Newly Added Photographs and a Few Words from Barbara…

As I continue working away on Barbara’s biography (and have therefore temporarily placed blog entries on hold until I have finished), I wanted to honor her birthday in some way.  Please enjoy these newly added photographs, along with some quotes from Miss La Marr herself.

Once, when queried about her five marriages and myriad love affairs, Barbara responded, “One loves to live only because one lives to love." Once, when queried about her myriad marriages and love affairs, Barbara responded, “One loves to live only because one lives to love.”

Barbara's desire to fully embrace life and her tendency to live primarily in the moment often precluded her incisive intellect and sense of reason. “I cannot afford the luxury of regret or remorse," she declared. (Photograph by Russell Ball.) Barbara’s tendency to live in the moment and her desire to fully embrace life often undermined her sense of reason.  “I cannot afford the luxury of regret or remorse,” she declared.  (Photograph by Russell Ball.)

One of Barbara's cherished ambitions was, as she put it, “to be a great tragedienne and wield a dagger.” (Photograph by Milton Brown, circa 1921-22.) One of Barbara’s cherished ambitions was, as she put it, “to be a great tragedienne and wield a dagger.”  (Photograph by Milton Brown, circa 1921-22.)

Barbara first became known to filmgoers through her portrayals of adventuresses and vamps---mysterious, wicked women highly adept at manipulating men. Initially, she did not mind such typecasting. “Part of the joy in being a woman,” she teased, “is to exercise fascinations on the male.” (Photograph by Milton Brown. Barbara is wearing one of her costumes from The Prisoner of Zenda [1922]). Barbara first became known to filmgoers through her portrayals of vamps—mysterious, wicked women adept at manipulating men.  She initially welcomed such typecasting.  “Part of the joy in being a woman,” she teased, “is to exercise fascinations on the male.”  (Photograph by Milton Brown.  Barbara is wearing one of her costumes from The Prisoner of Zenda [1922]).

Contrary to Barbara's vamp image were her tender heart, considerate nature, and strong work ethic. She was well-liked by directors, film crews, and fellow actors alike. Ramon Novarro, her co-star in three films, credited her with being his favorite person to work with. Barbara insisted, "Artistic temperament is bunk." (Photograph taken on the set of Thy Name is Woman [1924]. Pictured with Barbara are [left to right] director Fred Niblo and co-stars Wallace MacDonald, Ramon Novarro, and William V. Mong.)Contrary to Barbara’s vamp image, she was a tenderhearted, considerate, hardworking woman, well-liked by directors, film crews, and her fellow actors.  “Artistic temperament is bunk,” she insisted.  (Photograph taken on the set of Thy Name Is Woman [1924].  Pictured with Barbara are [left to right] director Fred Niblo and co-stars Wallace MacDonald, Ramon Novarro, and William V. Mong.)

Barbara eventually sought to shed her image as one of the screen's leading temptresses. Yet, despite having won critical and public acclaim for the sympathetic, "human" characters she played in several films, she was continually steered into what she had come to regard as non-dimensional vamp roles. Such roles had cinched her stardom, but ultimately destroyed her career as the public tired of vamps. Plagued by weakening health, Barbara determined to prove herself and resurrect her career. "I'm down, but not licked," she contended just before her final film went into production. "The pageant they put me into almost snuffed me out, but I'm fighting for a chance to forget those idiotic pearl headdresses and feather fans...I hold the opinion that [acting] is something an actress should do." (Film poster for The Girl from Montmartre, released the day after Barbara's death in 1926.) Barbara eventually sought to shed her image as one of the screen’s leading temptresses.  Yet, despite having won acclaim for the sympathetic, “human” characters she played in several films, she was continually steered into what she came to regard as non-dimensional vamp roles.  Such roles had cinched her stardom, but ultimately destroyed her career as the public tired of vamps.  Plagued by weakening health, Barbara resolved to prove herself and resurrect her career.  “I’m down, but not licked,” she contended just before her final film went into production.  “The pageant they put me into almost snuffed me out, but I’m fighting for a chance to forget those idiotic pearl headdresses and feather fans…I hold the opinion that [acting] is something an actress should do.”  (Film poster for The Girl from Montmartre, released the day after Barbara’s death in 1926.)

As she neared the end of her life, Barbara grew disillusioned with love, but never stopped craving it. "...I've always been in love, in love with the great ideal of love itself," she stated, "---something that too many men and women experience, something that makes us go on seeking through personalities and the years. The world calls us fickle, but that isn't true. We are merely the idealists of love, who search and very rarely find that for which we look." (Photograph by Lyman Pollard, circa early 1923.) As she neared the end of her brief life of twenty-nine years, Barbara grew disillusioned with love, but never stopped craving it.  “I’ve always been in love, in love with the great ideal of love itself,” she stated, “—something that too many men and women experience, something that makes us go on seeking through personalities and the years.  The world calls us fickle, but that isn’t true.  We are merely the idealists of love, who search and very rarely find that for which we look.” (Photograph by Lyman Pollard, circa early 1923.)

Throughout the trials and heartbreak that often characterized her life, Barbara's underlying spirit shone through at various times. "I would not change my life," she averred, adding that her experiences had made her who she is. Throughout the trials and heartbreak that frequently characterized her life, Barbara’s underlying spirit often shone through.  “I would not change my life,” she averred, adding that her experiences had made her who she is.  (Photograph by Witzel.)

Happy Birthday, Barbara!

Barbara La Marr
July 28, 1896 – January 30, 1926

New Photographs Added

Although blog entries are temporarily on hold as I work to complete Barbara’s biography, I did not want the anniversary of her passing to go by without some sort of tribute.  Please enjoy the film stills, portraits, and lobby card below, all newly added to the galleries.

Barbara La Marr (July 28, 1896 – January 30, 1926)

White Moth post card

The White Moth (1924)

Barbara and Wallace MacDonald+in+Thy+Name+is+Woman+on+donkey

With Wallace MacDonald in Thy Name Is Woman (1924)

In her Whitley Heights home, circa early spring 1924

Arabian Love Herschel Mayall and John Gilbert

With Herschel Mayall (center) and John Gilbert in Arabian Love (1922)

Souls for Sale (1923) (Barbara is in the center.)

Barbara+Smiling

Photo by Alfred Cheney Johnston

Barbara pic by Witzel

Barbara headshot

 

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!