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After her film career, Moore maintained her wealth through astute investments, becoming a partner of [[Merrill Lynch]]. She later wrote a "how-to" book about investing in the stock market.
After her film career, Moore maintained her wealth through astute investments, becoming a partner of [[Merrill Lynch]]. She later wrote a "how-to" book about investing in the stock market.


Moore also nurtured a passion for dollhouses throughout her life and helped design and curate The Colleen Moore Dollhouse, which has been a featured exhibit at the [[Museum of Science and Industry (Chicago)|Museum of Science and Industry]] in [[Chicago]] since the early 1950s. The dollhouse, measuring {{convert|9|sqft}}, was estimated in 1985 to be worth $7&nbsp;million, and it is seen by 1.5&nbsp;million people annually.<ref name="chicagotribune_8502250032">{{cite news |title=50 Years Of Colleen Moore's Fairy Castle |url=http://articles.chicagotribune.com/1985-08-23/entertainment/8502250032_1_windsor-castle-dollhouse-science-and-industry |work=[[Chicago Tribune]] |date=August 23, 1985}}</ref>
Moore also nurtured a passion for dollhouses throughout her life and helped design and curate The Colleen Moore Dollhouse, which has been a featured exhibit at the [[Museum of Science and Industry (Chicago)|Museum of Science and Industry]] in [[Chicago]] since the early 1950s. The dollhouse, measuring {{convert|9|sqft}}, was estimated in 1985 to be worth $7&nbsp;million, and it is seen by 1.5&nbsp;million people annually.<ref name="chicagotribune_8502250032">{{cite news |title=50 Years Of Colleen Moore's Fairy Castle |url=https://www.chicagotribune.com/1985/08/23/50-years-of-colleen-moores-fairy-castle/ |work=[[Chicago Tribune]] |date=August 23, 1985}}</ref>


==Early life==
==Early life==
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The contract to Griffith's [[Triangle Film Corporation|Triangle-Fine Arts]] was conditional on passing a film test to ensure that her [[heterochromia]] (she had one brown eye, one blue eye)<ref name=fowler>{{cite news |last=Fowler |first=Glenn |title=Colleen Moore, Star of 'Flapper' Films, Dies at 85 |url=https://www.nytimes.com/1988/01/26/obituaries/colleen-moore-star-of-flapper-films-dies-at-85.html |url-status=live |newspaper=[[The New York Times]] |date=January 26, 1988 |access-date=December 29, 2013 |archive-url=https://web.archive.org/web/20121109020006/http://www.nytimes.com/1988/01/26/obituaries/colleen-moore-star-of-flapper-films-dies-at-85.html |archive-date=November 9, 2012}}</ref> would not be a distraction in close-up shots. Her eyes passed the test, so she left for Hollywood with her grandmother and her mother as chaperones. Moore made her first credited film appearance in 1917 in ''[[The Bad Boy (1917 film)|The Bad Boy]]'' for Triangle Fine Arts, and for the next few years appeared in small, supporting roles<ref name="afi">{{cite web |title=Colleen Moore |url=http://www.afi.com/members/catalog/SearchResult.aspx?s=1&TBL=PN&Type=CA&ID=33642&bhcp=1 |work=AFI Catalog Silent Films |publisher=AFI |year=2002 |access-date=September 30, 2007}}</ref> gradually attracting the attention of the public.
The contract to Griffith's [[Triangle Film Corporation|Triangle-Fine Arts]] was conditional on passing a film test to ensure that her [[heterochromia]] (she had one brown eye, one blue eye)<ref name=fowler>{{cite news |last=Fowler |first=Glenn |title=Colleen Moore, Star of 'Flapper' Films, Dies at 85 |url=https://www.nytimes.com/1988/01/26/obituaries/colleen-moore-star-of-flapper-films-dies-at-85.html |url-status=live |newspaper=[[The New York Times]] |date=January 26, 1988 |access-date=December 29, 2013 |archive-url=https://web.archive.org/web/20121109020006/http://www.nytimes.com/1988/01/26/obituaries/colleen-moore-star-of-flapper-films-dies-at-85.html |archive-date=November 9, 2012}}</ref> would not be a distraction in close-up shots. Her eyes passed the test, so she left for Hollywood with her grandmother and her mother as chaperones. Moore made her first credited film appearance in 1917 in ''[[The Bad Boy (1917 film)|The Bad Boy]]'' for Triangle Fine Arts, and for the next few years appeared in small, supporting roles<ref name="afi">{{cite web |title=Colleen Moore |url=http://www.afi.com/members/catalog/SearchResult.aspx?s=1&TBL=PN&Type=CA&ID=33642&bhcp=1 |work=AFI Catalog Silent Films |publisher=AFI |year=2002 |access-date=September 30, 2007}}</ref> gradually attracting the attention of the public.


''The Bad Boy'' was released on February 18, and featured [[Robert Harron]], [[Richard Henry Cummings|Richard Cummings]], [[Josephine Crowell]], and [[Mildred Harris]] (who would later become [[Charles Chaplin]]'s first wife). Two months later, it was followed by ''[[An Old-Fashioned Young Man]]'', again with Robert Harron. Moore’s third film was ''[[Hands Up! (1917 film)|Hands Up!]]'' filmed in part in the vicinity of the Seven Oaks (a popular location for productions that required dramatic vistas). This was her first true western. The film’s scenario was written by Wilfred Lucas from a story by [[Al Jennings]], the famous outlaw who had been freed from jail by [[Pardon|presidential pardon]] by [[Theodore Roosevelt]] in 1907. [[Monte Blue]] was in the cast and noticed Moore could not mount her horse, though horseback riding was required for the part (during casting for the part she neglected to mention she did not know how to ride). Blue gave her a quick lesson essentially consisting of how to mount the horse and how to hold on.
''The Bad Boy'' was released on February 18, and featured [[Robert Harron]], [[Richard Henry Cummings|Richard Cummings]], [[Josephine Crowell]], and [[Mildred Harris]] (who would later become [[Charles Chaplin]]'s first wife). Two months later, it was followed by ''[[An Old-Fashioned Young Man]]'', again with Robert Harron. Moore's third film was ''[[Hands Up! (1917 film)|Hands Up!]]'' filmed in part in the vicinity of the Seven Oaks (a popular location for productions that required dramatic vistas). This was her first true western. The film's scenario was written by Wilfred Lucas from a story by [[Al Jennings]], the famous outlaw who had been freed from jail by [[Pardon|presidential pardon]] by [[Theodore Roosevelt]] in 1907. [[Monte Blue]] was in the cast and noticed Moore could not mount her horse, though horseback riding was required for the part (during casting for the part she neglected to mention she did not know how to ride). Blue gave her a quick lesson essentially consisting of how to mount the horse and how to hold on.


