Friday, January 18, 2013

THE LIFE AND DEATH OF THELMA TODD On List Of Best Film Books 2013

Donati's book made the list of best film books of 2013.




But I'll let him tell you about it himself. Might as well, since he's the one that told me:
"Thomas Gladysz, an arts journalist who writes
for the Huffington Post, included The Life and Death of
Thelma Todd in his Best Film Books of 2012. This is quite
an honor because Gladysz is a silent era historian and
authority on Louise Brooks.
Last summer I spoke about Thelma and my biography
at the Lawrence Library. What a thrill to be back in
Thelma's hometown. I had the pleasure of meeting Thelma's
relatives who attended my lecture.
William Donati"

It's good to hear that this book has been well recieved. It gives you a sort of a feeling of accomplishment when something you were able to help with turns out so well.



Baring An Early Starlet's Roots ( Donati's Thelma Todd Book ):
http://www.eagletribune.com/local/x2054914123/Baring-an-early-starlets-roots-in-Lawrence


Google Books Listing ( With My Review ):
http://books.google.com/books/about/The_Life_and_Death_of_Thelma_Todd.html?id=LQsB66qPGmgC



San Francisco Silent Film Festval:
http://sfsilentfilmfestival.blogspot.com/2012/12/best-films-books-of-2012.html

Tuesday, January 15, 2013

Laurel And Hardy Cameo Appearances

Another Laurel and Hardy feature from you tube.







Description from you tube.com:

An edited compilation of Laurel & Hardy's cameo film appearances. Featuring Hollywood Review of 1929, The Stolen Jools, On The Loose, Wild Poses, Hollywood Party, On the Wrong Trek, Pick a Star & Galaxy of Stars. Also included is the trailer to the missing film The Rogue Song + an extra recently discovered scene from the same film.

This compilation was produced as part of our Laurel & Hardy meetings in Wigan.
 


                                             *                    *                      *



This compilation features various Laurel and Hardy cameos. One of them is from the Zasu Pitts and Thelma Todd film ON THE LOOSE. Some of the commentary about this one said that it looked as if the Laurel and Hardy cameo could have been shot without the participation of Thelma Todd, as the blonde seen chasing them out at the end was shown only from behind, and could have been somebody else doubling for her. I thought the stairs in this film looked familiar. They might have been the same ones they had in UNACCUSTOMED AS WE ARE, a Laurel and Hardy film that featured Thelma Todd. Another similarity is that the Coney Island set has the same amusements that were in the Laurel and Hardy film SUGAR DADDIES.













WILD POSES and ON THE WRONG TREK are an Our Gang and a Charley Chase film, respectively, that have Laurel and Hardy cameos. The scene in WILD POSES shows Laurel and Hardy as children and looks much the same as their scenes as children in BRATS.

 












Emerson Treacy, with whom Gay Seabrook was frequently teamed in an act that has been compared to George Burns and Gracy Allen: they appeared as Spanky's parents in BEDTIME WORRIES in addition to WILD POSES. In 1931, Gay Seabrook had made the movie CORSAIR with Thelma Todd, who was billed as "Alison Loyd".




 In ON THE WRONG TREK Laurel and Hardy were a couple of hitchikers Charley Chase spotted along the way while traveling across the country. Rosina Lawrence was in it. She was in the later Our Gang films as the gang's teacher, and made it into what had been the Thelma Todd series as well.
















Another Laurel and Hardy cameo is from PICK A STAR. This one has Patsy Kelly, Rosina Lawrence, and Lyda Roberti in it, and I think of it as the tail end of what had been the Thelma Todd series. Lyda Roberti was Thelma Todd's replacement in that series. Her work in movies had become limited by the time this movie was made as she was suffering from heart trouble.






                                            Jimmy Finlayson disguised as a director.



HOLLYWOOD PARTY is said to have begun as Buster Keaton's idea while he was working at MGM: after he got fired, they went ahead and made the movie without him. It shows.






Lupe Velez with Jimmy Durante: she played Jane while married to Johnny Weissmuller in real life.



 



Lupe Velez with Laurel and Hardy

 

















The Three Stooges also put in an appearence.





GALAXY OF STARS was a promotional film for MGM that was made for the foreign market: this particular copy is in French, with English subtitles. Jimmy Finlayson appears with Laurel and Hardy once again ( he was also in PICK A STAR as their director ) and directs our attention to the "Galaxy of Stars" that may be seen through the telesope.



