The Many Faces of Nance O’Neil – The Hatchet: A Journal of Lizzie Borden & Victorian America
The Hatchet: A Journal of Lizzie Borden & Victorian America

The Many Faces of Nance O’Neil

I have been interested in Nance O’Neil, the actress, for about the last two decades. Once immersed in the Lizzie Borden murder case, I found I could combine my involvement with the enigmatic Nance, with my enthusiasm for Lizzie, as Nance was once a brief companion of the infamous accused hatchet-murderess.

by William Schley-Ulrich

First published in April/May, 2004, Volume 1, Issue 2, The Hatchet: Journal of Lizzie Borden Studies.


I have been interested in Nance O’Neil, the actress, for about the last two decades. Once immersed in the Lizzie Borden murder case, I found I could combine my involvement with the enigmatic Nance, with my enthusiasm for Lizzie, as Nance was once a brief companion of the infamous accused hatchet-murderess.

Rumors abound about the style of the relationship between these two extraordinary people, but these rumors were never substantiated. Lizzie, as Lizbeth, enjoyed the theatre immensely and traveled to Washington, Boston, and New York to see the plays. The statement that Nance did not know who her new admirer was upon their meeting, and simply thought of Lizbeth as a new friend, and dropped her after finding out she was Lizzie Borden, seems disingenuous. In the interview conducted by the Sunday Post reporter, Edwin J. Maguire, April 13, 1913, Emma states that this is false, and adds that Miss “Nance O’Neil has for years been a close friend of Lizzie, and she holds that relation to this very day.”

The newspapers stated that it is possible that the two met at Lynn, at a summer resort, while Lizbeth was on vacation there. However, Nance O’Neil played at The Academy of Music in Fall River in October and November 1904, and they may have met then. Other sources claim the two became acquainted in Boston, after a performance. This relationship tapered off after 1905, as the actress toured. 

According to the New Bedford Standard Times, dated June 4, 1927, three days after Lizbeth’s death, “[Nance] mentioned that Miss Borden was once a guest for a few days at her country place at Tyngsboro, not far from Lowell. Reports that she had spent some time at the Borden home in Fall River, or that she had ever met Miss Emma Borden, she characterized as in error.” Miss O’Neil is also quoted as describing Lizbeth as a quiet, reserved, frail little old-fashioned gentlewoman who had an air of refinement and intellect, well read, and conversant with the best literature and spoke interestingly of her travels. “We were like ships that pass in the night and speak [to] each other in passing.” 

 

THE COUNT OF MONTE CRISTO (1913)

Director: Joseph Goldman/Edwin S. Porter — Film length — 90 mins. — Black/White Silent — Rating (1-4): 2  — Produced by/Released by: Famous Players Film Co./ States Right

CAST

James O’Neill (as Edmond Dantes)
Nance O’Neil (?)

Synopsis:

The Count of Monte Cristo, written by Alexandre Dumas in 1845, is probably one of the most popular romances of the fertile Dumas pere. Edmond Dantes, a newly appointed captain of a sailing ship, has recently married the lovely Mercedes. He is accused of assisting the exiled Napoleon in 1815. As a result of these false accusations Dantes is arrested and imprisoned in the Chateau d’If near Marseilles, France.

During his long incarceration he makes friends with the learned Abbe Faria who becomes his mentor in a number of subjects. They plot an escape and long hours are consumed in digging a tunnel. The arduous task proves to be too much for the good Abbe. While he is dying he reveals to Dantes the location of a great treasure on the islet of Monte Cristo. After fifteen long years of imprisonment, Dantes escapes by exchanging places with the dead Abbe Faria who was placed in a sack for burial at sea. Dantes cuts through the sack with a knife and swims to safety. 

He is picked up by a fisherman’s boat and transported to Genoa, Italy. From here he goes to the cavern of Monte Cristo and digs up the fabulous treasure revealed to him by the dying Faria. Afterwards, he assumes the role of the enigmatic Count of Monte Cristo. Over the years Dantes was obsessed with but one thought – to punish his enemies and reward his friends. He uses the treasure to accomplish this purpose.

This was one of the first full-length pictures starring well-known stage actors of the day.

There have been numerous screen adaptations of the story, as well as several versions made for television. No review of The Count of Monte Cristo (1913) appeared in the records of The New York Times or Variety. 

I viewed the videocassette of the film several times in an effort to identify Nance O’Neil. I was unable to accomplish my purpose. The questionable quality of the photography and the voluminous costumes worn by the women in the film made them all look-alikes. The only actor identified in the film was James O’Neill, who played the role of Edmond Dantes. It is important to note that the Internet Movie Data Base and the All Movie Guide list Nance O’Neil as a cast member. The prestigious American Film Institute lists James O’Neill as the only actor in the film.

Shortages of captions, particularly in the closing moments of this production, leave much to the imagination of a viewer who is not familiar with the plot. This could be due to a discrepancy in the conversion from film to VHS. This presentation may have been designed to heighten the pulses of the audience in 1913, but I believe it would have little effect on the sophisticated moviegoers of today. 

THE KREUTZER SONATA (1915)

aka Sonata

Director: Herbert Brenon — Film length: 5 Reels — Black/White  — Silent — Rating (1-4): 1-1/2 — Produced by/Released by: Wm. Fox Vaudeville Co./Fox Film Corp.

CAST

Nance O’Neil – Miriam Friedlander
John Daly Murphy – Sam Friedlander
William E. Shay – Gregor Randar
Anne Sutherland – Olga Belushoff
Rhea Van Ole – Maid
Theda Bara – Celia Friedlander
Maude Turner Gordon – Rebecca Friedlander
Henry Bergman – Raphael Friedlander
Sidney Cushing – G. Behisho
Mimi Yvonne

Synopsis:

In 1889 Count Leo Tolstoy wrote this shocking tale of adultery, deceit and murder. It is a diatribe against the prevailing sexual mores of the period and a masterpiece of propaganda that culminates in an inevitable, and shocking, ending. The film only remotely resembles Tolstoy’s original story. The United States Post Office banned magazines carrying the serialized version of the story and this censorship was repeated by Italy, the Soviet Union, and several other European nations. President Teddy Roosevelt referred to Tolstoy as, “That sexual, immoral pervert!” Today such a ringing endorsement would have moviegoers flocking to the theaters.

Nance O’Neil plays the part of Miriam Friedlander, an Orthodox Jew. Count Belusoff, the father of her child, is not of the same faith. Belusoff’s parents will not give their permission to the mixed marriage, a requirement of Russian law. Frustrated because he cannot marry the woman he loves, Count Belusoff commits suicide. For a sum of money, Miriam’s father arranges a marriage for her with Gregor Randar, a violinist.

Unfortunately, his affections are quickly detoured and stolen away by Miriam’s younger sister, Celia (Theda Bara). Celia becomes pregnant, and when the baby is born it is placed in an orphanage. Miriam learns of the couple’s treachery. She becomes enraged and murders Celia, Gregor, and in the final scene commits suicide. A tearjerker of the first water. This film is presumed to be lost.

Although receiving top billing as the star of the film, Miss O’Neil’s role was eclipsed by the arresting performance of Theda Bara, a newcomer ten years her junior. To introduce an element of excitement and mystery into the film, Theda Bara was publicized as being Egyptian. With a birth name like Theodosia Goodman this seems highly unlikely. In any event, she went on to become the unchallenged vamp of the movies in the years that followed.

PRINCESS ROMANOFF (1915)

Director: Frank Powell — Film Length: 5 reels —  Black/White — Silent — Rating: (1-4) Not available — Produced by/Released: by: Fox Film Corp.

CAST

Nance O’Neil – Princess Fedora Romanoff
Clifford Bruce – Loris Ipanoff
Stuart Holmes – Vladimir Boroff
Dorothy Bernard – Ipanoff’s wife

Synopsis:

From the play Fedora by Victorien Sardou, Sarah Bernhardt made her triumphal return to the Paris stage in this play in 1882. Nance O’Neil played the titled role in numerous successful worldwide stage appearances. The play was the basis for the film Fedora (1918) starring Pauline Frederick and for The Woman From Moscow (1928) with Pola Negri. 

Loris Ipanoff’s wife has committed suicide. After her death he discovered she had been unfaithful to him. He kills her former lover, Vladimir Boroff (Stuart Holmes), an officer in the Russian army. Princess Fedora Romanoff (Nance O’Neil), who was betrothed to Vladimir, vows vengeance. She pursues Ipanoff, first to Paris, then New York. When they meet, romance blossoms and they fall in love. After learning of Ipanoff’s reason for killing Boroff, she forgives him and arranges for the release of his mother and brother, whom she had imprisoned. The Princess had hired assassins to kill Loris Ipanoff on sight. Realizing he will be murdered when he leaves her apartment, Fedora swallows poison to keep him with her. Ipanoff discovers what she has done and resuscitates her in the final moments of the film.

A WOMAN’S PAST (1915) 

Director: Frank Powell — Film length: 5 reels — Black/White — Silent — Rating 1-4: Not available — Produced by/Released by: Fox Film Company

CAST

Clifford Bruce – Wilson Stanley
Alfred Hickman – Howard Sterling/Harrison Stanley
Carlton Macy – Denton Colt
Nance O’Neil – Jane Hawley

Synopsis:

With the promise of marriage on his lips, June Hawley (Nance O’Neil) allows herself to be seduced by Howard Sterling (Alfred Hickman). The cad recants and June marries Army Captain Wilson Stanley (Clifford Bruce), who just happens to be the best friend of her former lover. Before long there is a welcome addition to the family – a baby boy christened Harrison, who is the spitting image of Jane’s former paramour. 

The captain is assigned to guard duty in a leper colony in the Philippine Islands. After his departure, June’s unregenerate ex-lover happens upon the scene. Once again he attempts to entangle her in his foul web of sin. Her father-in-law enters the room at the very moment the villain is forcibly embracing June. He accuses poor, innocent June of lewd conduct, then throws both of them out of the house. With nowhere to turn, June takes the easy way out. She places her son in a boarding school and runs off with her former boyfriend. They proceed to engage in a wild and worthless life of drunkenness and debauchery.

The Captain’s father writes to his son, revealing his wife’s treachery and betrayal. Stanley has been injured and is a patient in a military hospital. Upon receiving this terrible news he becomes enraged. Tearing the bandage from his wounded arm, he runs amuck through the ward. It is at this moment one of the lepers has decided to make good his escape from the hospital. He grabs Stanley and attempts to use him as a hostage. The leper is quickly restrained and led away, but it is feared the Captain may have contracted leprosy in his exposed wound. He is quarantined for several years (!) until a negative blood test finally emancipates him (don’t ask).

After his discharge from the Army, Stanley returns to the states and begins searching for his wife and son. He locates her at the precise moment Sterling has chosen to give her another beating. There is only one solution to such brutality. The Captain kills him. Through a series of confusing incidents, June is accused of the murder and is placed on trial for her life. Harrison, now an attorney, is unaware that June is his mother. He believes that by defending this accused woman he will gain the publicity he seeks. Unfortunately, his good intentions are not matched by his legal skills. In spite of an impassioned summation to the jury by Harrison, June is found guilty. Wilson Stanley has been in the courtroom during the entire trial. Jumping to his feet he takes full responsibility for the murder. “My wife is innocent,” he declares, “and her lawyer is my son.” Father, son and mother are reunited and all embrace. There wasn’t a wet eye in the house.

This was the first screen appearance of Nance O’Neil with her husband-to-be, Alfred Hickman. He played the dual role of father and son in the film. Variety reported: “May not sound so good in the telling here, but it is intensely interesting and dramatic on the screen.” 

SOULS IN BONDAGE (1916)

Director: Edgar Lewis — Film Length: 5 Reels — Black/White — Silent — Rating (1-4): Not available — Produced by/Released by: Lubin Corp./V-S-L-E Inc.

CAST

Nance O’Neil – Rosa Brenner
Ida Stanhope – Rita Brenner
William Corbett – Julian Forbes
Mrs. Stuart – Mrs. Forbes
Mrs. Carr – Mrs. Coombes
Bernard Seigel – Mr. Brenner

Synopsis:

A tale of two sisters: Rosa Brenner (Nance O’Neil) has the care of her younger sister Rita (Ida Stanhope), who is a spoiled, recalcitrant brat. She is a constant burden to Rosa, who loves her dearly in spite of her many shortcomings. Upon reaching the age of eighteen, Rita takes off for the Big City in search of lots of excitement and good times. She becomes involved with a man of questionable morals, and within a short time is the recipient of an illegitimate offspring. The father of the child leaves her and the baby. Rita dumps the kid in her long-suffering sibling’s lap and takes off for parts unknown. For the sake of the child’s reputation, Rosa pretends the child is hers. The narrow-minded community shuns them. 

