Grand View Memorial Park
The men and women interred at Grand View Memorial Park in Glendale, Los Angeles, California.
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- One of the most indispensable of character actors, Leo G. Carroll was already involved in the business of acting as a schoolboy in Gilbert & Sullivan productions. Aged 16, he portrayed an old man in 'Liberty Hall'. In spite of the fact, that he came from a military family, and , perhaps, because of his experience during World War I, he decided against a military career in order to pursue his love of the theatre. In 1911, he had been a stage manager/actor in 'Rutherford and Son' and the following year took this play to America. Twelve years later, Leo took up permanent residence in the United States. His first performance on Broadway was in 'Havoc' (1924) with Claud Allister, followed by Noël Coward's 'The Vortex' (1925, as Paunceford Quentin). Among his subsequent successes on the stage were 'The Green Bay Tree' (1933) as Laurence Olivier's manservant, 'Angel Street' (aka 'Gaslight',1941) as Inspector Rough, and the 'The Late George Apley' (title role). The latter, a satire on Boston society, opened in November 1944 and closed almost exactly a year later. A reviewer for the New York times, Lewis Nichols, wrote "His performance is a wonderful one. The part of Apley easily could become caricature but Mr.Carroll will have none of that. He plays the role honestly and softly." The play was filmed in 1947, with Ronald Colman in the lead role. Leo's film career began in 1934. He was cast, to begin with, in smallish parts. Sometimes they were prestige 'A pictures', usually period dramas, such as The Barretts of Wimpole Street (1934) and Wuthering Heights (1939).
Leo was a consummate method actor who truly 'lived' the parts he played, and, as a prominent member of Hollywood's British colony, attracted the attention of Alfred Hitchcock. Indeed, the famous director liked him so much, that he preferred him to any American actor to play the part of a U.S. senator in Strangers on a Train (1951). A scene stealer even in supporting roles, Leo G. Carroll lent a measure of 'gravitas' to most of his performances, point in case that of the homicidal Dr. Murchison in Spellbound (1945) (relatively little screen time, but much impact !) and the professor in North by Northwest (1959). On the small screen, Leo lent his dignified, urbane presence and dry wit to the characters of Cosmo Topper and Alexander Waverly, spymaster and boss of Napoleon Solo and Ilya Kuryakin in The Man from U.N.C.L.E. (1964), the part for which he is chiefly remembered.
Leo G. Carroll appeared in over 300 plays during his career and the stage remained his preferred medium. He once remarked "It's brought me much pleasure of the mind and heart. I owe the theatre a great deal. It owes me nothing" (NY Times, October 19,1972).Plot: Community niche - Actress
- Additional Crew
Spouse: James Lincoln Blake (1 Child)
During World War II, she and her husband, James Lincoln Blake, worked in Utah on construction of the detonator for the atomic bomb and performed such jobs as testing equipment destined for the Manhattan Project. The couple received a citation for their work from the U.S. government.Plot: Section F, Lot 80- Heavyweight Hungarian-born character actor Oscar Beregi Jr.'s best performances were on the small screen, usually as Eastern European or Russian heavies. His stock-in-trade villainy was of a cultured or psychological, rather than physical nature, urbane and intellectual, yet inevitably sinister. His father, matinee idol Oscar Beregi Sr., had appeared on the Hungarian and German stage in Shakespearean roles, as well as acting in films, since 1919. Both Beregis left Hungary in 1939, the father settling in the United States, while the son ran a restaurant in Chile. It took several years for the younger Beregi to be granted a visa to enter the U.S., and then only through the intervention of then-U.S. Senator Lyndon B. Johnson.
When Beregi finally arrived in America, he spoke little English and worked as a salesman for several years, learning the language, before re-entering the acting profession well into middle age. On the big screen, he was largely restricted to small supporting roles. However, Beregi made the most of the meatier roles offered him in television, such as mob boss Joe Kulak (a character possibly based on real-life mobster Jake Guzik) in eight episodes of The Untouchables (1959). He was also impressively commanding as the scientific criminal mastermind Farwell in Rod Serling's The Rip Van Winkle Caper (1961) and, in the same series, as former SS concentration camp commandant Guenther Lutze, driven to insanity by the ghosts of his former victims in Deaths-Head Revisited (1961). He was also effective in Middle Eastern intrigue (The Third Man (1959)) and in parodying his evil personae in I'm Only Human (1966), Tequila Mockingbird (1969), and Young Frankenstein (1974).
