Colleen Moore
Colleen Moore | |
|---|---|
| Born | Kathleen Morrison 19 August 1899 Port Huron, Michigan, U.S. |
| Died | 25 January 1988 (aged 88) |
| Occupation(s) | Actress, investor, author |
| Years active | 1917–1934 |
| Known for | Silent film actress, popularizing the bob hairstyle, The Colleen Moore Dollhouse |
Colleen Moore (originally named Kathleen Morrison; born August 19, 1899 – died January 25, 1988) was a prominent American actress who gained fame during the silent film period. She emerged as one of the most stylish and well-compensated stars of the time, notably helping to popularize the bob hairstyle.
Although she achieved significant fame, approximately half of her filmography has been lost, including her initial sound film from 1929. Her most celebrated work, Flaming Youth (1923), survives only in incomplete form.
Moore took a hiatus from acting between 1929 and 1933 amidst the industry's shift to sound films. Upon her return, the four talkies she made in 1933 and 1934 did not perform well commercially, which led to her permanent departure from the screen.
Following her acting career, Moore ensured financial stability through astute investments and became a partner at Merrill Lynch. She also authored a book on investing in the stock market.
Her lifelong enthusiasm for dollhouses culminated in the creation and curation of The Colleen Moore Dollhouse, which has been on display at Chicago’s Museum of Science and Industry since 1949. Valued at $7 million in 1985, this dollhouse attracts around 1.5 million visitors each year.
Early life
Born as Kathleen Morrison on August 19, 1899, in Port Huron, Michigan, Moore was the firstborn of Charles R. and Agnes Kelly Morrison. During her childhood, the family relocated several times—from Port Huron to Hillsdale, Michigan, then to Atlanta, Georgia, followed by short stays in Warren, Pennsylvania, before finally settling in Tampa, Florida by 1911.
At age 15, she began pursuing a career in Hollywood after her uncle arranged a screen test with director D. W. Griffith. Although she initially hoped to follow in the footsteps of Lillian Gish, Moore instead found herself starring in Westerns alongside actors such as Tom Mix.
Her early passions for dolls and acting significantly influenced her later pursuits. Together with her brother, she formed an amateur stock company performing on a makeshift stage. Her dollhouse interest was encouraged by her aunts who brought miniature furniture from their travels. Summers spent in Chicago introduced her to notable relatives like Aunt Liberty and Liberty’s husband, Walter Howey, managing editor of the Chicago Examiner and the inspiration behind Walter Burns in The Front Page.
Early years
Located near the Northwestern L train line close to Howey’s home was Essanay Studios. Moore later recalled appearing as an extra in several Essanay productions. Film producer D. W. Griffith, grateful for Howey’s assistance with The Birth of a Nation and Intolerance, secured a contract for Moore at Triangle-Fine Arts on the condition that she pass a screen test ensuring that her heterochromia (one brown eye and one blue eye) would not be distracting on camera. After succeeding in this test, she relocated to Hollywood with family members serving as chaperones.
Her first credited role came in 1917 with The Bad Boy for Triangle Fine Arts. She then took on minor supporting parts that gradually increased her visibility with audiences. Early films also included An Old-Fashioned Young Man and her initial Western, Hands Up!, which required her to quickly acquire horseback riding skills.
By May 1917, Moore received favorable reviews for her performance in Hands Up!. After renewing her contract with Triangle, she briefly worked with Universal Pictures’ Bluebird division on The Savage. However, when Triangle folded shortly thereafter, Moore sought new contracts. Using footage from Hands Up!, she secured a deal with Selig Polyscope, starring in popular adaptations such as A Hoosier Romance and Little Orphant Annie, both based on poems by James Whitcomb Riley. These roles marked the beginning of her widespread popularity.
Despite these successes, Selig Polyscope eventually declared bankruptcy in 1919, leaving Moore unemployed once more. She then participated in filming The Wilderness Trail in Flagstaff, Arizona—a Western featuring Tom Mix under Fox Film Corporation. Though production started earlier, it was released after The Busher, an H. Ince Productions-Famous Players–Lasky baseball-themed movie starring Charles Ray. Other releases from 1919 included Fox's The Wilderness Trail, Universal’s The Man in the Moonlight, and Famous Players–Lasky’s The Egg Crate Wallop, distributed by Paramount Pictures.
