Edna Mayo: The Best Dressed Woman on the Screen

Although she was a popular leading lady with the Chicago branch of Essanay, Edna Mayo’s fame and stardom were brief, as was her film career. She was in the public eye for less than five years, but she made quite an impression, and when she left the industry, fans were confused and wondered where she had gone. Her disappearance and life after film remain a mystery.

Edna Mayo was born in Philadelphia, but the specifics surrounding it are unclear. Although available sources claim she was born March 23, 1895, contemporary magazines claimed a March 27, 1893 birth date, (which gels with the ages and dates cited for major events in her career). She was an only child, and it was said that she was of a famous theatrical family, though none of her famous family members were ever cited in articles. Later, the press would refer to her mother as simply Mrs. J. Mayo.

Carlyle Blackwell and Edna Mayo

After graduating from Girls College in 1909 at the age of 16, she pursued stage drama full time. Although she claimed she had been on the stage since the age of 5, her first notable work was in “The Social Whirl” which ran from April to September of 1906. She followed that up with parts in “The Merry Widow Burlesque” (Jan-May 1908), “Girlies” (Jun-Aug 1910), and “Help Wanted” (Feb-May 1914). When she wasn’t on stage, she was pursuing artistic hobbies, as well. She studied sculpture in New York at the Art Students League and, when she later moved to Chicago, she continued to study at the Art Institute.

Mayo made her move from the stage to film in mid-1914, after her run with “Help Wanted” ended. She was signed by Favorite Players to make “The Key to Yesterday” opposite Carlyle Blackwell. That arrangement soon fell through, though, and once the picture was over, she bounced to Famous Players, and even made a film under Pathe. By the beginning of 1915, though, she had set down roots in Chicago, joining the players at Essanay. In February, she made her Essanay debut with “Stars, Their Courses Change” playing opposite Essanay’s leading man Francis X. Bushman, and was touted as their new leading lady. She was quickly paired with the best the Chicago branch had to offer, acting opposite players like Richard Travers and Bryant Washburn.

Henry B. Walthall and Edna Mayo in "The Woman Hater"

Although she was still a relative newcomer to the world of film, she was quite a temperamental star. She had trouble acting with crowds watching her, was self centered, and was determined to have things her way. She talked of pleading with directors, begging, “Let me have my own way. Let me say what my feelings tell me to, and my action will amount to something -- otherwise never.” Although her fits undoubtedly led to some friction on set, it certainly allowed her to put out good work. She worked very consistently throughout the rest of 1915, even appearing in some gender-bending roles (a big deal for a woman who was once declared the most beautiful photoplay actress).

"The Strange Case of Mary Page"

With 1916 came her biggest project to date. The 15-episode serial “The Strange Case of Mary Page” starred Mayo in the title role opposite the great Henry B. Walthall. The plot was intriguing -- Mary Page is on trial for murder, but she and her lawyer/lover are convinced she didn’t commit it -- and audiences responded favorably. The studio got scores of letters every day from fans who were convinced they had figured out the answer for the murder mystery element of the story. The series was quite an undertaking, and represented a first for Essanay, so the PR machine worked hard behind the scenes to make it a profitable endeavor. Ads were taken out in publications like McClure’s, McCall’s, Ladies World, and Pictorial Review to ensure that female audiences knew of it. They also used the elaborate, gorgeous dresses Mayo wore throughout the film as a selling point. The gowns were designed by Lucile, aka Lucy, Lady Duff Gordon, and one piece in particular reportedly carried a price tag of $1,000. If they couldn’t attract female audience members purely on plot, they thought, they might get them because of the fashions.

Edna Mayo wearing dresses created for "The Strange Case of Mary Page"

Mayo bragged that she spent nearly everything she made on clothes, and her wardrobe choices led to magazines declaring her The Best Dressed Woman on the Screen. Though she splurged on gowns, she didn’t lead a luxurious lifestyle otherwise. She divided her time between work and her apartment on Sheridan. She wasn’t married and made it clear that she had no intention of marrying. Not only were all husbands bossy, she asserted, but it would disrupt her routine. “Honestly, I don’t think I’ll ever marry. I’m so happy working, and leading my quiet little life between apartment and studio, studio and apartment. I don’t want to be upset and made unhappy -- even by happiness!”