 









GALAXY OF STARS ( 1936 MGM Promotional Film ):
http://www.lordheath.com/index.php?p=1_926_Galaxy-Of-Stars


Laurel And Hardy At MGM:
http://stethacantus.hubpages.com/hub/laurelhardyatmgm


ON THE LOOSE:
http://www.lordheath.com/index.php?p=1_174_On-The-Loose


ON THE WRONG TREK:
http://www.lordheath.com/index.php?p=1_233_On-The-Wrong-Trek


PICK A STAR:
http://laurelandhardycentral.com/pas.htm

http://www.lordheath.com/index.php?p=1_133_Pick-A-Star



Gay Seabrook:
http://www.imdb.com/name/nm0780413/

http://en.wikipedia.org/wiki/Gay_Seabrook


Lupe Velez:
http://www.lordheath.com/index.php?p=1_436_Lupe-Velez




A

Monday, January 14, 2013

On Location With Laurel and Hardy 1928

Some home movie footage of Laurel and Hardy turned up on youtube recently. Also in the film are some of the glamour girls who worked for Roach in the period, including Edna Marion, Viola Richard, and Dorothy Coburn.






The description from youtube:


Published on Jul 29, 2012
After posting "On Location with Laurel and Hardy -- March 1928," (during the making of "Should Married Men Go Home"), several people have requested the unedited version of the film also be posted. This is the unedited film. George Mann of the comedic dance act Barto and Mann shot the film or handed his camera to someone else to shoot. I've taken a first cut at identifying individuals in the film below. It's likely I've misidentified individuals in some of the shots. Corrections are welcome as well as the names of individuals I've identified as "Unknown."

Also included in the clip are:

John Aasen (Tall golfer) -- http://johanaasen.com/

Edgar Kennedy (Golfer with toupee) -- http://en.wikipedia.org/wiki/Edgar_Kennedy

Edna Marion (Blond golf partner) -- http://en.wikipedia.org/wiki/Edna_Marion

Viola Richard (Brunette golf partner) -- http://en.wikipedia.org/wiki/Viola_Richard

Charley Chase -- http://en.wikipedia.org/wiki/Charley_Chase

Roy Randolph. George was a pupil of Roy Randolph, who owned Randolph's La Monica Dance School in Santa Monica, California, probably around 1925. It's likely that it was Randolph who provided access for George to the making of "Should Married Men Go Home?"-- http://www.imdb.com/name/nm0709932/

There's more about Barto and Mann here: http://en.wikipedia.org/wiki/Barto_and_Mann

George Mann's photography here: http://www.thegeorgemannarchive.com/

And later in life here: http://onbunkerhill.org/georgemann



0:00 - 0:09 Unknown female #1 with scarf; Roy Randolph; unknown female #2 in plaid dress.

0:10 - 0:23 Dorothy Coburn (?) (muddy combatant) in hat; Roy Randolph; unknown female #3 (muddy combatant) with golf club.

0:24 - 0:35 Oliver Hardy strikes Stan Laurel with golf club.

0:36 - 0:42 Stan Laurel.

0:43 - 0:50 Oliver Hardy (and Stan Laurel).

0:51 - 1:01 Viola Richard and George Mann.

1:02 - 1:35 Viola Richard, Edna Marian, Stan Laurel, Oliver Hardy. Laurel hits Oliver Hardy in chin with golf club.

1:36 - 1:59 Stan Laurel, Oliver Hardy & George Mann.

2:00 - 2:12 Dorothy Coburn (?) (muddy combatant) and Viola Richard on Oliver Hardy's shoulders. Roy Randolph assisting.

2:13 - 2:32 Oliver Hardy, John Aasen (very tall golfer) & George Mann. Mann does high kick.

2:33 - 2:38 Stan Laurel and Edgar Kennedy (golfer).

2:39 - 2:45 Dorothy Coburn (?) (muddy combatant).

2:46 - 2:56 Dorothy Coburn (?) (muddy combatant) and Roy Randolph dancing.

2:57 - 3:18 Stan Laurel and Edgar Kennedy (golfer). Kennedy loses toupee.

3:19 - 3:35 Rochelle D'Alolio of the Deno and Rochelle dance team sitting in chair.