Success
Moore progressed in her career at the Christie Film Company, where she honed her comedic skills, featuring in productions such as Her Bridal Nightmare, A Roman Scandal, and So Long Letty. Simultaneously, she appeared alongside Sessue Hayakawa in The Devil's Claim, and starred in When Dawn Came as well as His Nibs (1921) with Chic Sale. Producer Marshall Neilan successfully arranged her release from Christie to collaborate with him, leading to roles in films like Dinty and When Dawn Came.
Neilan frequently lent Moore to other studios, including a role under King Vidor’s direction in the Western The Sky Pilot (1921). She also acted with John Barrymore in The Lotus Eater. In 1921, apart from The Sky Pilot, only His Nibs was released, showcasing Moore in a satirical film-within-a-film. In 1922, she earned the distinction of being a WAMPAS Baby Star, highlighting her growing acclaim. That year featured releases such as Come On Over, directed by Alfred E. Green, and Rupert Hughes’ The Wallflower. Neilan introduced Moore to publicist John McCormick, whom she soon became engaged to. By the end of the year, three additional films—Forsaking All Others, The Ninety and Nine, and Broken Chains—were released.
In early 1923, Moore led in Look Your Best, followed by two productions from Cosmopolitan Productions: The Nth Commandment and Through the Dark. She publicly announced her engagement to McCormick and signed a contract with First National Pictures, with forthcoming projects including The Huntress and Flaming Youth. June saw the release of both Slippy McGee and Broken Hearts of Broadway. Moore married McCormick during the filming of Flaming Youth, which was well-received and established her as a symbol of the flapper era. Nevertheless, after Clara Bow gained prominence in Black Oxen, Moore’s popularity waned. By the spring of 1924, with the release of The Perfect Flapper, she sought to distance herself from that persona.
Through the Dark premiered at the height of the flapper trend in January 1924, followed by Painted People. She then starred in a film originally titled Counterfeit, which was later renamed Flirting with Love. First National procured rights for the musical comedy Sally and subsequently for Desert Flower, setting her 1925 schedule around these projects.
During the late 1920s, Moore demonstrated strength in dramatic roles such as in So Big, portraying characters aging across decades on screen, as well as lighter fare like the comedy-musical Irene. An international tour coincided with the European premiere of So Big, providing rare time together with McCormick amid their demanding careers. Moore aspired to start a family during this period.
A neck injury sustained while filming The Desert Flower caused a six-week production delay but did not prevent completion or her subsequent European tour. Upon returning to the United States, she secured a lucrative deal with First National. Her subsequent works included the England-set comedy We Moderns, another musical titled Irene, and the comedy Ella Cinders, which featured comedian Harry Langdon. This was followed by the romantic comedy-drama It Must Be Love and then the period piece Twinkletoes. In 1927, she starred in the Cinderella-inspired film Orchids and Ermine, partially shot in New York.
Moore ended her association with First National in 1927 after McCormick abruptly resigned; speculation suggests his possible dismissal due to alcoholism prompted her departure as leverage for his reinstatement. This tactic succeeded—McCormick returned as her exclusive producer. Moore’s influence enabled extravagant productions like the million-dollar World War I drama Lilac Time, which quickly recovered its investment. Following Warner Bros.’ acquisition of First National, initial resistance gave way after this success, securing Moore favorable contract conditions and retaining McCormick’s role as producer.
Colleen Moore Fairy Castle (Dollhouse)
In 1928, with assistance from her former set designer, Moore's father built a dollhouse covering 9 square feet, topped by a 12-foot tower. The design, created by Harold Grieve, showcases miniature bear-skin rugs, intricately crafted furniture, and fine artwork. Since 1949, this dollhouse has been on display at Chicago's Museum of Science and Industry, drawing approximately 1.5 million visitors each year and estimated to be worth $7 million. Moore continued to add to the dollhouse until her passing.
This creation was actually Moore's eighth dollhouse. According to her autobiography Silent Star (1968), her first dollhouse originated from a cabinet used to store miniature furnishings and was reportedly made from a cigar box. That initial dollhouse changed ownership multiple times, and its current location is unknown. The third dollhouse was probably gifted to the daughter of writer Adela Rogers St. Johns, while the fourth remains exhibited in a family member’s residence.