On May 3, 1917, the ''[[Chicago Daily Tribune]]'' said: "Colleen Moore contributes some remarkable bits of acting. She is very sweet as she goes trustingly to her bandit hero, and, O, so pitiful, when finally realizing the character of the man, she goes into a hysteria of terror, and, shrieking 'Daddy, Daddy, Daddy!' beats futilely on a bolted door, a panic-stricken little human animal, who had not known before that there was aught but kindness in the world." About the time her first six-month contract was extended an additional six months, she requested and received five weeks' release to do a film for [[Universal Studios|Universal]]'s Bluebird division, released under the name ''The Savage''. This was her fourth film, and she was only needed for two weeks. Upon her return to the Fine Arts lot, she spent several weeks trying to get her pay for the three weeks she had been available for work for Triangle (finally receiving it in December of that year).
On May 3, 1917, the ''[[Chicago Daily Tribune]]'' said: "Colleen Moore contributes some remarkable bits of acting. She is very sweet as she goes trustingly to her bandit hero, and, O, so pitiful, when finally realizing the character of the man, she goes into a hysteria of terror, and, shrieking 'Daddy, Daddy, Daddy!' beats futilely on a bolted door, a panic-stricken little human animal, who had not known before that there was aught but kindness in the world." About the time her first six-month contract was extended an additional six months, she requested and received five weeks' release to do a film for [[Universal Pictures|Universal]]'s Bluebird division, released under the name ''The Savage''. This was her fourth film, and she was only needed for two weeks. Upon her return to the Fine Arts lot, she spent several weeks trying to get her pay for the three weeks she had been available for work for Triangle (finally receiving it in December of that year).


Soon after, the Triangle Company went bust, and while her contract was honored, she found herself scrambling to find her next job. With a reel of her performance in ''Hands Up!'' under her arm, [[Colin Campbell (film maker)|Colin Campbell]] arranged for her to get a contract with [[Selig Polyscope Company|Selig Polyscope]]. She was very likely at work on ''A Hoosier Romance'' before ''The Savage'' was released in November. After ''A Hoosier Romance'', she went to work on ''[[Little Orphant Annie]]''. Both films were based upon poems by [[James Whitcomb Riley]], and both proved to be very popular. It was her first real taste of popularity.
Soon after, the Triangle Company went bust, and while her contract was honored, she found herself scrambling to find her next job. With a reel of her performance in ''Hands Up!'' under her arm, [[Colin Campbell (film maker)|Colin Campbell]] arranged for her to get a contract with [[Selig Polyscope Company|Selig Polyscope]]. She was very likely at work on ''A Hoosier Romance'' before ''The Savage'' was released in November. After ''A Hoosier Romance'', she went to work on ''[[Little Orphant Annie]]''. Both films were based upon poems by [[James Whitcomb Riley]], and both proved to be very popular. It was her first real taste of popularity.


''Little Orphant Annie'' was released in December. The ''Chicago Daily Tribune'' wrote of Moore, "She was a lovely and unspoiled child the last time I saw her. Let's hope commendation hasn't turned her head." Despite her good notices, her luck took a turn for the worse when Selig Polyscope went bust. Once again Moore found herself unemployed, but she had begun to make a name for herself by 1919. She had a series of films lined up. She went to [[Flagstaff, Arizona]], for location work on ''The Wilderness Trail'', another western, this time with Tom Mix. Her mother went along as a chaperone. Moore wrote that while she had a crush on Mix, he only had eyes for her mother. ''The Wilderness Trail'' was a [[Fox Film Corporation]] production, and while it had started production earlier, it would not be released until after ''The Busher'', which was released on May 18. ''The Busher'' was an H. Ince Productions-[[Famous Players–Lasky]] production; it was a baseball film whose hero was played by [[John Gilbert (actor)|John Gilbert]]. ''The Wilderness Trail'' followed on July 6, another Fox film. ''The Man in the Moonlight'', a [[Universal Studios|Universal Film Manufacturing Company]] film, was released a few weeks later on July 28. ''The Egg Crate Wallop'' was a Famous Players–Lasky production released by [[Paramount Pictures]] on September 28.
''Little Orphant Annie'' was released in December. The ''Chicago Daily Tribune'' wrote of Moore, "She was a lovely and unspoiled child the last time I saw her. Let's hope commendation hasn't turned her head." Despite her good notices, her luck took a turn for the worse when Selig Polyscope went bust. Once again Moore found herself unemployed, but she had begun to make a name for herself by 1919. She had a series of films lined up. She went to [[Flagstaff, Arizona]], for location work on ''The Wilderness Trail'', another western, this time with Tom Mix. Her mother went along as a chaperone. Moore wrote that while she had a crush on Mix, he only had eyes for her mother. ''The Wilderness Trail'' was a [[Fox Film Corporation]] production, and while it had started production earlier, it would not be released until after ''The Busher'', which was released on May 18. ''The Busher'' was an H. Ince Productions-[[Famous Players–Lasky]] production; it was a baseball film whose hero was played by [[Charles Ray (actor)|Charles Ray]]. ''The Wilderness Trail'' followed on July 6, another Fox film. ''The Man in the Moonlight'', a [[Universal Pictures|Universal Film Manufacturing Company]] film, was released a few weeks later on July 28. ''The Egg Crate Wallop'' was a Famous Players–Lasky production released by [[Paramount Pictures]] on September 28.


[[File:Her Wild Oat - scene - 1927.webm|thumb|thumbtime=48|Colleen Moore acting in a scene from the 1927 silent film [[Her Wild Oat]].]]
===Success===
===Success===
The next stage of her career was with the [[Christie Film Company]], a move she made when she decided she needed comic training. While with Christie she made ''[[Her Bridal Nightmare]]'', ''[[A Roman Scandal (film)|A Roman Scandal]]'', and ''[[So Long Letty (1920 film)|So Long Letty]]''. At the same time as she was working on these films, she worked on ''The Devil's Claim'' with [[Sessue Hayakawa]] (in which she played a Persian woman), ''When Dawn Came'', and ''[[His Nibs (film)|His Nibs]]'' (1921) with [[Chic Sale]]. All the while, [[Marshall Neilan]] had been attempting to get Moore released from her contract so she could work for him. He was successful and made ''Dinty'' with Moore, releasing near the end of 1920, followed by ''When Dawn Came''.
The next stage of her career was with the [[Christie Film Company]], a move she made when she decided she needed comic training. While with Christie she made ''[[Her Bridal Nightmare]]'', ''[[A Roman Scandal (film)|A Roman Scandal]]'', and ''[[So Long Letty (1920 film)|So Long Letty]]''. At the same time as she was working on these films, she worked on ''The Devil's Claim'' with [[Sessue Hayakawa]] (in which she played a Persian woman), ''When Dawn Came'', and ''[[His Nibs (film)|His Nibs]]'' (1921) with [[Chic Sale]]. All the while, [[Marshall Neilan]] had been attempting to get Moore released from her contract so she could work for him. He was successful and made ''Dinty'' with Moore, releasing near the end of 1920, followed by ''When Dawn Came''.


