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* T A Y L O R O L O G Y *
* A Continuing Exploration of the Life and Death of William Desmond Taylor *
* *
* Issue 88 -- April 2000 Editor: Bruce Long bruce@asu.edu *
* TAYLOROLOGY may be freely distributed *
*****************************************************************************
CONTENTS OF THIS ISSUE:
Some Errors in A&E's "City Confidential"
Herb Howe's Last Article about Mabel Normand
May Rupp's Accusation
Taylor Fighting Censorship
Flashes of Neva Gerber
More Gossip from Capt. Billy's Whiz Bang
D. W. Griffith Comments on the Taylor Case
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What is TAYLOROLOGY?
TAYLOROLOGY is a newsletter focusing on the life and death of William Desmond
Taylor, a top Paramount film director in early Hollywood who was shot to
death on February 1, 1922. His unsolved murder was one of Hollywood's major
scandals. This newsletter will deal with: (a) The facts of Taylor's life;
(b) The facts and rumors of Taylor's murder; (c) The impact of the Taylor
murder on Hollywood and the nation; (d) Taylor's associates and the Hollywood
silent film industry in which Taylor worked. Primary emphasis will be given
toward reprinting, referencing and analyzing source material, and sifting it
for accuracy.
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The 2-hour episode of A&E's "City Confidential" series, titled "Old
Hollywood: Silent Stars, Deadly Secrets," was broadcast on March 19, 2000,
and included interviews with Sidney Kirkpatrick, Laurie Jacobson, Betty
Lasky, Bruce Long, Charles Higham, Raul Moreno, Marc Wanamaker, Ellen Strain,
Gloria Stuart, Jennifer Niven, Duncan St. James, and Johnny Grant. The
program also included several fascinating clips from the 1914 film "The
Kiss", with William Desmond Taylor and Margaret Gibson. Although fans of the
Taylor case will find portions of the A&E program to be padded and
unsatisfactory, those new to the case may find it to be an interesting
introduction, and it will hopefully lead to more substantial documentary
efforts. In any event, it is a much better and more accurate program than
the 1998 "Mysteries & Scandals" episode broadcast on "E!" cable. The A&E
video is available for $19.95 plus shipping at http://store.aetv.com (Search
for Desmond Taylor.) On a scale of 1 to 10, we rate the A&E documentary with
a 5.
The episode of The History Channel's "Perfect Crimes?" series, which
included a half-hour segment on "The Case of William Desmond Taylor," was
broadcast on March 22, 2000, and included interviews with Laurie Jacobson,
Bruce Long, Charles Higham, John Christin, A. C. Lyles, Betty Fussell, and
Ray Long. Despite having only about 1/4 the length of the A&E program, this
program was much more accurate and interesting, and included never-before-
published photos of Sands, a few seconds of Taylor from "The Quakeress," a
computerized animation of the bullet path, and Ray Long's discussion of
Margaret Gibson. This program was the best documentary on the Taylor case we
have yet seen, and on a scale of 1 to 10 we rate it with an 8. Unfortunately,
the video is only available in the "Perfect Crimes" 4-tape set, available for
$59.95 plus shipping, also at http://store.aetv.com (Search for Desmond
Taylor.)
A more detailed criticism of the A&E program appears below. (The History
Channel program had only a few errors.)
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Some Errors in A&E's "City Confidential"
Although the A&E documentary "Old Hollywood: Silent Stars, Deadly Secrets"
avoided many common errors regarding the Taylor case and Hollywood history,
it still had quite a few errors. The following are some of the errors we
noticed:
1. It was stated that Cecil B. De Mille and Jesse Lasky brought the
movie industry to Hollywood. But when they arrived in 1913 there were
already several dozen film companies active in Southern California, and
Universal already had a studio in Hollywood itself.
2. In the biographical portion devoted to Taylor's history, no mention
was made of his wife and daughter.
3. It was stated that "Captain Alvarez" was the most popular film of
1914. Although it was indeed a popular and profitable film, there were many
films in 1914 which were far more popular, including "The Spoilers," "Tess of
the Storm Country," "A Fool There Was," "The Squaw Man," etc.
4. It was stated that Mabel Normand was under contract to Paramount.
On the contrary, she never, ever worked for Paramount. At the time Paramount
was formed, she was working for Sennett, and the only other film companies
she worked for after that time were Goldwyn and Roach.
5. It was stated that Taylor was the head of a formal organization
dedicated to fighting drug dealing in Hollywood. Although Taylor had met
with a Federal drug agent in 1920 and discussed drug use in Hollywood, there
are no contemporary reports that Taylor was head of any formal anti-drug
organization. Taylor was head of the Motion Picture Director's Association
and also head of an anti-censorship organization. But there was no formal
anti-drug organization whatsoever in Hollywood at that time. All the rumors
that Taylor was fighting drug gangs around the time of his death portrayed
Taylor as fighting a lone battle against them--not as the leader of an anti-
drug organization.
6. Edward Sands was described as a "fellow soldier," implying that
Taylor and Sands were acquaintances from Taylor's army days. But Taylor had
been in the British Army, and Sands had been in the U.S. Navy and U.S. Army.
Also, Sands was wanted for desertion under his real name of Edward Snyder, so
he would have kept hidden his previous military service. He certainly did
not "throw himself on Taylor's mercy" in order to get a job with Taylor.
7. It was stated that Arbuckle's fateful party was celebrating a new
$3,000,000 contract he had signed with Paramount. No, Arbuckle's contract
had been signed nine months earlier, in January 1921. This party was just a
holiday party for the Labor Day weekend.
8. The report, that Wyoming cowboys had shot up a screen showing an
Arbuckle film, was later proven to have been a fake publicity item which
never had occurred. See Oderman's book on Arbuckle.
9. It was stated that the L.A.P.D. was involved in Arbuckle's arrest.
No, the incident took place in San Francisco, and that is where Arbuckle
voluntarily turned himself in.
10. Kirkpatrick stated that on the morning of February 1, 1922, Taylor
had gone swimming at the Y.M.C.A. We have seen no contemporary items
indicating Taylor ever went to the Y.M.C.A. In Kirkpatrick's book he states
that Taylor was swimming at the Los Angeles Athletic Club that morning. That
version is far more probable, as Taylor was indeed a member of the L.A.
Athletic Club.
11. It was stated that February 1, 1922 was a very typical studio day
for Taylor. On the contrary, Taylor only spent a very short time at the
studio, since he was between pictures. He spent most of the day attending to
personal business elsewhere (banking, shopping, conferring with his tax
advisor, etc.).
12. Mabel Normand was described as an "unexpected visitor" to Taylor
that evening. On the contrary, Taylor fully expected her, since he had
telephoned and asked that she come over to pick up the books he had purchased
for her.
13. It is stated that Mabel Normand was searching for letters at
Taylor's home when the police arrived on the morning of February 2, 1922.
But in reality she did not return to Taylor's home until February 4, two days
later. She was not there on the morning of February 2.
14. The "woman's nightgown" was not found in Taylor's closet, it was in
a dresser drawer.
15. It is stated that Mary Miles Minter appeared at the coroner's
inquest. No, Minter was in seclusion in her home on Hobart, and did not
appear at the inquest.
16. It is stated that the studios did little to help Normand in the
aftermath of the murder, and that she was considered expendable. On the
contrary, the Sennett studio where she worked did all they could to help her,
but the amount of negative press and rumors was just overwhelming.
17. It is stated as fact that the nightgown found in Taylor's home was
monogrammed with the initials "M.M.M.", and belonged to Minter. The
strongest evidence is that the nightgown contained no initials and did not
belong to her.
18. It is stated that Sands was found dead of "natural causes" in
Connecticut. The person in Connecticut, whom many people believe was not
Sands, died from a self-inflicted gunshot wound, not "natural causes."
19. It is stated that Shelby never was an official suspect. On the
contrary, L.A.P.D. detective Jesse Winn later testified that Shelby had been
considered a suspect right from the start, and the 1926 and 1937
investigations centered on Shelby as the prime suspect.