In his spare time, he was a successful breeder of Komondors, a breed of large, white Hungarian sheep dog, considered a living treasure in their native country.Plot: West Mausoleum, Lower Level Community Crypt (not accessible to public) - Brunette, curvaceous Dorothy Coburn was the daughter of western actor/producer Wallace G. Coburn. Her grandfather Robert, a pioneer cattleman, had founded the famous Montana Circle C Ranch in 1886. Dorothy appeared in silent comedy shorts for Hal Roach -- often as the quintessential flapper, society lady or nurse. A feisty personality, she was ideally cast as a perennial foil for Stan Laurel and Oliver Hardy. Her best-known appearances with the famous duo include The Second 100 Years (1927) (where Stan inadvertently covers her bottom with white paint); Putting Pants on Philip (1927) (in which she is being chased by an over-amorous, kilt-wearing Stan Laurel around town); and as a dentist's nurse in Leave 'em Laughing (1928). A genuine trooper, Dorothy cheerfully took every indignity inflicted upon her in her stride, whether it was falling into a pit of whitewash in The Finishing Touch (1928), being pied in The Battle of the Century (1927), or covered in mud in Should Married Men Go Home? (1928).
Also an accomplished rider and a fit athlete, Dorothy (billed as 'Dottie Coburn') occasionally worked as a stunt performer in westerns, doubling for the likes of Gary Cooper and Joel McCrea. After the advent of sound, she was sometimes engaged as a stand-in for Ginger Rogers at RKO. After leaving the movie business in 1936, she found employment as a receptionist for an insurance agency.Plot: Section B, Lot 31, Grave 7 - Actor
- Soundtrack
Alec Craig was born on 30 March 1884 in Dunfermline, Fife, Scotland, UK. He was an actor, known for Northern Pursuit (1943), They Made Her a Spy (1939) and Mutiny on the Bounty (1935). He died on 25 June 1945 in Glendale, California, USA.Plot: Section H, Cremation Tier, Grave 108- Actor
- Additional Crew
British-born Nigel De Brulier's long career began in silent films, but unlike many performers of that era, he managed to successfully transition into sound films. His authoritarian and somewhat regal bearing was perfect for the many bishops, cardinals, knights and other authority figures he often played (he portrayed Cardinal Richelieu four times: in The Three Musketeers (1921), The Three Musketeers (1935), The Iron Mask (1929) and The Man in the Iron Mask (1939)).Plot: Ashes scattered- Actor
- Writer
Kenne Duncan was born on 17 February 1902 in Chatham, Ontario, Canada. He was an actor and writer, known for Night of the Ghouls (1959), Manhunt of Mystery Island (1945) and The Astounding She-Monster (1957). He died on 5 February 1972 in Hollywood, California, USA.Plot: Garden of Devotion, Tier B, Grave 35- Director
- Actor
- Writer
Rowland G. Edwards was born on 6 May 1879 in New York City, New York, USA. He was a director and actor, known for Daring Love (1924), The Man from Yesterday (1932) and The Drums of Jeopardy (1923). He was married to Doris Packer and Luella Lorena Morey. He died on 10 August 1953 in Glendale, California, USA.- Actress
- Soundtrack
Verna Felton had extensive experience on the stage and in radio before she broke into film and television. Her trademarks was her distinctive husky voice and her no-nonsense attitude. She was quite in demand for voiceover work, as evidenced by her roles in Cinderella (1950), Alice in Wonderland (1951) and Lady and the Tramp (1955). She appeared in many films, but is best remembered as Hilda Crocker in the TV series December Bride (1954), a character she carried over into its spinoff, Pete and Gladys (1960). Verna died in 1966 at 76 years of age of a stroke.Plot: Section L - Garden of Prayer, Unit B, Grave 268- Actor
- Director
Alec B. Francis was born on 2 December 1867 in London, England, UK. He was an actor and director, known for Oliver Twist (1933), Thank You (1925) and The Terror (1928). He was married to Lucy Francis (nee Bowers) 1862 - 1953. He died on 6 July 1934 in Hollywood, California, USA.Plot: Urn garden, east side of cemetery- Cinematographer
- Director
- Producer
One of the most innovative of pioneer cameramen, Lee Garmes started his career on the East Coast with the New York Motion Picture Company, but was soon persuaded by the director Thomas H. Ince to join him in Hollywood. Garmes quickly climbed his way up the ladder, from painter's assistant to prop boy (future director Henry Hathaway shared the same duties at 'Inceville'), to camera assistant. He struck up a singularly fruitful collaboration with director Malcolm St. Clair, with whom he worked on one- and two-reel shorts. Many of these early comedies were shot on a shoe-string budget and necessitated clever improvisation, especially in the usage of lead-sheet reflectors (re-directing sunlight) which substituted for proper lighting. Garmes also introduced incandescent tungsten filament Mazda lights as a significant cost-saving venture. In 1925, now as a fully-fledged director of photography, Garmes went over to Paramount, first under contract from 1925 to 1926. He perfected his craft at First National and Warner Brothers (1927-1930), before returning to Paramount and making a significant contribution to some of the most outstanding black-and-white films made by the studio during the early and mid-1930's. His most recognizable trademark was to naturally light his sets from a northward orientation.