[[File:The Wall Flower (1922) - 1.jpg|thumb|260px|{{center|[[Film still]] of [[Gertrude Astor]], Moore, and [[Richard Dix]] from ''[[The Wall Flower]]'' (1922)}}]]
For all his efforts to win Moore away from Christie, it seems Neilan loaned Moore to other studios most of the time. He loaned her out to [[King Vidor]] for ''[[The Sky Pilot]]'', released in May 1921, yet another Western. After working on ''The Sky Pilot'' on location in the snows of [[Truckee Range|Truckee]], she was off to Catalina Island for work on ''[[The Lotus Eater (1921 film)|The Lotus Eater]]'' with [[John Barrymore]]. In October 1921, ''His Nibs'' was released, her only film to be released that year besides ''The Sky Pilot''. In ''His Nibs'', Moore actually appeared in a film within the film; the framing film was a comedy vehicle for Chic Sales. The film it framed was a [[parody|spoof]] on films of the time. 1922 proved to be an eventful year for Moore; she was named a [[WAMPAS Baby Stars|WAMPAS Baby Star]] during a "frolic" at the [[Ambassador Hotel (Los Angeles)|Ambassador Hotel]] which became an annual event, in recognition of her growing popularity.<ref>{{cite book |last=Williams |first=Gregory Paul |title=The Story of Hollywood: An Illustrated History |year=2006 |pages=122 |publisher=www.storyofhollywood.com |isbn=0-9776299-0-2}}</ref> In early 1922, ''[[Come on Over (film)|Come On Over]]'' was released, made from a [[Rupert Hughes]] story and directed by [[Alfred E. Green]]. Hughes directed Moore himself in ''The Wallflower'', released that same year. In addition, Neilan introduced her to [[John McCormick (producer)|John McCormick]], a publicist who had had his eye on Moore ever since he had first seen her photograph. He had prodded Marshall into an introduction. The two hit it off, and before long they were engaged. By the end of that year, three more of her films were released: ''[[Forsaking All Others (1922 film)|Forsaking All Others]]'', ''[[The Ninety and Nine]]'', and ''[[Broken Chains (film)|Broken Chains]]''.
For all his efforts to win Moore away from Christie, it seems Neilan loaned Moore to other studios most of the time. He loaned her out to [[King Vidor]] for ''[[The Sky Pilot]]'', released in May 1921, yet another Western. After working on ''The Sky Pilot'' on location in the snows of [[Truckee Range|Truckee]], she was off to Catalina Island for work on ''[[The Lotus Eater (1921 film)|The Lotus Eater]]'' with [[John Barrymore]]. In October 1921, ''His Nibs'' was released, her only film to be released that year besides ''The Sky Pilot''. In ''His Nibs'', Moore actually appeared in a film within the film; the framing film was a comedy vehicle for Chic Sales. The film it framed was a [[parody|spoof]] on films of the time. 1922 proved to be an eventful year for Moore; she was named a [[WAMPAS Baby Stars|WAMPAS Baby Star]] during a "frolic" at the [[Ambassador Hotel (Los Angeles)|Ambassador Hotel]] which became an annual event, in recognition of her growing popularity.<ref>{{cite book |last=Williams |first=Gregory Paul |title=The Story of Hollywood: An Illustrated History |year=2006 |pages=122 |publisher=www.storyofhollywood.com |isbn=0-9776299-0-2}}</ref> In early 1922, ''[[Come on Over (film)|Come On Over]]'' was released, made from a [[Rupert Hughes]] story and directed by [[Alfred E. Green]]. Hughes directed Moore himself in ''The Wallflower'', released that same year. In addition, Neilan introduced her to [[John McCormick (producer)|John McCormick]], a publicist who had had his eye on Moore ever since he had first seen her photograph. He had prodded Marshall into an introduction. The two hit it off, and before long they were engaged. By the end of that year, three more of her films were released: ''[[Forsaking All Others (1922 film)|Forsaking All Others]]'', ''[[The Ninety and Nine]]'', and ''[[Broken Chains (film)|Broken Chains]]''.


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===Sound films===
===Sound films===
With the advent of [[Sound film|talking pictures]] in 1929, Moore took a hiatus from acting. After divorcing McCormick in 1930, Moore married prominent New York-based stockbroker Albert Parker Scott in 1932. The couple lived at that time in a lavish home at 345 St. Pierre Road in [[Bel Air, Los Angeles, California|Bel Air]], where they hosted parties for and were supporters of the U.S. [[Olympic Games|Olympic]] team, especially the [[yachting]] team, during the [[1932 Summer Olympics]] held in Los Angeles.
With the advent of [[Sound film|talking pictures]] in 1929, Moore took a hiatus from acting. After divorcing McCormick in 1930, Moore married prominent New York-based stockbroker [[Albert Parker Scott]] in 1932. The couple lived at that time in a lavish home at 345 St. Pierre Road in [[Bel Air, Los Angeles, California|Bel Air]], where they hosted parties for and were supporters of the U.S. [[Olympic Games|Olympic]] team, especially the [[yachting]] team, during the [[1932 Summer Olympics]] held in Los Angeles.


In 1934, Moore, by then divorced from Albert Parker Scott, returned to work in Hollywood. She appeared in three films, none of which was successful, and Moore retired. Her last film was a version of ''[[The Scarlet Letter (1934 film)|The Scarlet Letter]]'' in 1934. She later married the widower Homer Hargrave and raised his children (she never had children of her own) from a previous marriage, with whom she maintained a lifelong close relationship. Throughout her life she also maintained close friendships with other colleagues from the silent film era, such as King Vidor and [[Mary Pickford]].
In 1934, Moore, by then divorced from Albert Parker Scott, returned to work in Hollywood. She appeared in three films, none of which was successful, and Moore retired. Her last film was a version of ''[[The Scarlet Letter (1934 film)|The Scarlet Letter]]'' in 1934. She later married the widower [[Homer Hargrave]] and raised his children (she never had children of her own) from a previous marriage, with whom she maintained a lifelong close relationship. Throughout her life she also maintained close friendships with other colleagues from the silent film era, such as [[King Vidor]] and [[Mary Pickford]].


==Later years==
==Later years==
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In the 1960s, Moore formed a television production company with King Vidor, with whom she had worked in the 1920s. She published two books in the late 1960s, ''How Women Can Make Money in the Stock Market'' (1969) and her [[autobiography]], ''[[Silent Star|Silent Star: Colleen Moore Talks About Her Hollywood]]'' (1968). She also figures prominently alongside Vidor in [[Sidney D. Kirkpatrick]]'s book, ''A Cast of Killers'', which recounts Vidor's attempt to make a film of and solve the murder of [[William Desmond Taylor]]. In that book she is recalled as having been a successful real estate broker in Chicago and partner in the investment firm [[Merrill Lynch]] after her film career.{{Citation needed |date=November 2021}}
In the 1960s, Moore formed a television production company with King Vidor, with whom she had worked in the 1920s. She published two books in the late 1960s, ''How Women Can Make Money in the Stock Market'' (1969) and her [[autobiography]], ''[[Silent Star|Silent Star: Colleen Moore Talks About Her Hollywood]]'' (1968). She also figures prominently alongside Vidor in [[Sidney D. Kirkpatrick]]'s book, ''A Cast of Killers'', which recounts Vidor's attempt to make a film of and solve the murder of [[William Desmond Taylor]]. In that book she is recalled as having been a successful real estate broker in Chicago and partner in the investment firm [[Merrill Lynch]] after her film career.{{Citation needed |date=November 2021}}