Sound films
When sound films emerged in 1929, Moore took a break from acting. After divorcing McCormick in 1930, she married New York stockbroker Albert Parker Scott in 1932. The couple resided in an elegant Bel Air mansion where they hosted social gatherings and supported the United States Olympic yachting team during the 1932 Los Angeles Olympics.
Following her divorce from Scott in 1934, Moore made a brief return to Hollywood but appeared in three films that failed to succeed before retiring permanently. Her last screen appearance was in The Scarlet Letter. Subsequently, she married widower Homer Hargrave, raised his children, and maintained enduring friendships with silent film figures such as King Vidor and Mary Pickford.
Later years
During the 1960s, Moore co-established a television production company alongside King Vidor, her collaborator from the 1920s. She published two books in the late 1960s: How Women Can Make Money in the Stock Market (1969) and her memoir, Silent Star: Colleen Moore Talks About Her Hollywood (1968). Moore is also featured in Sidney D. Kirkpatrick's A Cast of Killers, which explores Vidor’s effort to create a film about the murder of William Desmond Taylor. This work highlights her achievements as a real estate agent in Chicago and as a partner at investment firm Merrill Lynch after leaving the film industry.
At the height of her career, Moore earned $12,500 per week. A shrewd investor, she preserved her wealth through careful financial decisions. In later life, she regularly attended film festivals and gave interviews reflecting on her Hollywood experiences. Notably, she contributed to the documentary series Hollywood (1980), offering perspectives on the silent film era.
Personal life
Moore entered into marriage four times. Her first husband was John McCormick of First National Studios (1923–1930). In 1932, she married stockbroker Albert P. Scott; their union ended in divorce by 1934. Her third marriage was to stockbroker Homer Hargrave in 1936; he funded her dollhouse project, and she adopted his children Homer Jr. and Judy Hargrave. They remained married until his death in 1964. In 1982, she wed builder Paul Magenot; their marriage lasted until her death.
Death and legacy
Moore passed away from cancer on January 25, 1988, at the age of 88 in Paso Robles, California. She is commemorated with a star located at 1551 Vine Street on the Hollywood Walk of Fame in recognition of her impact on the film industry.
F. Scott Fitzgerald once commented: "I was the spark that ignited Flaming Youth, Colleen Moore was the torchbearer. How small we are to have sparked such commotion."
Filmography
'"Smiling Irish Eyes"' '"Kathleen O'Connor"' '"Lost"Soundtrack survives '"Footlights and Fools"' '"Betty Murphy/Fifi D'Auray"' '"Lost"
Soundtrack survives
| 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' Copy preserved at George Eastman Museum | |
| The Egg Crate Wallop | Kitty Haskell | 'Extant' Copy held by 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' Copy preserved at Library of Congress | |
| 'The Devil's Claim' | 'Indora' | 'Incomplete' Copy held at George Eastman Museum | |
| 'So Long Letty' | 'Grace Miller' | 'Extant' | |
| 'Dinty' | 'Doreen O'Sullivan' | 'Extant' Copy held at EYE Film Institute Netherlands | |
| 1921 | 'The Sky Pilot' | 'Gwen' | 'Extant' |
| 'His Nibs' | 'The Girl' | 'Extant' Copy held at UCLA Film and Television Archive | |
| 'The Lotus Eater' | 'Mavis' | 'Lost' | |
| 1922 | 'Come on Over (film)' | 'Moyna Killiea' | 'Lost' |
| 'The Wampas Baby Stars of 1922' | 'Self' | 'Lost' | |
| 'The Wall Flower' | 'Idalene Nobbin' | 'Lost' | |
| 'Affinities (film)' | 'Fanny Illington' | 'Lost' | |
| 'Forsaking All Others (1922 film)' | 'Penelope Mason' | 'Lost' | |
| 'Broken Chains (film)' | 'Mercy Boone' | 'Extant' Copy preserved at George Eastman Museum | |