20. It is stated that the newspapers of that time would not mention
rumors of homosexuality, but there were indeed such rumors mentioned at the
time regarding the Taylor case.
21. It is stated that the Taylor murder also killed the film careers of
Mabel Normand and Mary Miles Minter. The murder certainly had a negative
impact on both careers, but it didn't kill either career. Mabel continued
making films for nearly another five years. Mary Miles Minter made four more
films for Paramount, which finished her 3-year contract. She was not rehired
by Paramount, but she did receive offers from other film producers, which she
declined.
21. It is stated that the Taylor murder led to the Hays Code. But Hays
had been hired before Taylor was killed, and the formal Hays Code did not
take effect until the 1930's. Any effect which the Taylor murder had on the
Hays code was minimal.
22. John Gilbert did not have the squeaky voice of a schoolgirl.
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Herb Howe's Last Article about Mabel Normand
No contemporary fan magazine writer was more sympathetic to Mabel Normand
than Herbert Howe. The first article he wrote about her was "The Diaries of
Mabel Normand," published in 1921 and reprinted in MABEL NORMAND: A SOURCE
BOOK TO HER LIFE AND FILMS, by William Thomas Sherman. Several of Howe's
brief contemporary items on Mabel were reprinted in TAYLOROLOGY #10. The
following article is evidently the last article Howe wrote about Mabel, and
was published in 1931.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
April 1931
Herbert Howe
NEW MOVIE MAGAZINE
Hollywood's Hall of Fame: Mabel Normand
...Probably the writer's definition of the greatest personality would be
the one who supplies the best copy, the most interesting from a story angle,
be he saint or devil, mental giant or movie magazine writer.
That which issues from the mouth of man is but a fraction of his
personal expression. A person may be fascinating and yet give a punk
interview. "Interview" is a misnomer, anyhow. Usually it is just a
bleating.
...Although in the past I have used the word "soul" many times like a
sloven writer, I confess I do not know what it is. I seem to have a clearer
idea of "heart." Perhaps the two are synonymous. Certainly greatness of
heart seems to me to be the greatest ingredient for lasting charm. That is
why Mabel Normand is first with me.
I had heard a lot about Mabel before meeting her. Everyone always heard
a lot about Mabel. I did not think I would care much for her. A practical
joker, according to stories, she liked to shock in burlesque fashion.
Typically Irish, I was told. Impulsive, wild-tongued. In fact, from the
hearsay picture, I gathered that Mabel was a hoyden, and from a hoyden I will
run as from battle.
One afternoon I went with Adela Rogers St. Johns to Mahlon Hamilton's
for cocktails before attending the premiere of "The Four Horsemen of the
Apocalypse." That was years before Hollywood was scandalously headlined.
There were a number of people in the drawing-room, among them several stars
but no one particularly exciting. Suddenly I had the feeling that an arc
lamp was flooding the room. I turned toward the door and saw a girl dressed
in black, a large black hat shadowing her face, a string of tiny pearls
around her throat. In her arm she carried several books which she evidently
was returning. She came into the room with the shy step of a country cousin,
and I noted she was pigeon-toed. Several people spoke to her but I did not
get her name and no one took the trouble to introduce me. They didn't need
to; I naturally gravitated. Almost at once I was immersed in the eloquence
of dark eyes. I do not know whether I thought her beautiful. I was too far
sunk for trivial observations.
I must have had a gaspy look, for she gave me a sort of resuscitating
smile and asked me if I had read the books which she placed on a table, and
did I like Stephen Leacock.
I said I was sure I would--if given a chance.
"Let me send you this one," she said. "And there is another I think you
will like. Will you give me your name and address?" I gave.
It would be impossible for me to say how long we talked. I think
Einstein's theory of relativity might apply, but as to that I am not clear.
Anyhow I had the feeling of having known her much longer than time. She left
as shyly as she had come, giving me an amused smile and offering her hand.
(Curious how little details bob up in memory: I recall her telling me later
that people were always giving her gloves which she detested and never wore.)
As soon as she had gone I galloped to Adela: "Who is she?--I'm crazy--"
"Don't be so original," booed the unpitying Adela. "Everyone is crazy
about her who ever knew her. Don't tell me you haven't recognized her! She
is Mabel Normand."
Well, as Texas Guinan once exclaimed when similarly shocked, "I didn't
know whether to commit suicide or sing 'Baby Shoes.'"
Incredible as it may seem, I was not at that time a fan for Mabel's
pictures. And I am one of the rare souls who never recognizes a star off the
screen.
I went on to the premiere of "The Four Horsemen" but I couldn't seem to
keep my mind on the picture. It seemed disjointed. I was the only reviewer
who failed to hail Rex Ingram a genius, and so Rex engaged me to do his
publicity and we became very good friends.
Thus I came under Mabel Normand's fatal spell which started operating
immediately to my benefit.
A few days later the Leacock books arrived with several stories marked.
M. Jomier, the favorite French instructor of Hollywood, was in my
apartment that afternoon. We had started to talk French but soon lapsed into
an English discussion of Mabel. I found he was among those obsessed like
myself. We were talking of Mabel when the telephone rang.
"Do you know who this is?" asked the voice.
"Yes," I said.
"Why, you big liar!"
"Thank you for the books," I said.
"How did you know my voice?--Listen will you do something for me?"
"Everything."
"Not that. I don't know you well enough. But will you do my publicity?
They are raising the devil with me down here at the studio."
"Everything but that," I laughed. "I know you too well for that--"
I meant that I knew her reputation for loathing publicity. She ran from
it like a frightened child from a willow switch. It was a bitter fate that
crushed her with headlines later. When now I think of her terrific aversion
I wonder if it was not a premonition. She would elude interviewers with the
agility of a quarried rabbit. When caught by one she would invariably
beguile him into babbling of himself, and he would leave with only a
rapturous impression. This was not design on her part. She had a voracious
interest in people. She would rather hear a life story than tell one.
Naturally sympathetic, her instinct was for liking everyone. I recall one
interviewer calling in the throes of a flu-cold. Mabel made him take a hot
foot-bath, gave him a toddy, bundled him up in one of her fur coats and sent
him home in the care of her chauffeur.
My friendship with Mabel was extraordinary so far as I am concerned, but
there are countless others who can testify as I do. We know she had friends
everywhere, but we did not realize how many until she died. Messages came
from all parts of the world. A wealthy woman in New York, prominent in
society here and abroad, wrote that she had arranged for a mass to be said
every month, perpetually, for the eternal rest of Mabel. I visited an
Italian orphanage where the children offer their daily prayers for her. Next
to me at her funeral a boy in threadbare clothes sobbed convulsively
throughout the service. No one seemed to know who he was. No one, for that
matter, knows how many partook of "the great heart of Mabel." I gained a
faint idea when I met her Father Confessor. I quote him when I say, "The
great heart of Mabel."
Mabel was endowed with intuition amounting to clairvoyance. Through her
own suffering sensitiveness she understood people.
On my return from a European trip six or seven years ago, she said, "I
bet you miss the good wines over there."
I confessed I did.
"Listen, my dear," she said. "You must drink none of this stuff over
here. God knows I am not a preacher or prohibitionist. My friends are
welcome to drink as they choose. But I have taken a pledge."
"Appreciating Mabel's humor, I laughed.
"Are you a Catholic?" she asked suddenly.
"No," I said, "but I went to school with Catholic boys."
"I am a Catholic," laughed Mabel, "but don't hold that against the
church. There are good and bad in all religions. God love them all! I am
not bigoted. But there is one priest who is a miracle-worker. He saved my
life, God love him. I wish you would let me introduce you to Father Chiappa,
a very old Italian priest. You like Italians, don't you? Well, Father
Chaippa is so saintly that when you meet him you will feel you are entering
heaven. Lord knows whether you will ever feel that way hereafter, so you'd
better meet him."
"I would like to."
"Really?" She seemed astonished.
"Really."
"He won't lecture you or ask you to take the pledge. He will just talk
to you and make you love him. You can tell him all your sins and he will
never spill the beans."
"How old is he?"
"Seventy-two."
