Author Archives: Sherri

Blog Entries Will Return…

As I complete my Barbara La Marr biography (refer to the Book Updates section for more information), blog entries are temporarily on hold.  Rest assured, however, they will be back!  Many exciting things are happening behind the scenes and there is much I am looking forward to sharing (including many more images of the lovely and talented Miss La Marr).

For now, I leave you with the striking imagery of illustrator and photographer Herold Rodney Eaton Phyfe (better known as Hal Phyfe).  Phyfe utilized his background in sculpting and painting to produce illustrated portraits for film studios and magazines throughout the 1920s.  His renderings, often done in pastels, melded his dramatic flair with his ability to capture the subtle intricacies of his subjects’ personas.  “If the eyes have ‘it’,” he believed, “everything else will be forgotten in their vivid, compelling attraction.  Eyes create individuality, they are the spokesman for the soul, the character, the mind.”

An image of Barbara from a promotional brochure for her 1924 film Sandra.

An image of Barbara from a promotional brochure for her 1924 film Sandra.

Photoplay cover featuring Barbara, January 1924.

Notes:

“If the eyes have ‘it’,”: Shields, David S., “Hal Phyfe,” https://www.broadway.cas.sc.edu/content/hal-phyfe.

More Than a Vamp

 

At the height of her fame in 1924, Barbara La Marr reportedly earned the modern equivalent of over $30,000 per week as a reigning vamp of the silent screen.  Never far from her heart, however, was an inherent compulsion to express herself through the written word.  She first put her thoughts to paper as a young girl, composing little verses and short stories.  As a young woman, her inner musings took the form of poetry, pouring from her, she said, when she was so consumed with emotion that she just had to have an outlet.  Her very first full-length story caught the attention of Winfield Sheehan, general manager of Fox Film Corporation, and won her a contract with Fox in 1920.  Fueled by her incredible life experiences, Barbara ultimately penned five original stories and one adaptation for Fox.  She put her writing talents to further use crafting intertitles for Fox films and, later, by doctoring scenarios for other studios’ films in which she played starring roles.

All the while, poetry remained her favorite medium of literary expression; to her it was “the freest of the free.”  When not before the camera, Barbara sometimes sat on the sidelines of film sets, transcribing her heartfelt feelings into verse and scribbling story ideas.  She vowed to one day return to her typewriter, when her career as a film actress had “gone by with the glories.”  Sadly, her tragic, untimely death in 1926 at the age of twenty-nine cut short her aspiration.

The six films Barbara wrote for Fox have yet to be located by film preservationists.  For now, her writings live on in her poetry.  Three of her poems, written before the breakdown that resulted in her death, appear below.

Barbara+at+typewriter

Are You—?

by Barbara La Marr

.

Why should I—who worship Thought—

Unthinkingly bear my Soul unsought,

Dreams that memory cannot dim—

Why should I speak to you of HIM?

.

Why should I tell you all these things—

Of hours when Passion’s wearied wings

Folded beneath a mauve grey sky

Of dawn—that ever means “Good-bye?”

.

Of strange, mysterious, wonderful nights

When I have tasted the gods’ delights;

Of lips I have kissed, and kissing burned—

Of loves I have left and loves returned.

.

When dreaming and close at my side

I felt the urge of Passion’s tide,

I closed my eyes and infinitely sad,

Dreamed of that which I have never had.

.

But why should I—who worship Thought—

Bear my Soul to you unsought—

Telling of dreams Time cannot dim,

Unless—perhaps—that you are him!

*

.

Love and Hate

by Barbara La Marr

.

I love you—

Your lips, your hair, your eyes,

Your willful, reckless, tender lies.

I hate you!

.

I hate you—!

Your smile, your curls, your glance,

You pagan worshipper of Chance…

I love you!

*

.

Moths

by Barbara La Marr

.

Moths?— I hate them!

You ask me “Why?”

Because to me they seem

Like the souls of foolish women

Who have passed on.

Poor illusioned, fluttering things

That find, now as always,

Irresistible the warmth of the

Flame—

Taking no heed of the warning

That merely singed their wings

They flutter nearer–nearer—

Till wholly consumed

To filmy ashes of golden dust.