3:36 - 3:50 Deno D'Alolio of the Deno and Rochelle dance team in suit; Rochelle D'Alolio of the Deno and Rochelle dance team sitting in chair; unknown male #2 shirtless; Roy Randolph; Dorothy Coburn (?) (muddy combatant) standing; and unknown female #5 sitting.

3:51 - 4:03 Engine.

4:04 - 5:20 George Mann walking through movie set.

5:21 - 5:39 Roy Randolph on set of the S.S. Mirimar.

5:40 - 5:55 Charley Chase and George Mann dancing and hamming together.

5:56 - 6:09 Henry Conner with cat.

6:10 - 6:16 Hal Roach Studios.

6:17 - 6:20 Sign for Laurel-Hardy Comedies. 




                                                     *                   *                     *


The behind the scenes footage of the Roach backlot is interesting. You can see the exterior sets where scenes were shot outdoors. The "engine" represents a ship engine. The "S.S. Miramar" is an ocean liner set, the name has some significance that escapes me. The Hal Roach Studios offices can also be seen.

A number of the people who worked on SHOULD MARRIED MEN GO HOME? can be seen in this footage. Charley Chase, briefly seen,  is actually the brother of director James Parrott. Charley Chase was known as Charles Parrot in some of his early movies.



 The Wikipedia item for the Laurel and Hardy movie SHOULD MARRIED MEN GO HOME?:

Should Married Men Go Home?


From Wikipedia, the free encyclopedia

 

Should Married Men Go Home?

Theatrical poster
Directed byLeo McCarey
James Parrott
Produced byHal Roach
Written byLeo McCarey
James Parrott
H.M. Walker
StarringStan Laurel
Oliver Hardy
CinematographyGeorge Stevens
Editing byRichard C. Currier
Distributed byMetro-Goldwyn-Mayer
Release date(s)
  • September 8, 1928 (1928-09-08)
Running time20 min.
CountryUnited States
LanguageSilent film
English intertitles
Should Married Men Go Home? is a silent two-reel comedy produced by the Hal Roach Studios and starring Laurel and Hardy. It was filmed in March and May 1928, and released by Metro-Goldwyn-Mayer on September 8 of that year. It was the first Roach film to bill Laurel and Hardy as a team — previously, their appearances together were under the Roach "All-Star Comedy" banner. Footage of the film featuring Laurel and Hardy on location in between shooting and some apparent out-takes has recently surfaced on YouTube[1].

 

 Plot

Ollie and his wife are enjoying a quiet Sunday at home until Stan shows up, eager to play some golf. After Stan breaks the Hardys' Victrola and nearly sets fire to their house, Mrs. Hardy chases the boys out. At the golf course, they are partnered with a pair of comely young lasses to complete a foursome. The girls want to be treated to sodas, but the boys are short of money. Stan leaves his watch to settle the thirty-cent bill. On the course, they tangle with rude golfer Edgar Kennedy, and wind up in a mud-throwing battle with several other linksters.

Cast

 Production


Very Tall Golfer and how. John Aasen may have been as tall as 8'9" though "just" 8-feet might have been more accurate. Marion and Richard are at left. 1928 Lobby card.

 Supporting cast

John Aasen was (un)credited as "Very Tall Golfer" and it was indeed typecasting: Aasen was 8-foot-9.
Golf course girlfriends Edna Marion and Viola Richard had both been notified that Should Married Men Go Home? would be their last outing for the Hal Roach Studios — that their contracts would not be renewed. Marion had appeared in nearly fifty films, most for Roach, yet would go on to appear in only a half-dozen Poverty Row productions; she would be completely out of pictures by 1932. Viola Richard had enlivened several Charley Chase and Laurel and Hardy silent comedies before Married Men, yet would see service only twice more — both in 1935, both for Roach, both only as an extra; perhaps it was her considerable resemblance to "It Girl" Clara Bow that held her back in casting offices.

Routines for the future

The soda fountain routine — funny here in silent guise — would be reworked with sound and become even better a year later in the L&H talkie Men O' War. Jimmy Finlayson would take over dispensing duties from Charlie Hall in the talkie.
The gag of Stan slipping a note under the door, only to see it get pulled further in from the inside where the Hardys are hiding from him, would find new life and a return engagement in the 1931 talkie Come Clean when the Hardys again pretend not to be home when the Laurels come calling.