"He wouldn't have time to hear them all."
Mabel laughed: "Will you go tomorrow?"
"Tomorrow."
"I don't believe you a bit. I shall call you."
The next day we went to Loyola to see Father Chiappa. Mabel entered
first, "to prepare him," she said, "as a sudden shock might kill him."
She came out throwing kisses at the old priest who protested with
upraised hands, "Mabel! Mabel!"
I entered the little office and talked with Father Chiappa, a man of
Christ-like gentleness over whom the earth no longer had power. When he died
a few months before Mabel, I felt I had lost an unfailing friend. Such is
the instant power of fine personality.
Mabel was waiting for me in her car when I came out. She could scarcely
restrain her excitement and the devil was in her eyes.
"Did you like him?" she demanded.
"Of course I liked him."
"What did he say? Did he scold you? I hope he did. He didn't ask for
money, now did he?"
"Certainly not."
"But you gave him some. I can tell. Now didn't you?"
"A little for your Italian orphanage."
"Why, I'll never speak to you again. How much did you give him?"
I told her.
"Well, of all the--! I shall never forgive you as long as I live. You
can't afford it. I am surprised Father Chaippa would take it."
"He didn't. I left it on the prie-dieu. I happened to pry some of your
secrets out of him. I learned you had built a wing on that orphans' home."
"It isn't true," said Mabel. "But tell me, what happened?"
"I took the pledge for three months."
"You are not telling the truth! What did you do?"
"I knelt down--"
"Let me see your knees!" Mabel bent over and regarded the knees of my
trousers on which there were circles of dust. "Well, of all--! Wait until
Mamie hears this!"
Mabel bounced up and down on the seat, rapped on the window for the
chauffeur to drive faster and squealed with unseemly glee.
Mamie was Mabel's old white-haired Irish maid, a devout Catholic, whose
devotion to Mabel was only matched by Mabel's love for her over a period of
many years.
"Mamie! Mamie!" screamed Mabel, throwing her arms around her maid when
we had entered the house. "Mamie, Herb has been to Father Chaippa and taken
the pledge. Can you beat that? Mamie, have you a drink to give him? He
deserves one."
"Shame on you, Mabel," said Mamie. "An' God bless you Mishter Howe."
"Well, anyhow, I shall buy you a lunch at my Italian friend's across the
street," said Mabel.
We crossed the street to a restaurant where Mabel was received by the
proprietor with genuflections such as are given the Madonna.
"This Italian is a wonderful fellow," said Mabel in an awed whisper.
"I gave him five hundred dollars when he was going broke and, do you know, he
paid me back!"
I had never seen Mabel in all her variety as she was during that lunch
of five hours. She told me most of her life story. Mabel was the perfect
clown. She could have you in tears of one sort or another all the time.
I wonder what became of all those diaries into which Mabel scribbled her
poems of joy and sorrow. I read some of them. They had the beauty of things
not done for recognition. She could only show me a few. I think she must
have destroyed them. The beauty of her inner self abashed her, she was so
conscious of her failings. And yet I know no one of such beautiful
accomplishments.
I could fill the whole booksholf with anecdotes of Mabel. I do not want
to speak of the world's misjudgment of her. It was the pain that killed her.
Father Chaippa could have written her true story. He belonged to the Society
of Jesus.
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May Rupp's Accusation
The flare-up of the Taylor murder which resulted in the largest number of
"arrests" resulted from the statements made by May Rupp, as indicated by the
following clippings.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 1, 1922
LOS ANGELES TIMES
Protect Woman in Death Case
Uniformed officers were detailed to guard the home of Mrs. John Rupp,
1836 1/2 West Washington Street, last night when she appealed for protection
from members of a gang whom she accused yesterday of complicity in the slaying
of William Desmond Taylor, film director.
Following her recital of an amazing story concerning her asserted
knowledge of the murder, in which she named six men now in jail, she stated
that other members of the gang as yet uncaught would attempt to kill her.
While the six arrested at her home early yesterday morning by Wilshire
police were being held incommunicado at Central Police Station, Mrs. Rupp made
a detailed statement of her information in the District Attorney's office to
Detective Sergeants Edward King and Wynn. The statement was taken by a
shorthand reporter.
After checking certain phases of her story the officers stated that "It
looked good and provided perhaps the most important lead uncovered to date."
The suspects, who are being held for the time being on suspicion of
robbery, are asserted by her to have bootlegged liquor to Mr. Taylor, that two
in particular informed her on the day before the murder that they had
quarreled with the director over his refusal to pay them for a delivery, and
in her presence threatened to kill him. She named one of the men as the
probable slayer...
The six men held in jail will be questioned singly today. At a late hour
last night none of the men had been grilled by police. One outstanding detail
of the charges made by Mrs. Rupp against them is that she confided to another
woman on February 2 that she believed she knew who had killed Mr. Taylor.
This woman yesterday confirmed the report that Mrs. Rupp had made this remark.
The six men held incomunicado at Central station are William East, 36
years old; Walter Kirby, 23, John Herkey, 25; Ray Lynch, 26; George Calvert,
25, and Harry Amorheim, 27. They were arrested at Mrs. Rupp's home on West
Washington Street, where, she stated, she served as their housekeeper.
Mrs. Rupp's story, if it is authentic, has provided the investigators for
the first time with a motive for the slaying of William Desmond Taylor, a
crime of a most mysterious character which has aroused interest in two
continents.
Her story is that of "a woman scorned," relating that one of the men now
held prisoner and with whom she had been on very friendly terms, had thrown
her aside for another woman. The men, she said, have been in hiding since the
day Mr. Taylor's body was discovered.
The men, she asserted, had sold several consignments of liquor to Mr.
Taylor, which had been represented to him as bonded liquor. The last
consignment proved to be only bootleg liquor which Mr. Taylor is said to have
refused to accept, this act of his having aroused the ire of illicit dealers.
Mrs. Rupp declared she became cognizant of their activities and possible
knowledge of the murder when one night two of the men returned to her home,
where they were residing also, and entered into an altercation, during which
she said she heard of a vengeance plot to kill somebody.
Later, she added, these two men declared the person previously mentioned
had double-crossed them, following which statement, she continued, the plan to
kill him was told to her.
Mrs. Rupp said she accused them of killing Mr. Taylor, following the
murder, and was told:
"My -----, don't mention that."
"The Taylor murder mystery is solved if Mrs. Rupp is telling the truth,"
Detective Sergeant Herman Cline, commander of the newly created police
homicide squad, declared last night...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 1, 1922
SACRAMENTO BEE
Los Angeles--...Mrs. Rupp, who is ill and in bed, is guarded by the
police at her home. The detectives said they had previous acquaintance with
her, Sergeant Baldridge declaring she was "an eccentric" and had once
attempted suicide after a quarrel with a sweetheart.
The officers said that in investigating her story they were taking into
account their previous knowledge of her as well as the possibility she might
be actuated by a motive of jealousy.
A short time before Taylor was slain, according to the police
re-statement of Mrs. Rupp's story, two of the six men returned to her home,
and told her:
"He double-crossed us; wouldn't pay for the booze we brought him. We'll
get the -----. We're going to kill him."
The name of the director was not spoken, however, it was stated.
Mrs. Rupp said she dismissed the threat from her mind until the day after
the murder. Then, she said, while she and the two men were at dinner, she
suddenly cried out to one of them:
"You are the man who killed Taylor!"
"He turned perfectly white and sagged in his chair," Mrs. Rupp was
quoted. "Then he said: 'Good God! Don't say that again! Don't ever mention
that again!'"
"I never did," Mrs. Rup was said to have continued, "but during the next
two weeks, one man would frequently come running into the house and hide in
his room. Once he said to me: 'The bulls are after me! Help me hide!'"
Mrs. Rupp was said to have given the police the name of an alleged
bootlegger from whom the six men were reported to have obtained the liquor
were charged with having sold. The officers were said to be searching for
this man.
"The morning after the murder," Mrs. Rupp was quoted, "I said to my
landlady, 'I know who killed Taylor.'"
