I would turn to the right, stood still. That's how he reasoned it out. I could cite many such instances, for "Chum," who has just been released from the quarantine station, is my constant companion and I have observed his actions closely for many months, and am convinced that dogs reason much like human beings. Of course they use instinct a great deal, but so do human beings! Instinct is something that is implanted in every animal that breathes. Just one other instance regarding the reasoning power of dogs. One summer I was making a picture in the mountains of San Bernardino in Southern California. One of my friends had a dog called by that ancient name of Rover. Rover liked to hunt; and so do I. So we were the best of chums. I never taught him any tricks, but the reasoning-powers of that dog were wonderful. Sitting on the veranda (Lanai in Hawaii) of the house one day I casually remarked in the presence of Rover: "Yes, I must go and get the gun. We need some game for dinner." Rover jumped up, looked at me and began to wag his tail. I repeated my words. Rover went wild with joy and barked loudly, and ran in the direction of the woods. Now I had never used these words before to Rover; yet he knew what the word gun was and "reasoned" that I was going to go hunting. Surely one cannot call such things instinct! At least I don't think so. What do you think? Chapter Eight--My Philosophy of Life No matter what station we occupy in the world each individual has a philosophy of life, expressed or unexpressed. In this, my last article for The Star-Bulletin, I am going to attempt to set down what I think about this "sorry scheme of things" which men term life. I have three subject heads to my philosophy of life: 1. Sincerity. 2. Luck. 3. Egoism. Sincerity, of course, sums it all up, for unless one has sincerity, as I pointed out in my first article, one is likely to have nothing else. It is the crux of my philosophy for I want to be sincere in everything I do. However, in the first of these articles I outlined my "sincerity" platform and there is no need to discuss it in this article. I also have discussed the part luck plays in the life of every one, including film people, and there is no occasion to add to it in this article. This leads us up to the third and last subject heads of my philosophy-- Egoism. Now when I speak of egoism I do not use the word in the common sense. Egoism is a term often used to denote conceit or an inflated opinion of self. I do not mean that when I speak of egoism. The self philosophy, in which I believe, is nothing more that the elimination of self--an acknowledgment that "I" is not important. That sounds shocking, but let us look a little deeper. It is recognized that life is a fleeting thing: a mere breath, despite all opinions to the contrary. In other words our lives are so brief that it hardly behooves any of us to worry. As the slang saying goes: "It will be all the same in 100 years." And it's true. In face of these facts how can anyone, regardless of position or birth, exalt self? I cannot. I may achieve success, as the world terms it, yet I know I am unimportant, for I, like you, must soon leave this stage of life. Comfortless philosophy? Yes, perhaps so. But is it not true? And let us be sincere at all costs. However, this philosophy is not as gloomy as it seems. Instead of sitting down and bemoaning our ultimate end, it is better to wake to the realization that life is a fleeting thing at the best, and help mankind to lift itself from the dregs, instead of exalting self because one owns a fine home, automobile or what not. Material things, including human beings, pass away; but things of the spirit--truth, sincerity, love, kindness and virtue, live on and on. Realize this and judge your conduct accordingly, for happiness will be your portion, I am sure. Strive each day to achieve the best in yourself by uplifting humanity: by preaching the gospel of sincerity, kindness and brotherhood toward every living creature. Then, if man does live on in another world he need have no fear of it. (The End) ***************************************************************************** ***************************************************************************** Mary Miles Minter Moves Out When Mary returned from Hawaii, the friction between Mary and her mother increased, and before the end of 1922 Mary left the family home and rented a house where she could live alone. The following is the first public interview given after she moved out, but before the public battle with her mother erupted the following August [see TAYLOROLOGY #11]. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * December 28, 1922 LOS ANGELES TIMES ..."It has been reported that you and your mother have quarreled, and at the end of your $1,000,000 Lasky contract you now find yourself practically penniless and that because of all this you have left home and are going to live by yourself. Is this true?" Miss Minter was asked. Miss Minter fairly bristled. She bit her lip. Her eyes of periwinkle blue flashed. Incidentally, her real name is Juliette O'Reilly [sic]. "Oh! Oh! Oh! These horrible people who start such rumors" was her first utterance after she had regained her composure. She warmly defended her mother from the "studio gossip." "My mother abandoned her stage career in helping me gain fame on the stage. All I am I owe to her. She's had some pretty raw deals put over on her and she's had to be businesslike. But to me she always has been the ideal mother. Before we had much of anything at Christmas times I have known her to deprive herself of things so that we might be happy," she said. "It's true we have quarreled, but they were only motherly and daughter quarrels such as happen in any family. At the other house [Casa Margarita] everything was in confusion from the carpenters. When I came home from the studio and wanted by dinner, mother would say, 'Oh, yes, dinner!' "So I told her I wanted a home of my own. I wanted a kitchen and a bathroom to play with. I wanted a place where I could do the funny little things I like to do; where I could give parties and plan dinners such as I always wanted to eat. And so I got me one. "I find a home awfully engrossing. Why, today the grocer called me on the phone and said, 'Miss Minter, please we want our dough.' Then I remembered I hadn't paid him for two months because the check book I got from the bank didn't have any more papers in it. But I fixed that up right away. "Mother and I are not estranged. Why, she was here the other night helping me fix my Christmas tree. The other day when my check from the studio had a lot of notations on it about clothes, hooks and eyes and needles and thread I called her up right away and she straightened it out for me. "I know who has started all this horrible gossip. It's a woman who writes things. She has hated me and mother ever since the day I wouldn't pose in the door of a laundry for her, so she could use the picture in a magazine story she was writing," she concluded.[2] Thereupon she displayed some of her Christmas gifts. A beaded bag costly enough to ransom and king in these days of low-priced royalty gave up an ebony cigarette holder, an octagonal mirror of platinum, a cigarette case bedight with the same precious metal. "But surely you're not going to live here alone," was the caller's next cast. "It is said that you are going to marry Gaston Glass," Mary was told. "Yes?" was her rejoinder. "That's the second time I've heard that about him. To tell you a secret, I'm going to marry him when I get rid of my husband and seven children." In all seriousness "M to the third power" then declared she intended never to wed. She three times refused to talk about what she intends to do when her Lasky contract is terminated by the completion of her present picture. She evaded the question as to her return to the stage. Then she diverted the reporters by showing them her declared ideals of life, that is two of them, the kitchen and the pantry. From the vantage point of the porch she pointed out Los Angeles, the lights of which glittered like costly gems at the feet of a queen. Mary Miles Minter says she has but one regret at leaving home. She had to leave behind her Collie dog "Chummy." The owner of the place bars dogs, it seems, and detected dog hairs in the texture of the living-room rug. "I just adore collies. I love to run my fingers through Chummy's woozly hair," she said in ecstasy at the thought. Mary says she will be twenty-one next April. She enjoys handling her own business affairs and declares she intends to do so from now on. Mrs. Miles, Mary's grandmother, declares she is temperamental and moved because she "couldn't stand the noise" at the New Hampshire avenue house. But Mary now declares she is for the first time in her life doing the "funny little things" she likes to do. The late "Littlest Rebel," her first role of national repute, is openly rebellious at the thought of maternal apron strings regarding her ideas of kitchen, bedroom and bath. She loves the solitude of her Hollywood hillside and declares she is going to continue to love it. ***************************************************************************** Minter and Chaplin Early in 1924, Charles Chaplin and Mary Miles Minter were on a date together, when an altercation brought the evening wide publicity. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * April 1924 PHOTOPLAY The monthly Hollywood sensation is Charlie Chaplin's victorious fistic encounter. Much to his own amazement and chagrin, Charlie was one of the principals of a sensational fistic duel, fought in a well known Hollywood cafe, in the presence of his former wife, Mildred Harris, and his own guest of the evening, Mary Miles Minter. The gentleman on the other end of Charlie's mighty right--and the other end was the floor, believe me--was C. C. Julian, a well known oil operator in Los Angeles. It happened like this. Charlie and Miss Minter and another couple were dining at the new and very fashionable Cafe Petroushka on Hollywood Boulevard. This new eating place is the latest favorite with the film colony--being run by a Russian princess and cooked for by the chef of the late Czar Nicholas--and there was a large crowd present on this Sunday evening. Another party, a large one, which included Mildred Harris and Peggy Browne, a friend of hers, came in and took the next table to Charlie and his party. According to all reports the ladies had nothing to do with the ensuing encounter. Julian, it is stated by all witnesses to the affair, even the ladies of his own party, was extremely boisterous, knocked over a lamp and did various other damage, before, on one of his trips about the room, he knocked against the chair occupied by Mr. Chaplin. The famous comedian asked him to be careful, whereupon Julian assaulted him, striking him in the face. Whereupon Mr. Chaplin arose and with a neat lift-right sent Mr. Julian to the floor. Spectators declare it was a very nifty and forceful piece of work. Charlie, who is always a most gentlemanly and well-conducted person, was much upset by the fight forced upon him and especially by the fact that anyone might believe either Miss Harris or Miss Minter was involved in the matter. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 3, 1924 AMERICAN WEEKLY Charlie Chaplin's prowess as the champion of custard-pie combats and slap-stick free-for-alls has been firmly established for some time, but it took a real bare-fisted encounter with a wealthy oil magnate in a Hollywood cafe to qualify him as a runner-up for the bantamweight championship. Charlie launched his pugilistic conquests with a knockout in the second round, despite the fact that his adversary out-weighted him, "out-stood" him and out-reached him. Occupying ring-side seats at the table d'hote arena in which the world- famed comedian staged his first ring battle were a score of noted screen celebrities, artists and musicians, who cheered the young battler as he landed right and left punches to the jaw of his opponent with an unerring precision that Charlie attributes to years of experience in hurling pies. The famous comedian's sparring partner, according to a signed statement issued by Chaplin, and according to numerous witnesses to the affray, was C. C. Julian, millionaire young oil promoter. Julian, however, denies that he was the man who crossed fists with the agile comedian. Despite this denial the management of the Club Petroushka, exclusive Hollywood cafe maintained by a group of Russian artists, in which the fracas occurred, stated that the oil man's agents paid a bill for nearly $600 to cover damage to musical instruments, spotlights and furniture that were shattered by the combatants in their brief but furious exchange of blows. In the sport writer's parlance Chaplin was the first to enter his corner, accompanied by Mary Miles Minter and Mr. and Mrs. Carey Wilson. Little did they realize as the preliminary dinner progressed that with the serving of the last course they would be called upon to act as seconds for the genial host. It was some time later, shortly after midnight, to be exact, before the Julian party arrived at the duellists' rendezvous. Accompanying the oil man were Mildred Harris, former wife of the noted comedian, Peggy Browne, film actress and member of an old Washington family, two other men, one of whom is said to have been Julian's brother, and another woman, whose name was not learned. The Julian party, it was learned subsequently, had started earlier in the evening at the Montmarte, another popular Hollywood cafe, and it was en route to the Petroushka that Mildred Harris and Peggy Browne had rather reluctantly consented to join the party. Seated at points of vantage about the "ringside" at the time Julian entered his corner, in addition to the notables in Chaplin's party, were Nicholas Dunaev, Russian author and actor, as the guest of Prince and Princess Narichkin, and Jascha Heifetz, world-renown violinist. Dunsev had just returned to Los Angeles after a long illness in New York. The preliminaries to the main event occurred simultaneously with the arrival of the Julian party, when the host, in a hilarious and high-spirited mood, collided with the stage spotlight. Apparently resenting the inability of the adamant and inanimate object to remove itself from the course the newcomer wished to pursue, he hurled it to the floor with a loud clatter and crash of glass. The incident, witnesses aver, may have been merely a demonstration of physical strength conceived to strike terror into the heart of the diminutive comedian who a few minutes later was destined to "cross swords" with the six- foot promoter. Stepping over the debris of the wrecked spotlight Julian and the members of his party proceeded toward a table in an enclosed booth. Attracted by the crash and lusty shouts of the new arrival a corps of waiters and attaches of the cafe rushed forward in an attempt to be of assistance and to smooth the apparently ruffled temper of the guest. "Get out of here!" Julian shouted. "Don't bother me. What difference does it make what I break up around here?" the young oil millionaire continued. Fumbling in his pockets the visitor pulled forth diverse wads of bills, fifteen or twenty of them. They all bore $1,000$ on the face. Waving a handful of the currency above his head he again addressed the assembled aggregation of dumfounded waiters: "Look here! "I've got money enough to buy out this whole blooming place and a couple more if I wanted to! Away with you!" The "preliminaries" were fine, thought the spectators, who settled back for another sip of coffee as Julian and his party were escorted to seats in a booth directly adjoining the one occupied by Chaplin and his party. Peace and