At the height of her fame, Moore was earning $12,500 per week. She was an astute investor, and through her investments, remained wealthy for the rest of her life. In her later years she would frequently attend film festivals, and was a popular interview subject always willing to discuss her Hollywood career. She was a participant in the documentary series ''[[Hollywood (1980 TV series)|Hollywood]]'' (1980), providing her recollections of Hollywood's silent film era.<ref>Amelie Hastie [http://muse.jhu.edu/journals/co/summary/v016/16.3hastie.html "History in Miniature: Colleen Moore's Dollhouse and Historical Recollection"], ''Camera Obscura'', 16.3 (2001), pp.113-157</ref>
At the height of her fame, Moore was earning $12,500 per week. She was an astute investor, and through her investments, remained wealthy for the rest of her life. In her later years she would frequently attend film festivals, and was a popular interview subject always willing to discuss her Hollywood career. She was a participant in the documentary series ''[[Hollywood (British TV series)|Hollywood]]'' (1980), providing her recollections of Hollywood's silent film era.<ref>Amelie Hastie [http://muse.jhu.edu/journals/co/summary/v016/16.3hastie.html "History in Miniature: Colleen Moore's Dollhouse and Historical Recollection"], ''Camera Obscura'', 16.3 (2001), pp.113-157</ref>


==Personal life==
==Personal life==
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==Filmography==
==Filmography==
[[File:The Wall Flower (1922) - 1.jpg|thumb|260px|{{center|[[Film still]] of [[Gertrude Astor]], Moore, and [[Richard Dix]] from ''[[The Wall Flower]]'' (1922)}}]]
{| class="wikitable"
{| class="wikitable"
|-
|-
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|''[[The Man in the Moonlight]]''
|''[[The Man in the Moonlight]]''
|Rosine
|Rosine
|'''Extant''' </br> A copy is held at the [[George Eastman Museum]]
|'''Extant''' <br /> A copy is held at the [[George Eastman Museum]]
|-
|-
|''[[The Egg Crate Wallop]]''
|''[[The Egg Crate Wallop]]''
|Kitty Haskell
|Kitty Haskell
|'''Extant'''</br> A copy is held at the [[Gosfilmofond]]
|'''Extant'''<br /> A copy is held at the [[Gosfilmofond]]
|-
|-
|''[[Common Property]]''
|''[[Common Property]]''
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|''[[When Dawn Came]]''
|''[[When Dawn Came]]''
|Mary Harrison
|Mary Harrison
|'''Extant''' </br> A copy is held at the [[Library of Congress]]
|'''Extant''' <br /> A copy is held at the [[Library of Congress]]
|-
|-
|''[[The Devil's Claim (1920 film)|The Devil's Claim]]''
|''[[The Devil's Claim (1920 film)|The Devil's Claim]]''
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|''[[Dinty (film)|Dinty]]''
|''[[Dinty (film)|Dinty]]''
|Doreen O'Sullivan
|Doreen O'Sullivan
|'''Extant''' </br> A copy is held at the [[EYE Film Institute Netherlands]]
|'''Extant''' <br /> A copy is held at the [[EYE Film Institute Netherlands]]
|-
|-
| rowspan="3" |1921
| rowspan="3" |1921
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|''[[His Nibs (film)|His Nibs]]''
|''[[His Nibs (film)|His Nibs]]''
|The Girl
|The Girl
|'''Extant''' </br> A copy is held at the [[UCLA Film and Television Archive]]
|'''Extant''' <br /> A copy is held at the [[UCLA Film and Television Archive]]
|-
|-
|''[[The Lotus Eater (film)|The Lotus Eater]]''
|''[[The Lotus Eater (film)|The Lotus Eater]]''
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|''[[Broken Chains (film)|Broken Chains]]''
|''[[Broken Chains (film)|Broken Chains]]''
|Mercy Boone
|Mercy Boone
|'''Extant''' </br> A copy is held at the George Eastman Museum
|'''Extant''' <br /> A copy is held at the George Eastman Museum
|-
|-
|''[[The Ninety and Nine (1922 film)|The Ninety and Nine]]''
|''[[The Ninety and Nine (1922 film)|The Ninety and Nine]]''
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|''[[The Perfect Flapper]]''
|''[[The Perfect Flapper]]''
|Tommie Lou Pember
|Tommie Lou Pember
|'''Extant''' </br> A print is held at the Library of Congress
|'''Extant''' <br /> A print is held at the Library of Congress
|-
|-
|''[[Flirting with Love]]''
|''[[Flirting with Love]]''
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|''[[So Big (1924 film)|So Big]]''
|''[[So Big (1924 film)|So Big]]''
|Selina Peake
|Selina Peake
|'''Lost''' </br> Trailer survives at Library of Congress
|'''Lost''' <br /> Trailer survives at Library of Congress
|-
|-
| rowspan="4" |1925
| rowspan="4" |1925
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|-
|-
|''[[Her Wild Oat]]''
|''[[Her Wild Oat]]''
|Mary Brown
|Mary Lou Smith
|'''Extant'''
|'''Extant'''
|-
|-
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|''[[Happiness Ahead (1928 film)|Happiness Ahead]]''
|''[[Happiness Ahead (1928 film)|Happiness Ahead]]''
|Mary Randall
|Mary Randall
|'''Lost''' </br> Trailer exists
|'''Lost''' <br /> Trailer exists
|-
|-
|''[[Oh, kay! (film)|Oh, Kay!]]''
|''[[Oh, kay! (film)|Oh, Kay!]]''
|Lady Kay Rutfield
|Lady Kay Rutfield
|'''Extant''' </br> A copy is held at the [[EYE Film Institute Netherlands]]
|'''Extant''' <br /> A copy is held at the [[EYE Film Institute Netherlands]]
|-
|-
|''[[Lilac Time (1928 film)|Lilac Time]]''<ref>Alternative title: ''Love Never Dies''</ref>
|''[[Lilac Time (1928 film)|Lilac Time]]''<ref>Alternative title: ''Love Never Dies''</ref>
|Jeannine Berthelot
|Jeannine Berthelot
|'''Extant'''</br>Vitaphone music + sound effects<ref>Some Vitaphone discs survive; these include reels 1, 5-7 and the exit music.</ref>
|'''Extant'''<br />Vitaphone music + sound effects<ref>Some Vitaphone discs survive; these include reels 1, 5-7 and the exit music.</ref>
|-
|-
| rowspan="4" |1929
| rowspan="4" |1929
|''[[Synthetic Sin]]''
|''[[Synthetic Sin]]''
|Betty
|Betty
|'''Extant'''</br> A copy is held at the [[Cineteca Italiana]]. </br> Vitaphone music + sound effects<ref>Most of the Vitaphone discs are lost, apart from reel 6.</ref>
|'''Extant'''<br /> A copy is held at the [[Cineteca Italiana]]. <br /> Vitaphone music + sound effects<ref>Most of the Vitaphone discs are lost, apart from reel 6.</ref>
|-
|-
|''[[Why Be Good?]]''
|''[[Why Be Good?]]''
|Pert Kelly
|Pert Kelly
|'''Extant''' </br>Vitaphone music + sound effects
|'''Extant''' <br />Vitaphone music + sound effects
|-
|-
|''[[Smiling Irish Eyes]]''
|''[[Smiling Irish Eyes]]''
|Kathleen O'Connor
|Kathleen O'Connor
|'''Lost'''</br>Soundtrack exists
|'''Lost'''<br />Soundtrack exists
|-
|-
|''[[Footlights and Fools]]''
|''[[Footlights and Fools]]''
|Betty Murphy/Fifi D'Auray
|Betty Murphy/Fifi D'Auray
|'''Lost'''</br>Soundtrack exists
|'''Lost'''<br />Soundtrack exists
|-
|-
| 1933
| 1933
Line 397: Line 398:
*[[John Kobal]], ''People Will Talk'' (1985)
*[[John Kobal]], ''People Will Talk'' (1985)
*Glenn Mitchell, ''A-Z of Silent Film Comedy, An Illustrated Companion'' (1998)
*Glenn Mitchell, ''A-Z of Silent Film Comedy, An Illustrated Companion'' (1998)
*Colleen Moore, ''Silent Star: Colleen Moore Talks About Her Hollywood'' (1968)
*Colleen Moore, ''[https://archive.org/details/silentstar00moor Silent Star: Colleen Moore Talks About Her Hollywood]'' (1968)