To escape scandal Rosa leaves town with the baby and secures employment with Mrs. Forbes, a wealthy woman. For a time everything is rosy for Rosa, until the day her benefactor passes away. All is not lost, however, because Mrs. Forbes’s son Julian (William Corbett) has fallen in love with Rosa. The feeling is mutual and they marry. They live an idyllic existence until the prodigal sister returns. Rita sets her cap for Julian and is successful in her efforts. Once again poor Rosa is left out in the cold. She places the child with a kind family and departs for Europe to become a War nurse. (We must assume at this point that she has had previous schooling in the medical arts). Rosa’s bad luck has followed her to the Continent. After helping a young soldier to desert she is branded a traitor and placed before a firing squad that proceeds to take her life. You must admit that drama can’t get more dramatic than this.

Variety praised Nance for her role in the film: 

Miss O’Neil has long been identified with pictures of the gruesome variety, and Lubin is going to keep her directly in this track if this production can be taken as a criterion. This is heavily emotional calling for much of Miss O’Neil’s well-known work.

THE WITCH (1916)

Director: Frank Powell — Film length: 5 reels — Black/White — Silent — Rating: (1-4) Not available — Produced by/Released by: Fox Film Corp.

CAST

Nance O’Neil – Zora Fernandez
Alfred Hickman – General Mendoza
Frank Russell – General Fernandez
Macey Harlam – Pedro
Ada Neville – Isha
Jane Miller – Dolores
Sadie Grass – Dancer
Stuart Holmes
Harry Kendall
Robert Wayne
Jane Janin
Ada Sherin

Synopsis:

This film is based on the play La Sorciere (The Sorcerer) by Victorien Sardou (Paris 1903), with translation by Louis N. Parker. The original title of the film was The Sorceress. The Parisian playwright wrote over sixty plays in his lifetime. Many of his latter efforts were written specifically for Sarah Bernhardt, a brilliant stage actress. La Tosca, Puccini’s famous opera, was based upon an original play by Sardou.

General Fernandez (Frank Russell) is leading an insurrection against General Mendoza (Alfred Hickman), the military governor of Mexico. Zora Fernandez (Nance O’Neil) has been taught the art of hypnosis by her father. After he dies she is marked as a pariah by General Mendoza. He publishes an edict that any woman befriending Zora will be imprisoned, and any man doing so will be hanged. When Mendoza’s daughter Dolores (Jane Miller) suffers from somnambulism, Zora cures her with the aid of herbs. Zora falls in love with Lieutenant Risques, a town official, who is engaged to Dolores. When Zora discovers that Risques is going to marry Dolores, she is furious and places the General’s daughter into a trance. 

Mendoza discovers what she has done and sentences Zora to be burned at the stake. His daughter’s nurse informs him that only Zora can remove the spell. Mendoza promises Zora he will spare her life if she will set his daughter free. Zora removes the spell and is banished from the village forever.

Nance O’Neil and Alfred Hickman were married in 1916.

THE FLAMES OF JOHANNIS (1916)

aka Fires of Johannis, 

aka The Fires of St. John

Director: Edgar Lewis — Film length: 5 reels — Black/White — Silent — Rating (1-4) Not available — Produced by/Released by: Lubin Mfg. Co./V-L-S-E Inc.

CAST

Nance O’Neil – Zirah/Marika (as a young woman)
George Clarke – Mr. Vogel
Eleanor Barry – Mrs. Vogel
Ethel Tully – Gertrude
Victor Sutherland – George
Irving Dillon – Pastor Joffner
Mrs. Carr – Katie
Paul – James Cassady
Violet Axzelle – George (as a child)
Rosemary Carr – Marika (as a child)

Synopsis:

Mr. Vogel (George Clarke) is a wealthy farmer living in Pennsylvania. He adopts little George, the son of his dead brother. The boy’s father was deeply in debt and had committed suicide. On the same day, Vogel buys little Marika from a gypsy crone named Zirah. (Nance O’Neil). Mr. and Mrs. Vogel (Eleanor Barry) raise the two children as their own. The years slip by, and Marika and George have blossomed into young adulthood. A strong bond of love has grown between them. 

The Vogels make wedding plans for George and their daughter Gertrude (Ethel Tully). Because of the gratitude she feels towards her benefactors, Marika hardens her heart and locks away her true feelings. George is in love with Marika, but realizes he also owes a large debt to the Vogels. He agrees to marry Gertrude. The day after the wedding, Marika packs her suitcase, leaving the Vogels and George forever. She returns to the home of her mother; there to spend the rest of her days nursing a broken heart.

Variety reviews it thusly: 

The Flames of Johannis is a Hermann Sudermann [play] adapted for the screen by Alfred Hickman and directed by Edgar Lewis. It is the same story produced on the legitimate stage by Miss O’Neil and proved to be a most unsatisfactory feature picture. It was very well photographed and acted, but the subject is such that the scenarist (Hickman) had to exercise great caution in order not to overstep the boundaries prescribed by the censors. This necessitated the deleting of all proper meaning in the captions, which utterly destroyed the psychology of life and results in a depiction of life’s tragedy that doesn’t mean anything. The whole thing seemed to be designed to show the versatility of Nance O’Neil. Through some very ingenious double exposure O’Neil plays the part of a drunken hag and her own daughter. By resorting to a ‘double take’ these two characters were enabled to embrace. The production seems to have fallen somewhere between psychology and drama.

THE TOILERS (1916)

aka Those Who Toil

Director: Edgar Lewis — Film length: 5 Reels — Black/White — Silent — Rating (1-4): 3 — Produced by/Released by: Lubin Mfg. Co./ V-L-S-E, Inc.

CAST

Nance O’Neil – Jane Brett
Herbert Fortier – William Jameson
Victor Sutherland – John Jameson
Tom Tempest – Tom Powers
John Sharkey – Jim Morgan
Fred Chasten – Company Doctor
Ray Chamberlain – Berty
Adelaide Hayes – Annie Brett

 

Synopsis:

This film depicts a struggle between Management and Labor. Nance O’Neil stars in the role of Jane Brett. She is one of the leaders of the striking workman in a Pennsylvania oil refinery dominated by the owner, William Jameson (Herbert Fortier). The workers want a raise and improved working conditions. Jameson offers than nothing, but demands increased productivity. The workers prepare to strike. Jane pleads with them to wait until she has spoken to the owner. The owner laughs in her face and has her thrown out of his office. When Jane threatens him with bodily harm, she is arrested and placed in jail to await trial.

John (Victor Sutherland), the boss’s son, is in love with Jane. He arranges to have her released on bail. When the couple returns to the refinery, they are caught up in a riot. The workers descend upon the plant, vowing to wreck it. There is a battle with the police, the oil field is set afire, and Jane is injured in the scuffle. John appeals to the workers and sets out to convince his father that their cause is a just one. After the negotiations the strikers get their promised raise and return to work. Everyone lives happily ever after — at least in this film they do

Says Variety of the film: 

There is a female leader of the workmen, Miss O’Neil, who has suffered much and there you are. This may sound very conventional, but in its screening there is well-sustained melodramatic interest, excellent photography and fine acting. Elaborately and expensively produced mob scene show the strikers burning the oil field. A great deal of care was exercised in securing types and atmospheric detail. Judged from the standpoint of a feature program, it will be reasonably safe to rate this picture, “Class A.”

THE IRON WOMAN (1916)

Director Carl Harbaugh — Film Length — 6 Reels — Black/White — Silent —Rating (1-4): 2 — Produced by/Released by — Popular Plays & Players/Metro Pictures 

CAST

Nance O’Neil – Sarah Maitland
Einar Linden – David Ritchie
Alfred Hickman – Blair Maitland
Evelyn Brent – Nannie Maitland
Vera Sisson – Elizabeth Ferguson
William Postance – Robert Ferguson
Christine Mayo – Helena Ritchie

Synopsis:

Based on a novel by Margaret Deland published in 1911, and adapted for the screen by Wallace C. Clifton, The Iron Woman is a story of growing up and understanding the turmoil of life’s vicissitudes.

Nance O’Neil is the star of this tedious and rather confusing melodrama. As Sarah Maitland she takes over the supervision of the iron mill when her husband passes away. Sarah has two children to raise, Nannie (Evelyn Brent), whom she adores and is the apple of her eye, and Blair Maitland (Alfred Hickman), who is spoiled rotten and is well on his way to becoming a no-good, good-for-nothing.

It is at this point I must take issue with the casting of the film. Nance was forty-two years old when the movie was made, and Alfred Hickman, who plays her son, was two years older than Nance. How did they justify this age difference on the screen? Lighting? Make up? Trick photography? There is no mention in the cast credits of a child actor assuming the part. To make it even more interesting, Nance and Alfred were married in real life the year the movie was released. 

Blair leaves home to attend college and shortly after his arrival he seduces his best friend’s fiancée. What else did you expect? I told you the kid was no good. Blair marries the girl but it doesn’t work out. It doesn’t take long before Elizabeth (Vera Sisson) realizes her mistake and asks David (Einer Linden) to take her back. Sarah is seriously injured in a mill accident and is rescued by David. Blair, finally realizing the error of his ways, tells Elizabeth he will give her a divorce so she can marry David – which only goes to show that the kid wasn’t all bad. 

Variety stated in its review that the picture was, in its belief, a very much jumbled up affair, and doubted there was a possibility of getting the story sufficiently straightened out to make it worthwhile. 

After one has sat through the entire six reels, one must still work one’s mind to death to discover where the story started, where it finished and to what effect. Pictorially, the feature is O.K. but from the standpoint of story and direction it is a jumbled mess and cannot be rated a feature of the first class.

GREED (1917)

Director: Theodore Marston — Film length: 5 reels — Black/White — Silent — Rating: (1-4): 2-1/2 — Produced by/Released by: McClure Pictures/Triangle Distr. Corp. Superpictures, Inc.

CAST

Nance O’Neil – Alma
Shirley Mason – Eve Leslie
George Le Guere – Adam Moore
Harry Northrup – “Doc” Denton
Robert Elliot – Richard Cole
Alfred Hickman – Jimmie Hobson

Synopsis:

Greed was the third of the Seven Deadly Sins series produced by McClure Pictures. The entire series was re-issued in two-reel versions in 1918. All the films were based on stories by Florence M. Kingsley from The Ladies World.

“Doc” Denton (Harry Northrup) runs a “bucket shop.” It is a fraudulent brokerage operation where orders to buy and sell are accepted, but no execution take place. Instead, the brokerage house profits when the customers close out their accounts at a loss. Adam Moore (George Le Guere) and Eve Leslie (Shirley Mason) are an avaricious pair who drop a bundle after becoming involved with Denton. Alma (Nance O’Neil), a telephone operator in Denton’s office, tells the pair that Denton is a crook and is running a “scam” on them.

With the authorities breathing hard on Denton’s heels, he attempts to bribe Alma to go to bat for him. She refuses. There is a scuffle in which Denton loses his life. Adam is charged with Denton’s murder and put on trial. He is convicted and sentenced to death in the electric chair. Alma temporarily lost her memory when she was shot and wounded during the fracas. She regains her faculties on the night Adam is to be electrocuted and proceeds to tell the authorities exactly what occurred on that fateful evening: Denton had suffered a heart attack when a heavy object fell from a shelf, hitting him on the head. He was holding a pistol at the time that accidentally discharged, wounding Alma. Only minutes before the warden is scheduled to pull the switch, he receives a call from the governor sparing Adam’s life. Eve and Adam vow to give up their greedy ways and the lovers are reunited.

Nance O’Neil’s husband, Alfred Hickman, played the part of Jimmie Hobson.

Variety reviewed this film on February 2, 1917:

Greed is described as a “five reel drama” featuring Nance O’Neil. The story it tells is rather confusing, but it has a fine, full-grown punch – indeed the tale is a series of surprises, some too delicate in conception, but putting over the maximum of dramatic surprise and thrills. The effect is something like the Pathe serials that are designed to deliver a battery of dramatic climaxes without much regard to the verities. The film contains an endless succession of highly colorful incidents and holds suspense at tiptoe . . . Miss O’Neil screens particularly well in the emotional scenes and the minor characters, chief among whom are Shirley Mason and George Le Guere, do well. Miss O’Neil plays the telephone girl most effectively. The picture has several “types” notable among them being the judge in the trial scene.

THE SEVENTH SIN (1917)

Director: Not available — Film length: 7 reels — Black/White — Silent — Rating — Not available — Produced by/Released by: McClure Publishing Co./Super Picture Triangle Distr.

CAST

Shirley Mason – Eve Leslie
George LeGuere – Adam Moore
Anna Murdock – Betty Howard
Holbrook Blinn – Eugene D’Arcy
Nance O’Neil – Alma
H. B. Warner – Grand Duke Feodor
Charlotte Walker – Margaret Brent, Sally Wells, Molly Pitcher

Synopsis:

Eve Leslie (Shirley Mason) is a chaste young woman who has no knowledge of her birth parents. Although lacking their guidance, she has always endeavored to live an exemplary life. The vicissitudes of life and the present horrors of a world engulfed in war have only served to reinforce her resolve. After discovering that her parents were Russian exiles, she seeks them out and they are reunited. With the assistance of her sweetheart Adam Moore (George Le Guere), a soldier in the army, she has fought against life’s temptations, and turned them away. Joining Adam in the front lines enables her to learn about the cruelty of man against man. The experience only serves to make her an even stronger woman.