quietness were not to have sway long, however. Members of the Chaplin quartet turned occasionally to see where the hilarious din came from, but Charlie says that at that time he was entirely unaware of the identity of the occupants of the adjoining booth. The square-off for the first round, without the customary formal introduction, sans the smiling bow and sans the subsequent applause, came a few moments later, when the new arrival arose somewhat heavily and lurched against one of the women guests at the Chaplin table. Chaplin looked up, plainly registering irritation. Julian leered. "Please be careful," said Chaplin in a low voice. With that, witnesses aver, the first round started in a very unceremonious manner. For reply to the comedian's admonition to be careful, the newcomer is alleged to have slapped the girl on the back and leaned on her chair. "I asked you to please be careful," repeated Chaplin, warningly, in a rising voice, filled with indignation at the intrusion. "Oh, you did, did you?" scowled the intruder. "Yes, I certainly did," retorted Chaplin. "I would appreciate it if you would kindly leave." In reply witnesses say Julian rapidly landed several blows on the comedian before he had a chance to arise from the table. Round one ended with the heavier adversary having a decided advantage. Humiliated and angered by the sudden attack, Chaplin sprang to his feet. As an opening move of round two Charlie, facing his opponent square in the aisle, unleashed his "million dollar" wallop, catching the heavier man on the point of the chin. Plainly taken back by the comedian's ferocious attack, Julian swung wildly at the agile Chaplin. He missed, but Charlie connected with another stiff punch to the chin, and the six-footer hit the floor for the count, a tiny stream of blood trickling down his face. By this time the cafe was in an uproar. Squads of waiters joined the melee in an attempt to restore order. Another member of the Julian party, said by witnesses to have been the oil man's brother, also of athletic build, pounced onto Chaplin's back a moment after the first knockout. Again the film comic brought his small fists into a fast play and felled the second assailant, while cafe attaches struggled to separate the other combatants. Nicholas Dunaev, by his own story, became a participant in the affray shortly after Chaplin scored his first knock-down. While Chaplin was then engaged in battling new adversaries Dunaev said he squared off with the oil man after he had struggled to his feet, landed another stiff blow and sent him to the floor for the second and last time. When the din of shouts, curses, women's shrieks, thud of blows, and crash of furniture had subsided, members of the Julian party quickly made their exit, while cafe attaches began to take stock of the damage, which, in addition to the crashed spotlight, included a valuable cello and several chairs. Mildred Harris and Peggy Browne declare they left the Julian party just before the fisticuffs started. Miss Browne said Julian had been threatening to "get" Chaplin in Miss Harris' presence and that Chaplin's former wife pleaded with him not to create a scene. The young actress declared that she and Miss Harris attempted to leave but were observed by Julian as they slipped own a staircase, and that he gave chase. Frightened, Miss Browne related that the couple fled through a rear door, scaled fences, and ran through underbrush to her home. When she reached her bungalow, she bolted her door and sat up all night with a revolver in her hand. Immediately after the dust of battle had cleared away, Nat Arlock, owner of the Club Petroushka, said he was given a check for $392 by a member of the Julian party, covering "supper and damages." The next day the cafe manager received $203 in cash from an emissary of Julian for other damages. "I saw the whole proceedings," said Arlock, "and am embarrassed that it should have occurred in my place, which is a genteel establishment. "Mr. Chaplin was listening to the music. He is very fond of Russian music. Zamu Lenko, the Moscow violinist, was playing. Chaplin was very much engrossed in listening to him when the trouble first started." Princess Dagmara Saricheva, hostess of the club, and Mme. Malova, prima donna, interposed themselves during the melee and attempted to hold Chaplin back when he began to rain blows on his opponent. Chef Spiridon Ignatowich, who was chef to Czar Nicholas II, of Russia for twelve years, said he was too busy making borscht in the kitchen to take part in the fracas. Notwithstanding Chaplin's signed statement naming him, and the statement of nearly a score of witnesses C. C. Julian, the oil magnate, has strongly held to his denial that he was present or a participant in the affray. Despite a subsequent admission that he was in Los Angeles on the morning of the fight Julian has stoutly maintained that he was in San Francisco, nearly 500 miles distant, when the now famous Chaplin combat took place less than twenty-four hours later. Other than to declare that he was in San Francisco with his wife Julian declined to make any further comment, characterizing the reports of the cafe row as "very amusing." Miss Harris, recounting her story of the party, expressed deep regret that her former