Said to have been influenced by the paintings of Rembrandt, Garmes showed a great flair in the use of chiaroscuro, light and shade, which enhanced the expressionistic European look of darkly exotic ventures like Morocco (1930) and Shanghai Express (1932). Both pictures were directed by Josef von Sternberg and starred one of Paramount's most bankable assets, Marlene Dietrich, flatteringly photographed by Garmes with subdued lighting amid swirling, misty backgrounds. "Shanghai Express" led to an Academy Award and established Garmes as one of the top cinematographers in the business. His career suffered a setback, however, when he was replaced by David O. Selznick months into shooting Gone with the Wind (1939) (Selznick objected to the Garmes technique of soft lighting, preferring the harsher 'picture postcard' colours). Though the first hour of GWTW was almost entirely shot by Garmes (most of it directed by George Cukor, who was also fired), he was not credited for his efforts.
Lee Garmes imbued many more seminal films of the 1940's and 50's with his own particular style, creating the romantic moods of Lydia (1941), the exotic splendour of Alexander Korda's technicolor The Jungle Book (1942) and the semi-documentary realism of William Wyler's Detective Story (1951). He became one of few cinematographers to be given additional responsibilities in directing and production and in 1972 became one of the first advocates for the use of videotape in filmmaking. Garmes was twice recipient of the Eastman Kodak Award. He served as present of the American Society of Cinematographers from 1960 to 1961.Plot: Ashes scattered- Actor
- Writer
- Director
Langdon first performed when he ran away from home at the age of 12-13 to join a travelling medicine show. In 1903 he scored a lasting success in vaudeville with an act called "Johnny's New Car" which he performed for twenty years. In 1923, he signed with Principal Pictures as a series star, but transferred to the Mack Sennett Studio when Mack Sennett bought the contract. Early in his film career, he had the good fortune to work regularly with the young Frank Capra. The two developed a unique character of an innocent man-child who found himself in dramatic and hazardous circumstances with only providence and good luck making him come out on top. This character clicked with the public and Langdon enjoyed a streak of artistic and commercial successes using it with Capra's direction. Unfortunately, he began to take the praise of his talent too seriously and broke with Capra so he could hog all the glory himself with his films. This proved to be a disastrous mistake as his first film "Three's a Crowd", a sickeningly sentimental film that plainly showed that he did not even approach the talent and skill of Capra which was needed to keep his character style viable. It has been also speculated the public was getting tired of Langdon's character, which contributed to Langdon's first solo film being an artistic and commercial failure. That film was the first in a series of bombs that ruined Langdon's career and relegated him to minor films from third string companies for the rest of his life.Plot: West Mausoleum (just to the left of the main entrance)- Director
- Writer
- Producer
Sherwood MacDonald was born on 30 June 1880 in New York City, New York, USA. He was a director and writer, known for Cold Steel (1921), The Sultana (1916) and Muggsy (1919). He was married to Mollie McConnell. He died on 25 January 1968 in Canoga Park, California, USA.Plot: North Mausoleum, Unit B. Niche 143- Actress
- Director
- Producer
Cleo Madison began her career with a theatrical company in Santa Barbara, California, in 1910. She stayed with the company for several years, and the troupe made the rounds of vaudeville and the theater circuit. Returning to California, and tired of touring, she decided to get into the motion picture business and secured work at Universal Pictures. After playing in numerous one- and two-reelers, Universal put her into a serial, The Trey o' Hearts (1914), which achieved great success. She was given better parts, and was eventually teamed with director Otis Turner, and the films they made together were big hits. She even began to write and direct her own films, among the first women to do so, and she made everything from westerns to action pictures to tearjerkers. She eventually became a victim of her own success; she was in such demand, and put herself through such a heavy schedule, that she had a nervous breakdown in 1922, and was off the screen for more than a year. She returned, apparently fully recovered, in 1924 and made several films. Then, for reasons never explained, she simply left the business. She died in Burbank, California, in 1964 of a heart attack.- Actor
- Director
Lafe McKee began working in Hollywood around 1913. He usually played the likeable father of the heroine, the distressed businessman, or the ranch owner on the verge of losing his homestead or cattle to the villains. The majority of his films were westerns and he supported such actors as Gary Cooper, John Wayne, Gene Autry, Tim McCoy, Tom Tyler, and others.Plot: West Mausoleum (just to the left of the main entrance)- Director
- Writer
- Producer