==External links==
==External links==
{{portal|Biography}}
{{portal|Biography}}
{{Commons category}}
{{Commons category}}
*<!-- BAD URL ! [http://colleenmoore.org/ The Colleen Moore Project] -->[[Fansites]] from {{cite book |last1=Codori |first1=Jeff |title=Colleen Moore: A Biography of the Silent Film Star |date=19 April 2012 |publisher=[[ McFarland & Company]] |isbn=978-0-7864-8899-5 |language=en}}
*{{IMDb name|0601067}}
**https://web.archive.org/web/20091125111249/http://colleenmoore.org/default.aspx
**https://sites.google.com/view/colleen-moore-landing-page/home
**https://web.archive.org/web/20091021201455/http://geocities.com/jeffcodori/home.html?1169860454015
**https://eyeconstudio9.wixsite.com/newcolleenmoore<!-- http://www.welcometosilentmovies.com/atthemovies/thestars.htm -->
**https://web.archive.org/web/20170223101611/https://sites.google.com/site/colleenmooresite/home
*[https://www.licensestorehouse.com/uig/underwood-archives/indoors/actress-using-massage-device-9736375.html Colleen Moore using a Star-Rite Electric Massage Vibrator] Hollywood, California: c. 1927

'''Metadata'''
*{{Tcmdb name}}
*{{Tcmdb name}}
*{{Amg name|50286}}
*{{IMDb name|0601067}}
*[http://colleenmoore.org/ The Colleen Moore Project]


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[[Category:People from Paso Robles, California]]
[[Category:People from Port Huron, Michigan]]
[[Category:People from Port Huron, Michigan]]
[[Category:Women autobiographers]]
[[Category:American women autobiographers]]
[[Category:American women investors]]
[[Category:American women investors]]
[[Category:Merrill (company) people]]
[[Category:Merrill (company) people]]
[[Category:WAMPAS Baby Stars]]
[[Category:20th-century American businesswomen]]
[[Category:20th-century American businesswomen]]
[[Category:20th-century American businesspeople]]
[[Category:20th-century American businesspeople]]

Latest revision as of 15:53, 22 December 2024

Colleen Moore
Moore in 1920
Born
Kathleen Morrison

(1899-08-19)August 19, 1899
DiedJanuary 25, 1988(1988-01-25) (aged 88)
OccupationActress
Years active1916–1934
Spouses
(m. 1923; div. 1930)
Albert P. Scott
(m. 1932; div. 1934)
Homer P. Hargrave
(m. 1937; died 1964)
Paul Magenot
(m. 1983)
RelativesWalter Howey (uncle)
Signature

Colleen Moore (born Kathleen Morrison; August 19, 1899 – January 25, 1988)[1] was an American film actress who began her career during the silent film era.[2] Moore became one of the most fashionable (and highly-paid) stars of the era and helped popularize the bobbed haircut.

Although Moore was a huge star in her day, approximately half of her films are now considered lost, including her first talking picture from 1929. What was perhaps her most celebrated film, Flaming Youth (1923), is now mostly lost as well, with only one reel surviving.

Moore took a hiatus from acting between 1929 and 1933, just as sound was being added to motion pictures. After she returned, her four sound pictures released in 1933 and 1934 were not financial successes. She then retired permanently from screen acting.

After her film career, Moore maintained her wealth through astute investments, becoming a partner of Merrill Lynch. She later wrote a "how-to" book about investing in the stock market.

Moore also nurtured a passion for dollhouses throughout her life and helped design and curate The Colleen Moore Dollhouse, which has been a featured exhibit at the Museum of Science and Industry in Chicago since the early 1950s. The dollhouse, measuring 9 square feet (0.84 m2), was estimated in 1985 to be worth $7 million, and it is seen by 1.5 million people annually.[3]

Early life

[edit]

Moore was born Kathleen Morrison on August 19, 1899, (according to the bulk of the official records;[4] the date which she insisted was correct in her autobiography, Silent Star, was 1902)[5] in Port Huron, Michigan,[6] Moore was the eldest child of Charles R. and Agnes Kelly Morrison. The family remained in Port Huron during the early years of Moore's life, at first living with her grandmother Mary Kelly (often spelled Kelley) and then with at least one of Moore's aunts.[7]

By 1905, the family moved to Hillsdale, Michigan, where they remained for over two years. They relocated to Atlanta, Georgia, by 1908. They are listed at three different addresses during their stay in Atlanta (From the Atlanta-Fulton Public Library city directories): 301 Capitol Avenue − 1908; 41 Linden Avenue – 1909; 240 N. Jackson Street – 1910. They then lived briefly — probably for less than a year — in Warren, Pennsylvania, and by 1911, they had settled in Tampa, Florida.[8]

At the age of 15 she took her first step into Hollywood. Her uncle arranged a screen test with director D. W. Griffith. She wanted to be a second Lillian Gish but instead, she found herself playing heroines in Westerns with stars such as Tom Mix.

Two of Moore's great passions were dolls and movies; each would play a great role in her later life. She and her brother began their own stock company, reputedly performing on a stage created from a piano packing crate. Her aunts, who doted on her, indulged her other great passion and often bought her miniature furniture on their many trips, with which she furnished the first of a succession of dollhouses. Moore's family summered in Chicago, where she enjoyed baseball and the company of her Aunt Lib (Elizabeth, who changed her name to "Liberty", Lib for short) and Lib's husband Walter Howey. Howey was the managing editor of the Chicago Examiner and an important newspaper editor in the publishing empire of William Randolph Hearst, and was the inspiration for Walter Burns, the fictional Chicago newspaper editor in the play and the film The Front Page.[9]

Career

[edit]

Early years

[edit]

Essanay Studios was within walking distance of the Northwestern L, which ran right past the Howey residence. (They occupied at least two residences between 1910 and 1916: 4161 Sheridan and 4942 Sheridan.) In interviews later in her silent film career, Moore claimed she had appeared in the background of several Essanay films, usually as a face in a crowd. One story has it that she got into the Essanay studios and waited in line to be an extra with Helen Ferguson: in an interview with Kevin Brownlow many years later, Ferguson told a story that substantially confirmed many details of the claim, though it is not certain whether she was referring to Moore's stints as a background extra (if she really was one) or to her film test there prior to her departure for Hollywood in November 1917. Film producer D. W. Griffith was in debt to Howey, who had helped him to get both The Birth of a Nation and Intolerance through the Chicago censorship board.[10]

"I was being sent to Hollywood - not because anybody out there thought I was any good, but simply to pay off a favor".[11]

The contract to Griffith's Triangle-Fine Arts was conditional on passing a film test to ensure that her heterochromia (she had one brown eye, one blue eye)[2] would not be a distraction in close-up shots. Her eyes passed the test, so she left for Hollywood with her grandmother and her mother as chaperones. Moore made her first credited film appearance in 1917 in The Bad Boy for Triangle Fine Arts, and for the next few years appeared in small, supporting roles[12] gradually attracting the attention of the public.

