Hollywood S Most Famous Silent Film Actresses

*Includes pictures *Includes the actresses' quotes about their lives and films *Includes online resources and a bibliography for further reading At the end of the 20th century, the American Film Institute compiled a list of the 25 greatest actors and actresses in Hollywood over the past 100 years, but only a select few worked all the way back in the silent era of films, before "talkies" revolutionized the industry at the end of the 1920s. Among them was Mary Pickford, who was ranked 24th but was arguably the most influential actress when it came to creating the career template for all actresses who followed, from name changes to salary. Like many actresses of the early 20th century, "Little Mary" got her start by acting on the stage, and she eventually made it to Broadway. By the time she had finished her run there, she had caught the eye of film director D.W. Griffith, who would go on to make Birth of a Nation and was working for the Biograph at the time. Over the next several years, Pickford became the most famous actress in the industry, with only Charlie Chaplin rivaling her in popularity, to the extent that one film reviewer wrote she was "the best known woman who has ever lived, the woman who was known to more people and loved by more people than any other woman that has been in all history." Of all the great movie stars, there may be none more enigmatic than Greta Garbo, who remains internationally famous despite the fact her life and career raise more questions than answers. How did a Swedish actress with very little film acting experience in her native land arrive in the United States and achieve instant stardom? Most actresses had to wait years before they were offered starring roles in major films, yet Garbo was ushered to the front of the line and perched atop the MGM pantheon at a time in which it was the studio par excellence. How was she able to transition from silent films to "talkies" so fluidly, giving many of her most decorated performances during the 1930s? While stars like Charlie Chaplin never recovered from cinema's transition to synchronized sound, Garbo flourished, which is made all the more amazing by the fact she had a foreign accent that could easily have alienated American audiences and threatened her career. Finally, and perhaps most mystifyingly of all, why would Garbo retire in 1941, at just 36 years of age and two years removed from Ninotchka, arguably her most acclaimed film? At the same time, for as famous as Greta Garbo is as an actress, her films are not remembered so positively, if they are remembered at all. While Garbo herself was nominated on three occasions for the Academy Award for Best Actress, only one film of hers, Grand Hotel (1932), was even nominated for an Academy Award for Best Picture. For the most part, Garbo acted in films that were seemingly well beneath her, which was certainly the case with her films from the silent era. It goes without saying that the most enduring image of Gloria Swanson is the famous shot of her in Sunset Boulevard (1950), head tilted backward, stating, "Alright, Mr. DeMille, I'm ready for my close up." Indeed, for many, the very mention of "Gloria Swanson" conjures the name of "Norma Desmond," her character in Sunset Boulevard, directed by Billy Wilder. That the shot of Desmond requesting her close-up remains indelibly imprinted in the minds of so many speaks in large part to the power of Sunset Boulevard, one of the most revered films of its times and the most famous film of Gloria Swanson's career. By dint of her performance in the film, Swanson has become almost synonymous with Hollywood's silent era. In many respects,