Mrs. Edith Spitzer, 1819 South Normandie Avenue, who owns the house where
Mrs. Rupp lived, was said by the police to have confirmed this statement. The
officers declared this corroboration proved Mrs. Rupp had not "manufactured"
her story recently...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 1, 1922
HARTFORD COURANT
Los Angeles--...Two days before the shooting of Taylor, the police
declare she informed them, Kirby and Calvert uttered threats against the film
director for "injuring their business." The two, she said, were extremely
nervous on the night of February 1, when Taylor was killed, and were away from
the place during the early evening. Both stayed up all night.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 2, 1922
SAN FRANCISCO CHRONICLE
Los Angeles--...A new arrest in the William D. Taylor murder
investigation is imminent as the result of information which confirms certain
phases relating to the arrest of six men Tuesday morning.
The new suspect is said to be a motion picture actor of some standing and
to have been the confidante of several clever criminals, two of whom were
arrested several months ago by Federal agents.
The six men held in the city jail on suspicion of robbery, who are
asserted by Mrs. John Rupp to be members of a bootlegging gang which quarreled
with the film director, were grilled by detectives today.
George Calvert, also known as Rodney Calvert, alleged to be one of a band
of bootleggers that supplied Roscoe Arbuckle with liquor, was named by Mrs.
Rupp as the man she says threatened in her presence to kill Taylor.
The result of the questioning of the six men arrested in Mrs. Rupp's
apartment was not divulged, but it was rumored that important disclosures were
made and that one of the men was on the verge of "breaking."
The new arrest predicted concerns an individual mentioned by Mrs. Rupp in
her statement as an associate of the men in custody. She did not state his
connection with the case clearly, but confidential information seems to
indicate that he is in possession of the facts of the slaying...
The statement made under oath today by Mrs. Rupp was 10,000 words in
length and mentioned the names of several prominent motion picture actors,
some whose names have been brought out in the investigation of Taylor's
murder.
Her statement also revealed that Mrs. Rupp had attempted suicide
following a brutal beating which she declared was given her by certain members
of the gang. Throughout her interview with the detectives, all of which was
recorded by a shorthand reporter, she referred to the "poison" which she had
taken, of the remarks made by some of the men now under arrest, whom she said
had exclaimed, "Let her die," when they learned of her condition, and of the
threats of death of prevent her from "squealing."
In declaring Calvert was the man who had threatened to take Taylor's
life, the woman said he was enraged and alarmed by the film director's threat
to break up his illicit liquor traffic because Calvert had sent him synthetic
whisky represented to be bonded liquor.
Since the men were arrested, none but officials have access to them.
Mrs. Rupp's house at 1836 1/2 West Washington Street has been under police
guard. Mrs. Rupp is ill. She says the men tried to asphyxiate her to keep
her from telling her story to the authorities.
More than twenty-four hours have elapsed since Mrs. Rupp first told her
story, and although all the resources of the police and Sheriff's office have
been used to test it, the story stands intact in every material detail.
Mrs. Rupp's statement is the first of the "confessions" to really impress
the investigators. She admits informing the police because she wants revenge
on one of the men, a sweetheart, she says "threw her down," but to prove she
did not make up the story on the spur of the moment, has sent the detectives
to a woman who substantiated her statement that Mrs. Rupp told her the day
after the murder, that she knew who killed Taylor.
According to Mrs. Rupp's statement, the six men, including two who came
from Chicago some time ago, operated a bootlegging and narcotic peddling trade
among the Hollywood motion picture folk. Arbuckle was one of their customers,
Mrs. Rupp said. Taylor had bought liquor from the men, but their usual source
of supply being shut off, they sent him moonshine and said it was the usual
bonded goods. The woman says Calvert is wanted in Chicago for "a terrible
crime."
Taylor detected the fraud immediately and not only refused to pay
Calvert, but threatened to break up his trade, Mrs. Rupp declared. It was
this threat that caused Calvert to say he would kill Taylor.
She says on the night of the murder Calvert and another of the men were
away from the house in the evening and after returning stayed up all night.
She accused Calvert of the murder, she said, and he became pale and told her
"never to mention that again."
The companions of Calvert are booked as William East, laborer; Walter
Kirby, studio property man; John Herkey, sheet metal worker, and Harry
Amorheim (probably Arnheim), chauffeur. Calvert said he was a gas fitter.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 2, 1922
ARIZONA REPUBLICAN
Los Angeles--...Mrs. Rupp, who is said to be known also as Mrs. May
Lynch...stated that after the murder, when she accused one of the men of it,
he beat her severely and warned her not to mention the matter again.
It was the treatment she received from the men that finally resulted in
her giving information against them to the police...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 2, 1922
NEW YORK NEWS
Los Angeles--...Mrs. Rupp is also known as May Lynch, and she has been in
trouble with the police on more than one occasion because of her association
with drug peddlers. She recently quarreled with Harry Lynch, one of the men
under arrest, and her story directly implicates him in the Taylor mystery. He
has denied to the police knowing anything of the murder, though he admits
knowing Taylor, and he has offered an alibi which the police are now examining
closely.
The Rupp woman's story is that Taylor became inflamed with anger over the
poor quality of the liquor which the bootleggers had supplied him with a few
days before he was killed. He called one of the gang on the telephone, she
says, and denounced him and the rest of the crew, in unmeasured terms,
swearing he would put an end to their traffic in drugs, of which he was aware,
because they had double-crossed him on his liquor supply.
Two film beauties, one at least closely identified with Taylor, were
customers of the dope peddlers, Mrs. Rupp says, and Taylor knew this. He had
tried in vain to break this woman of the habit and had often vowed to take
drastic measures to stop the traffic. But his words only threatened to
crystalize into action when he was convinced he himself was the victim of the
gang's duplicity in their bootlegging operations.
Knowing him to be a man of his word and with powerful influences, the
gang, Mrs. Rupp says, held a conference in her house after he had denounced
them over the telephone. She overheard some of the conversation which ensued,
she says. Two of them, whom she names, declared that something must be done
to stop Taylor form taking action.
One of the gang proposed taking back the shipment of hootch and
substituting good liquor, but the leader of the gang, Mrs. Rupp says, was
opposed to this as too expensive a way of settling the trouble....
Mrs. Rupp told the police that the same crew of bootleggers supplied
Roscoe (Fatty) Arbuckle with liquors, which were such a feature of his
Hollywood entertainments and performed similar services for other screen
favorites of both sexes. Any drug or narcotic desired was supplied by them at
fancy prices, she says...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 2, 1922
SEATTLE STAR
Los Angeles--Ramifications of the bootlegging industry extending into the
realm of the motion picture profession were uncovered today with the
institution of a search by detectives for a well known screen actor named by
Mrs. John Rupp in connection with the murder of William D. Taylor
...The bootlegging of liquor and drugs was not the only business
conducted by the gang now held incommunicado at the central station, the
informant intimated.
"Any job wanted could be arranged through this actor," was the way Mrs.
Rupp expressed it.
Detective Sergeant Cline said today that he believed this actor, knowing
all the secrets of the underworld gangsters, and their contact with the film
world, would be able to give the police the facts of the "movie murder."
Detectives were trying to locate him. It was believed he would be found
before night.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 2, 1922
ST. LOUIS GLOBE-DEMOCRAT
Los Angeles--...The organization of bootleggers is the same that supplied
Fatty Arbuckle with liquor, according to Mrs. Rupp. She also named two of the
leading motion picture actresses on the west coast, as regular customers of
the bootleggers.
Mrs. Rupp declared that the agents made regular trips to several studios
which she named. Deliveries were made one day and collections another,
according to her statement.
She said once in their presence:
"I know who killed Taylor. It was ----- -----," naming one of the men.
Her half-jesting remark brought a storm of oaths and commands for her to
keep quiet from all of the men, she says.
Later she heard the two she suspected discussing her. They were saying
that they had better get her out of the way before she told something.
Mrs. Rupp, who is also known as May Lynch, quarreled with Harry Lynch,
one of the men taken in the raid, and charged with robbery.