At the close of the film, Adam and Eve are married and have a young boy (I’ll wager his Christian name was Cain). Eve reflects upon her past and realizes that life has taught her that the greatest sin of all, the Seventh Sin, is selfishness. This film is a lesson in the legitimacy of morality.

The film was the seventh in the McClure series, called The Seven Deadly Sins. Several scenes and actors from the previous films were used in this production. Nance O’Neil reprises the role of Alma, a part she originated in the production Greed. The film was photographed at the Edison Studios in New York City.

MRS. BALFAME (1917)

Director: Frank Powell — Film Length: 6 Reels — Black/White — Silent — Rating: Not available — Produced by/Released by: Frank Powell Production Corp./Mutual Film Corp., Star Productions

CAST

Nance O’Neil – Mrs. Balfame
Frank Belcher – David Balfame
Robert Elliot – Dwight Rush
Agnes Ayres – Alys Crumley
Anna Ranier – Anna Steuer
Alfred Hickman – James Broderick
Grace Gordon – Miss Austin
Aubrey Beattie – Sam Cummack
Elsie Earle – Frieda 

Synopsis:

Based on a novel written by Gertrude Atherton in 1916, the story manages to convey the sentiments of militant feminism and the anti-German feelings that existed during World War I. In this film Mrs. Balfame (Nance O’Neil) is a social leader in the town of Elsinore. She attends a meeting where her good friend, Dr. Anna Steuer (Anna Rainer), is the principal speaker. 

The subject is the worthlessness of men in general and husbands in particular. Dr. Steuer attributes all of the society’s ills, including the present World War, to the existence of men and proposes an ideal government composed exclusively of women. Mrs. Balfame is intrigued by her philosophy. Later, at a chance meeting between the two women, Dr Steuer shows her an untraceable deadly poison. It is at this moment that Mrs. Balfame decides to do in her drunken lout of a husband, David Balfame (Frank Belcher).

He returns home one evening after one of his alcoholic binges. In a drunken stupor he orders her to mix him a drink. Mrs. Balfame obliges by preparing her latest specialty—a doomsday cocktail.

While she is mixing his drink she observes someone wandering around the yard. Arming herself with a revolver she leaves the house. A shot is fired. Frieda (Elsie Earle), the maid, rushes out of the house. There she sees Mrs. Balfame, with a gun in her hand, kneeling beside the dead body of her husband.

Frieda testifies against Mrs.Balfame, who is arrested and charged with her husband’s murder. Dwight Rush (Robert Elliot) is the defense attorney, and as chance would have it, in love with Mrs. Balfame. A guilty verdict seems a foregone conclusion. Just before the sentence is pronounced the court learns that Dr. Steuer is on her deathbed and has confessed to the crime. Whether she had warm feelings for David and was spurned, or was doing her friend a big favor, is never discovered. After the trial, Mrs. Balfame refuses the young lawyer’s offer of love and continues her life alone.

The film was produced at Frank Powell’s studio at College Point, New York.

HEDDA GABLER (1917)

Director: Frank Powell — Film Length: 5 Reels — Black/White — Silent — Rating (1-4): Not available — Produced by/Released by: Frank Powell Producing Corp./Mutual Film Corp.

CAST

Nance O’Neil – Hedda Gabler
Aubrey Beattie – George Tessman
Lillian Paige – Aunt Julia
Einar Linden – Eilert Lovberg
Ruth Byron – Thea Elvsted
Alfred Hickman – Judge Brack
Edith Campbell – Madam Diana
Frank A. Ford

Synopsis:

The story is from the pen of Henrik Ibsen. Hedda Gabler is one of the most widely studied and performed works in theatrical history. This dark psychological drama was first produced as a play in 1890. It depicts the evil machinations of a ruthless, nihilistic heroine.

Hedda Gabler (Nance O’Neil), the beautiful aristocratic and overbearing daughter of a general, has married George Tessman (Aubrey Beattie), a plodding, middle class professor. Hedda thought he was rich – he wasn’t. She believed he had a brilliant future ahead of him – he didn’t. As the film opens the couple has just returned from a six-month honeymoon abroad. During this period George conducted research for a book he was planning to write on medieval history. Hedda had luxurious taste and selected an expensive villa for their new home. Her husband borrowed the money from Judge Brack to pay for it. The role of Brack was played by Alfred Hickman, Nance’s husband.

Tessman had hoped to get a government appointment to pay for his increased expenses. He is told by Judge Brack that he has a likely rival in the person of Eilert Lovborg (Einar Linden). Lovborg, an old flame of Hedda’s, is a reformed drunk who has just published a very successful novel. Thea Elvsted, an old school chum of Hedda’s, had hired Lovborg to tutor her children. She also assisted him in writing his book 

Thea confides to Hedda that she has taken on Lovborg as a lover. Hedda had a previous affair with Lovborg, but when he became too demanding she threatened him with a pistol and they parted. Hedda sets out to vamp Eilert away from her friend. She invites him to a party given by Judge Brack. The affair develops into a drunken revelry and Eilert descends the slippery slope. Once again he embraces his old friend Demon Rum. To add fuel to the fire, Hedda has stolen the manuscript of his new book that Eilert believed he had lost. 

Eilert despairs and threatens to kill himself. Hedda gives him one of her pistols and suggests that he, “Do it beautifully.” He obliges her by blowing out his brains on the spot. Filled with remorse and afraid she will be connected with Eilert’s death, Hedda destroys the manuscript. As the film reaches its thrilling climax, she raises a gun to her head and takes her own life.

THE FINAL PAYMENT (1917)

Director: Frank Powell — Film length: 5 reels — Black/White — Silent — Rating (1-4): Not available — Produced by/Released by: Fox Film Corp.

CAST

Nance O’Neil – Nina
Alfred Hickman – Alfredo
Clifford Bruce – Cesare
Leslie Austin – Neccola
Jane Miller – Rose
Dorothy Bernard – Marie

Synopsis: 

Best friends Neccola (Leslie Austin) and Cesare (Clifford Bruce) are commercial fisherman. Both of them are passionately in love with Nina (Nance O’Neil), the village beauty. To Neccola’s dismay, Nina only has eyes for Cesare.

Alfredo (Alfred Hickman) is their boss and the owner of the fishing fleet. He has a nasty habit of using dynamite to catch fish. Neccola, a sailor who is as honest as the day is long, objects to this illegal practice. He tells Alfredo he intends to notify the authorities. Alfredo is enraged by this threat and murders the fisherman.

Cesare is falsely accused of the crime and is placed on trial. As luck would have it, Alfredo is a member of the jury. He uses his powers of persuasion to influence the other jurors. Cesare is found guilty and hanged.

The only person who has knowledge of the true assassin is Marie (Dorothy Bernard). To insure her silence Alfredo has promised to marry her. Nina’s younger sister Rose (Jane Miller), has aroused Alfredo’s passion. He lures her to his boat with a seduction in mind. Nina learns of his foul plan. She follows the couple on board and attacks Alfredo. During the struggle a lamp is knocked over setting the boat on fire. Alfredo receives his just and final payment as the flames consume him. This was Nance O’Neil’s seventh picture with Alfred Hickman.

FALL OF THE ROMANOFFS (1918)

Director: Herbert Brenon — Film length: 120 mins. — Black/White — Silent — Rating: Not available — Produced by/Released by: Iliodor Pictures Corp./ State Rights, First National Exhibitor’s Circuit

CAST

Alfred Hickman – Emperor Nicholas
Nance O’Neil – The Czarina
Edward Connelly- Rasputin
Iliodor – Iliodor
Charles Craig – Grand Duke Nicholas
Conway Tearle – Prince Felix
William E. Shay – Theofan
George Denueburg – Emperor Wilhelm
Robert Paton Gibbs – Baron Frederick
Charles Edward Russell – Charles Edward Russell
W. Francis Chapin – Alexander Kerensky
Peter Barbierre – General Korniloff
Pauline Curley – Princess Irena
Ketty Galanta – Anna
Lawrence Johnson – Infant Czarevitch
Mlle. Marcelle – Sonia

Synopsis:

The overthrow of the royal Russian regime and the subsequent murder of Nicholas II and the royal family was a major historical event. The story was greedily snapped up by theatrical producers and the Hollywood moguls. The character of Rasputin was well drawn and presented a dark and bestial image. His very name means “the debauched one.” 

Contrary to popular belief Rasputin, played by Edward Connelly in the film, was neither priest nor monk. He was a drunken, illiterate peasant who worked as a common sled driver in order to make a livelihood. He became an ascetic who roamed the countryside, violating and punishing his body in order to present the appearance of a holy man to all who encountered him. 

Rasputin ingratiated himself into the royal family and exerted a powerful effect on all who came within his purview. His influence gained him lush accommodations in the palace. He was so “in” with royalty that he casually referred to the Czar and Czarina as “momma’ and “poppa.” Unbeknownst to him, this familiarity with the members of the ruling class would soon prove to be his undoing, and eventually cost him his life. 

Several members of the royal court plotted his assassination. One winter’s night he was lured to a dark corner of the Moika palace. Here they plied him with wine laced with cyanide. To their collective horror and dismay, the deadly potion seemed to have no effect. Frustrated, they proceeded to shoot him with their pistols, and then beat him to a bloody pulp before tossing his lifeless body into the icy waters of the Neva River. His personal demise paralleled the downfall and death of the members of the royal family.

Says Variety: 

Herbert Brenon’s spectacular film depiction of The Fall of the Romanoffs is a two-hour collection of historical events arranged in chronological order and hence is more episodic than dramatic as a timely presentment of current history. Nothing could be more up to date unless it is a one-reel news weekly.

THE MAD WOMAN (1919)

Director: George Terwilliger — Film length: 2 Reels — Black/White — Silent — Rating (1-4): Not available — Produced by/released by: Stage Women’s War Relief Fund/Universal Film

CAST

Nance O’Neil
Alfred Hickman
Tyrone Power Sr.
Mathilde Cottrelly
Paul Gillmore
Ben Grauer
Mildred Holland
Tamara Swirskaya

Synopsis:

Nance O’Neil assumes the role of an innocent Russian peasant girl. She meets, falls in love with, and marries a sophisticated Russian nobleman (Alfred Hickman) against the wishes of her parents. Nance gives birth to a baby boy. She tells her husband she wants to raise the child in her parent’s home. The rich nobleman does not want his son raised in impoverished surroundings, and spirits the child away while his wife is sleeping. When she discovers the boy is missing she is beside herself with rage. She sets out on a mission—with the intent of finding her son and killing the man who has kidnapped him. 

Wandering from town to town she grabs the arm of every stranger she sees, asking: “Have you seen my son?” This bizarre behavior earns her the title of “the mad woman.” After searching for more than two years she finally discovers her long lost son and husband. She is so overcome with joy her anger is quickly forgotten. They reconcile and settle down to pursue a happy and normal existence.

This feature was made by the Stage Women’s War Relief for Universal Studios.

Tyrone Power Sr. had a role in the film. He was the father of movie heart throb Tyrone Power. Ben Grauer was only eleven years old when the picture was made. He went on to enjoy a successful career as an announcer and master of ceremonies in television and radio from 1932 to 1973. This was Nance O’Neil’s last movie for ten years. She returned to her first love, the stage. Her next appearance in a film was with John Gilbert in His Glorious Night. 

HIS GLORIOUS NIGHT (1929)

aka Breath of Scandal 

Director: Lionel Barrymore — Film length: 80 mins. — Black/White – Sound (also Silent) — Rating (1-4): 2 — Produced by/Released by: MGM

CAST

John Gilbert – Captain Kovacs
Catherine Dale Owen – Princess Orsolini
Nance O’Neil – Eugenie
Gustav von Seyffertitz – Krehfl
Hedda Hopper – Mrs. Collingsworth Stratton
Doris Hill – Priscilla Stratton
Tyrell Davis – Prince Luigi Caprilli
Gerald Barry – Lord York
Madeline Seymour – Lady York
Richard Carle – Count Albert
Eva Dennison – Countess Lina
Youcca Troubetzkoy – Von Bergman
Peter Gawthorne – General Ettigen

Synopsis:

His Glorious Night was an MGM release based upon the 1928 satirical play Olympia, by Ferenc Molnar. Lionel Barrymore, who also wrote the original music, directed the film. John Gilbert played the role of Captain Kovacs, a daring and dashing cavalry officer. The other half of this romantic duo was Princess Orsolini, portrayed by Catherine Dale Owen. Nance O’Neil carried the role of Eugenie, the mother of the Princess. It was Ms. O’Neil’s first film after a ten-year hiatus.