Foolish—-fluttering—-pitiful things—

Moths! I fear them!

Yet I watch them fascinated

And realize—many things.

Perhaps they are not useless

Nor the message they convey

To me, a futile one.

They make me see the folly

Of seeking that which it seems

Women were created for—

The futility, the uselessness of longing—

Perhaps you do not understand,

But—

Moths!–I hate them!

A Vamp There Was

Vamp

Barbara, photographed by Hoover Art Studios, during her ascension to worldwide fame.

The vamp first emerged on the screen in 1915.  She came in the form of Theda Bara in A Fool There Was, a film inspired by Rudyard Kipling’s poem, “The Vampire.”  She was a shocking figure: a woman who deliberately uses her femininity to ensnare men.  To some, she was a titillating deviation, the antithesis of the standard saccharine heroine.  To others, she was cause for alarm, an additional threat to society’s diminishing Victorian morals.  To film producers, she was gold, the precursor to a new breed of screen goddess.

In 1922, Barbara La Marr secured her launch to superstardom when she played a vamp in Rex Ingram’s Trifling Women.  Her portrayal of a cruel sorceress who plays men like pawns solidified her image as one of the silent screen’s leading temptresses.  At first, Barbara welcomed the opportunity to play vamps.  “I’m not silly enough to pretend I’m an ingénue,” she conceded. “It isn’t my line—on or off the screen.  I don’t want to be an ingénue.  I just want to be a woman.”

Barbara could indeed vamp with the best of them.  Director Fred Niblo once marveled that even a bad dressmaker couldn’t make her look virtuous.  Barbara likewise quipped that a true vamp was not dependent upon her bee-stung lips or the clinging gowns, trailing hemlines, and jeweled headpieces in which she was typically costumed.  “It’s the look in the eye that does it,” she insisted.  Yet Barbara’s style of vamping went beyond the popular conception of the vamp as a dimensionless caricature.  An actress of true substance, she alternately infused her roles with sprightly comedic touches and, more often, gripping, heartfelt emotion.  She, like the women she portrayed, was enshrouded in an aura of mystery.  “She is made for lurking tragedy,” writer Willis Goldbeck mused in the November 1922 issue of Motion Picture Magazine, “…one feels the beat of ravens’ wings about her…her radiance is that of moonlight in the heavy shadows of the night…Calypso she is, burning with the flame of subtle ecstasy.”

Even so, reporters and magazine columnists, upon meeting Barbara in the flesh, were pleasantly startled.  They were hard-pressed to find the slightest trace of the wicked ladies she enacted in films.  Adela Rogers St. Johns recalled how Barbara’s genuine charm and captivating wit disarmed even the most hardened newspapermen.  When one interviewer pressed Barbara to reveal something unusual about herself, she offered to stand on her head.  Los Angeles Times reporter William Foster Elliot, struck by her sincerity and directness, commented, “She is remarkably straightforward and man to man in her attitude,” and “…really human despite the exotic bunk.”

Barbara eventually tired of playing wayward women and shunned vamp roles altogether.  She yearned to play the more sympathetic roles she had proven herself capable of in such films as Louis B. Mayer’s production, Thy Name Is Woman (1924).  By 1925, public tastes were similarly shifting and fun-loving flappers began eclipsing vamps as the newest idols of the silver sheet.  Barbara, inextricably linked to her naughty onscreen image and declared washed-up in the trade magazines, fought for one final chance.

With her health failing and less than a year to live, she was given that chance.  She was determined to see it through…

©2013 Sherri Snyder

Richelieu Pearls 1924

Promotional image for Sandra (1924)

Heart of a Siren 1925

Film still from The Heart of a Siren (1925)

 

 

Notes:

“I’m not silly enough”: La Marr, Barbara, “Why I Adopted a Baby,” Photoplay, May 1923, pg. 31.

“It’s the look in the eye”: Drummond, Joan, “Beautiful Barbara,” Pictures and the Picturegoer, April 1924, pg. 44.

“She is remarkably straightforward”: Elliot, Foster William , “Not Like the Fan Stories,” Los Angeles Times, September 17, 1922.