Despondent, she drank poison and was in a serious condition at her home
when the two men she suspects of the Taylor murder came in. She declares in
her statement that the men disconnected a rubber hose that fed a gas heater,
turned on the gas and held the hose against her face, hoping to asphyxiate
her. Before the succeeded, a police ambulance arrived and she was taken to
the Receiving Hospital, where police surgeons saved her life.
Mrs. Rupp also stated the suspects, alarmed at what they feared she would
tell, planned to get out of Los Angeles on a freight train. The men she had
been housing tried to take her victrola and sell it to give them a stake on
which to leave the city.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 2, 1922
CHICAGO HERALD-EXAMINER
Los Angeles--...Back of the slaying of William Desmond Taylor was more
than a mere row over bootleg whisky, according to an amplified story told
detectives today by Mrs. John Rupp, otherwise known as Mrs. Lynch.
Mr. Taylor had been angered, she said, by receiving poor quality liquor
from his bootleggers, who she points out as his murderers, and the fact that a
woman friend, dear to his heart, had become seriously ill as a result of
drinking some of the stuff.
Mrs. Rupp today told the police the tongue-lashing Mr. Taylor had given
the bootleggers had been primarily based upon the illness of this woman--an
actress, though not a star of the first magnitude. Her name has been
mentioned on a number of occasions since the director's death, in connection
with the case, and for a considerable time Mr. Taylor was known to have been
in love with her.
It seems that but a short time before his death, if Mrs. Rupp's story is
to be credited, this actress and a friend were at Mr. Taylor's home and while
there drank considerable portions of the stock said to have been obtained from
two of the men now in jail.
The next day both were very ill drom drinking this liquor and Mr. Taylor,
calling the bootleggers on the telephone, ordered them to come to his house.
When they arrived he is said not only to have refused to pay for the stock but
to have charged them with responsibility for his friends' illness.
The manner in which Mrs. Rupp told this to the police convinces the
officers that a part of her story, at least, is true. She said she heard the
men discussing this phase of the case and had overheard the name of the woman.
It was a name unfamiliar to her and she recalled it only when the officers had
repeated to her the names of all the stars and near-stars who have been
mentioned in connection with the murder.
Her story took such proportions today that the district attorney, who for
several days has taken little part in the investigation, indicated a desire to
question her personally and put her through such an examination as to
determine at once the truth or falsity of her statements...
It was Lynch who indirectly caused the woman to "tip off" the police, for
after a row with her several days ago, she says he beat her. In retaliation
she told the police all she knew, she said.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 2, 1922
MINNEAPOLIS JOURNAL
Six Called Innocent of Taylor Murder
Los Angeles--...The six men arrested on information furnished by Mrs.
John Rupp, their housekeeper, had no connection with the murder of William D.
Taylor, motion picture director, it was announced today by Detective Sergeant
Herman Cline, in charge of the investigation. He said examination of Mrs.
Rupp and investigation convinced the detectives that there was no foundation
to her statements that they had threatened the life of Taylor...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 2, 1922
SHREVEPORT TIMES
Los Angeles--..The story of Mrs. John Rupp, which led to the arrest of
seven men, was discarded by the police as "imaginative and based on a desire
for revenge."
The men will be held, however, while the police try to connect them with
several small robberies...
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Taylor Fighting Censorship
In 1921 there were renewed efforts to impose national censorship of
motion pictures, and also efforts to install a municipal censor in Los
Angeles. These efforts ultimately failed, due in part to the appointment of
Will Hays as head of the film industry. William Desmond Taylor was one of
the leaders of the anti-censorship forces, and the following item was given
wide distribution when Los Angeles was considering municipal censorship
during September 1921. [Thanks to Charles Higham for providing a copy of this
document.]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Nonsense of Censorship
by William D. Taylor
President-director of the Motion Picture Directors' Association,
Los Angeles Lodge
Censorship of motion pictures is a menace to the very principles of the
Constitution of these United States of America.
How strong a grasp it has obtained over the constitutional rights of
America may be seen in the fact that nearly one-third of the total population
of this country may now see only such motion pictures as come commission has
decided they may see.
True there are but six states where pre-censorship of ideas has been
made legal. These are Kansas, Maryland, Massachusetts, New York, Ohio and
Pennsylvania. But the population of these six states totals thirty-two
million persons.
Nor are actual residents of these states the only ones imposed upon; in
many cases film exchanges located in censorship territory furnish motion
pictures to a large outlying district. It is obviously difficult to re-
insert scenes that once have been deleted.
In addition to the states mentioned a number of cities have imposed on
their people a local motion picture censorship. Up to now, loyal Americans
who believe in upholding the fundamental principles on which this free nation
was founded have been to a great extent successful in stamping out threatened
censorship in its incipiency.
Among states that repudiated film censorship measures during 1921
legislative sessions are California, Colorado, Connecticut, Florida,
Illinois, Indiana, Iowa, Maine, Michigan, Minnesota, Missouri, Nebraska, New
Hampshire, North Carolina, South Carolina, Tennessee, Vermont and Washington.
Many municipalities likewise turned down censorship propositions.
Now this city of Los Angeles, world's centre for motion pictures, is
threatened by a group of well meaning but poorly informed reformers with a
situation that would almost instantaneously cause every state and every city
that has frowned on censorship to reconsider.
They want to censor films in Los Angeles. They want to look at that
picture before it has been shown on any public screen and tell the producer
of that picture what he must or must not show.
The ominous meaning of the censor in American life has seeped its way
into the consciousness of some of them. This group wants the word "censor"
dropped.
"Call it motion picture commission" they say.
A censor by any other name is just as sour.
There is no place for a censor of motion picture publication in a
country whose constitution guarantees its citizens free publication by
speech, by picture and by the press.
Censorship by any name is un-American.
Not only un-American--unnecessary.
There are laws on the statute books of every state, every city, that
amply protect against the salacious, the immoral or the demoralizing.
Just as it is the duty of every citizen to report to the police
authorities any violations of the criminal code that come to his notice, so
is it his duty to report to the police authorities any violations of the laws
of morality or of social welfare he may see on the screen of the motion
picture theatre. If a scene he objects to cannot be suppressed by the police
power it could not legally be suppressed by censor power. His resource in
such a case is to boycott such a theatre and to notify the theatre manager of
his action and the reason for it.
The arguments against censorship are too well known to dwell on at any
length. Every school child who knows the true history of the founding of the
United States of America can argue against censorship as forcefully as the
most polished orator or accomplished advocate.
Will Los Angeles stand for a censorship within its gates?
Tell the City Council what YOU think about it.
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Flashes of Neva Gerber
Because of the central role Neva Gerber played in the life of William
Desmond Taylor from 1914-1919, we have long hoped to devote an entire issue
of TAYLOROLOGY to her. Unfortunately we have found contemporary items on her
to be very elusive and fragmentary, and we have never found any substantial
interviews with her in any of the silent film fan magazines. A few
interviews were published in the aftermath of the Taylor murder, and those
interviews were reprinted in TAYLOROLOGY 60, 62 and 86. A recent career
article was published in the February 1999 issue of CLASSIC IMAGES and is
available online at http://www.classicimages.com/1999/february99/gerber.html
The following are a few contemporary fragments pertaining to Neva Gerber
which have crossed our path.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
November 9, 1912
MOTOGRAPHY
Neva Gerber is the substitute for Miss Christie in George Melford's
company of Kalem players at Glendale, Cal. Miss Christie's going to New York
meant Miss Gerber's first appearance in pictures in which she is playing
leads.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
May 16, 1914
MOTOGRAPHY
Edwin August is gradually getting a very strong company together for his
Feature Films and his first independent feature, the adaptation of a famous
novel, is well on the way. J. Farrell MacDonald, the producer of Samson and
other successes is the director and Neva Delorez, a young, beautiful and
experienced actress, is acting opposite August. With Hal August, Eugene
Ormonde and Edith Bostwick, Jack Weatherbee and Layola O'Connor in the cast
and with Frank Ormston as technical director and Mary O'Connor looking after
the scenarios, Mr. August has a company and staff of extraordinary strength.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
June 6, 1914
NEW YORK CLIPPER
Edwin August has completed his first feature picture for the Balboa
company, and is going to produce a comedy drama with a new idea running
through it. He has moved to Long Beach and occupies a delightful apartment
there. He has lots of nice things to say regarding both his juvenile, Hal
August, and his leading lady, Neva Delorez.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
July 25, 1914
MOVIE PICTORIAL
Whilst waiting in an automobile downtown recently, Neva Gerber of
William D. Taylor's Balboa company, was reproved by a social worker for
having so much paint on her face. When the other actors arrived the lady
fled without apologies.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 20, 1915
MOVING PICTURE WORLD
[This item is very fanciful.] Neva Gerber, playing opposite to Carlyle
Blackwell in "The High Hand," the next Favorite Players production, is the
daughter of the late S. Nelson Gerber, for years the most prominent criminal
lawyer in Chicago. Miss Gerber is a daughter of the Sunny South, and
granddaughter of the late William Younge, Governor of Kentucky, and a direct
descendent of John Wentworth, first Governor of New Hampshire, appointed by
the English crown. She is closely related to General Benjamin F. Butler.