*Includes pictures *Includes some of the actors' quotes about their movies *Includes online resources and a bibliography for further reading Only a select few actors become international stars in their time, but none had as unique a career as Charlie Chaplin. Chaplin was the first true film star, and he managed to do so even when films were still silent. He has been honored with too many awards to count, and the fact that his name remains instantly recognizable nearly a century after his first film is a testament to his influence. Even today, Chaplin's films are arguably more recognizable than those of perhaps any other actor or director; everyone is familiar with the famous "Tramp" costume and persona, and even the casual film enthusiast has likely seen films such as City Lights (1931) and Modern Times (1936). Chaplin is known for the singular blend of pathos and humor evinced by his films, and it is not uncommon for audiences to laugh and cry at alternate points of a Chaplin film, a trait that continues to endear audiences even to this day. In the 1920s, the burgeoning movie industry was starting to come into its own, and alongside actor and director Charlie Chaplin, Buster Keaton was at the peak of Hollywood. It's no surprise that Keaton was so effective in silent films, because he had been practicing comedy in his family's vaudeville acts as "The Little Boy Who Can't Be Damaged," becoming a popular performer by the age of 5. Indeed, his physical form of comedy, which initially involved having his father throwing him around the stage, translated well onto the screen, and some of his slapstick and other comic gags remain legendary even today, in part because Keaton practiced his own stunts. In fact, Keaton wrote his own material and was a crucial comic influence on acts like The Marx Brothers and The Three Stooges. Everything about Rudolph Valentino, from his body to the characters he played, was exotic. His career may have been abbreviated by his premature death at the age of 31, but Valentino popularized the (somewhat racist) stereotype of the "Latin lover" in Hollywood, and even his name was markedly more out of the ordinary than those of other actors. In an era dominated by hyper-masculine actors like Douglas Fairbanks, or comedians such as Charlie Chaplin and Buster Keaton, Valentino had a more ethnic and mysterious appeal, and he was lusted after by women to a degree that remains unsurpassed in the industry. The extent to which he captivated America can be seen in the response to his death; after passing away from a perforated ulcer in 1926, Ashton Trice and Samuel Holland note that his funeral "was one of the pop culture events of the century," and devastated women are alleged to have committed suicide out of heartbreak. Of all the great movie stars, there may be none more enigmatic than Greta Garbo, who remains internationally famous despite the fact her life and career raise more questions than answers. How did a Swedish actress with very little film acting experience in her native land arrive in the United States and achieve instant stardom? Most actresses had to wait years before they were offered starring roles in major films, yet Garbo was ushered to the front of the line and perched atop the MGM pantheon at a time in which it was the studio par excellence. It goes without saying that the most enduring image of Gloria Swanson is the famous shot of her in Sunset Boulevard (1950), head tilted backward, stating, "Alright, Mr. DeMille, I'm ready for my close up." Indeed, for many, the very mention of "Gloria Swanson" conjures the name of "Norma Desmond," her character in Sunset Boulevard, directed by Billy Wilder. That the shot of Desmond requesting her close-up remains indelibly imprinted in the minds of so many speaks in large part to the power of Sunset Boulevard, one of the most revered films of its times and the most famous film of Gloria Swanson's career.

The year was 1896, the woman was Alice Guy-Blaché, and the film was The Cabbage Fairy. It was less than a minute long. Guy-Blaché, the first female director, made hundreds of movies during her career. Thousands of women with passion and commitment to storytelling followed in her footsteps. Working in all aspects of the movie industry, they collaborated with others to create memorable images on the screen. This book pays tribute to the spirit, ambition, grit and talent of these filmmakers and artists. With more than 1200 women featured in the book, you will find names that everyone knows and loves—the movie legends. But you will also discover hundreds and hundreds of women whose names are unknown to you: actresses, directors, stuntwomen, screenwriters, composers, animators, editors, producers, cinematographers and on and on. Stunning photographs capture and document the women who worked their magic in the movie business. Perfect for anyone who enjoys the movies, this photo-treasury of women and film is not to be missed.

From one of America's most renowned film scholars: a revelatory, perceptive, and highly readable look at the greatest silent film stars -- not those few who are fully appreciated and understood, like Chaplin, Keaton, Gish, and Garbo, but those who have been misperceived, unfairly dismissed, or forgotten. Here is Valentino, "the Sheik," who was hardly the effeminate lounge lizard he's been branded as; Mary Pickford, who couldn't have been further from the adorable little creature with golden ringlets that was her film persona; Marion Davies, unfairly pilloried in Citizen Kane; the original "Phantom" and "Hunchback," Lon Chaney; the beautiful Talmadge sisters, Norma and Constance. Here are the great divas, Pola Negri and Gloria Swanson; the great flappers, Colleen Moore and Clara Bow; the great cowboys, William S. Hart and Tom Mix; and the great lover, John Gilbert. Here, too, is the quintessential slapstick comedienne, Mabel Normand, with her Keystone Kops; the quintessential all-American hero, Douglas Fairbanks; and, of course, the quintessential all-American dog, Rin-Tin-Tin. This is the first book to anatomize the major silent players, reconstruct their careers, and give us a sense of what those films, those stars, and that Hollywood were all about. An absolutely essential text for anyone seriously interested in movies, and, with more than three hundred photographs, as much a treat to look at as it is to read.

