Colleen Moore

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Colleen Moore (born Kathleen Morrison) was an American film actress who began her career in 1899 and 1988.

Moore was one of the era's most popular (and well-paid) actors, and he was instrumental in the popularization of the bobbed haircut. Moore's films, including her first talking picture from 1929, have been considered out of date by a major actress in her day.

Flaming Youth (1923), perhaps her oldest film, is now mostly lost, with only one reel surviving. Moore took a brief break from acting between 1929 and 1933, just as sound was being added to motion pictures.

Her four sound pictures, which were released in 1933 and 1934, were not commercial success, despite the hiatus.

Moore then resigned from film acting permanently. Moore accumulated her fortune after her film career by making a Merrill Lynch partner.

She later wrote a "how-to" book on investing in the stock market. Moore cultivated a love for dollhouses throughout her life, as well as assisting with the creation and display of The Colleen Moore Dollhouse, which has been on display at the Museum of Science and Industry in Chicago, Illinois, since the 1950s.

The dollhouse, which measures 9 square feet (0.84 m2), was estimated to be worth $7 million in 1985 and is visited by 1.5 million people per year.

Early life

Moore was born in 1899 (according to the majority of the official records, she said she was right in her autobiography, Silent Star) in Port Huron, Michigan; she was the eldest child of Charles R. and Agnes Morrison. During the early years of Moore's life, the family remained in Port Huron, beginning with her grandmother Mary Kelly (often spelled Kelley) and then with at least one of Moore's aunts.

The family moved to Hillsdale, Michigan, where they remained for more than two years. By 1908, they had migrated to Atlanta, Georgia. 301 Capitol Avenue 1908 – 1910; 240 N. Jackson Street – 1910. They appeared at three separate addresses during their stay in Atlanta (from the Atlanta-Fulton Public Library city directors). They stayed in Warren, Pennsylvania, for less than a year, and by 1911, they had settled in Tampa, Florida.

She made her first move into Hollywood at the age of 15. With director D. W. Griffith, her uncle arranged a screen test. She had hoped to be a second Lillian Gish, but instead she found herself playing heroines in Westerns starring Tom Mix.

Dolls and movies were two of Moore's favorite pastimes; both would play a major role in her later years. She and her brother formed their own stock company, with some of them reportedly performing on a stage made from a piano packing crate. Her aunts, who adored her, indulged her inordinate obsession and often bought her miniature furniture on their many trips, with whom she furnished the first of a series of dollhouses. Moore's family spent the summer in Chicago, where she loved baseball and the company of her Aunt Lib (Elizabeth, who changed her name to "Liberty") and Lib's husband Walter Howey. Howey, the managing editor of the Chicago Examiner and a leading newspaper editor in William Randolph Hearst's publishing empire, inspired Walter Burns, the fictional Chicago newspaper editor in the play and the film The Front Page.

Personal life

Moore was married four times. She married John McCormick of First National Studios in her first marriage. They married in 1923 and divorced in 1930. Moore married stockbroker Albert P. Scott in 1932. In 1934, the union came to an end. Moore's third marriage was to Homer Hargrave, whom she married in 1936; he gave her dollhouse to her daughter, Judy Hargrave, and his son, Homer Hargrave Jr. The pair stayed married until Hargrave's death in 1964. In 1982, then married builder Paul Magenot and the two became a team until Moore's death in 1988.

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Career

Essanay Studios was within walking distance of the Northwestern L, which ran right past the Howey residence. (They occupied at least two dwellings between 1910 and 1916: 4161 Sheridan and 4942 Sheridan.) Moore said she had been in the background of several Essanay films, most as a face in a crowd in interviews later in her silent film career. Ferguson alleged that she joined the Essanay studios and waited in line to be an extra with Helen Ferguson, although it is not clear if she was referring to Moore's tenures as a background extra (if she really was one) or her film screening in Hollywood before her departure for Hollywood in November 1917. D. W. Griffith, a film director, was in debt to Howey, who had helped him to obtain both Birth of a Nation and Intolerance through the Chicago censorship board.

Triangle-Fine Arts, a Griffith company, was conditional on getting a film test to make sure her heterochromia (one brown eye and one blue eye) would not be a hindrance in close-up shots. The test was positive, and she and her grandmother and her mother were sent as chaperones to Hollywood. Moore made her first recognized film appearance in 1917 in The Bad Boy for Triangle Fine Arts, and the next two years she appeared in small, supporting roles gradually attracting the public's interest.

The Bad Boy was released on February 18, and it featured Robert Harron, Richard Cummings, Josephine Crowell, and Mildred Harris (who would later become Charles Chaplin's first wife). It was followed by An Old-Fashioned Young Man, Robert Harron, two months later.

Moore’s third film was Hands Up!