The marriage arranged by Eugenie fails to materialize after the luscious Princess meets the handsome Captain Kovacs. They fall deeply and passionately in love. Eugenie persuades her daughter to give up the Captain. The Princess realizes mother has her best interest at heart and agrees to marry the man Eugenie has chosen for her. “It just wouldn’t do, would it, to have a woman of her exalted position take up with a lowly cavalry officer – and a peasant at that?” 

Kovacs is distraught over her decision to break it off. He threatens to tell the world that he has ruined her for any other man – (not true). To insure his silence Eugenie promises him “one glorious night” with the Princess before the intended wedding. Kovacs spends the night with her, but proves he is a gentleman by guarding her virtue. The Princess realizes that Kovacs is indeed her true love and agrees to be his wife. As the production comes to a close we see our enamored couple literally gallop off into the sunset.

This film was John Gilbert’s first “talkie.” Some critics maintained that this darling of the silver screen, this “lover like no other,” was all washed up in sound movies because of the effeminate quality of his voice. A more gentle assessment by another faction contended that Gilbert’s career had been jeopardized by screenwriter Willard Mack’s fatuous and insipid dialogue. One story making the rounds was that Louis B. Mayer, the producer, was out to “get” John, claiming he was a womanizer and drunkard whose irresponsible actions had cost MGM millions of dollars. In any event, he continued to work for MGM, making eleven more unremarkable pictures that were selected for him by the studio. Never again to experience the acclaim he had received for his performances in silent films, Gilbert died of heart failure at the age of 37 on January 9, 1936.

LADIES OF LEISURE (1930)

Director: Frank Capra — Film length: 102 mins. –—Black/White – Sound (also Silent) — Rating (1-4): 2-1/2 — Produced by/Released by: Columbia Pictures Corp

CAST 

Barbara Stanwyck – Kay Arnold
Ralph Graves – Jerry Strange
Marie Provost – Dot Lamar
Lowell Sherman – Bill Standish
George Fawcett – Mr. Strange
Nance O’Neil – Mrs. Strange
Juliette Compton – Claire Collins
Johnny Walker – Charlie
Willie Best – Elevator operator
Charles Butterworth – Party Guest
Edith Ellison – Not credited

Synopsis:

Based on the play Ladies of the Evening by David Belasco and Milton Gropper, the title was changed for very obvious reasons—the original title would not have been an acceptable premise for theater-going audiences of the uptight 1930s. 

Our hero, Jerry Strange (Ralph Graves), is wealthy and amuses himself by painting portraits of attractive women. He becomes bored while attending a party given by his upper-crust fiancée Claire Collins (Juliette Compton), and decides to take his roadster for a spin in the country. As luck, and the scriptwriter, would have it, he meets pretty, bad-girl-with-a-heart-of-gold Kay Arnold (Barbara Stanwyck), who has just ducked out on a wild party aboard a luxury yacht. The two are mutually attracted and Strange hires her to pose for him.

The arrangement turns into a steamy love match for this romantic couple and they plan to marry. Jerry’s parents, Mr. and Mrs. Strange, played by George Fawcett and Nance O’Neil will have none of it. They tell Kay how impossible a marriage would be for two people from such different social backgrounds. Kay is heartbroken. Apparently there is still some of that “bad girl” left in our heroine. She teams up with Jerry’s friend, Bill Standish (Lowell Sherman), and they hop a boat for Cuba. During the cruise, Kay is beset with feelings of remorse and attempts suicide by jumping into the ocean. Happily she is rescued and eventually becomes reconciled with her true love, whereby our story of a rocky, rollicking romance finally arrives at its anticipated, and hoped for, climax.

The film suffered from a lack of comedy. Kay’s chubby gold-digger friend, Marie Provost, performs the only incident that might be considered funny. She trots up twenty flights of stairs—a feat the audience seemed to find hilarious. On a sadder note, Miss Provost passed away before she was forty years old due to acute alcoholism and advanced malnutrition. She died alone in her dilapidated Hollywood apartment in 1937.

Excerpts from the review by Variety, following the film’s premiere at the Capitol Theater in New York City on May 23, 1930: 

The film has serious miscasting defects and suffers from a variety of other errors. The choice of Ralph Graves for the leading man showed poor judgment. Graves is a particularly inflexible player with a rather limited range. In spite of device and indirect suggestion, the heroine, Barbara Stanwyck, is rather a vulgar little thing who never quite makes the charm of ‘cuteness’ even when she is laying on sentimental “hoke.” 

Although Miss Stanwyck does save this particular picture with her ability to convince in heavy emotional roles, she has small gifts for graceful comedy. However, the sequences between her and Nance O’Neil in a grand bit of sentimental slopping over – really carry the punch of the story, and the day, by force of excellent acting. The flash cleverness of the play is retained in all its amusing vigor and is vastly aided by the playing of Lowell Sherman in the character of Bill Standish, a part especially designed for him. The picture is full of cynical wit, such as passes for the persiflage of Broadway gaiety that is always welcomed and relished by the audience.

THE ROGUE SONG (1930)

Directors: Lionel Barrymore/Hal Roach — Film length: 103 mins. — Color — Sound —Rating (1-4): 3 — Produced by/Released by: MGM

CAST

Lawrence Tibbett – Yegor
Catherine Dale Owen – Princess Vera
Nance O’Neil – Princess Alexandra
Judith Voselli – Countess Tatiana
Ullrich Haupt – Prince Serge
Elsa Alsen – Yegor’s mother
Florence Lake – Nadja
Lionel Belmore – Ossman
Wallace MacDonald – Hassan
Stan Laurel – Ali Bek
Oliver Hardy – Murza Bek
Kate Price – Petrovna
Burr McIntosh – Count Peter
H.A. Morgan – Frolov
Harry Bernard – Guard
James Bradbury – Azamat

Synopsis:

A vibrant musical comedy in living Technicolor directed by well-known actor, Lionel Barrymore, it was adapted from Franz Lehar’s Gypsy Love Song. The story takes place in 19th century South Russia. 

Famed baritone of the Metropolitan Opera, Lawrence Tibbett, makes his movie debut as Yegor, tribal chieftain of a motley crew of mountain bandits. In the film, he meets Princess Vera (Catherine Dale Owen) at a local inn. The attraction is mutual and instantaneous—they fall in love. Yegor discovers that Vera’s brother, Prince Serge (Ullrich Haupt), has raped Yegor’s sister who then committed suicide. He kills Serge, takes the Princess captive and subjects her to various indignities. 

Princess Vera is freed when her soldiers capture the bandit chieftain. Yegor’s arms are shackled to two wooden posts and Vera personally flogs him as punishment for her kidnapping, and the murder of her brother. It is at this point that we become acquainted with the powerful tones of Tibbett’s magnificent voice. The more vigorously she lashes him, the louder he sings, and sing he does with a vengeance and a booming voice that rattles the rafters. Finally, the Princess collapses from sheer exhaustion. The couple exchange glances, realizing they can never become, well, a couple, and the film ends on this sad, dramatic note.

Apparently the producers believed the movie was lacking in comic relief so they hired the team of Stan Laurel and Oliver Hardy to be members of Yegor’s merry men. Hal Roach was engaged to direct their performance. Although rated third slot in the credits, the film appearance of Nance O’Neil as Princess Alexandra was brief. 

For his part in the production, Tibbett was nominated for Best Actor of the year by the Academy, an honor that eventually went to George Arliss for his powerful performance in Disraeli. The Rogue Song was nominated for Best Picture but was edged out by All Quiet on the Western Front. No prints of this picture exist, and The Rogue Song must be considered a “lost film.” It is #9 on the American Film’s list of the Ten Most Wanted Movies. 

THE LADY OF SCANDAL (1930)

aka The High Road

Directory: Sidney A. Franklin — Film length 67 mins. — Black/White — Sound — Rating (1-4): 2 — Produced by/Released by: MGM

CAST

Ruth Chatterton – Elsie Hilary
Basil Rathbone – Edward, Duke of Warrington
Ralph Forbes – Lord John Tylesmore
Nance O’Neil – Lady “Ducky” Trench
Frederick Kerr – Lord Trench
Herbert Bunston – Lord Crayle
Cyril Chadwick – Sir Reginald Welby
Effe Ellsler – Lady Jenny Minster
Robert Bolder – Mr. Hillary
Moon Carol – Alice
Mackenzie Ward – Ernest
Edgar Norton – Morton, the butler

Synopsis:

Dry humor and drawing room wit lie at the core of this comedic undertaking which was adapted by Hans Kraley from Frederick Lonsdale’s play, The High Road. John Teylesmore (Ralph Forbes) is engaged to chanteuse Elsie Hilary (Ruth Chatterton). John’s family is dedicated to the proposition that “entertainers” don’t make good wedding partners, and they attempt to break up the arrangement. The family tries to buy her off. The only one who supports the couple is John’s brother, Duke Edward (Basil Rathbone). Elsie confronts the family and demands to know why she is not acceptable to them. “A difference in social status,” says Reginald Welby. Elsie laughs, “Why not call it by its real name?” She places her lips close to his ear and whispers, “Prejudice!” Stepping back she smiles. 

Duke Edward suggests a postponement of the wedding. Elsie’s father, Mr. Hilary, played by Robert Bolder, is also not in favor of the intended union. He suggests the family approve of the marriage after a waiting period of six months. It is his belief that the couple will have tired of each other by the end of that time.

Three weeks pass. Elsie and Duke Edward have now become an item and are constantly inventing excuses to meet each other on the sly to profess their newfound love. John learns of their trysting, breaks the engagement, and tells Elsie he has accepted an appointment in India. In the meantime, things haven’t been progressing too well for Edward. It appears he has been carrying on with a married woman named Helen. Elsie learns of her rival and tells Edward that the existence of Helen would always stand as a barrier between them. She returns to her first love, the stage. 

Nance O’Neil’s role is a modest one. As Lady” Ducky” Trench, she spends most of her time on the screen criticizing her husband’s affinity for drink. For some strange reason this sent the audiences of that period into gales of laughter. Of course we must keep in mind that these were gentler times, and unsophisticated audiences laughed more readily.

Ruth Chatterton was married in real life to her leading man, Ralph Forbes.

Variety review, following the film’s premiere at the Capitol Theater in New York City, the week of June 13, 1930: 

Devoid of anything scandalous or suggestive with most of the action devoted to conversation at fireside and dinner table locales, the screen version of High Road is unusual in that it should register as worthwhile entertainment at all but the cheapest movie houses. It is a picture that should easily stand up for a week in deluxe houses. There are no love scenes, with the exception of a few moments of mild osculation between the principals, Miss Chatterton and Basil Rathbone. Neither is there anything risqué or suggestive in the dialog. There are no physical encounters, nor insinuations of villainy. The Lady of Scandal is a picture that never lets down in interest . . .

THE FLORODORA GIRL (1930)

aka The Gay Nineties

Director: Harry Beaumont — Film length: 75 mins. — Black/White (with color sequence) — Sound — Rating (1-4): 2-1/2 – Produced by/Released by: MGM

CAST

Marion Davies – Daisy
Lawrence Gray – Jack Vibart
Walter Catlett – De Boer
Louis John Bartels – Hemingway
Ilka Chase – Fanny
Vivian Oakland – Maud
Jed Prouty – Old Man Dell
Claud Allister – Ramblesham
Sam Hardy – Fontaine
Nance O’Neil – Mrs. Vibart
Robert Bolder – Commodore
Maude Turner Gordon – Mrs. Caraway
Jane Keithly – Constance
George Chandler – Georgie Smith
Anita Louise – Vibart child
Mary Jane Irving – Vibart child

Synopsis:

Our story takes place in the early 1900s. Daisy (Marion Davies) is a chorus girl at the Florodora Casino. On this particular evening, she has accepted an invitation to dine with filthy rich and handsome, Jack Vibart (Lawrence Gray). Jack eyes pretty, innocent Daisy with but one thought in mind: seduction. Jack’s mother, Mrs. Vibart (Nance O’Neil), wants her son to marry Constance (Jane Keithly), also filthy rich, to combine their family fortunes. Mrs. Vibart fears that Daisy will upset the apple cart and all of her carefully laid plans will go for naught. Jack assures Mommy he is not serious about Daisy. He merely wants to have “a last fling” before entering the serious state of matrimony. 

Later that week, during a horse and buggy ride, Jack proceeds to set a trap for our unwary heroine. “Daisy,” he says, “let me put you up in your own apartment and then I can drop by whenever I wish. I will pay all of the bills, of course. It won’t cost you one red cent!” Well, needless to say, this went over like the proverbial lead balloon with that sweet innocent child. She did what any self-respecting young lady would do under the circumstances – she slugged Jack – then kicked him out of the buggy.