Aside from “The Strange Case of Mary Page,” Mayo’s most interesting project of 1916 was “The Return of Eve,” released in September of that year. It featured Eugene O’Brien and was filmed around the Wisconsin Dells. It told the story of a modern day Garden of Eden, where scientists mounted an experiment that involved raising infants in the wilderness to grow up “naturally.” When the now-grown Mayo and O’Brien are brought back to civilization, they’re horrified and return to their former way of life.

"The Return of Eve" featuring Eugene O'Brien and Edna Mayo

Mayo and O’Brien received praise for their roles, but her acting opportunities began to dwindle. Rumors started to spread in mid-1917 that she had left Essanay, but she brushed them off, speaking instead of doing humanitarian work in the slums of Chicago. By December of that year, however, she was unemployed, and by January she had disappeared from the screen. A year later, she attempted to stage a comeback with the General Film Co. and “Hearts of Love,” but it didn’t work. “Hearts of Love” was her final film.

A couple years prior, Mayo had told fan magazine reporters that she had no desire to go back to the speaking stage, but it’s unclear what exactly she did do following her screen retirement. It seems her fan base and the world of film lost track of her. She appears to have moved back to California, though, and died in San Francisco in 1970.

Although Mayo was by all accounts a formidable actress, we don’t really have proof of it today. Her films are mostly considered lost, and we’re left only with plot synopses to judge her by. Still, we can’t help but hope that a copy of “The Strange Case of Mary Page” will miraculously reappear for film fans and historians alike to enjoy.

Jump over to my Pinterest page to see more of the ads for "The Strange Case of Mary Page" and other Edna Mayo pictures.

Marguerite Clayton: The Broncho Girl of the Essanay Company

Marguerite Clayton never quite eclipsed her famous leading man G.M. “Broncho Billy” Anderson, but she managed keep a respectable film career alive for 15 years before retiring right around the introduction of sound. From humble beginnings, to becoming one of the most popular photoplayers in the early days of the industry, Clayton had quite a career and, fortunately for us, some of her work is still available for us to enjoy.

Margaret Fitzgerald was born in Ogden, Utah on April 12, 1891 (some sources say 1892) to Irish and Welsh parents. She was the third of four children born to Michael and Belle Fitzgerald, but little is known about her early years. She proudly told fan magazines that she had entered right into the motion picture industry without having done any real stage work (though later interviews dispute that). She was educated at convent called St. Mary’s in Salt Lake City and sang in the tabernacle from a young age. Her father was a mining engineer, and by 1910, the family seems to have made the move from Utah to San Francisco, where her father ran a bar.

Despite having no familial connection to the stage, Clayton found herself drawn to film, and began to dream of appearing on screen. When a LA-based paper ran an ad that said the western branch of Essanay was searching for actresses to join the company, she was quick to respond. In mid 1913, she joined the Essanay company doing small parts. The bit roles didn’t last long though, for after about 3 months she was starring alongside Mr. Anderson himself in his “Broncho Billy” pictures.

Marguerite Clayton and G.M. Anderson in a Broncho Billy installment

She was inexperienced, but that seemed to play to her benefit. “I decided when I went into motion pictures that I didn’t know a thing about them, and that I would do just as the director told me. I have always followed that rule. No matter what the director says, I do it.” She was also focused on becoming a true film artiste. “I intend to keep on working until I am at the top. If I could always be sure of as good a teacher as Mr. Anderson is, I am sure I’d have no doubts of getting there.”

Marguerite Clayton and Richard Travers in "The Egg"

Clayton briefly left the company to pursue a part in a stage production called “The Candy Shop,” and later briefly left the company to pursue parts with the Liberty company. But by April of 1915, she was back at Essanay and back with Broncho Billy. Although she had grown into a western star courtesy of the Niles branch of Essanay, by late 1915, she found herself established at her new home at the Chicago branch. Rather than playing opposite the rugged G.M. Anderson, she found herself playing leads with handsome Richard Travers, and rather than playing in westerns, she found herself in dramas and light comedies. Her first role at the Chicago branch was “A Daughter of the City,” a morality play in which she played the titular role and got to show her range.