Driving high-powered autos and aeroplanes is Miss Gerber's hobby. She
has to her credit having driven the ninety-horsepower Mercedes car which the
great racer, De Palma, drove, and in which he has braved death several times.
She is but a slip of a girl, but is one of the most daring automobile
drivers, and is well known among the auto jockeys of California.
Miss Gerber is a graduate of the Convent of the Imacculate Heart, and a
finished pianist. She is very fond of her very famous thoroughbred bull
"Brutus," who is her constant companion.
Neva Gerber played opposite to Carlyle Blackwell in the Kalem Co.,
opposite to Hal August in the Edwin August Feature Films and was leading
woman for William D. Taylor's Balboa Company. George Melford, now directing
for the Lasky Company, is responsible for Miss Gerber's being in motion
pictures, and he is justly proud of his find. She played leads in "Criminal
Code" and "An Eye for an Eye" under the direction of Wiliam D. Taylor with
the Balboa and "The Detective's Sister" with Carlyle Blackwell in the Kalem
Company; also "The Great Secret" and "The Awakening" in the Edwin August
Feature Films.
Coincidentally Miss Gerber finds herself again associated with William
D. Taylor as her director and Carlyle Blackwell as her "hero."
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
July 5, 1915
NEW YORK CLIPPER
Neva Gerber, who plays the leading role in "The Redemption of the
Jasons," a new American "Beauty" release, is the swiftest runner in the
American studios at Santa Barbara. Miss Gerber, who always has been an
athlete, recently won ten pounds of candy from Webster Campbell, who plays
opposite her. She wagered she could defeat Campbell in a one hundred yards
dash. She did.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
August 21, 1915
NEW YORK CLIPPER
Neva Gerber, of the Beauty Brand, visited Los Angeles for the first time
since she joined the Flying A company, some months back. Neva states that
she likes Santa Barbara immensely and that she and her mother have a small
bungalow and lots of callers. Neva has advanced in her work considerably of
late, and is quite popular.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
November 13, 1915
PHOTO-PLAY REVIEW
Neva Gerber acknowledges that she possesses a peculiar name but it is
her very own. She changed it once when acting opposite Edwin August who did
not think it sounded romantic enough, so for a time she was billed as Neva
Dolorez but she turned back to "Gerber" when she left August to play with
Carlyle Blackwell.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
April 8, 1916
PHOTOPLAYERS WEEKLY
Neva Gerber has been offered and has accepted an engagement with the B.
& L. Company at San Mateo, and leaves Los Angeles for the north at the end of
the week. Neva has been considering several offers, but this one attracts
her, as she likes the idea of a change of location and wants to see more of
San Francisco. Neva Gerber and Sadie Lindblom are opposites and they should
get along famously together.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
April 22, 1916
PHOTOPLAYERS WEEKLY
Lena Baskette, the nine-year-old Universal dancer who unaccompanied went
to visit her father at San Mateo last week, was witness and aid to the rescue
of Neva Gerber and Earle Emlay from death by drowning in the Feather River
near Beldon. The man who made the rescue was Lena's father, Frank E.
Baskette, clubman and wealthy druggist of San Mateo. Mr. Baskette and his
little daughter accompanied the B. & L. Film Company, who went to Beldon for
the taking of water scenes. Mr. Baskette was the first to notice that the
wire fastening the boat containing the actor and the actress had broken. The
occupants were hurled into the stream and Frank Smith, a guide, twice
attempted to reach them, but was hurled against a boulder and D. H. Roberts,
Western Passenger Agent, went to his assistance.
Mr. Baskette jumped into the river, but the man and woman had
disappeared for the second time before he came within reach of them. They
were unconscious when the San Mateo clubman succeeded in dragging them to a
rock which stood above the water. Lena remained calm during the struggle for
life which she saw before her, and directed her father toward the spot where
the drowning people had last appeared. She offered her car to whoever might
need it and thankfully clung to her father.
Miss Gerber and Mr. Emlay were rushed to a hospital, and the former was
found to be in a serious condition from breakdown and a skull adhesion.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
September 22, 1917
MOVING PICTURE WORLD
Neva Gerber was operated upon for appendicitis at the Clara Barton
Hospital, Los Angeles, on August 23. The operation was a success, but it
will be at least a month before Miss Gerber will be in satisfactory condition
for the resumption of her work and then only to play in scenes requiring but
little effort on her part.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
October 6, 1917
MOVING PICTURE WORLD
Neva Gerber returned to her home in Hollywood last Monday from the
hospital, where an operation for appendicits had been performed upon this
Universal star two weeks previously. Miss Gerber is gaining strength rapidly
and her physician says she will be able to resume her work at Universal City
in about three weeks. She has the leading feminine role in the serial, "The
Phantom Ship," which is being produced under the direction of Francis Ford.
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More Gossip from Capt. Billy's Whiz Bang
In TAYLOROLOGY 74 we reprinted some gossip from the humor magazine CAPT.
BILLY'S WHIZ BANG. Some TAYLOROLOGY readers have requested more of the same,
so here is the first gossip column contained in that publication.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
August 1920
CAPT. BILLY'S WHIZ BANG
Hollywood Heart-Breakers
The following article is the first of a series that will depict the more
intimate life of the movie actors and actresses who make their headquarters
in the vicinity of Los Angeles. This series is in no sense to be considered
"press agent dope." THE WHIZ BANG, in this series, proposes to tell its
readers of the little romances of their favorite screen star--of lives strewn
with mobilized immoderation, fickle faithlessness and dark desolation. As an
actress once told me: "Our step is pep; our creed is speed."
by Marion
Hollywood, beautiful little suburb of Los Angeles and famous as
America's leading movie hot-house, is running pretty nowadays with its many
wondrous autos and, Oh! those numerous and naughty little, palpitating
bungalow intrigues.
The Mary Pickford-Doug Fairbanks romance, is almost old stuff with Mary
and Doug on a bit of a honeymoon in New York and London, while forty eleven
representatives of the daily papers accompanied them as far as Arizona to
watch the Moki Indians get their first glimpse of the screen.
One of the merriest rumors just now extant regards another member of the
Pickford family, to-wit, Lottie. Lottie is a live wire in the parlance of
the country clubs and cafes. In southern California, until the "prohis" bore
down, the word "country club" meant one of the nightly places of revelry,
stretched all the way from Vernon to the beach. These places are somewhat on
the blink now, but it has been known that a stray "shot in the arm" has been
seen to take effect. In fact a wagon load recently was taken to the police
station from Vernon.
But getting back to Lottie. For a considerable number of moons the
night black eyes of Mary's sister beamed favorably upon a certain handsome
Apollo of the screens. It wasn't a case of, wherever Mary went the boy was
sure to go. It was a case of, wherever Lottie went she took the boy along.
At ball games, country clubs, bungalow dances, midnight revelries, Lottie and
her lad were together. Then came dame rumor, and she is a busy dame in these
parts. Lottie's man was playing with another. So far as the public was
concerned that was about all there was to it.