A few months later, Daisy is attending a ball. Jack’s friend tells Daisy her ex-boyfriend has gambled away all of the family’s money. In order to regain the former status of his family, Jack must marry Constance (filthy rich, remember?), even though he is in love with Daisy. Upon hearing this, Daisy decides to be noble and tells Jack it’s okay if he marries Constance. Jack tells Daisy he is no longer broke. In fact, he has made a big killing selling horseless carriages. “I love you Daisy, he says “and if you’ll have me I’d like to be your husband.” Daisy realizes Jack’s friend has been handing her a line. “Oh Jack,” she purrs, “you sweet thing. You’re all I ever wanted. It was never the money.” Jack sweeps her into his arms, and carries her out of the ballroom and into his automobile at the curb. Mom is sitting in the back seat. Realizing Jack has made his choice, Mrs Vibart is resigned. She greets Daisy as she steps into the vehicle. “Welcome to the family,” she says, “come sit beside me, my dear.”

The film has many songs that will be familiar to the geriatric set. There is a dazzling Technicolor finale featuring a socko song hit, sung by the Florodora Girl’s Sextet:

Tell me, pretty maiden, are there any more at home like you? There are a few, kind sir, but simple girls, and proper too. Then tell me pretty maiden, what these very simple girlies do? Kind sir their moves are perfection, and the opposite of mine!

Footnote: Marion Davies (1897-1961) was bitten by the show bug at an early age. She had her beginnings as a comedic actress on Broadway, graduating to a featured role in the famous Ziegfeld Follies. She was the mistress of publishing magnate and multi-millionaire William Randolph Hearst for over thirty years. When Hearst suffered financial losses, she pawned jewelry worth over a million dollars and gave him the money. Her relationship with this influential figure aided her long and successful career. Hearst died in 1951. Soon after, Marion married Horace Brown, an arrangement that lasted until her death in 1961.

CALL OF THE FLESH (1930)

aka The Singer of Seville

Director: Charles J. Brabin — Film length: 100 mins. — Black/White (with color sequence) — Sound — Rating (1-4): 2 — Produced by/Released by: MGM

CAST

Ramon Navarro – Juan
Dorothy Jordan – Maria
Ernest Torrence – Esteban
Nance O’Neil – Mother Superior
Renee Adoree – Lola
Mathilde Comont – La Rumbarita
Russell Hopton – Enrique
Marie Dressler
John Coton
Dorothy Farnum

Synopsis:

This was the third and final musical made for MGM by Ramon Navarro. He was considered the foremost rival of that torrid performer, Rudolph Valentino. Navarro, in his role as Juan, is a singer of operatic proportions. He performs nightly in a cantina adjacent to a nearby convent while awaiting his big break in show biz. Esteban (Ernest Torrence) is his mentor. He tells Juan he will never be a great performer until he has suffered for his art. 

Juan is smitten by novitiate nun, Maria, (Dorothy Jordan). Blinded by passion and in a lustful frenzy, he kidnaps her from the convent. Nance O’Neil, as the Mother Superior, is in a dramatic scene that just might be the best acting in the movie. She attempts to dissuade Juan from his unholy plan. “For a crime of this magnitude,” she warns him. “You will burn in hell!” Today’s audiences would yawn at such a situation, but hey, this is 1930. The Mother Superior must have been very convincing since Juan realizes his “call of the flesh” simply will not do for the girl of his dreams. He sings loudly and gloriously of his love for Maria, then sets her free. 

Navarro is in fine voice and his histrionic ability is without peer. In one of the big scenes in the picture he dances a red-hot tango with Lola, his ex-lover, played by the adorable Renee Adoree. This was to be Miss Adoree’s last appearance. She died in 1933 from tuberculosis, three years after the completion of the film. She was 35 years old.

Footnote: Ramon Navarro (1899-1968) was a cousin of the beautiful and well-known movie star, Dolores Del Rio. In 1968 a pair of teen-age hustlers beat him to death in his home in the Hollywood Hills. His nude body was disfigured with obscene scrawls and the valuable furnishings in his home were destroyed.

Excerpts from a Variety revue, following the premiere at the Capitol Theater in New York City, the week of September 1, 1930:

While the story is long in getting underway, the critical fan will find that much has been bunched together in the finale. Were it not for Navarro and his leading woman, Dorothy Jordan, as well as other principals, the last few sequences would be so conspicuously ‘hack’ as to spoil the reaction. . . . apart from the script itself, the end brings applause so rare from the hard-boiled type of steady deluxe house fan. . . . acting of Ramon Navarro almost flawless. It is romance, despite a story that becomes almost sadly routine toward the end . . . Navarro’s singing would be more effective were he less generous with his renditions. . . . one sequence in color would have been more convincing in black and white. The rainbow job is distracting because of its poorness.

THE EYES OF THE WORLD (1930)

Director: Henry King — Film length: 78 mins — Black/White — Sound — Rating (1-4): 1-1/2 — Produced by/Released by: Inspiration Pictures/United Artists

CAST

Eulalie Jensen – Mrs. Rutledge
Hugh Huntley – James Rutledge
Myra Hubert – Myra
Florence Roberts – Maid
Una Merkel – Sybil
Nance O’Neil – Myra
John Holland – Aaron King
Fern Andra – Mrs. Taine
Hugh Huntley – James Rutledge
Frederic Burt – Conrad La Grange
Brandon Hurst – Mr. Taine
William Jeffrey – Bryan Oakley

Synopsis:

This movie was made from a book of the same title that was written by Harold Bell Wright in 1914. 

Our heroine, blond squeaky-voiced Una Merkel, plays the part of Sybil Andres. The ravishing Miss Merkel’s enticing performances are still recalled, no doubt, by surviving watery-eyed octogenarians. Aaron (John Holland), the male counterpart in our scenario, is an artist who is commissioned to paint a portrait of Gertrude Taine (Fern Andra). She has her own ideas about the arrangement and keeps a watchful eye on the artist while scheming to add him to her retinue. Her aging millionaire husband (Brandon Hurst) has one foot in the grave and the other on a banana peel, so he poses no threat to her libidinous plans. 

Unbeknownst to Gertrude, Aaron has fallen head-over-heels in love with Sybil, a lissome nymph, after spotting her skinny-dipping in a mountain pool. When Gertrude discovers this, her anger and frustration knows no bounds. She enlists the aid of her dissolute brother, James, thereby setting the stage for the deflowering of Sybil. James is thwarted in his loathsome efforts by Aaron’s timely intervention.

Nance O’Neil expertly plays the role of Myra Willard, disfigured for life by a jealous wife. Unfortunately the close of the film is predictable, and we are faced with the inevitable happy ending. The film is presumed to be “lost.”

Variety review, following the film’s premiere at the Rivoli theater in New York City, August 14, 1930:

 Harold Bell Wright symbolizes clean old-fashioned melodrama on any reading table. The same goes for the adaptation of The Eyes of the World on the screen. It is not “big theater” material but the houses catering to the masses in neighborhood and the sticks, should find money in it. Rabid fans, coming to this from a modern menu, will find it much like a 1919 re-issue, except that this one “Talks!” and has the present day accompanying music and movie.

THE ROYAL BED (1931)

aka The Queen’s Husband

Directed by: Lowell Sherman — Film length 73 mins. — Black/White — Sound — Rating (1-4): 2-1/2 — Produced by/Released by: Radio Pictures

CAST

Lowell Sherman – The King
Nance O’Neil – The Queen
Mary Astor – Princess Anne
Anthony Bushell – Granton
Robert Warwick – Premier Northrup
Alan Roscoe – Birten
Hugh Trevor – Crown Prince
Gilbert Emery – Phipps
J. Carol Naish – Laker
Frederick Burt – Fellman
Desmond Roberts – Major Blent
Lita Chevret – Lady in Waiting
Nancy Lee Blaine – Lady in Waiting

Synopsis:

Truly, there is no reason why all Kings and Queens should not be human beings, even though there is every reason why all human beings should not be Kings and Queens (Louis XI) — This sophistry opens the film. I haven’t figured it out yet—it must be very deep – I’ll get back to you.

Adapted from the stage play, The Queen’s Husband, by Robert E. Sherwood, Lowell Sherman is the star and director of this comedy. He is the King of a mythical North Sea island monarchy, and as such exudes all the charm you’ve come to expect from this fine performer. Sherman manages to make sure you are watching him, no matter how many other actors are in the same room. The King is a lonely man, who would rather play checkers with his footman than govern a kingdom.

The Queen, played by Nance O’Neil, dominates him. Miss O’Neil is perfect for the role. She is imperial, sometimes imperious and always in charge. Her considerable stage experience is apparent on the screen. The Queen is anticipating the marriage of her daughter, Princess Anne, to the Crown Prince. Mary Astor plays this lovely young lady and she is as cute as a button. Her modern day counterpart on the screen could profit much by emulating her excellent diction. The Princess is in love with her father’s secretary, Granton, played by Anthony Bushell. The King is aware of the arrangement – the Queen is not. The Queen takes a short voyage to America and while she is gone the King makes preparations for his daughter to elope with Granton. His plans are upset when revolutionaries attack the palace. In the midst of this excitement, Premier Northrup takes advantage of the confusion. He formulates a plot to depose the King and assume the throne. Meanwhile, the Queen has returned from her trip.

At this point the King realizes he must put his checker playing days behind him and take charge of his kingdom or all will be lost. He saves the day by firing Northrup and appointing the head of the revolutionaries as the new Prime Minister, thus ending the siege on the palace. The King informs his wife that Anne will not be marrying the Crown Prince, but will be taking Granton, the man she loves, as her husband. The Queen is thrilled to pieces by this new, forceful persona the King has adopted, and once again we have our happy ending. 

After viewing this film, I am convinced that the old adage was correct: “All you need to open a mental asylum, is the right kind of people.”

Variety review, following the film’s premiere at the RKO Mayfair in New York City, the week of January 30, 1931:

Lowell Sherman directed this picture, in which he appears as the first featured player. The Royal Bed is a good but lightweight production that needs plenty of support for key runs. If it can get over in any other way, then it’s Sherman’s, or Mary Astor’s following. Too much box office dependence cannot be place upon either one. No dialog writer is mentioned. Director/actor Sherman wrote his own talk, or had a close friend do it for him. Mary Astor is okay as Princess Anne. She plays with some sincerity, looking better in her riding habit than her father. Robert Warwick did a blustering Lord Northrup, quite in that style, and Nance O’Neil was the stern queen always. Anthony Bushell didn’t do badly as the juvenile, while Hugh Trevor made an attractive character role out of the Crown Prince. And Gilbert Emery got a laugh or two through his grimaces.

RESURRECTION (1931)

Director Edwin Carewe — Film length: 73 mins. — Black/White — Sound — Rating (1-4): 2 — Produced by/Released by: Universal

CAST

John Boles – Prince Dmitri Nekhludoff
Lupe Velez – Katusha Maslova
Nance O’Neil – Princess Marya
William Keighley – Major Schoenbloch
Rose Tapley – Princess Sophya
Michael Mark – Simon Kartkinkin
Sylvia Nadina – Eupremia Botchkova
George Irving – First Judge
Edward Cecil – Merchant
Mary Forman – Exile
Grace Cunard – Olga
Dorothy Flood – Princess Hasan

Synopsis:

Set in 1876, the story is based upon yet another epic by Count Leo Tolstoy (Voskraeseniye). It was composed and written during his moral propaganda phase, rather than during the period of the more imaginative works that established his fame. This is a tale of a Russian peasant girl, Katusha, played by the alluring Mexican actress, Lupe Velez. Prince Dmitri (John Boles) meets, greets and seduces her. She is ignored by her friends and cast into the street by her family. Within a short time, with no means to make a living, she becomes a prostitute. Dmitri shows no remorse. He goes his merry way, laughing, drinking and taking advantage of any unsuspecting woman unfortunate enough to cross his path. 

Katusha is accused of being an accomplice to murder. She is arrested and brought to trial. As luck would have it, Dmitri is selected as one of the jurors (it could only happen in Hollywood). Dmitri votes “Guilty,” secure in the belief that Katusha will get off with just a slight reprimand. He is sadly mistaken. She is found guilty by the jury and sentenced to a labor camp in Siberia. Filled with remorse, Dmitri follows her. He undergoes a conversion and resolves to make amends by sharing Katusha’s punishment. Nance O’Neil is a strong figure in the movie. As the Princess Marya she befriends Katusha and becomes her confidant. The dramatic byplay between these two seasoned performers is a joy to behold.

Variety review, following the film’s premiere at the Roxy in New York City, the week of January 23, 1931:

It’s treated with a heavy hand, bluntly and with deep somberness. Tearful almost throughout, but when Lupe Velez makes her way out of that Russian courtroom and to jail, customer’s memories will linger. The music offers little to recall. Recording mostly okay. Those scenic shots are on outdoor terrain showing long, thin lines of Russian exiles marching to Siberia. The terrain, however, looks strangely familiar . . . The fame that is the books and the two names, Boles and Velez should offer a chance for moderate box office possibilities. Exploitation otherwise limited. Looks like a good bet that way for the arty sectors and intellectuals. Also Jewish neighborhoods where old Russian shenanigans can be remembered . . . John Boles does a good attempt at acting. Even when he sighs he offers an improvement to make him a consideration for other dramatic roles after this one. Miss Velez proves that with proper handling she can show superior dramatic strength. She offers a standout-contrasting role between a simple, happy peasant girl and a weazened, [sic] immoral woman . . .