Parts of the Seven Oaks area were shot (one of the many locations for dramatic vistas in productions). This was her first true western. Wilfred Lucas' script was based on a tale by Al Jennings, the film's most famous outlaw who had been released from prison by presidential pardon by Theodore Roosevelt in 1907. Monte Blue was in the role but noticed she could not mount her horse, though horseback riding was required for the part (dueling for the part she neglected to mention that she didn't know how to ride). Blue gave her a short lesson that essentially consisted of how to mount the horse and how to hold on.

"Colleen Moore contributes some of the best bits of acting," the Chicago Daily Tribune announced on May 3, 1917. She is very sweet as she trusts her bandit hero, and, O, so pitiful, when finally recognizing the man's identity, she goes into a hysteria and yelling "Daddy, Daddy, Daddy!" Beats on a bolted door, a terrified little human being who had no idea that there was nothing but kindness in the world" before. Around the time her first six-month contract was extended an additional six months, she applied and received five weeks' permission to film for Universal's Bluebird division, which was released under the title The Savage. This was her fourth film, and she was only around for two weeks. She spent several weeks attempting to secure her salary for the three weeks she had been waiting for for work for Triangle (finally receiving it in December of this year).

The Triangle Company went bankrupt shortly after, and although her employment was acknowledged, she found herself scrambling to find her next job. Hands Up! features a reel of her appearance. Colin Campbell, under her armour, arranged for her to work with Selig Polyscope. She was most likely working on A Hoosier Romance before the Savage was published in November. She went to work on Little Orphant Annie after A Hoosier Romance. Both films were based on poems by James Whitcomb Riley, and they were extremely popular. It was her first real glimpse of fame.

Annie was the first orphanage in the United Kingdom. Moore was described as a "beloved and spoilt child" by the Chicago Daily Tribune, "She was a sweet and unspoiled child the last time I saw her. Let's hope commendation hasn't turned her head." Despite her positive reviews, Selig Polyscope's luck took a turn for the worse when she bust. Moore was unemployed again, but she had begun to make a name for herself by 1919. A number of films had been lined up for her. This time with Tom Mix, she travelled to Flagstaff, Arizona, for location work on The Wilderness Trail. Her mother was accompanied by her as a chaperone. Moore claimed that although she had a crush on Mix, he had only eyes for her mother. The Wilderness Trail was a Fox Film Corporation film, and although it had started production earlier, it wouldn't be released until after The Busher, which was released on May 18. The Busher was a H. Ince Productions-Famous Players-Lasky production; it was a baseball film starring John Gilbert; it was a baseball film starring John Gilbert. On July 6, another Fox film The Wilderness Trail was followed by another Fox film. A few weeks later, The Man in the Moonlight, a Universal Film Manufacturing Company film, was released. Paramount Pictures' Egg Crate Wallop was a well-known Players-Lasky project that was unveiled on September 28.

She spent the next stage of her career with the Christie Film Company, a move she made when she decided she needed comic training. So Long Letty made Her Bridal Nightmare, A Roman Scandal, while with Christie. She was also filming on these films with Sessue Hayakawa (in which she appeared as a Persian woman) when Dawn Came and his Nibs (1921) with Chic Sale. Marshall Neilan had been attempting to get Moore fired from his job so she could work for him. He was popular and made Dinty with Moore, debuting at the end of 1920 and being followed by Dawn Came.

Moore departed from Christie in 2009, and Neilan seems to have loaned Moore to other studios for the majority of his time. He loaned her out to King Vidor for The Sky Pilot, which was yet another Western. She and John Barrymore were off to Catalina Island to work on The Sky Pilot, having lived on location in Truckee, but not before that. His Nibs was released in October 1921, his only film to be released that year other than The Sky Pilot. Moore appeared in a film within the film; the framing film was a comedy vehicle for Chic Sales. It was a parody of old films of the day. Moore's 1922-1922 was an eventful year for her; she was named a WAMPAS Baby Star during a "frolic" at the Ambassador Hotel, which became an annual event in recognition of her increasing fame. Come On Over was released in early 1922, based on a Rupert Hughes tale and directed by Alfred E. Green. In The Wallflower, Hughes portrayed Moore himself. He was released the year before. In addition, Neilan introduced her to John McCormick, a publicist who had been keeping an eye on Moore since she had first seen her photograph. He had coerced Marshall to give his introduction. The two boys were quick to get involved, and before long, they were engaged. Three more of her films, Forsaking All Others, The Ninety and Nineties, and Broken Chains, all three of which were released by the end of the year, had been outed by the end of the year.

In early 1923, Look Your Best and The Nth Commandment were first published, followed by two Cosmopolitan Productions, The Nth Commandment, and Through the Dark. Moore had publicly confirmed her relationship with McCormick by this time, despite the fact that she had already been coy to the media before. She had signed a deal with First National Pictures before mid-year, and her first two films, The Huntress and Flaming Youth, were supposed to be released. In June, Slippy McGee was first introduced to the theatre, followed by Broken Hearts of Broadway.