Out on the links

Oil derricks are visible just off some of the fairways on the golf course.
Should Married Men Go Home? slots right in with the L&H shorts of its era as far as the pattern of action at the finale: a widening circle of anarchy and mayhem envelops The Boys, the bystanders and everyone in between. Mud is the aggressive instrument of choice in Married Men, while in You're Darn Tootin' it's ripped pants, pies in The Battle of the Century and auto parts in Two Tars.

 Title and industry excitement

As was typical, the project had a working title: this one's was Follow Through. Also typically, it was H. M. "Beanie" Walker who wordsmithed the final release title.[1]
The time lag between the primary filming in March and the September release of Should Married Men Go Home? was unusually long — some six months — and included some summer vacation "away time." When the company reconvened in Los Angeles in Autumn 1928, the fame and popularity of the Laurel and Hardy team had charged up the town. L&H historian Randy Skretvedt notes that:
"By the time the film was released on September 8, L&H had become tremendously popular. MGM's publicity department began issuing billboard-sized posters to publicize the team. If this was an uncommon practice for a series of short subjects, MGM felt the team deserved the extra fanfare."[1]

Critical reputation

Laurel and Hardy authors and critics are strangely silent on Should Married Men Go Home? Despite its inclusion in 1967's feature-length compilation The Further Perils of Laurel and Hardy, it is today either overlooked or underappreciated;[2] the best that prolific commentator Leslie Halliwell can muster for it is a lukewarm "Goodish star slapstick, but the preliminary domestic scene is the funniest."[3]
The lone exception to this is early L&H analyst William K. Everson who wrote (perhaps not coincidentally) in 1967: "One of the best of the "forgotten" Laurel and Hardy films, Should Married Men Go Home? admittedly overlaps with several other of their films but is no less funny because of it."[4] He cites Ollie's collapsing of the front fence, the soda fountain routine and Edgar Kennedy's toupee woes as high spots.

 References

  1. ^ a b Skretvedt, Randy (1996). Laurel and Hardy: The Magic Behind the Movies. Beverly Hills: Past Times Publishing. ISBN 0-940410-29-X
  2. ^ Mitchell, Glenn (1995). The Laurel and Hardy Encyclopedia. London: B. T. Batsford. ISBN 0-7134-7711-3, p. 239.
  3. ^ Walker, John, ed. (1994). Halliwell's Film Guide. New York: HarperPerennial. ISBN 0-06-273241-2, p.1077
  4. ^ Everson, William K. (1967). The Films of Laurel and Hardy. Secaucus, NJ: Citadel Press. ISBN 0-8065-0146-4, p.65.

 External links


It's been a while since I read any of the Laurel and Hardy books, so I don't recall what they might have said about this film. Wikipedia says William K. Everson liked this one: I liked it myself, but Everson also said something to the effect that Viola Richard's career may have suffered because she resembled Clara Bow, and I'd be inclined to doubt that. You never know why some people didn't do better in the movies and it can't necessarily be explained today. In Viola Richard's case, as well as Edna Marian's, Roach seems to have let them go as some sort of economy measure. Viola Richard would return to the Roach studio for some small parts in the mid 1930's. I think Edna Marion might also have come back in the 1930's.

James Parrott had tried acting early on, but later moved behind the scenes to write and direct. His story was a sad one, but not one that I need go into now.



                                                                  So, who to focus on?



Who else?
 
The girls have it. Even if Viola isn't really Clara Bow.
 
 
 
 
Laurel and Hardy again?
 
 
They insist that it's their story.
 
Oh, well. Let them tag along if they want.



Laurel and Hardy in the mud puddle again.

                                      See what happens when you pal around with those two?




                                                             Lobby Card From Wikipedia


            At least this picture is clean. The boys hadn't found their way into the mud puddle yet.





Finally, here is SHOULD MARRIED MEN GO HOME?, also on youtube:







Dorothy Coburn:
http://www.classicvideostreams.com/BCVS/favs/Coburn-D_idx.htm

http://www.imdb.com/name/nm0167997/

http://www.lordheath.com/index.php?p=1_158_Dorothy-Coburn



Edna Marion:
http://silenthollywood.com/ednamarion.html

http://www.imdb.com/name/nm0547958/

http://www.classicvideostreams.com/BCVS/favs/Marion-E_idx.htm



Viola Richard:
http://www.waxapple.org/articles/archives/42/

http://www.imdb.com/name/nm0723907/

http://www.lordheath.com/index.php?p=1_308_Viola-Richard







Tuesday, January 8, 2013

Thelma Todd's Last Check

 
This may have been the last check Thelma Todd wrote before she died.
 