CIMARRON (1931)

Director: Wesley Ruggles — Film length: 124 minutes — Black/White — Sound  — Rating (1-4): 3-1/2 — Produced by/Released by: RKO Radio Pictures/Radio Pictures

CAST

Richard Dix – Yancey Cravat
Irene Dunne – Sabra Cravat
Estelle Taylor – Dixie Lee
Nance O’Neil – Felice Venable
William Collier Jr. – The Kid
Roscoe Ates – Jess Rickey
George E. Stone – Sol Levy
Robert McWade – Louie Hefner
Edna May Oliver – Mrs. Tracy Wyatt
Frank Darien – Mr. Bixby
Eugene Jackson – Isaiah
Dolores Brown – Ruby Big Elk Eldest
Gloria Vonic – Ruby Big Elk Younger
Otto Hoffman – Murch Rankin
William Orlamond – Grat Gotch
Frank Beal – Louis Venable
Nancy Dover – Donna Cravat “Eldest”
Helen Parrish – Donna Cravat ‘Younger”
Junior Johnson – Cim “Younger”
Douglas Scott – Cim “Youngest”
Reggie Streeter – Yancey Jr. “Youngest”
Reginald Scott – Yancey Jr. “Younger”
Ann Lee – Aunt Cassandra
Tyrone Brereton – Dabney Venable
Nell Craig – Arminta Greenwood
Bob McKenzie – Pat Leary
Stanley Fields – Lon Yountis
Henry Roquemore – Jouett Goforth
Donald Dillaway – Cim “Eldest”
Bob Kortman – Killer
Frank O’Connor
William Janney – Worker
Frederick Burt
Dennis O’Keefe
William P. Burt

Synopsis:

In 1889, more than two million acres of land in Oklahoma was the scene of the greatest land rush in history. The movie starts off with a bang and more extras than you will ever see again. And why not? At a salary of two or three dollars each per day they were very affordable. These scenes are probably the best in the picture. Yancey Cravat, adventurer, has a desirable tract of land he has previously scouted. Richard “tall in the saddle” Dix, assumes the role of Yancey in the film and a better choice could not be imagined. Handsome, and with a booming voice that shakes the mountains, he epitomizes the motion picture hero. Dixie Lee, a woman with a shady background, tricks Yancey out of his land. Yancey and his wife Sabra (Irene Dunne) leave civilization, as we know it, to start a newspaper in the newly erected town of Osage. This is accomplished in spite of the objections raised by Sabra’s mother, Felice Venable, played by Nance O’Neil. The parse and soft modulation of Miss O’Neil’s lines are apparent. Other actors read lines, she lives them. It is a pity her entire performance in the film only lasted for four minutes

In Osage, Yance vows to bring to justice the murderer of the former editor. Everyone knows the identity of the guilty party, but everyone is afraid to do anything about it. Everybody, that is, except Yance. While conducting a gospel meeting in the gambling hall he confronts the bully and murderer, Murch Rankin. They both draw – Murch dies.

Once again the wanderlust overtakes our hero, and in 1893 he leaves his wife to take part in the Cherokee Strip land rush. Five years pass and Yancey is not seen again until the conclusion of the Spanish-American War. During this period Sabra has been running the newspaper. Upon his return Yance learns that Dixie Lee (Estelle Taylor) is being tried for being “a public nuisance.” This was the euphemism of the day for “town hooker.” To the dismay of Sabra, Yancey defends Dixie and secures her acquittal.

After an unsuccessful run for Governor of Oklahoma, the wanderlust seizes Yancey and he is off for parts unknown. Time passes (twenty-two years to be precise) and Sabra has received no word from Yancey. She is now a Congresswoman, an important personage in the district. After a dinner given in her honor, a tour of the Oklahoma oil fields is scheduled. There is an explosion in one of the wells. Sabra finds Yancey near death after saving the lives of his crew. 

In the final scene of the film we see a statue being erected to commemorate all of Oklahoma’s brave pioneers. The statue is none other than . . . Our Yancy. . . And there wasn’t a dry eye in the house.

Cimarron won the Oscar for Best Picture of 1931. Richard Dix and Irene Dunne were nominated for Best Actor and Best Actress. In spite of the favorable publicity, the production lost money. I first saw this movie as a lad of twelve and Richard Dix was my childhood hero. 

Says Variety: 

The Globe, New York City, twice daily, opens Jan 26, 1931, $1.50 top.

An elegant example of super film making and a big money picture. This is a spectacular Western away from all of the others. It holds action, sentiment, sympathy, thrills and comedy – and its 100% clean. Radio Pictures has a corker in Cimarron . . .

Two outstanders [sic] in the playing, Richard Dix and Edna May Oliver. Each surprisingly excellent. Dix, with his straight character playing of a westerner and an Oklahoma pioneer who dies before his statue is unveiled in that state, while Miss Oliver is nothing less than exquisite in her eccentric comedy role of a Colonial dame in the wilds.. . . The land rush starts the action, men on horses and in wagons racing to capture some part of the two million acres released by the Government to the first comers after the boom of a canon at noon. It is doubtful if a red-blooded western such as this, in another period in American history, has held as many big diverting scenes as Cimarron. Women will go for it along with the men, and the kids, too. Radio has made a great start with Cimarron for 1931.

THE GOOD BAD GIRL (1931)

Director: Roy William Neill — Film length: 67 mins. — Black/White — Sound — Rating (1-4): 2 — Produced by/Released by: Columbia Pictures

CAST

Mae Clarke – Marcia
James Hall – Bob Henderson
Marie Prevost – Trixie
Robert Ellis – Tyler
Nance O’Neil – Mrs. Henderson
Edmund Breese – Mr. Henderson
James Donlan – Donovan
Paul Porcasi – Pagano
Paul Fix – Roach
Wheeler Oakman – Moreland
George Berliner – Spike

Synopsis:

Marcia (Mae Clarke), a gangster’s girlfriend, tells her jailed boy friend she is dumping him for another man. Bob Henderson (James Hall), the guy she is running off with, is a decent chap who also happens to be very well off. He marries her with no knowledge of her past life. The new couple has a baby, and for a time they enjoy an idyllic and uneventful existence. Their blissful state is shattered when they learn that Marcia’s ex-boyfriend, Tyler (Robert Ellis), has broken out of prison. With malice in mind, he begins searching for the happy couple. 

Bob’s parents, played by Nance O’Neil and Edmund Breese, are incensed when they discover Marcia’s lurid past. They force her to give up the child and leave her husband. Bob goes to Paris to secure a divorce, while Marcia becomes a singer in a local nightclub. Tyler has tracked down Marcia and is about to shoot her. The detective, who has been following Tyler since his escape from prison, shoots first and kills the escaped convict. Bob returns from Paris (he didn’t get the divorce) having decided to forgive his wife for her past indiscretions. Once again, mother, father and child are united and we have the desirable happy ending.

Trivia: Although a fine actress in her own right, Mae Clarke is probably best known for her role in The Public Enemy (1931).  In this film, she has the dubious distinction of being the first major movie star to have a grapefruit pushed into her face—said action committed by her co-star, James Cagney.  Ms. Clarke appeared in more than ninety films during her lifetime. 

The production was based on a book by the same name by Winifred Van Duzer (1926).

Says Variety in their review: 

At the RKO Globe, New York City, week of May 14, 1931. 

A good enough gangster talker in its making and playing considering it has no name to draw otherwise for the customary male trade The Good Bad Girl may pull the women more so than other mob pictures because of its ‘should a woman tell’ and East Lynne angles. . . . Mae Clarke plays the girl in a very serious if not altogether accepted dramatic style. Miss Clarke doesn’t do badly but she seems to be under the wraps of still coaching from the sidelines. Her attempt at joy, elation, or satisfaction at the fade out when the husband she thought gone forever clasps her in his arms, with only her face exposed to the audience may have meant joy, elation, or a suppressed ha ha that the picture was over. Marie Prevost as the girl friend fixer is in something of a comedy role, made possible by Paul Porcasi as the ponderous nite [sic] club owner, a member of the mob and always hungry for the food that’s not on his diet. Miss Provost is no lightweight either in this film. Columbia slipped in this gang picture to be with the rush. It may go over better than the majority of them, especially with the women if the play for the femme business is strong enough in the pre-advance work.

TRANSGRESSON (1931)

Director: Herbert Brenon — Film length: 70 minutes — Black/White — Sound — Rating (1-4): 2 — Produced by/Released by: RKO

CAST

Kay Francis – Elsie Maury
Paul Cavenagh – Robert Maury
Ricardo Cortez – Don Arturo
Nance O’Neil – Honora Maury
John St. Polis – Serafin
Adrienne d’Ambricourt – Julie
Cissy Fitzgerald – Countess Longueval
Doris Lloyd – Paula Vrain
Agustino Borgato – Carlos

Synopsis:

Robert Maury (Paul Cavanagh) is away on an extended business trip to Bombay, India. He has left behind his wife, Elsie (Kay Francis), who is bored to death and decides to sojourn in Paris. Here she meets the rich, charming and handsome Don Arturo (Ricardo Cortez), who invites her to his home in Spain. Elsie’s husband has been absent for a year and is about to return home. Although tempted, she declines Don Arturo’s offer. Arturo has been deeply smitten with Elsie and tries to persuade her friend, Paula Vrain, to coax Elsie to visit him in Spain. Elsie says “No go.” Robert returns, unannounced, and is told by the maid that Elsie is out dancing with Arturo. More than a little ticked off, Robert tracks them down. He appears on the scene at the moment the couple engages in a torrid embrace on the dance floor. Tight-lipped and grim, Robert sticks Elsie’s hat on her head, and drags her home. When they arrive, he apologizes for his rudeness in an attempt to win her over. She will have none of it and rebuffs him.

Robert leaves for a business appointment in London the following day and Elsie takes off for Spain. Upon her arrival, Arturo covers her with kisses. Elsie responds by declaring her undying love for him. The following day she writes to Robert, telling him she is in love with the Spaniard and wants a divorce. Arturo seals the letter and dispatches it. At this moment in our drama, enter Carlos, the “enraged father” who informs them that his daughter and her baby have died in childbirth. The child was fathered by Arturo. Carlos shoots Arturo, killing him. Elsie now realizes how foolish she was to get involved with a womanizer like Don Arturo. After giving a statement to the police, she hops a plane for London, hoping to intercept the letter before her husband receives it. 

When she arrives home, Robert tells her he loves her more than life itself, and can’t they try to make a go of it? Robert’s sister, Honora (Nance O’Neil), has always resented Elsie. She takes her brother aside and informs him of her suspicions concerning Elsie’s affair with the Spaniard. Robert pushes her away in disbelief. Honora hands him Elsie’s letter, but he refuses to read it. He gives it to Elsie. She breaks the seal on the envelope and discovers it contains only a blank page. She now realizes Don Arturo destroyed her original letter because he did not want her as a permanent partner. Husband and wife kiss and make up. What more is there to say?                     

Kay Francis, tall, dark and lovely, was one of Hollywood’s major leading ladies in the 1930s. Married five times, she left a major portion of her million-dollar estate to a Seeing Eye foundation.

Ricardo Cortez immigrated to America with his family. Paramount was on the lookout for a successor to Rudolph Valentino, and after changing the name of the Austrian-born Jacob Krantz they groomed him for the role. During his lifetime career he appeared in 110 motion pictures.

Transgression was based on the novel The Next Corner, by Kate Jordan (1921).

Says Variety in their review: 

At the Mayfair in New York City, week of June 12, 1931.

Maybe husbands are different nowadays. The femmes should know. If they will accept the exceptional altruism of the husband in this picture, as he unconcernedly forgives his wife a serious indiscretion with another man, the film may do moderately. That’s unlikely, though, as males themselves will take it with utter skepticism. On the whole the dialog is apt although recording isn’t altogether keen. Brenon’s direction helps get in some interesting cameo shots, mostly scenic. Cast is average as a group except for a tendency to underact [sic] an unusual fault. As the husband, Paul Cavanagh lacked dramatic warmth. Kay Francis, aside from other things, was also given opportunity in situations and dialog. But even she seemed held down. Ricardo Cortez shows the lone tendency to overdo and doesn’t fit the role anyway. Nance O’Neil is splendid in a small part.