| 'The Ninety and Nine (1922 film)' | 'Ruth Blake' | 'Incomplete condensed ten-minute version available' | |
| 1923' | 'Look Your Best' | 'Perla Quaranta' | 'Lost' |
| 'The Nth Commandment' | 'Sarah Juke' | 'Incomplete copy held at Library of Congress' | |
| 'Slippy McGee (1923 film)' | 'Mary Virginia' | 'Lost' | |
| 'Broken Hearts of Broadway' | 'Mary Ellis' | 'Extant' | |
| 'The Huntress (film)' | 'Bela' | 'Lost' | |
| "April Showers (1923 film)" | "Maggie Muldoon" | "Lost" | |
| "Flaming Youth (film)" | "Patricia Fentriss" | "Incomplete copy with one reel preserved at Library of Congress" | |
| 1924 | "Through the Dark (1924 film)" | "Mary McGinn" | "Incomplete copy held at Library of Congress" |
| "Painted People" | "Ellie Byrne" | "Lost" | |
| "The Perfect Flapper" | "Tommie Lou Pember" | "Extant" Print held at Library of Congress | |
| "Flirting with Love" | "Gilda Lamont" | "Lost" | |
| "So Big (1924 film)" | "Selina Peake" | "Lost" Trailer survives at Library of Congress | |
| 1925 | "Sally (1925 film)" | "Sally" | "Lost" |
| "The Desert Flower (film)" | "Maggie Fortune" | "Lost" | |
| "We Moderns" | "Mary Sundale" | "Lost" | |
| "Ben-Hur (1925 film)" | "Crowd extra in chariot race" | "Extant" | |
| 1926 | "Irene (1926 film)" | "Irene" | "Extant" |
| "Ella Cinders (1926 film)" | "Ella Cinders" | "Extant" | |
| "It Must Be Love (1926 film)" | "Fernie Schmidt" | "Lost" | |
| "Twinkletoes" | "Twink 'Twinkletoes' Minasi" | "Extant" | |
| 1927 | "Orchids and Ermine" | "Pink Watson" | "Extant" |
| "Naughty but Nice (1927 film)" | "Bernice Sumners" | "Extant" | |
| "Her Wild Oat" | "Mary Lou Smith" | "Extant" | |
| 1928 | "Happiness Ahead (1928 film)" | "Mary Randall" | "Lost" Trailer exists |
| "Oh, Kay! (film)" | "Lady Kay Rutfield" | "Extant" Copy held at EYE Film Institute Netherlands | |
| "Lilac Time (1928 film)" | "Jeannine Berthelot" | "Extant" Vitaphone music and sound effects present | |
| 1929 | "Synthetic Sin" | "Betty" | "Extant" Copy held at Cineteca Italiana. Vitaphone music and sound effects included except reel 6 lost. |
| "Why Be Good?" | "Pert Kelly" | "Extant" Includes Vitaphone music and sound effects | |
| 1933 | The Power and the Glory | Sally Garner | Extant |
| Year | Title | Role | 1934 |
Social Register || Patsy Shaw || Extant | |
1934 |
Success at Any Price || Sarah Griswold || Extant | |
1934 |
The Scarlet Letter || Hester Prynne || Extant | |
|---|
Bibliography
- Jeanine Basinger, analysis of Moore in Silent Stars (1999)
- Cedric Osmond Bermingham, Stars of the Screen, 1931: Biographical Profiles of Actors and Actresses Active in Photoplay Worldwide (1931)
- Jeff Codori, Colleen Moore: Biography of a Silent Film Icon, McFarland Publishing (print ISBN 978-0-7864-4969-9, ebook ISBN 978-0-7864-8899-5: 2012)
- John Kobal, People Will Talk (1985)
- Glenn Mitchell, A-Z of Silent Film Comedy: An Illustrated Guide (1998)
- Colleen Moore, Silent Star: Colleen Moore Reflects on Her Hollywood Years (1968)
External links
- Archived fan website for The Colleen Moore Project
- Dedicated fan page for Colleen Moore
- Updated Colleen Moore website
- Image of Colleen Moore using a Star-Rite Electric Massage Vibrator, Hollywood circa 1927
Metadata
- Pages with script errors
- Articles with short description
- Articles with hCards
- No local image but image on Wikidata
- 1899 births
- 1988 deaths
- 20th-century American actresses
- Actresses from Chicago
- Actresses from Michigan
- American autobiographers
- American film actresses
- American investors
- American silent film actresses
- Deaths from cancer in California
- People from San Luis Obispo County, California
- People from Port Huron, Michigan
- American women autobiographers
- American women investors
- Merrill (company) people
- 20th-century American businesswomen
- 20th-century American businesspeople