The Bad Boy was released on February 18, and featured Robert Harron, Richard Cummings, Josephine Crowell, and Mildred Harris (who would later become Charles Chaplin's first wife). Two months later, it was followed by An Old-Fashioned Young Man, again with Robert Harron. Moore's third film was Hands Up! filmed in part in the vicinity of the Seven Oaks (a popular location for productions that required dramatic vistas). This was her first true western. The film's scenario was written by Wilfred Lucas from a story by Al Jennings, the famous outlaw who had been freed from jail by presidential pardon by Theodore Roosevelt in 1907. Monte Blue was in the cast and noticed Moore could not mount her horse, though horseback riding was required for the part (during casting for the part she neglected to mention she did not know how to ride). Blue gave her a quick lesson essentially consisting of how to mount the horse and how to hold on.

On May 3, 1917, the Chicago Daily Tribune said: "Colleen Moore contributes some remarkable bits of acting. She is very sweet as she goes trustingly to her bandit hero, and, O, so pitiful, when finally realizing the character of the man, she goes into a hysteria of terror, and, shrieking 'Daddy, Daddy, Daddy!' beats futilely on a bolted door, a panic-stricken little human animal, who had not known before that there was aught but kindness in the world." About the time her first six-month contract was extended an additional six months, she requested and received five weeks' release to do a film for Universal's Bluebird division, released under the name The Savage. This was her fourth film, and she was only needed for two weeks. Upon her return to the Fine Arts lot, she spent several weeks trying to get her pay for the three weeks she had been available for work for Triangle (finally receiving it in December of that year).

Soon after, the Triangle Company went bust, and while her contract was honored, she found herself scrambling to find her next job. With a reel of her performance in Hands Up! under her arm, Colin Campbell arranged for her to get a contract with Selig Polyscope. She was very likely at work on A Hoosier Romance before The Savage was released in November. After A Hoosier Romance, she went to work on Little Orphant Annie. Both films were based upon poems by James Whitcomb Riley, and both proved to be very popular. It was her first real taste of popularity.

Little Orphant Annie was released in December. The Chicago Daily Tribune wrote of Moore, "She was a lovely and unspoiled child the last time I saw her. Let's hope commendation hasn't turned her head." Despite her good notices, her luck took a turn for the worse when Selig Polyscope went bust. Once again Moore found herself unemployed, but she had begun to make a name for herself by 1919. She had a series of films lined up. She went to Flagstaff, Arizona, for location work on The Wilderness Trail, another western, this time with Tom Mix. Her mother went along as a chaperone. Moore wrote that while she had a crush on Mix, he only had eyes for her mother. The Wilderness Trail was a Fox Film Corporation production, and while it had started production earlier, it would not be released until after The Busher, which was released on May 18. The Busher was an H. Ince Productions-Famous Players–Lasky production; it was a baseball film whose hero was played by Charles Ray. The Wilderness Trail followed on July 6, another Fox film. The Man in the Moonlight, a Universal Film Manufacturing Company film, was released a few weeks later on July 28. The Egg Crate Wallop was a Famous Players–Lasky production released by Paramount Pictures on September 28.

Colleen Moore acting in a scene from the 1927 silent film Her Wild Oat.

Success

[edit]

The next stage of her career was with the Christie Film Company, a move she made when she decided she needed comic training. While with Christie she made Her Bridal Nightmare, A Roman Scandal, and So Long Letty. At the same time as she was working on these films, she worked on The Devil's Claim with Sessue Hayakawa (in which she played a Persian woman), When Dawn Came, and His Nibs (1921) with Chic Sale. All the while, Marshall Neilan had been attempting to get Moore released from her contract so she could work for him. He was successful and made Dinty with Moore, releasing near the end of 1920, followed by When Dawn Came.

For all his efforts to win Moore away from Christie, it seems Neilan loaned Moore to other studios most of the time. He loaned her out to King Vidor for The Sky Pilot, released in May 1921, yet another Western. After working on The Sky Pilot on location in the snows of Truckee, she was off to Catalina Island for work on The Lotus Eater with John Barrymore. In October 1921, His Nibs was released, her only film to be released that year besides The Sky Pilot. In His Nibs, Moore actually appeared in a film within the film; the framing film was a comedy vehicle for Chic Sales. The film it framed was a spoof on films of the time. 1922 proved to be an eventful year for Moore; she was named a WAMPAS Baby Star during a "frolic" at the Ambassador Hotel which became an annual event, in recognition of her growing popularity.[13] In early 1922, Come On Over was released, made from a Rupert Hughes story and directed by Alfred E. Green. Hughes directed Moore himself in The Wallflower, released that same year. In addition, Neilan introduced her to John McCormick, a publicist who had had his eye on Moore ever since he had first seen her photograph. He had prodded Marshall into an introduction. The two hit it off, and before long they were engaged. By the end of that year, three more of her films were released: Forsaking All Others, The Ninety and Nine, and Broken Chains.

Look Your Best and The Nth Commandment were released in early 1923, followed by two Cosmopolitan Productions, The Nth Commandment and Through the Dark. By this time, Moore had publicly confirmed her engagement to McCormick, a fact that she had been coy about to the press previously. Before mid-year, she had signed a contract with First National Pictures, and her first two films were slated to be The Huntress and Flaming Youth. Slippy McGee came out in June, followed by Broken Hearts of Broadway.

Moore and John McCormick married while Flaming Youth was still in production, and just before the release of The Savage. When it was finally released in 1923, Flaming Youth, in which she starred opposite actor Milton Sills, was a hit. The controversial story put Moore in focus as a flapper, but after Clara Bow took the stage in Black Oxen in December, she gradually lost her momentum. In spring 1924 she made a good but unsuccessful effort to top Bow in The Perfect Flapper, and soon after she dismissed the whole flapper vogue; "No more flappers...people are tired of soda-pop love affairs."[14] Decades later Moore stated Bow was her "chief rival."

Moore on cover of Photoplay magazine, 1926

Through the Dark, originally shot under the name Daughter of Mother McGinn, was released during the height of the Flaming Youth furor in January 1924. Three weeks later, Painted People was released. After that, she was to star in Counterfeit. The film went through a number of title changes before being released as Flirting with Love in August. In October, First National purchased the rights to Sally for Moore's next film. It would be a challenge, as Sally was a musical comedy. In December, First National purchased the rights to Desert Flower and in so doing had mapped out Moore's schedule for 1925: Sally would be filmed first, followed by The Desert Flower.