She was one of 12 players added to the Essanay stock company and, in 1917, one of the players who got to play in Essanay’s line of Black Cat Features -- snappy, sharp, two-reel comedy dramas that were based on Black Cat Magazine. She even starred in a unique picture where she, through some trick photography, was turned into a living doll. Despite being one of the company’s favorite and most consistent players, in late 1917, Clayton left the company to freelance with Paralta and later Artcraft, Paramount, and Paragon. In mid-1918, she made her last major picture splash with “Hit-the-Trail Holliday,” a prohibition play written by and starring George M. Cohan. She was happy with the change of scenery her parts had taken, telling fan reporters, “I wouldn’t go back into Western stuff for the world,” but her career was starting to slip.

In 1922, she sued Pathe for $50,000 in damages when she was struck by a pipe while filming. She alleged that the injury had left her with a permanent facial scar, but it’s unclear whether the case ended in a ruling or a settlement. She continued to work in film in both the US and Europe, but by the time the talkies started to take hold in the late ‘20s, she had disappeared from the screen.

With the ‘30s came her marriage to Victor Bertrandias, a major in the US Air Force, and her retirement from the screen. She took Victor’s last name, and, save for a few instances, managed to stay out of the spotlight. The couple were married until his death in 1961. Marguerite died seven years later.

The name of Marguerite Clayton never rose to the ranks of a Norma Talmadge or a Mary Pickford, but thanks to her work in the "Broncho Billy" series, she’s achieved an immortality among silent film lovers. To watch the Broncho Girl of the Essanay Company in action, check out two installments of the “Broncho Billy” series below.

Review: Wild Bill Hollywood Maverick

By the time William A. Wellman was 36 years old, he had just as many films under his belt. He had also survived a war, four failed marriages, and some of the tougher aspects of the Hollywood studio system. Now, Kino Lorber has made his story widely available once again with the DVD release of “Wild Bill Hollywood Maverick.”

“Wild Bill” tells the story behind the man who created some incredible and truly iconic silent and sound films, through the anecdotes, experiences, and voices of some of the people who knew him best, his son William Jr. and his wife Dorothy. Also featured are interviews with names who’ve become icons in their own right, people like Martin Scorsese, Clint Eastwood and James Garner. His life, from his terrifying injury during World War I, to his final days in the business, is detailed lovingly and respectfully.

William Wellman

The documentary, directed by Todd Robinson, was originally released in 1996. Because it was released 20 years after Wellman died, it, understandably, lacks stories and interviews from the man himself. If Robinson had been able to balance this out with more archival interview footage, somehow, the film would feel more complete, but as it is, the documentary is an incredible glimpse at one of Hollywood’s greatest, toughest directors.

To get a look at the man behind the camera, here’s an excerpt from Kevin Brownlow and David Gill’s incredible “Hollywood: A Celebration of the American Silent Film” featuring an interview from Wellman himself all about the making of “Wings” -- the first film to win the Academy Award for Best Picture.

You can purchase “Wild Bill Hollywood Maverick” on DVD here. If you're looking for more of William Wellman's work, you can watch the original version of "A Star is Born" and "Nothing Sacred" courtesy of Fandor.

Myrtle Stedman: The Girl with the Sweet Contralto Eyebrows

She had many nicknames during the height of her fame. The Voiceless Prima Donna. The Venus of the Movie World. The Girl with the Search-light Eyes. The Selig Girl. Yet the one Myrtle Stedman liked the most paid tribute not to her looks so much as her incredibly expressive face and her talent as a subtle, intelligent silent actress -- The Girl with the Sweet Contralto Eyebrows.

Although several dates would later crop up during her career, Myrtle C. Lincoln was actually born March 3, 1883 in Chicago. She claimed to be a direct descendant of Abraham Lincoln, but before she was a teenager, Myrtle was well on her way to claiming her own place in the spotlight. Her mother was a singer, and at 12 years old she joined the Whitney Opera Company doing solo dances. Not long after, the family left Chicago for Black Hawk, Colorado where Myrtle’s father pursued a career as a miner (some fan magazines claimed she may have tried the same). Eventually, Myrtle found her way back to Chicago and back to the Whitney Company. While there, she sang in opera, comic opera, and musical comedy productions.

It was around this time that she met and married an aspiring actor and director named Marshall Stedman. The couple were married in Chicago on January 23, 1900, Myrtle was 16 and Marshall was 25. The couple had a son, Lincoln, two years later and he would (secretly) follow in his parents footsteps, as we’ll later see.