Both Moore and John McCormick married when Flaming Youth were still in production, and well before the introduction of The Savage. When it was first published in 1923, Flaming Youth, in which she appeared opposite actor Milton Sills, was a hit. Moore was brought into focus as a flapper, but after Clara Bow appeared in Black Oxen in December, she gradually lost her energy. In spring 1924, she made a good but unsuccessful attempt to top Bow in The Perfect Flapper, and a few days after, she dismissed the whole flapper vogue; "People are sick of soda pop love affairs." Bow was her "chief adversary" a decade ago, according to Moore.

Originally shot under the name Daughter of Mother McGinn in January 1924, she was released during the Flaming Youth furor. Painted People were released three weeks later. She would have appeared in Counterfeit after that. The film underwent several name changes before being released in August as Flirting with Love. First National acquired the rights to Sally Moore's next film in October. It would be a challenge if Sally was a musical comedy. First National purchased the rights to Desert Flower in December and, in so doing, Moore planned out Moore's schedule for 1925: Sally will be the first film to film, followed by The Desert Flower.

She had appeared in films including So Big, where Moore lived for a decade, and she was also well-received in light comedies like Irene by the late 1920s. Moore saw the tour as her first real opportunity to spend time with her husband, John McCormick, because it was timed out of So Big in Europe. Both she and John McCormick were dedicated to their careers, but their busy schedules prevented them from spending any quality time together. Moore wanted a family; it was one of her dreams.

When she injured her neck during the filming of The Desert Flower, her travel plans were put into jeopardy. Moore's illness caused the production to stop, but it was in bed for six weeks. She finished the film and left for Europe on a triumphant tour after being left out of the cast. When she returned, she negotiated a new deal with First National. Her films had been huge hits, so her terms were generous. We Moderns, a British film set in London, was her first film to return to the United States, with location work in London during the tour. It was a comedic version of Flaming Youth from an English perspective. Irene (another musical in the style of the very popular Sally) and Ella Cinders, a straight comedy that featured comedian Harry Langdon's cameo appearance, was followed by this. It Must Be Love was a romantic comedy with dramatic undertones, and it was followed by Twinkletoes, a dramatic film that starred Moore as a young dancer in London's Limehouse district during the previous century. Orchids and Ermine were released in 1927, shot in part in New York, as part of a thinly announced Cinderella tale.

Moore resigned from her studio in 1927 after her husband abruptly resigned. According to rumors, John McCormick was about to be fired for his alcohol use and that she left as a way to leverage her husband's earnings into a First National position. It worked, and McCormick was discovered to be Moore's sole producer. Moore's success aided her shows to become both large and lavish. Lilac Time was one of the best productions of the period, a World War I drama. It was a million dollar film that brought back every penny invested within months. Warner Bros. had taken over First National and were less interested in keeping the terms of her deal before the numbers started to roll in for Lilac Time. Moore was so successful that she and her husband were able to negotiate generous terms in their next deal and as her producer.

In 1928, a dollhouse was built by her father, with help from her former set designer. The interior of The Colleen Moore Dollhouse, which was designed by Harold Grieve, features miniature bear skin rugs and intricate furniture and artwork. Moore's dollhouse has been on display at the Museum of Science and Industry in Chicago since October 30, 1949, where, according to the museum, it is seen by 1.5 million people every year and could be worth $7 million. Moore continued to work on it and selling artifacts related to it until her death.

This dollhouse was Moore's eighth one. It came from a cabinet that held her miniature furniture collection, that she wrote in her autobiography Silent Star (1968). It was reportedly made from a cigar box. In the edition of The Evening News (Tampa, Florida), Kitty Lorgnette, recalled that the first dollhouse was bought by Oraleze O'Brien (Mrs. Frank J. Knight) in 1916, just days before Moore (then Kathleen) left Tampa. Oraleze was too large for dollhouses, but she sold it again after her cat had kittens in it, and she lost track of it after leaving her cat dead inside. The third home was possibly given to author Adela Rogers St. Johns, Moore's close friend. In a relative's living room, the fourth survives and remains on display.

Moore took a break from acting when talking pictures first appeared in 1929. Moore married prominent New York stockbroker Albert Parker Scott in 1932 after divorcing McCormick in 1930. During the 1932 Summer Olympics in Los Angeles, the couple lived in a luxurious house on 345 St. Pierre Road in Bel Air, where they hosted parties and were advocates of the U.S. Olympic team, particularly the yachting team.

Moore, who later divorced from Albert Parker Scott, returned to Hollywood in 1934. Moore starred in three films, none of which were commercial, and after she departed, she reacted in three movies. In 1934, her last film was a recreation of The Scarlet Letter. Homer Hargrave married her children after she separated from her previous marriage, with whom she maintained a lifelong close friendship. She also kept close friendships with other colleagues from the silent film period, such as King Vidor and Mary Pickford.

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