Gus Meins was born on 6 March 1893 in Los Angeles, California, USA. He was a director and writer, known for Kelly the Second (1936), Earl of Puddlestone (1940) and His Exciting Night (1938). He was married to Mary Berge Lewis. He died on 1 August 1940 in La Crescenta, California, USA.Plot: West Mausoleum Foyer, Room A (Columbarium of Remembrance), niche at top right corner of west wall- Edna Purviance began working as a stenographer in San Francisco. Charles Chaplin invited her to join him at Essanay Studio in 1915, the year of her film debut in Chaplin's His Night Out. Over the next seven years she appeared as his leading lady in over 20 Chaplin films made by Essanay, Mutual, and First National, including the classics The Tramp (1915), The Immigrant (1917), Easy Street (1917), The Kid (1921), and The Idle Class (1921). As a repayment for years of work with him, Chaplin intended real stardom for her with A Woman of Paris: A Drama of Fate (1923). The movie was a commercial failure though it advanced the career of Adolphe Menjou. She remained on Chaplin's payroll until her death, her last two appearances being non-speaking extra parts in his Monsieur Verdoux (1947) and Limelight (1952).Plot: West Mausoleum (just to the left of the main entrance)
- Actor
- Camera and Electrical Department
Wally Rehg was born on 31 August 1888 in Summerfield, Illinois, USA. He was an actor, known for Fast Company (1929). He died on 5 April 1946 in Burbank, California, USA.Plot: Section M, Tier 23, Grave 32- Composer
- Music Department
- Soundtrack
Manning Sherwin was born on 4 January 1898 in Philadelphia, Pennsylvania, USA. He was a composer, known for Empire of the Sun (1987), Hi Gang! (1941) and Battle of Britain (1969). He was married to Mildred H. Gardner and Mrs. Rebecca L. Lebowitz Platt. He died on 26 July 1974 in Los Angeles, California, USA.- Guy Standing was born on 1 September 1873 in London, England, UK. He was an actor, known for Death Takes a Holiday (1934), The Eagle and the Hawk (1933) and I'd Give My Life (1936). He was married to Dorothy Hammond, Blanche Burton and Isabelle Urquhart. He died on 24 February 1937 in Hollywood Hills, California, USA.Plot: Section F, 288
- A barrel-chested, bull-necked presence on stage, film and TV, the tough-minded character actor was born Adolphus Jean Sweet in New York City on July 18, 1920, the son of an auto mechanic. He initially attended the University of Alabama in 1939, but his studies were interrupted by WWII Air Force duty. As a navigator of B-24s, he was shot down during a raid and captured, spending two years as a POW in Germany. For his valor he was honored with the Distinguished Flying Cross and The Purple Heart.
A semi-pro football player and a boxer at one point, he received his Masters from Columbia University in 1949 at age 29. He subsequently became the head of the drama division of the English Department at Barnard College from 1949 to 1961. During this period of time he studied voice with Peyton Hibbett, took intensive acting classes with Tamara Daykarhanova and Joseph Anthony at the Daykarhanova School for the Stage in New York City, and appeared in random stock productions in the hopes of one day pursuing a professional career full-time.
The 40-something-year-old Sweet finally made his New York/Broadway debut in the Zero Mostel starrer "Rhinoceros" in 1961, and continued on the Great White Way with outstanding parts in "Romulus" (1962), "The Sign in Sidney Brustein's Window in 1964 (and its 1972 revival) and "Streamers" in 1976. Making his TV debut with "The Defenders" in 1961, Dolph quickly became a veteran of blue-collar cop shows including "East Side, West Side" and "The Trials of O'Brien." In the late 1960s he started making a dent in soap operas with regular roles on Dark Shadows (1966), The Edge of Night (1956), Somerset (1970) and especially Another World (1964), where he remained for five seasons (1972-1977) playing (of course) Police Chief Gil McGowan, the second husband of Constance Ford's beloved Ada Davis character.
Dolph received rather scant notice for his film roles despite some good scenes in such movies as Fear Is the Key (1972) and Go Tell the Spartans (1978). TV proved to be a more accepting medium for the actor. He portrayed J. Edgar Hoover in the "King" miniseries in 1978 and in the early 1980s the portly character player won a change-of-pace comedy lead in the popular sitcom Gimme a Break! (1981) in which he played (naturally) a police chief, Carl Kanisky, a widower whose household was run by the irrepressible Nell Carter.
During the show's run, Dolph was stricken with cancer and would die on May 8, 1985. At the beginning of the 1985-1986 season, the chief's passing was incorporated into the script and Nell became surrogate mother and father to his children. In real-life, the 64-year-old actor was survived by his second wife of 11 years, actress Iris Braun, and son Jonathan from his first marriage to Reba Gillespie, which ended in divorce in 1973. - Actor
- Director
- Writer
Leo White started in comedy on the boards of English music hall in the late 1890's. He accompanied theatrical producer Daniel Frohman (later a partner of Adolph Zukor in Famous Players Lasky) to Hollywood in 1910. From 1914, he appeared in Essanay comedies and filmed the 'Sweedie' series with Wallace Beery. He then became a regular supporting player in Charles Chaplin's films at Essanay and, later Mutual, playing dapper, moustachioed continental (particularly French) villains and pompous aristocrats. That image remained with him, as he was contracted by Essanay to play the comic foil to their new French star comedian Max Linder.