In 1910, Otis Turner of Selig Polyscope approached Myrtle and offered her a position with the company. Myrtle, who was tired of traveling for her musical engagements, accepted, and was soon one of the studio’s most popular stars, along with Kathlyn Williams, Winifred Greenwood, and Adrienne Kroell. During the three years she was with the company, Myrtle worked at the main studio in Chicago as well as the Western studios in Arizona and Colorado (not exactly giving her the travel-free life she was hoping for). Although Myrtle typically took the leads in westerns, leaving Kathlyn Williams with the dramas, she could easily play dramatic leading roles. Her son Lincoln would later note, in the early days of film you were expected to be versatile. “In the summers you rode the plains as an outdoor girl and when the snow fell and winter came, ‘society dramas’ were made.” Myrtle could certainly handle both.

As her fame grew, Myrtle began embarking on personal appearance tours. In 1912, she and Marshall performed for the prisoners at the Colorado State Penitentiary, and in 1913, she performed at the funeral of a miner who was crushed when a tunnel caved in. She also showed off her voice in tours around the country, singing for audiences and speaking about her career.

In late 1913, Myrtle left Selig. She joined Bosworth and then Morosco, and continued to do excellent work. In 1915 she became the first female elected member of the newly organized Motion Picture Board of Trade of America. She told the magazines she was thrilled and that she was ready to work towards the betterment of conditions affecting women in film, as well as legislation and censorship threatening the industry.

In 1916, she gave one of her most memorable performances -- that of the mother and her abandoned daughter in “The American Beauty,” and won great praise. Shortly thereafter, though, things started to slow down for her. Her contract with Morosco expired and she decided not to renew it. Instead, she toured the country with singing engagements, and for the next few years only took films roles here and there. Her personal life also took a turn when she filed for divorce from Marshall in 1919 citing desertion. She attempted a bit of a comeback in the early ‘20s, but was met with mostly irregular supporting roles. But she found herself back in the limelight in 1923 thanks to the success of someone else -- her son.

Just like Myrtle, there’s a lot of confusion around Lincoln’s date of birth. According to the 1920 census, though, Lincoln was born in 1902, and according to interviews he entered film at just the age of 9. Photoplay believed he made his debut in "The Old Swimming Hole," and since it was released in 1912, Lincoln would've been the right age. Although he was performing in films as early as 1912, he wasn’t being recognized as Myrtle’s son. In fact, as late as 1917, the fan magazines were claiming Myrtle and Marshall had no children (despite the fact that as early as that year, Lincoln’s name was also gracing the pages of Photoplay and the like as a player in films).

Myrtle Stedman and Lincoln Stedman

As Myrtle’s career declined, Lincoln’s began to really take shape and suddenly the two were gracing the pages of every major fan magazine. Myrtle, now 40 (though claiming younger), was aging very well, and suddenly the idea arose to cast her as a youthful matron in 1923’s “The Famous Mrs. Fair.” This started a new career for her. Now, she was the youthful mother and character actress, not the western lead, and it seemed to help her career overall. She was priase for playing age-appropriate parts, while her contemporaries were denounced for chasing roles that were no longer in their wheelhouse. Although she was fudging her age (and, presumably, Lincoln’s too), she spoke of embracing age. “Growing old isn’t something to be dreaded. It is something to be enjoyed. Age isn’t a thief and a robber. He is a friend. It’s only an exchange.”

Although she signed a 3-year contract with First National in 1925, and performed very consistently in supporting roles to younger players like Blanche Sweet, by 1929, Photoplay was lamenting the fact that she had, once again, fallen into the shadows. “Why [is Myrtle], though still playing, submerged in a dim background? Capable, attractive, but inconspicuous...” That same year she made her talkie debut in “The Wheel of Life” and, unlike other silent stars, continued to act well into the ‘30s. She retired temporarily, but soon returned to the screen, albeit in mostly uncredited supporting roles. She suffered a heart attack and died January 8, 1938 at the age of 54 (though the New York Times obituary said she was 50). Lincoln died 10 years later from a heart ailment.

What is now available of Myrtle Stedman’s work is a pretty limited representation of her career. What is available, though, is the film she made with Lois Weber, the highly acclaimed “Hypocrities.” You can watch a clip below or purchase a copy of the DVD from the folks at Kino Lorber here.