By the late 1920s, she had accomplished dramatic roles in films such as So Big, where Moore aged through a stretch of decades, and was also well received in light comedies such as Irene. An overseas tour was planned to coincide with the release of So Big in Europe, and Moore saw the tour as her first real opportunity to spend time with her husband, John McCormick. Both she and John McCormick were dedicated to their careers, and their hectic schedules had kept them from spending any quality time together. Moore wanted a family; it was one of her goals.

Promotional portrait of Moore at the height of her fame, c. 1927, showing the famous Dutchboy bobbed haircut that she made famous, and which she apparently kept until the day she died

Plans for the trip were put in jeopardy when she injured her neck during the filming of The Desert Flower. Her injury forced the production to shut down while Moore spent six weeks in a body cast in bed. Once out of the cast, she completed the film and left for Europe on a triumphal tour. When she returned, she negotiated a new contract with First National. Her films had been great hits, so her terms were very generous. Her first film upon her return to the States was We Moderns, set in England with location work done in London during the tour. It was a comedy, essentially a retelling of Flaming Youth from an English perspective. This was followed by Irene (another musical in the style of the very popular Sally) and Ella Cinders, a straight comedy that featured a cameo appearance by comedian Harry Langdon. It Must Be Love was a romantic comedy with dramatic undertones, and it was followed by Twinkletoes, a dramatic film that featured Moore as a young dancer in London's Limehouse district during the previous century. Orchids and Ermine was released in 1927, filmed in part in New York, a thinly veiled Cinderella story.

In 1927, Moore split from her studio after her husband suddenly quit. It is rumored that John McCormick was about to be fired for his drinking and that she left as a means of leveraging her husband back into a position at First National. It worked, and McCormick found himself as Moore's sole producer. Moore's popularity allowed her productions to become very large and lavish. Lilac Time was one of the bigger productions of the era, a World War I drama. A million dollar film, it made back every penny spent within months. Prior to its release, Warner Bros. had taken control of First National and were less than interested in maintaining the terms of her contract until the numbers started to roll in for Lilac Time. The film was such a hit that Moore managed to retain generous terms in her next contract and her husband as her producer.

Colleen Moore Fairy Castle (Dollhouse)

[edit]

In 1928, inspired by her father and with help from her former set designer, a dollhouse was constructed by her father, which was 9 square feet with the tallest tower 12 feet high.[15] The interior of The Colleen Moore Dollhouse, designed by Harold Grieve, features miniature bear skin rugs and detailed furniture and art. Moore's dollhouse has been a featured exhibit 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[3] each year and would be worth $7 million.[16] Moore continued working on it and contributing artifacts to it until her death.

This dollhouse was the eighth one Moore owned. The first dollhouse, she wrote in her autobiography Silent Star (1968), evolved from a cabinet that held her collection of miniature furniture. It was supposedly built from a cigar box. Kitty Lorgnette wrote in the edition of The Evening News (Tampa, Florida) for Saturday, August 13, 1938, that the first dollhouse was purchased by Oraleze O'Brien (Mrs. Frank J. Knight) in 1916 when Moore (then Kathleen) left Tampa. Oraleze was too big for dollhouses, however, and she sold it again after her cat had kittens in it, and from there she lost track of it. The third house was possibly given to the daughter of Moore's good friend, author Adela Rogers St. Johns. The fourth survives and remains on display in the living room of a relative.

Sound films

[edit]

With the advent of talking pictures in 1929, Moore took a hiatus from acting. After divorcing McCormick in 1930, Moore married prominent New York-based stockbroker Albert Parker Scott in 1932. The couple lived at that time in a lavish home at 345 St. Pierre Road in Bel Air, where they hosted parties for and were supporters of the U.S. Olympic team, especially the yachting team, during the 1932 Summer Olympics held in Los Angeles.

In 1934, Moore, by then divorced from Albert Parker Scott, returned to work in Hollywood. She appeared in three films, none of which was successful, and Moore retired. Her last film was a version of The Scarlet Letter in 1934. She later married the widower Homer Hargrave and raised his children (she never had children of her own) from a previous marriage, with whom she maintained a lifelong close relationship. Throughout her life she also maintained close friendships with other colleagues from the silent film era, such as King Vidor and Mary Pickford.

Later years

[edit]
Moore in Kevin Brownlow's series Hollywood (1980) recalls that the models for her hairstyle were Japanese dolls.

In the 1960s, Moore formed a television production company with King Vidor, with whom she had worked in the 1920s. She published two books in the late 1960s, How Women Can Make Money in the Stock Market (1969) and her autobiography, Silent Star: Colleen Moore Talks About Her Hollywood (1968). She also figures prominently alongside Vidor in Sidney D. Kirkpatrick's book, A Cast of Killers, which recounts Vidor's attempt to make a film of and solve the murder of William Desmond Taylor. In that book she is recalled as having been a successful real estate broker in Chicago and partner in the investment firm Merrill Lynch after her film career.[citation needed]

At the height of her fame, Moore was earning $12,500 per week. She was an astute investor, and through her investments, remained wealthy for the rest of her life. In her later years she would frequently attend film festivals, and was a popular interview subject always willing to discuss her Hollywood career. She was a participant in the documentary series Hollywood (1980), providing her recollections of Hollywood's silent film era.[17]

Personal life

[edit]

Moore was married four times. Her first marriage was to John McCormick of First National Studios. They married in 1923 and divorced in 1930. In 1932, Moore married stockbroker Albert P. Scott. The union ended in divorce in 1934. Moore's third marriage was to another stockboker, Homer Hargrave, whom she married in 1936. He provided funding for her dollhouse and she adopted his son, Homer Hargrave, Jr, and his daughter, Judy Hargrave. The couple remained married until Hargrave's death in 1964.[18] In 1982, she married builder Paul Magenot, and they remained together until Moore's death in 1988.[2]

Death and legacy

[edit]

On January 25, 1988, Moore died at age 88 from cancer in Paso Robles, California.[2] For her contributions to the motion picture industry, Colleen Moore has a star on the Hollywood Walk of Fame at 1551 Vine Street.