husband had become innocently involved in the affair. "Poor Charlie," she said. "I do hope my presence there will not be misunderstood. I did not know Charlie was there and I am sure he didn't see me. "Charlie and I are perfectly good friends. Reports that the trouble started through a quarrel over me are preposterous. As a matter of fact I personally was not with Julian. I merely happened to be with my girl friend who was a member of the party. Charlie is very sensitive. I sympathize with him deeply in this affair because I know how dreadful it all must be to him." Miss Browne's entry into the party came unexpectedly, she stated. She was at home when Mildred Harris called her from the Montmarte Cafe, where the Julian party started, invited her to join the group. "Mildred and I were unescorted," Peggy declared. "We just went along with the others because we couldn't very well get away after we joined them. "After we arrived at the Petrouska, Julian told me I was 'too ritzie.' I pushed back by chair and started to leave, but it wasn't any use. He wouldn't let me go. "All during the party Julian made scathing remarks about Mr. Chaplin. Miss Harris urged him to discontinue his uncomplimentary utterances, and when he refused a moment before the trouble started, she left the table. As soon as I saw something was going to happen I became so frightened I ran down the stairs to get away. I didn't see any blows struck." Following the affair Chaplin issued a statement regarding his version of it. The statement follows: "In justice to the motion picture profession in general, I am compelled by the seemingly unfair notoriety being forced on members of our industry and myself to plead for fairness and justice from the press and public. "The erroneous and flippant reports of the past incident in which I was unfortunately present have placed me in the light of being a cafe brawler, intimating that motion picture actresses were the cause of the affair. This I wish to deny most emphatically, as it was the business men whom the press have ignored but who were entirely responsible in causing the disturbance. "I wish to state that I neither drink nor smoke. "No one is more conscious or appreciative of my position with the general public and the esteem and regard with which I respect them, especially the children. "I do not hold my position lightly and the obnoxious affair which was forced on me in a public restaurant has compelled me to make this plea for fair play in the press. "The stories I have read report me as having stood on tables or platforms issuing challenges to these men who attacked me. Nothing is further from the truth and if it is necessary for the truth to be known I will commence proceedings immediately. "What actually happened was this: "While I was dining with a few friends in a restaurant a party of men and ladies arrived and seated themselves at a table nearby. The men acted very boisterously, kicking over a spotlight lamp and generally conducting themselves in a very loud manner. "Later, one of the men, unknown to me but whom I am informed was C. C. Julian, lurched towards me, striking at me while I was seated at the table. "In self-protection I defended myself. He fell down. Then another member of the party, who is said to be a brother, struck me from behind. A general disturbance was caused until employees of the restaurant intervened and quiet was restored. "I am not a fighter, not a braggart of fistic prowess, as has been reported. I have always endeavored to conduct myself as a gentleman and appeal to the press and public to believe that my part in this affair was forced on me and that I did only what any red-blooded man would have done had he been in my place." But meanwhile Hollywood boulevardiers are loudly singing peans of praise to the fistic ability of one Charles Spencer Chaplin and greet him on all sides with "How's the 'million dollar wallop'?" ***************************************************************************** ***************************************************************************** NOTES: [1] The dog, Chum, was given to her by William Desmond Taylor as a gift (See TAYLOROLOGY #11), so it is natural that she would feel extreme affection for the dog. [2] The unidentified writer is probably Adela Rogers St. Johns, who at that time was the Western editor for PHOTOPLAY. In the February 1923 issue of PHOTOPLAY there was an article about investment property owned by film stars. The fact that Minter owned stock in a laundry was mentioned in the article, and a photograph of the laundry building was published with the article (Minter was not in the laundry photograph). ***************************************************************************** ***************************************************************************** Back issues of Taylorology are available on the Web at any of the following: http://www.angelfire.com/az/Taylorology/ http://www.etext.org/Zines/ASCII/Taylorology/ http://www.uno.edu/~drif/arbuckle/Taylorology/ Full text searches of back issues can be done at http://www.etext.org/Zines/ For more information about Taylor, see WILLIAM DESMOND TAYLOR: A DOSSIER (Scarecrow Press, 1991) *****************************************************************************