But know ye, that Fatty Arbuckle, Roscoe he wishes to be called of late,
rented the handsome home on West Adams Street, formerly occupied by Theda
Bara. In fact it is said that Fatty sleeps in the vampire's bed, which may
or may not, weave his dreams with vampires and their dangerous moods.
Fatty recently gave a party. He gives a lot of them. There were
picture girls galore and the wine flowed red and every other way, for Roscoe
is no derelict of a host.
It didn't take twenty-four hours for Dame Rumor and her children to
scatter the news that "there was some runction among the 'Janes' out to
Arbuckle's joint last night."
Just how it started was lost in the hurry of getting down to the
absolute certainty that Lottie Pickford and another girl staged one of the
prettiest scraps seen since Charlie Chaplin tried to lick his wife's manager
at the Alexandria hotel recently. In fact the efforts of Charlie as a
pugilist are said to have been nil compared with the flavor that Lottie and
her rival put up. It wasn't exactly Lottie's rival either, so the story goes.
Seems that Lottie and another girl were talking in one of the bedrooms
regarding the "cat" who had vamped the temporary affections of Lottie's
former beau. A third girl was lying, supposedly asleep. She arose suddenly
and challenged, in behalf of her vamping friend, what Lottie had said. Then
the riot started. One of our well known artists stated next day that it was
the best he had seen since Young George and Steve Dalton first met at Jack
Doyle's. Anyone taking a good look at Lottie would opine that the girl, when
angry, might be worth a bet in the real money book.
Not much has been heard of Jack Pickford since he became mixed up in the
war time mess. It was no Hollywood secret that Jack was not an over welcome
visitor at the home of Mary and her mother for some time. Things may have
been calmed over since Mary settled down with Doug, or rather tried to settle
down with him.
Olive Thomas, Jack's wife, recently returned from New York and Jack met
her with a Whiz Bang of a new car. Jack claims it cost him bucks to the
number of ten thou. Speaking of automobiles, Roscoe Arbuckle recently
received a specially designed motor car that is a humdinger. The price is
reportedly at $25,000. If it didn't cost that much it sure looks it.
thousands of people viewed the monstrosity for a week in the windows of the
motor works where it was turned out.
Of course the machine is simply to be used as an ad for the prolific
Fat. Some of the last words in autos have been seen around here, but they
all faded to a sickly, measly brown when Arbuckle's came into prominence.
Arbuckle says he intends dazzling Broadway with it. What may help some, if
he uses it in New York, is the license number, which was displayed while the
car stood on exhibition here. The number was "606."
"United Artists," the "Big Four" and "Associated Directors" are familiar
terms here. Speaking of United Artists, we must pause at mention of Charlie
Chaplin and Mildred Harris. They are not united, not so anyone can notice.
Shortly after their marriage last year, the doll-like little Mildred and
her mother were the observed of all observers at the fashionable St.
Catherine hotel, the Wrigley's island palace at Catalina. Wistful indeed,
appeared the little girl as she sat day after day gazing across the Pacific
blue whence fly the famous Chaplin hydroplanes from the mainland. The
hydroplanes are a venture of Sid Chaplin. Charlie is not in on the deal,
though he makes the air trip occasionally.
But never did Charlie appear to the knowledge of the vastly interested
hotel habitues. Ever with her slender, keen looking mother, the bride waited
in vain for her Lochinvar. Occasionally she danced with a visiting picture
personage. But Charlie--he came not.
Friends--friends always spread bad news--whispered that something was
wrong. The St. Catherine seemed a haven, welcome or not, of disconsolate
women. On the broad veranda sat the woman discarded by Earl Williams.
Inquisitive society dames raised their very proper eyebrows as they passed
and the mournful looking girl appeared as lonesome as any girl could feel,
even though Earl had, through his lawyers, handed over a settlement admitted
to be at least $40,000.
Charlie Chaplin has all the earmarks of a rather distraught young man.
He lives at the Los Angeles Athletic Club. From his studio comes the word
that though he finally is working at another picture, his people never know
whether it will be a week or a month before he shows up to don the old derby
and the familiar shoes.
The fight between Chaplin and Manager Young of Mildred Chaplin was
funny. Young is fat and the idea of Chaplin trying to use his fists is
funnier than anything he ever did in pictures. Just what the real cause of
combat was hasn't been thoroughly dissected by the scandal mongers. Young
says he was trying to protect Mrs. Chaplin from annoyance by her husband.
Chaplin says Young is a big stiff and that he (Chaplin) certainly never
annoyed his wife. He hasn't--in public--because they never appear together.
Just how the divorce proceedings will work out nobody knows. It is true
that Chaplin wishes he was out of it. It is believed that Mrs. Chaplin's
mother is somewhat of a business woman and will have considerable to say
before the bones of the affair have rattled their last.
Fairbanks and Chaplin are very close friends. One of the newspapers
recently published a picture of Mary, Doug and Charlie, purporting to be one
taken immediately after the marriage, when Chaplin went to the train with
them as they left for an alleged brief scurry to some quiet haunt. As a
matter of fact the picture was one taken at the time the trio were leaving on
their famous Liberty Loan jaunt, upon which momentous trip Doug and Mary are
supposed to have "fallen" for each other good and hard.
Poor Owen Moore has become a public goat. The former husband of Mary is
a likable enough fellow, quiet and with a winning way that can't restrain the
undoubtable sadness which lurks in a pair of wistful eyes. By the way,
ninety-nine women out of a hundred probably would "kotow" to Moore so far as
looks are concerned, rather than to Fairbanks. Moore is well set up and
handsome in a masculine way. Doug never could be called a thing of beauty
and most of his cowboys display better physical form than the agile
laughmaker.
All the testimony given by Mary at Minden would tend to indicate that
the hour in which Owen did not inject a lot of booze into himself, was a rare
hour indeed. If Mary asked Owen to come back to her as often as she says she
did; figuring he was the lusher as she sets forth, then indeed Owen, if he
loves the girl, hasn't much of a kick coming.
The general opinion appears to be that Moore had the love of Mary very
much at heart but through his tendency for liquor, finally lost out. Those
who really known Mary Pickford swear by the character of the girl. Those who
really know Moore can't dislike him. They simply figure he was his own worst
enemy and that in the desperate moments of her mental torture the girl grew
to care for the light-hearted Fairbanks and his blithesome way.
Poor Owen is just now figuring in a suit for damages brought by someone
from whom he rented a house. The owners claim that everything was in a mess
when they came back and that an overflow of booze has considerably
depreciated the furniture.
Another Hollywood "Secret" has been shattered. It seems that a
perfectly good married man went on a visit to his "Secret" and before the
evening was done he was driving a joyful bunch of other men, with their
"Secrets," in his latest buzz wagon.
Everything would have been O.K. but for the fact that the happy hubby
permitted his own "Secret" to sit in the back seat while helping the other
reveling benedicts to deliver their "Secrets" home. It appears that the
"Secret" of the car-owner went to sleep in her recess in the rear of the car.
The night was foggy. So was the brain of this "perfectly good" married
man. He parked the car in his garage, forgetting all about the "Secret"
lying asleep in the back seat. Next morning a "perfectly trusting" wife was
surprised, when she stepped onto the bungalow rear, to see a "perfectly wild
Secret" dashing madly out of the garage, clad in anything but up-to-date
morning garb.
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D. W. Griffith Comments on the Taylor Case
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 3, 1922
CHICAGO TRIBUNE
William D. Taylor, movie director, found shot to death in his Los Angeles
home, was well known among motion picture men of Chicago. Among the leaders
who knew Mr. Taylor is David Wark Griffith.
"He was always looked upon as highly progressive in his principles and
was undoubtedly one of the best directors in the profession," said Mr.
Griffith yesterday. "He was with Famous Players for a long time and did
wonderful work for them. His profession has lost one of its leaders.