White's major dramatic film credits of the silent period included Blood and Sand (1922) with Rudolph Valentino and the biblical epic Ben-Hur: A Tale of the Christ (1925). He successfully made the transition to talking pictures and had supporting roles in two Marx Brothers comedies, Monkey Business (1931) and the classic A Night at the Opera (1935), as well as playing a barber in Chaplin's The Great Dictator (1940). In the years just prior to his death, he worked as an extra in several films for Warner Brothers.Plot: Section D, Lot 120, Grave 12- Actor
- Soundtrack
Colorful character actor of American Westerns. Named "Chill" as an ironic comment on his birth date being the hottest day of 1902. A musician from his youth, he performed from the age of 12 with tent shows, in vaudeville, and with stock companies. While performing in vaudeville in Kansas City, he married ballet dancer Betty Chappelle, with whom he had two children. He formed a musical group, Chill Wills and His Avalon Boys. During an appearance at the Trocadero in Hollywood, they were spotted by an RKO executive, subsequently appearing as a group in several low-budget Westerns. After a prominent appearance with The Avalon Boys as both himself and the bass-singing voice of Stan Laurel in Way Out West (1937), Wills disbanded the group and began a solo career as a usually jovial (but occasionally sinister) character actor, primarily in Westerns. His delightful portrayal of Beekeeper in The Alamo (1960) won him an Academy Award nomination for Best Supporting Actor, but his blatant and embarrassing campaign for the Oscar cost him the award and subjected him to a great deal of humiliation -- and probably cost the film a number of awards as well. His wife died in 1971, and he remarried, to Novadeen Googe, in 1973. He continued to work in films and television, usually in roguishly lovable good-ol'-boy parts, up until his death in 1978.Plot: Garden of Devotion, Tier C, Grave 27- Actress
- Producer
- Additional Crew
Clara Kimball Young was born Clarisa Kimball on September 6, 1890, to Edward Kimball and the former Mrs. E.M. Kimball, traveling stock company actors with the Holden Co. Though she claimed Chicago as her birthplace, there are no records of her being born in Cook County--which includes Chicago--and she may have been born on one of her parents' tours. Her parents lived in Benton Harbor, Michigan, where her birth name Clarisa changed from the 1890 census to Clairee in the one of 1900, though she once claimed her birth name was Edith.
Young Clarisa Kimball made her professional debut as an actress at the advanced age of three, touring with the Holden Co. with her parents and playing child parts in the company's repertoire. After attending Chicago's St. Francis Xavier Academy, she joined another traveling stock company that took her out west. She married actor James Young, and sometime between 1909 and 1912 they were both hired by the Vitagraph Co. Though she was making $75 a week in the stock company, she accepted Vitragraph's offer of an annual contract paying her $25 a week, as it was steady employment.
In addition to her husband, who was hired as an actor but eventually became one of the company's best directors, Vitagraph hired her parents. The studio, which had been formed at the end of the 19th century as the International Novelty Company by English vaudevillians Albert E. Smith, J. Stuart Blackton and Ronald A. Reader, was a family-friendly company. In addition to the Youngs, it also employed the sisters Norma Talmadge and Constance Talmadge, the Sidney Drew family, and Maurice Costello and his daughters Dolores Costello and Helene Costello.
Though Clara made dozens of films at Vitagraph, few of them survive. In her early films she was quite charming, and these showcased her natural personality better than did her later dramas. A tall, dark-haired, full-figured gal who was a popular type in the early 20th century, Clara played both conventional leading ladies and light comedy I(at which she excelled). She quickly became a top star at Vitagraph, ranking 17th in a 1913 popularity poll of stars that was topped by Kalem's Alice Joyce.
Clara would soon knock Joyce off her perch atop the popularity charts. When Vitagraph supplemented its normal output of one- and two-reelers in 1914 and '15 with several longer feature films, it paired Young and the equally popular 'Earle Williams' as her leading man. One of their first collaborations, My Official Wife (1914)--a potboiler in the then-popular Russian aristocracy genre, propelled Young and Williams to the top rank of stardom in the polls. The movie, helmed by her husband, made him a major director.
Into this "Garden of Eden" arrived a serpent in the guise of producer Lewis J. Selznick, the vice president of the new World Film Corp., who signed Young to a personal contract in 1914 and proceeded to change her image into that of an unbridled sexpot. In that year's Lola (1914) (aka "Without a Soul"), which was directed by her husband, she played a decent woman who dies and is resurrected, unfortunately lacking a soul (like many producers before and since). Transformed into a "vamp", the heartless Lola sets out to destroy men, resulting in Clara conquering the box office with another huge hit that cemented her reputation as a superstar. Simultaneously, Selznick was destroying the equanimity of his leading lady's home life, leading her husband to remark ruefully to Mabel Normand, "[W]here I made my mistake was in ever inviting that fellow to the house."
In 1916 James Young filed a lawsuit against Selznick for alienation of affections, to which Selznick riposted that the marriage was troubled before he had arrived on the scene. Clara filed charges against her husband, charging cruelty, though eventually it was James Young who obtained a divorce on grounds of desertion on April 8, 1919 (bBy then the Selznick-Kimball Young relationship was on the rocks and in the courts, and there was another correspondent to the divorce).