It was offered for sale on ebay in February of 2002 by Clark Smith, who told me:
 
"We think she filled up her gas tank in her car (a Buick?) and paid for it with that check. Perhaps somebody can examine her earlier writings (and compare to the check) to see if she was under stress when she wrote this check close to her death. There are handwriting experts who can tell your personality by your handwriting. Perhaps an old sample and this one might show differences.
Just a thought."
 
Studying handwriting can be useful to the authorities ( it helped catch the writer of the extortion notes to Thelma Todd, for example ), but I don't know if any attempt was ever made to compare examples of Thelma Todd's writing to see if they could learn anything that way. I've seen other samples of Thelma Todd's handwriting, and to me this looks about the same, but I am not an expert, and my opinion might not count for much.
 
 
 
 
Here we see a photo of the Muller Brothers station.

 
 
 
Their sign is visible in the background of this photo of a rooftop bowling alley,


with a girl bowling who might almost be Thelma Todd herself.




 

Friday, January 4, 2013

Los Angeles Time May 29, 2002






A more recent article from the Los Angeles Times.

From the Los Angeles Times, May 29, 2002:
A Mystery Revisited A building that figured in the unsolved death of actress Thelma Todd is for sale.

By ROBERT W. WELKOS,

Times Staff Writer

The main stairway and entry to the Pacific Palisades property that has been put on the market by Paulist Productions. They found actress Thelma Todd's lifeless body on the morning of Dec. 16, 1935, slumped over in the front seat of her chocolate-colored 1934 Lincoln Phaeton convertible, her car parked in a two-car garage near her married lover's brooding cliff-side mansion in Pacific Palisades.


She was dressed in a mauve and silver evening gown, expensive mink wrap and adorned with a small fortune in jewelry, after attending a party in her honor into the wee hours of the morning with her Hollywood friends at the famed Trocadero nightclub on Sunset Boulevard.

The death of the blond, wisecracking comedian dubbed "Hot Toddy" who had appeared in more than 40 films, including "Horse Feathers" and "Monkey Business" opposite the Marx Brothers, would unleash a media frenzy rivaling the O.J. Simpson case six decades later and spawn endless theories over what led to the 30-year-old starlet's untimely demise.

Now, a piece of this Raymond Chandler-like mystery is up for sale, and, from the looks of it, the public's appetite for the long-simmering Hollywood scandal has not abated.

Just down the hill from the death scene in the Castellammare section of Pacific Palisades, a sprawling, three-tiered Spanish-style building that housed Todd's swank ocean-view apartment in the 1930s went on the market this month for the first time in decades. The asking price: $4.7 million.

The salesman handling the property said he has been deluged with phone calls from prospective buyers, many of them local residents, who are entranced as much by Todd lore as they are by the rare opportunity of buying a prime piece of commercially zoned real estate on Pacific Coast Highway that goes for $300 a square foot.

"The first day my sign went up, I had 75 phone calls within six hours," recalled Rene Soto of Les Small & Co., a real estate consulting firm in Century City. "I'm averaging about 50 calls a day."

Soto noted that prospective buyers are not just asking him about the building, they want to hear the Thelma Todd saga. Like other scandals from Hollywood's early days, from "Fatty" Arbuckle to William Desmond Taylor, the strange death of Todd was a tale filled with glamour, intrigue and enough colorful characters to populate a novel.

Even today, authors, film buffs and local residents vigorously debate what happened that fateful night as they try to fill in the blanks around this dark chapter in Hollywood history. At the time, her death was a nationwide sensation. "Body of Thelma Todd Found in Death Riddle," read the front-page headline in the Los Angeles Times. Her mysterious death has been a cause for speculation ever since:

Was she murdered by her business partner and sometime lover, a fading screen director and producer named Roland West?

Was she followed home from the Trocadero that night by her abusive ex-husband, Pat De Cicco?

Did gangland boss Charles "Lucky" Luciano order his boys to rub her out after she allegedly balked at allowing casino gambling above her restaurant?

Or, was it all just a tragic accident?