A WOMAN OF EXPERIENCE (1931)

aka Registered Woman

Director: Harry Joe Brown — Film length: 71 minutes — Black/White — Sound — Rating (1-4): 1-1/2 — Produced by/Released by: RKO Pathe Films

CAST

Helen Twelvetrees – Elsa
William Bakewell – Karl
Lew Cody – Capt. Otto Von Lichstein
Zazu Pitts – Kate
H. B. Warner – Major Schmidt
C. Henry Gordon – Capt. Mueller
Franklin Pangborn – Hans
Nance O’Neil – Countess Runyi
George Fawcett – General
Edward Earle – Capt. Kurt Von Hausen
Alfred Hickman – Colonel
William H. Tooker – Colonel
Bertha Mann – Red Cross Nurse
Max Walzman – Brunck

Synopsis:

The action takes place during the early, hectic days of World War I. Elsa (Helen Twelvetrees) is our heroine and a lady with a shady past. She wants to assist the Austrian war effort and volunteers to work in a Viennese hospital. Because of her reputation and lack of the proper credentials, she is turned away. She is, however, offered a position in the Secret Service as a spy, an occupation more in keeping with her life style. Her assignment is to determine if a certain Army captain is a double agent. She makes an appointment to meet Von Lichstein (Lew Cody), the suspected spy.

In the meantime, she is introduced to a handsome naval officer Karl (William Bakewell), who is about to embark on a dangerous submarine mission. There is a mutual attraction and they fall madly in love. Elsa’s superiors are annoyed with her involvement and reprimand her. “Knock off the romance,” they tell her, “and pay attention to business.” Elsa realizes she must give up Karl for his own good. After he leaves on his mission, Elsa pens him a “Dear Karl” letter telling him she is breaking it off.

Some time later after night-clubbing with Von Lichstein, she discovers he is, indeed, a spy. Elsa attempts to detain him until she can call the authorities. They struggle for possession of a pistol and Elsa is seriously wounded. Enter the Austrian Secret Service. Von Lichstein escapes and is pursued by the Secret Service. They discover his hiding place and kill him. A month later, Karl visits Elsa in her home. He has been decorated and shows his medal to Elsa. She is very proud. Karl informs his mother, Countess Runyi (Nance O’Neil), he is going to marry Elsa.

The countess is against the marriage. She wants Elsa to tell Karl she was a spy. Katie (Zazu Pitts) steps forward and informs the Countess that Elsa is a heroine in her own right, and has received a commendation from the army. Unconvinced, the Countess attempts to persuade Karl not to wed, but he is adamant. He marries Elsa, even though the doctors tell him she is dying, and has only six months to live.

This is the last picture with Nance O’Neil and her husband, Alfred Hickman, in the same cast. Hickman died of a cerebral hemorrhage on April 9, 1931 – the film was released the following July. During their motion picture careers the couple appeared in ten films.

A Woman of Experience was based on the play The Registered Woman, by John Farrow (father of Mia).

Variety reviewed the film thusly: 

At the Mayfair, New York City, week of July 8th, 1931.

Mild narrative with a hackneyed central situation kills off chances for this RKO-Pathe release, A Woman of Experience, by itself. If any can be procured it will have to come from the cast of several good names, with Helen Twelvetrees on top. Whosoever thought this material was surefire went wrong, but may have protected the box office a bit with an excellent company containing fairly well known picture names. Nothing much to the playing. Zazu Pitts and Lew Cody are best, with Miss Pitts in for many laughs. William Bakewell as the juve has a too sappy role to receive the credit perhaps due him for handling it as conservatively as he does. Miss Twelvetrees here is just another prostie pressed into the Austrian secret service because of her well-known free and easy ways, to land an Austrian officer-spy who is also a chaser. Any slight twist to the spy stuff at the start isn’t enough to stand off the familiarity of the punchless big spot depended upon for the closing where it goes floppo instead, because they see it coming, through knowing the symptoms from the other talkers ahead. Good production points and direction helps what little it can in view of the paucity of action. But the story itself is a deadweight.

THEIR MAD MOMENT (1931)

Director: Hamilton MacFadden/Chandler Sprague — Film length: 55 mins. — Black/White — Sound — Rating (1-4): 1-1/2 — Produced by/Released by: USA

CAST

Warner Baxter – Esteban Cristera
Dorothy Mackaill – Emily Stanley
Zazu Pitts – Miss Dibbs
Nance O’Neil – Grand Mere
Lawrence Grant – Sir Harry Congers
Leon Janney – Narcio
John St. Polis – Hotel Manager
Nella Walker – Suzanne Stanley
Mary Doran – Stancia
Wilson Benge

Synopsis:

Dorothy Mackaill, former Ziegfeld Follies beauty, is the star of the film and one of the few reasons to see the movie. The action takes place in Spain. Dorothy (Emily Stanley) is engaged to the very stuffy Sir Harry Congers (Lawrence Grant). As often happens, she is in love with another man. The object of Emily’s affection is the Basque peasant, Esteban Cristera (Warner Baxter). With the wedding due to take place in a very short time, Emily decides a fling would be very much in order. She hops into her little two-seater and takes off for Esteban’s mountain retreat. On the way her car hits a pothole and is wrecked. Emily is injured and taken to Esteban’s home. 

While recuperating, she is nursed by Esteban’s grandmother (Nance O’Neil). The Grand Mere tells her of the trials and tribulations endured by the impoverished Basque women. Upon receiving this unpleasant revelation Emily has second thoughts – perhaps a marriage to a rich, titled Englishman isn’t such a bad idea after all? 

In the final moments of our drama Emily is preparing to leave when Esteban makes a startling declaration. He is not a poor Basque. He is a rich one – a millionaire in fact. After hearing this surprising but welcome news, and viewing the Spaniard’s luxurious new yacht, Emily decides that Esteban is the man of her dreams.

Their Mad Moment is based on the book Basquerie, by Eleanor Mercein (1927).

Dorothy Mackaill was born in England. Blonde, blue-eyed and beautiful, she sought a career in the London theater at an early age. While in Paris she met a New York choreographer who arranged a tryout for her at the Ziegfeld Follies in New York City. After a successful run as a Follies star, Dorothy began her Hollywood movie career in 1920 in the film, Torchy’s Millions. She chalked up a total of 65 films before retiring to Hawaii to nurse her ailing mother. During her lifetime she was married and divorced three times.

Warner Baxter had a thirty-two year career in motion pictures. He appeared in 107 films. His big break came in 1929 with the role of the “Cisco Kid” in the film, In Old Arizona. Director Raoul Walsh was slated for the part, but had to bow out after losing an eye in an automobile accident. Baxter won an academy award for his role in the film, phony Mexican accent notwithstanding. His income as an actor in 1936 was $284,000, topping everyone else in his field.

SECRET SERVICE (1931)

Director: J. Walter Ruben — Film length: 67 mins. — Black/White — Sound —Rating (1-4): 2-1/2 — Produced by/Released by: RKO Radio Pictures

CAST

Richard Dix – Capt. Lewis Dumont
Shirley Grey – Edith Varney
William Post Jr. – Lt. Harry Dumont
Gavin Gordon – Arlesford
Fred Warren – Gen. Ulysses S. Grant
Nance O’Neil – Mrs. Varney
Virginia Sale – Miss Kittridge
Florence Lake – Caroline Mitford
Clarence Muse – Jonas Polk
Harold Kinney – Howard Varney
Eugene Jackson – Israel
Frederick Burton – Gen. Randolph
Carl Gerard – Lt. Foray
Gertrude Howard – Martha
George Reed – Uncredited

Synopsis:

The film is based on an 1896 play by William Gillette. Richard Dix (Lewis Dumont) has the role of a captain in the Union army. He is given a dishonorable discharge and is thrown out of the army – but not really – it is merely a ploy to allow Dumont to spy on the Confederates. The captain’s brother, Lieutenant Harry Dumont, has also been cashiered to enable him to assist Lewis in his assignment. Their mission: to infiltrate the enemy’s lines and determine military strength in an area the Union plans to attack. 

Once behind the lines garbed as Confederate officers, they encounter Harold Varney, a mortally wounded rebel soldier. His final wish is to die at his home in Richmond. Dix agrees to help him get there. When they arrive at the house, he meets the soldier’s sister, Edith Varney (Shirley Grey), who is also the daughter of a Confederate general. Lewis falls hard. His feelings are reciprocated by Edith who is unaware he is a Union spy. 

Lewis leaves the Varney home to continue his assignment. His luck runs out and within a short time he is captured by an enemy patrol. His true identity is exposed. Thrown into a rebel prison he meets his fate willingly, secure in the knowledge that he has made this sacrifice for the good of the Union. In the final prison scene we see him taking farewell of his sweetheart. Holding her hand he smiles and says, “Until we meet again,” fade out and curtain.

Nance O’Neil has a minor role as Mrs. Varney, the mother of Edith and Harold. Robert Warwick played the leading role in the 1919 silent version of this film.

Says Variety in their review: 

At the Hippodrome, New York City. Week of December 12, 1931.

Richard Dix does a good character in Secret Service. It is all the picture has going for it. If the story had been stronger and developed more powerfully, it would have been Dix’s best since Cimarron. Otherwise anemic throughout it’s this stars strong characterization that holds the interest from the outset. Love interest is wove around the mutual cardiac action that sets in when Dix, posing as a southern army officer, carries a dying Confederate soldier to his home in Richmond, meeting the lad’s sister in that way. He virtually moves in with the family. Circumstances make it appear that Dix is a northern spy, but the girl refuse to believe this until the very last when he is caught. Meanwhile she has fallen so hard wartime enmity does not figure. The ending is an odd one and probably will not please the average patron.

WESTWARD PASSAGE (1932)

Director: Robert Milton — Film length: 73 mins. — Black/White — Sound — Rating (1-4): 2 — Produced by/Released by: Pathe/Radio

CAST

Ann Harding – Olivia Van Tyne
Laurence Olivier – Nick Allen
Zazu Pitts – Mrs. Truesdale
Juliette Compton – Henrietta
Irving Pichel – Harry Ottendorf
Florence Roberts – Mrs. Ottendorf
Nance O’Neil – Mrs. Van Tyne
Bonita Granville – Olivia Allen
Emmet King – Henry Ottendorf
Ethel Griffies – Lady Caverly
Don Alvarado – Count DeLatorie
Edgar Kennedy – Elmer
Florence Lake – Elmer’s wife
Julie Haydon – Bridesmaid
Herman Bing – Otto Hoopengarner
Lee Phelps – Bartender
Joyce Compton – Lillie
Irene Purcell – Diane Von Stael
Al Thompson – Chauffeur

Synopsis:

Westward Passage is adapted from a story by Margaret Ayer Barnes (1931). Our hero, Nick Allen (Laurence Olivier), is a poor but talented author. Try as he might, he cannot write a successful novel. On his wedding night with Olivia (Ann Harding), he persuades Mrs. Truesdale (Zasu Pitts) to open up her inn, even though it is closed for the season. Their marriage continues to be a financial struggle and they argue constantly. When Olivia tells Nick he is going to be a father he is overjoyed, for the moment. When little Olivia (Bonita Granville) arrives, he begins to have second thoughts. Nick feels that the responsibility of having a family is affecting his writing. One evening he decides to takes Olivia dancing to relieve the tension that exists between them. She meets and dances with the engaging and affluent Harry Ottendorf (Irving Pichel). Olivia continues to dance with him throughout the evening until Nick becomes very jealous. He leaves the party and returns to the house. When Olivia comes home, they argue. The next evening, Nick goes drinking with his buddies and bumps into Harry. Harry tells him Olivia is sad, and Nick is to blame for her unhappiness. This doesn’t sit too well with Nick. After another big argument the couple agrees to disagree and they divorce.

Olivia and Harry Ottendorf are now married and celebrating their sixth anniversary in Lucerne, Switzerland. While shopping at a bookstore Olivia bumps into Nick, who is now a successful author. He gives Olivia a copy of his latest book. After dining together, Nick tells Olivia he is still in love with her. He tells her he is boarding a ship the following day to return to the states. By chance, or design, they find themselves on the same boat. Nick meets little Olivia and tells her that he is her father. That night in the ship’s restaurant, Olivia dances with Count DeLatorie (Don Alvarado). Nick becomes jealous. When they leave the boat, Nick persuades Olivia to spend the night in Mrs. Truesdale’s inn, hoping it will rekindle that old flame in Olivia’s heart. Afterwards, Nick drives Olivia to his farm, where they continue their discussion. They now realize they are deeply in love and can’t keep out of each other’s arms. Olivia tells Nick she is going to Reno to divorce Harry. She promises to marry him when she returns.

This was Laurence Olivier’s first picture in America, and nearly his last. It lost money. Olivier returned to England to make films and did not return to Hollywood until 1939 when he appeared as Heathcliff in Wuthering Heights. The picture was a blockbuster and Olivier was well on his way to becoming one of Hollywood’s top leading men. This was Bonita Granville’s first film. She was nine years old and at the beginning of a long and successful movie career as an actress, producer and director. Nance O’Neil’s appearance in the production is so brief it’s almost non-existent.

Says the Variety review: 

At the Mayfair, New York City, week of June 2, 1932.