After playing two man-eating vamps, Clara settled into a series of roles as the traditional hapless heroine whose travails are resolved with a conventional happy ending. She did, however, get to assay the title roles in Camille (1915) and Trilby (1915) with more tragic results, and she got to play some more decadent Russian hussies in Hearts in Exile (1915) and The Yellow Passport (1916).
Screenwriter Frances Marion, her longtime friend, reported that Clara was bored with her roles at World Film and resentful about Selznick's control over her private life. Like many a movie mogul before and since, Selznick was determined to create a public image for his star that matched the roles she played, that of a gloomy tragedienne.
Selznick was an ambitious man who had a habit of alienating his business partners (a trait that would trigger the failure of his last company in 1923). He was ousted as general manager of World Film in February 1916. Three months later he left formed the Clara Kimball Young Film Corp. to produce films for her with himself as president, and Selznick Productions Inc., to distribute both her films and those of independent production companies. Now with exclusive control of her career, Selznick seemed determined to turn her back into the sexpot he made her when he produced her first movie at World. Leaving behind the five-reelers, he launched her in seven-reel extravaganzas, dressed in fashionable wardrobe and parrying risqué subject matter in The Common Law (1916), The Foolish Virgin (1916), The Price She Paid (1915) and The Easiest Way (1917).
She had a falling-out with Selznick after the initial series of four films for the company named for her--but controlled by him--apparently due to the salaciousness of the subject matter and his complete control over her life and career. At this time she became associated with Detroit-based movie exhibitor Harry Garson, with whom she entered into a personal relationship, as she had earlier with Selznick. In February 1917 a knife-wielding James Young attacked Garson as he exited New York City's Astor Theater with his wife.
It was Garson, anxious to make the leap from exhibition to production that former exhibitors like Louis B. Mayer had accomplished, who apparently encouraged her legal campaign to become emancipated from Selznick. She filed a lawsuit against him in June 1917, charging the president of Clara Kimball Young Film Corp. with fraud. She alleged that Selznick had set up dummy corporations to hide profits and had elected himself president of her production company while not allowing her any input into its management. Publicly denying the charge, Selznick obtained an injunction forbidding her to appear in movies produced by any other company. Selznick counter-charged that Young was under the influence of Garson and planned to make films with him as director for her new lover's Garson Productions.
The ball now in her court, Clara announced to the press her plans to take complete control of her career, artistically and financially, by forming her own company. Bristling over her former mentor's turning her into a public sexpot, she announced that she would no longer make pictures that flouted the mores of the censorship boards. In the legal round robin that their troubles degenerated into, Selznick then sued Garson to keep Garson Productions from doing business with Selznick Enterprises, which had a contract to release Clara Kimball Young films. For his part, Garson claimed that Clara's contract with Selznick was broken due to the failure of Selznick's companies to produce and deliver her movies.
The machinations of Selznick nemesis Adolph Zukor, who would later force him into bankruptcy and out of the business in 1923, came into play. Zukor helped finance the formation of the C.K.Y. Film Corp. in August 1917, while secretly acquiring a 50% stake in Selznick's company. Zukor temporarily left Selznick in charge of the renamed Select Pictures Corp., which would release films produced by Young with her own C.K.Y. Film. Corp.
Clara, her parents and her "business manager" Garson moved to California in early 1918, and in June of that year they announced plans to build a studio. To build a stock company for this new studio, Garson hired Blanche Sweet and director Marshall Neilan, and named himself a producer. The output of C.K.Y. Film Corp. continued Selznick's practice of outfitting Clara in fancy duds, but the length of the "features" was cut back to five reels. Intended for an adult audience, the films starring Clara featured female characters who could think for themselves and make their own decisions--ironically a case of wishful thinking for this woman who had had not one but two Svengalis in her life within a short period. She did branch out beyond her Selznick-construed vamp image, though, and appeared in a few comedies, including Cheating Cheaters (1919), which was hailed for its ingenious plot and wonderful supporting performances. Unfortunately, none of the movies produced by C.K.Y Film Corp. have survived.
Conflict with Selznick reared its ugly head again in 1919, when C.K.Y. posted a legal notice as an advertisement in the January 11th issue of "Moving Picture World". In it, Clara declared, "I have this day served notice upon the C.K.Y. Film Corporation of the termination of all contract relations between that company and myself, because of several flagrant violations of the terms of the agreement under which motion pictures has been produced for distribution through the Select Pictures Corporation." The ad also stated that "Cheating Cheaters" would be the last film for the C.K.Y. Film Corp. Declaring themselves independent producers, C.K.Y. and Garson began shooting The Better Wife (1919).