The three-story, 15,000-square-foot building in which Todd once lived is only a pedestrian bridge away from the beach at 17575 Pacific Coast Highway--a familiar sight to thousands of motorists who zip along daily between Santa Monica and Malibu.

Using the actress' fame as a draw, West and Todd opened a popular restaurant on the ground floor of the building called Thelma Todd's Sidewalk Café. One floor up was their private nightclub named Joya's, which played host to Hollywood's rich and famous. Given its flashy history, then, it is no small irony that today the building is owned by a religiously oriented motion picture and television production company called Paulist Productions.

Thelma Todd, in costume for a film, in an undated photo with Pat De Cicco. Wide World Photos Founded in the 1960s by a much-beloved Catholic priest, the late Father Ellwood E. "Bud" Kieser, Paulist Productions came to prominence in Hollywood for its award-winning television series "Insight."

How the production company acquired the property has a Todd connection. The owner, Lola Lane of the singing Lane sisters, had married Roland West and inherited the building after his death in 1952. She remarried and, after converting to Catholicism, she and her husband met Kieser and were so impressed that they invited him to set up shop on the ground floor of their large residence. The property was later deeded to Paulist Productions.

Today, officials at Paulist Productions say it just doesn't make sense for the production company not to utilize the money that can be realized from selling the property. "This is an asset," said Father Frank Desiderio, a Catholic priest who heads Paulist Productions, "and we've been sitting on it rather than putting it to work."

Just touring the building is nostalgic. Desiderio points to a frayed menu from Todd's eatery that is framed and mounted on his office wall. Among the menu offerings: Gin Fizz--35 cents, Thelma Todd Knockout--$1, Thelma Todd Milk Punch (gin base)--45 cents, and a Thelma Todd Rickey--45 cents. "A hot weather suggestion."

The current lobby of Paulist Productions is reached by ascending a grand staircase, and up a small, winding stairway is a hexagon-shaped, third-floor ballroom that in Todd's heyday had a dance floor and bandstand but now serves as living quarters.

Because the building has such a rich history, Father Desiderio has become well-versed in the Todd mystery, although he does not hold himself out as an expert on the case.

"She was a magnet," he said. "She would bring people in. She was a huge star. But because she also liked to go out, there were some nights she wasn't here, which would drive Roland West up the wall. He would say, 'You're my moneymaker, and if you're not here, I'm not making money.'"

Desiderio then leads a visitor along a dirt path behind the property to the old West mansion, still as stately and ominous-looking as ever. The garage in which Todd died is still here too. On the night before her death, Todd had gone to the Trocadero, where a party in her honor was thrown by British actor Stanley Lupino, the father of then-ingénue Ida Lupino, who was one of Todd's close friends. Along with the Lupinos, other guests that night included theater mogul Sid Grauman, movie choreographer Arthur Prince and theatrical agent Al Kaufman.

Todd left the Trocadero about 3 a.m. in a car driven by a chauffeur, arriving at the cafe about 3:45 a.m. Police theorized that after the chauffeur left, she discovered the door to the cafe locked and walked up a long flight of steps to West's house. But some of those familiar with the case challenge the notion that Todd, who had recently been diagnosed with a heart ailment, would have walked up the steep flight of steps to West's garage.

She could have gone into the garage, located at 17531 Posetano Road, climbed into her car, and turned on the ignition to warm herself from the cold wind that blew over the Palisades that night, authorities speculated. But critics of the police version note that she was a bright, former schoolteacher and would have been well aware of the dangers of carbon monoxide.

Her maid, Mae Whitehead, discovered the body. Todd's skin was crimson, a telltale sign of carbon monoxide poisoning. The coroner believed that coagulated blood found around her face, on her dress and inside the car had been caused when her head struck the steering wheel. There was no sign of a struggle.

Randy Young, a local historian who interviewed Castellammare residents who were around in the mid-'30s, said he believes the actress was murdered by her sometime lover, West, who then covered up the crime.

"We knew the gentleman who was a service station operator and jack-of-all-trades in the Palisades," Young said. "He was the first one on the scene before the police came. He saw she was hit in the head. He said there was a lot of blood on her. She had not fallen on the steering wheel and hit her head. She was in the passenger seat and was kind of leaning over."

Film historian Marc Wanamaker, who knew the late Hollywood producer Hal Roach, a close friend of Todd's in the early days of Hollywood, posits the theory that Todd wasn't murdered, but that West was responsible for her death.