Even though it should develop Taylor was slain through a jealousy motive,
that fact should not lead the public to hold a blot against Hollywood, it
being a mistake to picture the Los Angeles movie colony as a seamy center of
decadence, Mr. Griffith maintained.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 10, 1922
CINCINNATI COMMERICAL TRIBUNE
"The motion picture industry should not be condemned because one or two
persons out of its personnel of many thousand workers have been guilty of
indiscreet acts," David Wark Griffith, premier motion picture director of
America, said yesterday in discussing some of the crimes that have shaken
filmdom to its foundations. "The rotters should be kicked out of the
business, and sooner or later they will be.
"The fact that they have managed to get in will not disgrace the
industry; it is too big for that. Ministers sometimes get into scrapes, but
that doesn't mean the Christian religion is disgraced forever."
Mr. Griffith said that he had never known, seen or talked to William
Desmond Taylor, film director, slain recently in his Los Angeles home.
He added that he had not been in California for three years, and that none of
his pictures had been made there during the last six years.
"All I know about Hollywood," he said in answer to a question, "is what I
have read in the papers. But I imagine there must be some fire where there is
so much smoke."
The famous director visited the Shubert Theater, where his latest
production, "Orphans of the Storm," is being shown, and spoke to the crowd
between acts. He told his audience that the strongest plot for a motion
picture was "the simple, old-fashioned love story about nothing in
particular."
Mr. Griffith was taken to the City Hall yesterday by Edward Rowland,
manager of the Schubert Theater, and welcomed by Mayor George P. Carrol.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 12, 1922
J.B. Calvo
DAYTON JOURNAL
...David Wark Griffith has made a sincere effort to give productions that
are both staged and acted--not just hastily thrown together scenes paraded
before fast-clicking cameras.
In an interview this week Mr. Griffith predicted that just such things at
the Taylor murder and the Arbuckle disgrace would hasten to improve the movies
by driving from the profession those whose only assets were shapely legs or
baby-doll faces.
"With the novelty wearing off, the public is demanding acting, not paint
and powder and wide-staring eyes," Mr. Griffith said. "Baby-doll faces have
had their day and the movie of tomorrow will be one that will be staged and
rehearsed and produced with the greatest attention to detail. In other words,
moving pictures of tomorrow will contain actors and actresses, not mere pretty
marionettes."
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 16, 1922
NEW YORK TELEGRAPH
Warning his audience against the "think as I think; do as I do" fanatical
minority, David Wark Griffith, moving picture producer, yesterday made a
general defense of the industry in which he is such a prominent figure and
pleaded for a greater tolerance at a luncheon of the Advertising Club of New
York at its headquarters, 47 East Twenty-Fifth Street.
Mr. Griffith did not undertake to reply specifically to the charges of
the Rev. Dr. John Roach Straton, not even alluding to his attack on the stage
and the films. Nor did he attempt a detailed defense of the moving picture
colony at Hollywood.
Mr. Griffith said, in fact, that he knew nothing about Hollywood, hadn't
been there in four years and didn't know very many film people. He has known
and does know women and men in the moving picture game who are "as sweet and
clean as any women in the world," women that any of the men present would be
glad to have as wives or sisters.
Referring to his production of "Intolerance," which deals with the old
witchcraft persecutions, Mr. Griffith said that he did not enjoy producing
that story, but considered it a duty to do so.
"Let one, two or three start on the mad hunt and the whole pack is again
heard," continued Mr. Griffith; "and how they hunt them down and persecute
them! History tells us that nine million men and women fell victims of this
dread thing. How they made them suffer! They dismembered the living, tore
nails from their finger--all for religion. Yet this was not religion.
"It was the class that says 'Think as I think, do as I do,' and if you do
not think as they think and do as they do off comes your head.
"This type of man is very much alive in America today. We who have a
land and a Constitution bought by the blood of countless sacrifices must be on
our guard lest these 'think-as-I-think-do-as-I-do' people rob us of this
heritage.
"The power of the sincere fanatical minority is tremendous, and lest we
watch our step law will be added to law to further circumvent our liberties.
One law and then another law is put on the statute books to make people good
by law--a gross, absurd impossibility. Laws that are not obeyed are
disregarded until we lose respect for all laws.
"No, I don't know anything about the morals of Hollywood, but I was
raised in a strict Methodist family in Kentucky. It was the strictest sort of
a family. Theatres and dances were barred absolutely and I knew how good
those good men and women were. I know men and women engaged in producing
motion pictures that you or I would be glad to have in our families.
"This sounds like a defense of the movies. But there should be no
defense. Shall we attack banks when a banker gets into the newspapers or the
church when a minister gets into the newspapers? There is nothing new in
finding conditions such as the papers have been telling about recently. In
this morning's paper I saw that a priest had been arrested charged with the
murder of his brother. A few days ago I read that the records of the Atlanta
penitentiary show three minister inmates to each actor.
"Neither the actor nor the minister should be in prison. It doesn't mean
anything against the religion of Christ if occasionally a minister falls from
grace. The moving picture people are just the same as all the other humans
who people this earth. They are just as high as the plumber, the bricklayer
or the farmer and just as low as those who dream of [...] beauty and gold to
their idealism. I have seen such sweet ideals, such sweet dreams in our
business. This is not just talk, but the plain truth."
Mr. Griffith explained his lack of knowledge of Hollywood gossip by
saying that his work occupied his time from fourteen to fifteen hours each
day.
Frank Feldman, president of the club, in presenting Mr. Griffith
introduced him as the dean of the motion picture business and declared that if
that industry had more Griffiths it would not have had many of the troubles of
the last few years.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 3, 1922
BUFFALO EXPRESS
"In this uneasy day, with dissatisfaction on all sides, it may be well
for us to see that nothing happens to jeopardize our glorious freedom and
destroy our present form of democratic government."
This statement was made by David Wark Griffith, motion picture producer,
who was in Buffalo yesterday on private business and spoke to audiences at the
Criterion theater, where his latest film spectacle, Orphans of the Storm, is
now being shown.
Mr. Griffith is fearful of the rampant reformer and of well organized and
aggressive minorities.
"We should be on guard against the minority tyrant--the 'think as I
think, do as I do, eat as I eat and drink as I drink' individual," said the
producer in his speech, "for this man will bring upon our country turmoil
quicker than any other. There is only one law which amounts to anything, the
law of human feeling; the law of love for one another. You cannot make people
good by law. We are turning out repressive laws very fast nowadays and the
result is we are developing a marked disrespect for law. Unless checked we
might become a people without any regard for law at all."
Mr. Griffith was a luncheon guest of Mayor Schwab at the Lafayette at
noon and was a dinner guest of friends in the evening.
"Prohibition is causing a lot of dissatisfaction in this country," he
declared. "People of little or no means feel that their well-to-do neighbors
are enabled to secure liquor simply because they have the price, and this
makes for class feeling. If there is widespread disrespect for land and bad
feeling between classes, a revolution may result.
He said he knew little personally of conditions in Hollywood, Cal, and
that he had not been there in three years. "Since reading in the newspapers
of the latest scandal there," he continued, "I have read of three preachers
who went wrong, but it doesn't follow that all preachers should be ostracized.
In every calling there are people who are good and there are others who are
rotten, and this applies to the motion picture business. In any event, the
motion picture industry is too big and too essential to be killed by the acts
of a few irresponsible persons."
Mr. Griffith paid his respects also to reformers as a group. "Men don't
become reformers until they are 50 years old," he said. "Then they expect
youth to be governed according to the infirmities of age. It isn't fair.
"My people wanted me to become a minister, and they gave me the training,
but I strayed from the path. All the other members of the family grew up to
be pious, and one of my sisters never set foot in a theater until she was 35
years old, and then it was to see a picture which I had produced."
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Back issues of Taylorology are available on the Web at any of the following:
http://www.angelfire.com/az/Taylorology/
http://www.etext.org/Zines/ASCII/Taylorology/
http://www.silent-movies.com/Taylorology/
Full text searches of back issues can be done at http://www.etext.org/Zines/
or at http://www.silent-movies.com/search.html. For more information about
Taylor, see
WILLIAM DESMOND TAYLOR: A DOSSIER (Scarecrow Press, 1991)
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