Another legal donnybrook between Trilby and her penultimate Svengali ensued. Selznick claimed that C.K.Y. was under contract to the C.K.Y. Film Corp. until August 21, 1921, and that Select Pictures owned C.K.Y. Film. "The Better Wife" wound up being released by Select Pictures in July 1919, the same month that Equity Pictures Corp. was created to distribute Clara Kimball Young films produced by Garson Productions. Launching their first independent feature, Eyes of Youth (1919), Young placed another advertisement declaring she had her own independent production company. Equity got off to a strong start, as "Eyes of Youth" proved to be a huge hit, her biggest box-office smash since "My Official Wife" made her the top female star in motion pictures back in 1914. Arguably the best film she ever made, "Eyes of Youth" sported fashionable gowns and a first-rate supporting cast, including featured player Rudolph Valentino in his pre-superstar days, and featured high-quality production values. The film was heavily advertised, which paid off at the box office. Her success was short-lived, however, as Selznick launched another legal battle against her and Equity Pictures. His threats to sue exhibitors who showed "Eyes of Youth" forced many canceled bookings, causing Equity Pictures to ultimately sustain a loss despite its healthy box-office intake.
After the qualified success of "Eyes of Youth," Harry Garson decided he wanted to direct. An uninspired director whose control over the medium seemed to deteriorate with experience, he helmed Young's next nine films. The movies, with weaker scripts, turned out badly and the productions were hampered by a lack of capital. The decline of the quality of their films became so blatant that critics scored Garson and Young for the bad direction of her last two films. Young was always mature-looking, even in her youth, and the films contained characters who were supposed to be possessed of a youthful quality now alien to the actress. She had grown old on-screen, violating one of cinema's strongest taboos that still is in effect for actresses.
The "Roaring Twenties" proved her demise. The quality of her films had deteriorated to the point that her 1921 film, Hush (1921) was released on a "states rights" basis rather than as a road show, a sure sign of the waning appeal of the woman who was once the #1 female star in America. Exhibitors would not pay top dollar for her films, and the income from them was sure to drop, as under the "tates Rights" model, exhibitors could show a movie as many times as they wanted within their territory for a contracted period and would only have to pay the initial exhibition fee to the production company, instead of the usual system in which the studio got a percentage of the entire box office.
The financial fortunes of Equity took a hit when the courts held for Selznick, ruling that he was owed $25,000 for each of her next ten films. In addition to fighting Selznick's legal barrage, she was subjected to lawsuits by the Harriman National Bank and Fine Arts Film Corp. The fan magazine "Moving Picture World"' in a case of paid-for editorial content, featured many stories attesting to Young's continued popularity, sometimes accompanied with personal appeals from her to her fans to continue showing their support. By the time Equity released her last two films for the company, What No Man Knows (1921) and The Worldly Madonna (1922), her films had degenerated into the cheap, rushed look of what were known as "Poverty Row" productions. Equity Pictures and Garson Productions ceased to be functioning entities in 1922.
Paramount Pictures head Adolph Zukor reportedly offered Young a Paramount contract if she would promise to keep Harry Garson out of her career, but she refused and signed with Commonwealth Pictures Corp., owned by Samuel Zierler, who allowed her to bring along her favorite director, Garson. Samuel Zierler Photoplay Corp. was to be the producer of her films, which would be distributed by Commonwealth in the state of New York and by Metro Pictures in all other territories.
Times, however, were changing. Boyish figures on women became the rage during the Twenties, and Young had a figure from the late Victorian era, which combined with the mature appearance made her look older than she actually was, and in fact she came across as matronly. It was the time of jazz babies and flaming youth, and a more naturalistic style of acting that damned more florid players as Young as "old-fashioned." Furthermore, by the 1920s the movie industry was becoming more vertically and horizontally integrated. The days of the entrepreneur were through; until 'Burt Lancaster (I)' became a successful independent star-producer after World War II, Charles Chaplin proved to be the last movie star to form and run his own successful production company. Creating new companies to produce and distribute one's films, as Young did, was a difficult process to undertake in the best of times, and the early 1920s saw a decline at the box office due to a postwar recession and an over-expansion of production that did in C.K.Y.'s nemesis, Lewis J. Selznick himself. It was a Sisyphean task Young had set for herself, hampered by a rolling stone named Harry Garson.
Garson was only to direct one film for Zierler, The Hands of Nara (1922), an out-and-out debacle. He was booted upstairs as producer, and experienced directors were assigned to her films, such as the far more capable King Vidor. Trying to turn around the trajectory of a falling star is difficult, and the uneven quality of her new films hurt her, as did changing tastes. Critics and exhibitors, already derisive of an aging star playing young, began carping about overacting. "Variety," the show business bible, published a sort of pre-mortem, commenting on how deeply Young's star had gone into eclipse in just two years due to bad movies. A Wife's Romance (1923) was the last of her films released by Metro, though she would make one more silent picture, the independently produced Lying Wives (1925). Young tried the novel career move of playing a villain, opposite Madge Kennedy's heroine, but the film fared badly with the critics, and the silent film career of Clara Kimball Young was over.