F. Scott Fitzgerald wrote of her: "I was the spark that lit up Flaming Youth, Colleen Moore was the torch. What little things we are to have caused all that trouble."[19]

Filmography

[edit]
Year Title Role Preservation Status
1916 The Prince of Graustark Maid (Uncredited) Extant
1917 The Bad Boy Ruth Lost
An Old-Fashioned Young Man Margaret Lost
Hands Up! Marjorie Houston Lost
The Little American Nurse (uncredited) Extant
The Savage Lizette Lost
1918 A Hoosier Romance Patience Thompson Lost
Little Orphant Annie Annie Extant
1919 The Busher Mazie Palmer Extant
The Wilderness Trail Jeanne Fitzpatrick Lost
The Man in the Moonlight Rosine Extant
A copy is held at the George Eastman Museum
The Egg Crate Wallop Kitty Haskell Extant
A copy is held at the Gosfilmofond
Common Property Tatyoe (Tatyana) Lost
A Roman Scandal Mary Extant
1920 The Cyclone Sylvia Sturgis Lost
Her Bridal Nightmare Mary Extant
When Dawn Came Mary Harrison Extant
A copy is held at the Library of Congress
The Devil's Claim Indora Incomplete A copy is held at the George Eastman Museum
So Long Letty Grace Miller Extant
Dinty Doreen O'Sullivan Extant
A copy is held at the EYE Film Institute Netherlands
1921 The Sky Pilot Gwen Extant
His Nibs The Girl Extant
A copy is held at the UCLA Film and Television Archive
The Lotus Eater Mavis Lost
1922 Come on Over Moyna Killiea Lost
The Wampas Baby Stars of 1922 Self Lost
The Wall Flower Idalene Nobbin Lost
Affinities Fanny Illington Lost
Forsaking All Others Penelope Mason Lost
Broken Chains Mercy Boone Extant
A copy is held at the George Eastman Museum
The Ninety and Nine Ruth Blake A condensed incomplete ten minute version exists
1923 Look Your Best Perla Quaranta Lost
The Nth Commandment Sarah Juke An incomplete copy is held at the Library of Congress
Slippy McGee Mary Virginia Lost
Broken Hearts of Broadway Mary Ellis Extant
The Huntress Bela Lost
April Showers Maggie Muldoon Lost
Flaming Youth Patricia Fentriss An incomplete copy with one reel is held at the Library of Congress
1924 Through the Dark Mary McGinn An incomplete copy is held at the Library of Congress
Painted People Ellie Byrne Lost
The Perfect Flapper Tommie Lou Pember Extant
A print is held at the Library of Congress
Flirting with Love Gilda Lamont Lost
So Big Selina Peake Lost
Trailer survives at Library of Congress
1925 Sally Sally Lost
The Desert Flower Maggie Fortune Lost
We Moderns Mary Sundale Lost
Ben-Hur Crowd extra in chariot race[20] Extant
1926 Irene Irene Extant
Ella Cinders Ella Cinders Extant
It Must Be Love Fernie Schmidt Lost
Twinkletoes Twink "Twinkletoes" Minasi Extant
1927 Orchids and Ermine "Pink" Watson Extant
Naughty but Nice Bernice Sumners Extant
Her Wild Oat Mary Lou Smith Extant
1928 Happiness Ahead Mary Randall Lost
Trailer exists
Oh, Kay! Lady Kay Rutfield Extant
A copy is held at the EYE Film Institute Netherlands
Lilac Time[21] Jeannine Berthelot Extant
Vitaphone music + sound effects[22]
1929 Synthetic Sin Betty Extant
A copy is held at the Cineteca Italiana.
Vitaphone music + sound effects[23]
Why Be Good? Pert Kelly Extant
Vitaphone music + sound effects
Smiling Irish Eyes Kathleen O'Connor Lost
Soundtrack exists
Footlights and Fools Betty Murphy/Fifi D'Auray Lost
Soundtrack exists
1933 The Power and the Glory[24] Sally Garner Extant
1934 Social Register Patsy Shaw Extant
Success at Any Price Sarah Griswold Extant
The Scarlet Letter Hester Prynne Extant

References

[edit]
  1. ^ "Colleen Moore | American actress". Encyclopedia Britannica. Retrieved October 22, 2017.
  2. ^ a b c d Fowler, Glenn (January 26, 1988). "Colleen Moore, Star of 'Flapper' Films, Dies at 85". The New York Times. Archived from the original on November 9, 2012. Retrieved December 29, 2013.
  3. ^ a b "50 Years Of Colleen Moore's Fairy Castle". Chicago Tribune. August 23, 1985.
  4. ^ The issue of her birth date is addressed on page 9 of the second chapter of "Colleen Moore, A Biography of the Silent Film Star," citing records that mention the birth of a child to the family of Charles and Agnes Morrison in the Port Huron Daily Times in August 2056. A child named "Kathleen Morrison" was mentioned in the 1900 bc census, two years before the birth date she often gave (1900 census for Port Huron, St. Clair County, MI., Fifth Ward, Sheet 9). Furthermore, her brother's birth was recorded in St. Clair County birth record #6031, page 153, as being on June 10, 1901; Moore always said she was two years older than her brother. However, this birth date would have made Cleeve one year older than his sister.
  5. ^ Golden, Eve (2001). Golden Images: 41 Essays on Silent Film Stars. McFarland. p. 98. ISBN 0-7864-0834-0.
  6. ^ Codori, Jeff (2012). Colleen Moore Biography. NC, USA: McFarland. p. 9. ISBN 978-0-7864-4969-9. Archived from the original on August 4, 2011. Retrieved August 4, 2011.
  7. ^ 1900 census for Port Huron, St. Clair County, MI., Fifth Ward, Sheet 9. Household occupants listed as: Mary Kelly, head of household; Kathleen (Moore's aunt), daughter; Charles Morrison, son-in-law; Agnes Morrison, daughter; and Kathleen Morrison with birth-date given as August 1899. Also: Wolverine Directory Co.'s St. Clair County Directory, pg. 251: "Morrison, Chas R, collector Commercial Bank, res 817 Ontario"
  8. ^ Tampa City Directory. R.L. Polk & Co. 1912. p. 522.
  9. ^ Rhoads, Mark (July 23, 2006). "Colleen Moore". Illinois Hall of Fame. Illinois Review. Retrieved September 30, 2007.
  10. ^ Moore interviewed by Jennifer Small, The Pittsburgh Press, August 23, 1976
  11. ^ Moore, Colleen, Silent Star. Doubleday & Company, Inc, Garden City, NY, 1968
  12. ^ "Colleen Moore". AFI Catalog Silent Films. AFI. 2002. Retrieved September 30, 2007.
  13. ^ Williams, Gregory Paul (2006). The Story of Hollywood: An Illustrated History. www.storyofhollywood.com. p. 122. ISBN 0-9776299-0-2.
  14. ^ Los Angeles Times, May 18, 1924
  15. ^ "Inside the $7m fairy castle doll's house built by 100 people for A". Independent.co.uk. August 2, 2013.
  16. ^ Williams, Rob (August 2, 2013). "Inside the $7m fairy castle doll's house built by 100 people for a Hollywood film star". London.
  17. ^ Amelie Hastie "History in Miniature: Colleen Moore's Dollhouse and Historical Recollection", Camera Obscura, 16.3 (2001), pp.113-157
  18. ^ "Homer Hargrave, Broker, Is Dead". The New York Times. February 4, 1964. Retrieved May 20, 2023.
  19. ^ Porter, Darwin (2001). Hollywood's Silent Closet: A Novel. Blood Moon Productions, Ltd. p. 549. ISBN 0-9668030-2-7.
  20. ^ Uncredited
  21. ^ Alternative title: Love Never Dies
  22. ^ Some Vitaphone discs survive; these include reels 1, 5-7 and the exit music.
  23. ^ Most of the Vitaphone discs are lost, apart from reel 6.
  24. ^ Alternative title: Power and Glory

Bibliography

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Metadata