Another poor picture for Ann Harding. Actionless [sic] divorce theme splitting the bridal couple, but getting them together again despite the girl, meanwhile, having married the faithful friend. Story covers a period of years and is unsuccessfully draped with thin coat of sophisticism [sic]. Nothing much happens within the 73 minutes the picture consumes and those sufficiently interested will peg the finish. Miss Harding is not able to elicit any great degree of sympathy for the girl who weds her headstrong and eccentric author, leaves him to become the wife of a staid and chivalrous admirer . . . Lawrence Olivier, opposite Miss Harding, gives a fair performance behind a “pretty” appearance, which won’t endear him to male viewers. A lot of things can be blamed on this script but Olivier’s penchant to consistently appear the actor is not one of them. It will be a factor that will count against him. The repressed Miss Harding but magnifies this characteristic of her leading man . . . Locale switches around a bit from ostensibly New York to Europe and shipboard with Zasu Pitts and Juliette Compton doing mild bits, and the whereabouts of Nance O’Neil is a mystery. Backgrounds and sets are tasteful. Indeed, Westward Passage doesn’t look like a cheap picture. But it hasn’t the verve in story or support players which the complacent Miss Harding needs to set her off to advantage and can only make the climb for this actress that much more difficult.

OKAY, AMERICA (1932)

aka The Penalty of Fame

Director: Tay Garnett — Film length: 80 mins. — Black/White — Sound — Rating (1-4): 1 — Produced by/Released by: Universal

CAST

Lew Ayres – Larry Wayne
Maureen O’Sullivan – Sheila Barton
Louis Calhern – Mileaway Rosso
Walter Catlett – City Editor
Alan Dinehart – Jones
Edward Arnold – Alsotto
Rollo Lloyd – Joe Morton
Margaret Lindsay – Ruth Drake
Wallis Clark – Drake
Nance O’Neil – Mrs. Drake
Frederick Burton – President
Frank Sheridan – Commissioner
Marjorie Gateson – Mrs. Wright
Henry Armetta – Sam
George Dow Clark – Obituary Editor
Emerson Tracy – Jerry Robbins
Ruth Lyons – Phyllis Martin
Berton Churchill – Jacob Baron
Frank Darien – O’Toole
Gilbert Emery – Secretary Drake
Onslow Stevens
James Flavin
Neely Edwards
Caryl Lincoln
Akim Tamiroff
Alexander Hall
Virginia Howell
Willard Robertson
William Daly
Also: The Three Cheers, The Bluettes, and Everett Hoagland’s Band

Synopsis:

Larry Wayne (Lew Ayres) is a ruthless newspaper columnist. His motto: “The way to become famous fast, is to throw a brick at someone who is already famous.” He involves himself in the kidnap/ransom case of debutante Ruth Drake (Margaret Lindsay), the daughter of a prominent Washington politician. That eminent doyenne of stage and screen Nance O’Neil, in the role of Mrs. Drake, pleads with Larry to arrange her daughter’s release. When the kidnappers demand a ransom of $100,000 in cash, Wayne offers to be the go-between. He enlists the aid of Alsotto (Edward Arnold), a big time gangster. They contact the kidnappers and arrange for the release of the politician’s daughter. 

I might add that Larry’s motives are personal, not humanitarian. Wayne has never done a favor for anyone in his entire life without demanding a quid pro quo in return. It is Larry’s personal belief that his involvement will advance his stock as a prominent journalist and lead to fame and fortune. He is – oh so wrong! In the final scene of the film he double-crosses Alsotto, which brings about Larry’s premature demise. 

The role Ayres plays is an obvious theft of the persona of Walter Winchell, arguably the best-known columnist/broadcaster from the thirties through the fifties. Maureen O’Sullivan plays the part of Larry’s girlfriend, Sheila Barton. Unfortunately, she does not exhibit the magic she brought to her later performances, a lifetime total of over sixty films.

Variety reviewed the film thusly: 

Paramount, New York City, week commencing September 9, 1932.

A lightweight picture. Okay America, is a sluggish proceeding at best. McGuire, the author, sought to cram in everything, including the Lindbergh kidnapping – in this case it’s a cabinet member’s daughter – and the Capone’s mob’s bargaining with the President of the United States, along with the usual underworld and mob stuff. It’s too much for one picture. What almost every filmmaker has lost sight of, in this columnist’s cycle, seems to have been the necessity to concisely characterize this new journalistic upstart. Either he’s a snooping buttinsky whom everybody resents, or there should be some script compromise for his nosiness, for benefit of box office sympathy. In an endeavor to too literally adhere to what is believed to be the authentic, real-life columnist’s existence, he becomes a vacillating, chameleon-like character of many hues and moods. Not much disguise of the Winchell thing, with the “Okay America” salutation and WEF the station in lieu of the NBC’S major link, WEAF. Once this story gets under way, it’s all rather fantastic. Ayres hands out buck tips like a drunken sailor and is slipped hand and typewritten messages surreptitiously by cigarette girls, hat checkers and other stooges. His bucking a tough mob, plus the development of this theme, which takes him into their stronghold and up against the Big Fellow (an obvious Capone reference), plus the bartering for the girl’s release, after $100,000 has been paid over, is one of those Hollwoodish [sic] scenario nightmares. Maureen O’Sullivan as the mooning, wide-eyed secretary is rather sappy; offsetting the several good impressions she has given of herself in recent releases. Ayres is vapid and with the negative impression of what should be the two principal sympathetic characters, goes an inverse stance to the rest of it. The film at the Paramount on Broadway needs all the stage show strength possible.

FALSE FACES (1932)

aka What Price Beauty?

Director: Lowell Sherman — Film length: 80 mins. — Black/White — Sound — Rating: (1-4) 1-1/2 — Produced by KBS Film Corp/World Wide Pictures, Inc.

CAST

Lowell Sherman – Dr. Silas Benton
Peggy Shannon – Elsie Fryer
Lila Lee – Georgia Rand
Berton Churchill – Dr. J. B. Parker
David Landau – Con McCullogh
Harold Waldridge – Jimmy
Geneve Mitchell – Florence Day
Oscar Apfel – Fineberg
Miriam Seegar – Lottie Nation
Joyce Compton – Dottie Nation
Nance O’Neil – Mrs. Finn
Edward Martindel – Jonathan Day
Purnell Pratt – Jefferson Howe
Eddie “Rochester” Anderson
Ken Maynard
Clay Clement

Synopsis:

As Dr. Silas Benton, Lowell Sherman is a sardonic, skirt-chasing sawbones, who works in a big city charity hospital. His infatuation with nurse Georgia Rand (Lila Lee) is the talk of the doctor’s lounge. Benton is kicked out of the hospital when the chief surgeon discovers he has accepted an illegal fifty-dollar fee for an operation on a patient (I know, I know – just remember this is 1932).

After moving to Chicago, the doc sets himself up as a plastic surgeon, a specialty in which he is neither qualified nor experienced. He hires a private detective with connections as his publicity agent. In no time at all Benton’s office has standing room only. He interviews several (attractive) young ladies for the position of private secretary. One of the applicants is pretty Elsie Fryer (Peggy Shannon), who flirts, smokes, drinks, is twenty-five and single. In short, all the qualifications Benton is looking for in an employee. He hires her on the spot. Elsie is eye-candy for the discriminating male and within a month she is upgraded to the position of his personal paramour. 

Brenton continues to enjoy the good life until he meets Mrs. Finn (Nance O’Neil), a wealthy dowager who has bowed legs and wants them straightened. Nance O’Neil was fifty-eight years old when she took on this role that was to be her swan song in the movies. Her appearance is brief, but she makes the most of it. The lines she speaks contain all the subtle nuances of an accomplished stage actress. 

Dr Benton operates and botches the surgery. Poor Mrs. Finn must have both legs amputated to save her life. Benton is put on trial for malpractice and chooses to act as his own attorney. His eloquent and tearful summation to the jury bears fruit. He is acquitted. 

In the final courtroom scene, Benton approaches Mrs. Finn in her wheelchair. Bending over her he asks, “Mrs. Finn, is there anything I can do for you? Anything at all?” With a baleful glance she replies, “Yes, doctor, you can give me back my legs!” With this said Mrs. Finn removes a revolver from under her robe and shoots him dead — a fitting end for a scoundrel and charlatan.

Peggy Shannon met an untimely end. Returning from a fishing trip in 1941, her husband discovered the body of the former Ziegfeld Follies beauty sitting at the kitchen table in their North Hollywood apartment. Her death was attributed to acute alcoholism. On her tombstone were chiseled the words, “That Red-Headed girl, Peggy Shannon.” Nineteen days later her husband took his own life at the same kitchen table. He left a note declaring his love for Peggy.

Says Variety: 

At the New York Paramount, week of November 24, 1932.

The writers and Lowell Sherman, as combination director and star, have tried to follow the career of a noted plastic surgeon’s life and some incidents of the doc’s practice, but the result isn’t very happy. Story isn’t there and the cast presents no assurance of drawing power. Fault lies in the basic idea, although production details can be figured among the drawbacks. Chief irritant is the one-man show status through Sherman’s doubling as star and director. Finished product is less of a picture than a monologue. Sherman plants himself as a grafting charlatan of the medical profession and treats the character in that light all the way. . . Lila Lee and Peggy Shannon look good as the principal members of the doctor’s harem, but neither is ever permitted to step out and do any trouping on her own.

 

NANCE O’NEIL FILMOGRAPHY

1. The Count of Monte Cristo (1913)

2. The Kreutzer Sonata (1915) aka Sonata

3. Princess Romanoff (1915)

4. A Woman’s Past (1915)

5. Souls in Bondage (1916)

6. The Witch (1916)

7. The Flames of Johannis (1916) aka The Fires of Johannis aka The Fires of St. John

8. The Toilers (1916) aka Those who Toil

9. The Iron Woman (1916)

10. Greed (1917)

11. The Seventh Sin (1917)

12. Mrs, Balfame (1917)

13. Hedda Gabler (1917)

14. The Final Payment (1917)

15. The Fall of the Romanoffs (1918)

16. The Mad Woman (1919)

17. His Glorious Night (1929) aka Breath of Scandal

18. Ladies of Leisure (1930)

19. The Rogue Song (1930)

20. The Lady of Scandal (1930) aka The High Road

21. The Florodora Girl (1930) aka The Gay Nineties

22. Call of the Flesh (1930) aka The Singer of Seville

23. The Eyes of the World (1930)

24. The Royal Bed (1931) aka The Queen’s Husband

25. Resurrection (1931)

26. Cimarron (1931)

27. The Good Bad Girl (1931)

28. Transgression (1931)

29. A Woman of Experience (1931) aka Registered Woman

30. Their Mad Moment (1931)

31. Secret Service (1931)

32. Westward Passage (1932)

33. Okay, America (1932) aka The Penalty of Fame

34. False Faces (1932) aka What Price Beauty?

 

REFERENCES AND BIBLIOGRAPHY

All Movie Guide 21 March 2004 <http://www.allmovie.com/>.

American Film Institute 21 March 2004 <http://www.afi.com/>.

Billy Rose Theater Collection (Lincoln Center)

Blum, Daniel. Pictorial History of the American Theater. NY: Greenberg, 1951

Cimarron (VHS)

Count of Monte Cristo, The (VHS)

E!Online 21 March 2004 <http://www.eonline.com/>. 

False Faces (VHS)

Great Stars of the American Stage: A Pictorial Record

  1900-1951. NY: Greenberg, 1952.

Haydn, Hiram and Edmund Fuller. Thesaurus of Book Digests. NY: Avenel Book, 1978

Internet Movie Data Base 21 March 2004 <http://www.imdb.com/>.

Ladies of Leisure (VHS)

Lilly Library, Indiana

Movies.com 21 March 2004 <http://www.movies.com>.

Movies Mirror Index 22 March 2004 <http://www.san.beck.org/MM/MMIndex.html>.

MSN Entertainment 21 March 2004 

<http://entertainment.msn.com/>.

New York Times Film Reviews, Vol. 1 – 1913-1931, Vol. 2 – 1932-1938. NY: Arno Publ., 1970

Nowell-Smith, Geoffey, ed. Oxford History of World Cinema. Oxford UP, 1997

Reelinsider.com

Royal Bed, The (VHS)

Silent Era: The Silent Film Website 21 March 2004 <http://www.silentera.com/>. 

TVGuide.com 21 March 2004 <http://www.tvguide.com/>. 

Variety Film Reviews. NY: Garland Publ. Inc., 1983

Winter, William. American Stage of Today, The. NY: P. F. Collier & Sons, 1910

Winter, William. Vagrant Memories. NY: P. F. Collier & Sons, 1910

Woman of Experience, A (VHS)

 

Works Cited

Curry, Judy P. “A Closer Look at Actress Nance 

O’Neil.” Lizzie Borden Quarterly II.3 (Summer 1994): 4-5.

Rebello, Leonard. Lizzie Borden:  Past and Present. 

Al-Zach Press, 1999.

Williams, Joyce G., J. Eric Smithburn, and Jeanne M. Peterson. Lizzie Borden: A Case Book of 

Family and Crime in the 1890s. Bloomington, 

IN: T.I.S. Publications Division, 1980.

 

 

William Schley-Ulrich

Author Info

William Schley-Ulrich

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