" From his unique perspective of friendship with many of the actors and actresses about whom he writes, silent film historian Anthony Slide creates vivid portraits of the careers and often eccentric lives of 100 players from the American silent film industry. He profiles the era’s shining stars such as Lillian Gish and Blanche Sweet; leading men including William Bakewell and Robert Harron; gifted leading ladies such as Laura La Plante and Alice Terry; ingénues like Mary Astor and Mary Brian; and even Hollywood’s most famous extra, Bess Flowers. Although each original essay is accompanied by significant documentation and an extensive bibliography, Silent Players is not simply a reference book or encyclopedic recitation of facts culled from the pages of fan magazines and trade periodicals. It contains a series of insightful portraits of the characters who symbolize an original and pioneering era in motion history and explores their unique talents and extraordinary private lives. Slide offers a potentially revisionist view of many of the stars he profiles, repudiating the status of some and restoring to fame others who have slipped from view. He personally interviewed many of his subjects and knew several of them intimately, putting him in a distinctive position to tell their true stories.

With its sharp focus on stardom during the 1920s, Idols of Modernity reveals strong connections and dissonances in matters of storytelling and performance that can be traced both backward and forward, across Europe, Asia, and the United States, from the silent era into the emergence of sound. Bringing together the best new work on cinema and stardom in the 1920s, this illustrated collection showcases the range of complex social, institutional, and aesthetic issues at work in American cinema of this time. Attentive to stardom as an ensemble of texts, contexts, and social phenomena stretching beyond the cinema, major scholars provide careful analysis of the careers of both well-known and now forgotten stars of the silent and early sound era—Douglas Fairbanks, Buster Keaton, the Talmadge sisters, Rudolph Valentino, Gloria Swanson, Clara Bow, Colleen Moore, Greta Garbo, Anna May Wong, Emil Jannings, Al Jolson, Ernest Morrison, Noble Johnson, Evelyn Preer, Lincoln Perry, and Marie Dressler.

Drawing on the extraordinary collection of The Library of Congress, one of the greatest repositories for silent film and memorabilia, Peter Kobel has created the definitive visual history of silent film. From its birth in the 1890s, with the earliest narrative shorts, through the brilliant full-length features of the 1920s, Silent Movies captures the greatest directors and actors and their immortal films. Silent Movies also looks at the technology of early film, the use of color photography, and the restoration work being spearheaded by some of Hollywood's most important directors, such as Martin Scorsese and Francis Ford Coppola. Richly illustrated from the Library of Congress's extensive collection of posters, paper prints, film stills, and memorabilia -- most of which have never been in print -- Silent Movies is an important work of history that will also be a sought-after gift book for all lovers of film.

Charming and classically handsome, John Gilbert (1897--1936) was among the world's most recognizable actors during the silent era. He was a wild, swashbuckling figure on screen and off, and accounts of his life have focused on his high-profile romances with Greta Garbo and Marlene Dietrich, his legendary conflicts with Louis B. Mayer, his four tumultuous marriages, and his swift decline after the introduction of talkies. A dramatic and interesting personality, Gilbert served as one of the primary inspirations for the character of George Valentin in the Academy Award--winning movie The Artist (2011). Many myths have developed around the larger-than-life star in the eighty years since his untimely death, but this definitive biography sets the record straight. Eve Golden separates fact from fiction in John Gilbert: The Last of the Silent Film Stars, tracing the actor's life from his youth spent traveling with his mother in acting troupes to the peak of fame at MGM, where he starred opposite Mae Murray, Norma Shearer, Joan Crawford, Greta Garbo, and other actresses in popular films such as The Merry Widow (1925), The Big Parade (1925), Flesh and the Devil (1926), and Love (1927). Golden debunks some of the most pernicious rumors about the actor, including the oft-repeated myth that he had a high-pitched, squeaky voice that ruined his career. Meticulous, comprehensive, and generously illustrated, this book provides a behind-the-scenes look at one of the silent era's greatest stars and the glamorous yet brutal world in which he lived.