The rest of the Roaring Twenties were spent in vaudeville and cashing in on her former stardom with personal appearances. She eventually ditched Harry Garson and married Dr. Arthur Fauman in 1928. With the advent of sound, RKO Pictures brought her out of retirement for a featured comic role in Kept Husbands (1931), but her attempt to rejuvenate her career was hampered by a public perception that she was a "has-been". She segued over to Poverty Row for lead roles in and Mother and Son (1931)for low-rent Monogram Pictures and Women Go on Forever (1931) for Tiffany Productions, a producer primarily of cheap "hoss operas" and for introducing James Whale to Hollywood with Journey's End (1930). This was the apogee of her career trajectory in talkies, being reduced to bit parts in Poverty Row productions and appearances as an extra in productions at the "major" studios. Her claim to fame at this stage of her career was her appearance in the classic The Three Stooges short Ants in the Pantry (1936).
Her husband Arthur died in 1937, one of a series of personal misfortunes that Young suffered in the 1930s. Her comeback was derailed by bad publicity, as the press chronicled the sad state she had sunk into, the former top box-office star reduced to bit parts and extra work. They had built her up, and now they tore her down, as Hollywood did love its clichés, this one the great star now has-been reduced to the career gutter, a morality play for the masses who read movie magazines.
Young began appearing in westerns, appearing with William Boyd in his "Hopalong Cassidy" series, and productions with Gene Autry and Richard Dix. She even appeared on the radio, but her attempts to make a go of it ultimately failed. Years later she quipped that "during the Depression I had half a mind to take up a tin cup and beg for alms." She announced her retirement in 1941, declaring, "I've been working since I was two years old, I think I deserve the chance to quit and just enjoy life."
Her last film work was in 1941, in bottom-of-the-barrel PRC's Mr. Celebrity (1941) (a.k.a. "Turf Boy"), in which she appeared as herself with another silent-screen-star/has-been, Francis X. Bushman. During the early days of television broadcasting, the major studios' embargo on selling films to TV and a lack of programming meant that many TV stations began airing silent movies to fill air time. Young's surviving silents began to be showcased, giving her a new notoriety. Once again in the public eye, she was interviewed and went on the personal appearance circuit again, this time attending film conventions. In 1956 CBS hired her as the Hollywood correspondent for the original The Johnny Carson Show (1953) that ran for a single season in 1955-56.
At the dawn of the 1960s, Young battled poor health and had to retire to the Motion Picture Home. Frances Marion, the Oscar-winning screenwriter who had remained her friend, said that Young told her, "I was worn out from the long journey, but I have found my way home."
Clara Kimball Young died on October 15, 1960, and was interred at the Grand View Memorial Park in Glendale, California, after a funeral attended by several hundred friends.Plot: North Mausoleum, Unit A, Niche 368- Actor
- Soundtrack
Richard Deacon was the bald, bespectacled character actor most famous for playing television producer Mel Cooley on The Dick Van Dyke Show (1961) from 1961 to 1966. In the first season of that show he also continued to appear on the series he was already appearing on, Leave It to Beaver (1957), playing Lumpy Rutherford's father Fred.
Born on May 14, 1922, in Philadelphia, Pennsylvania, the tall, bass-voiced Deacon took to the boards as a stage actor. At the beginning of his career, stage legend Helen Hayes told Deacon that he would never become a leading man but encouraged him to become a character actor. It was good advice, as Deacon's show business career lasted decades and only was terminated by his death.
Because of his looks and authoritative voice, Deacon usually was typecast as a humorless or foul-tempered authority figure. He became a highly regarded supporting player in films, complimented by many of the leading actors he played opposite, including Jack Benny, Lou Costello and Cary Grant. However, it was in television that Deacon really thrived.
It was his five-year gig on "The Dick Van Dyke Show", where he earned television immortality playing the long-suffering brother-in-law of Alan Brady (the faux-TV star for whom Dick Van Dyke and his companion writers, Morey Amsterdam and Rose Marie, wrote). Deacon's character was constantly harassed by Amsterdam's diminutive wisecracking character Buddy Sorrell. After the show ceased production (still at the top of the ratings; Carl Reiner had terminated the series in order to go out while the show was on top), Deacon co-starred on the TV sitcom The Mothers-In-Law (1967) with Kaye Ballard and Eve Arden (Deacon replaced original series co-star Roger C. Carmel as Ballard's husband in the second season after Carmel was fired from the series by producer Desi Arnaz for refusing to accept a pay cut). After the show was canceled, Deacon returned to work as a freelance actor. Back on the boards, he appeared in the long-running Broadway production of "Hello Dolly" as Horace Vandergelder, opposite Phyllis Diller as the eponymous heroine in the 1969-70 season. Deacon continued appearing on television and in the movies until his death.
In real life, Deacon was a gourmet chef. In the 1980s he hosted a Canadian TV program on microwave cookery, and even wrote a companion book on the subject
On the night of August 8, 1984, he was stricken by a heart attack in his Beverly Hills home. He was rushed to Cedars Sinai Hospital, where he died later that night. He was 62 years old.He was cremated at Grandview Crematory. The funeral director was from Westwood Village Mortuary.