"I believe, and Roach confirmed, that she went out to this party on Saturday night," Wanamaker said. "Upon leaving the house to go to the party, there was an argument between her and Roland West [that she be back by 2 a.m.]. ... When she came back around 4 in the morning, he wouldn't let her into the house. "I believe West ran after her down there, she turned on the ignition, and he shut the door to the garage so she wouldn't leave," Wanamaker added. "I don't believe he knew what carbon monoxide was. It wasn't suicide or murder. It was manslaughter on his part."

No arrests were ever made.

Because of the tantalizing story behind the building, locals don't want to see the stylish building on Pacific Coast Highway where Todd lived and played fall victim to the bulldozer once it is sold. "If somebody buys it and wants to tear it down, we would fight and have it 'landmarked,'" said Lorraine Oshins, president of the Pacific Palisades Historical Society. As for the Todd case, the mystery shows no sign of evaporating.

Young noted that mystery writer Raymond Chandler had lived in the Palisades and knew the Todd story and the terrain well. "He took a lot of what was out here," Young said, "and wrote them into his novels."
                                                          *                    *                     *


Although the Paulist fathers tried putting the Sidewalk Cafe up for sale, it did not sell, so they are still in posession of it and are still using it as a center for the production of religious television programs.

Hal Roach is said to have told people that he thought Roland West accidently caused the death of Thelma Todd. He is also said to have complained about the article in LOS ANGELES MAGAZINE by Marvin Nader and Katherine Wolf that quoted him as having said that. Evidently he didn't entirely agree with everything that they said in that article.

Roland West was not a fading director and producer at the time of the death of Thelma Todd. He was a retired movie director and producer, whom I occasionally refer to as a has-been. He did not like having studio bosses telling him what to do and would freely say so in interviews conducted while he was still employed by the movie industry. This is the man who always worked at night because there weren't so many people around then to bother him.

Roland West is frequently mentioned in connection with the death of Thelma Todd, as is Lucky Luciano. Quite often they say that they think Roland West is the more likely choice. This is a matter of opinion, and anyone who wants to can have whatever opinion he wants on the subject, as nothing has ever really been settled.

Certainly not by people who like to argue about it.



 A

Wednesday, January 2, 2013

Thelma Todd In Traffic Accident In 1927

Thelma Todd was in a traffic accident in 1927.


Here we have an article on the incident from THE LOS ANGELES TIMES.



The part in the middle that is difficult to read says, "yesterday morning. As she swung from the studio entrance onto Santa Monica Boulevard the truck collided with her car, almost overturning it".


Reblogged from http://caroleandco.wordpress.com/2011/12/30/carole-co-entries-march-2011/  . Carole Lombard had been in a traffic accident in 1926, and they put in the Thelma Todd article as an example of one of Carole Lombard's contemporaries who also had a traffic accident.

Quite a few movie people were in traffic accidents in that period. Cars were still kind of new at the time, and they were new to many of their drivers at any rate. There was a story about Charlie Chaplin buying his first car and trying to drive it without any kind of instruction. Once he wrecked it, the dealer was happy to sell him another. One of the Our Gang kids went driving without a license and apparently without any problem, although children weren't really supposed to be driving at that age. Others met with more serious results. Dorothy Dell, Marjorie White, and Tom Mix all died in traffic accidents.

Some, when observing drivers in trouble, would advise them to "get a horse". Horse-drawn wagons would remain in use for years. You see them every now and then in movies made prior to the second World War. After the war, their use seem to have become less common.



Age Of The Automobile:
http://www.ushistory.org/us/46a.asp


Automobiles In The 1920's:
http://www.1920-30.com/automobiles/


Carole And Co.:
http://caroleandco.wordpress.com/


Dorothy Dell:
http://emol.org/film/archives/dell/index.html


Internet Movie Cars Database:
http://www.imcdb.org/


Tom Mix Museum:
http://www.tommixmuseum.com/Welcome_.html


Marjorie White:
http://en.wikipedia.org/wiki/Marjorie_White












Death Of Thelma Todd In L.A. Times - Conclusion

In newspaper accounts of the day, there was no real conclusion to the story of the investigation of the death of Thelma Todd. They ran articles in the paper for a while and then went on to something else the way they always did.

The death of Thelma Todd became known as one of Hollywood's Unsolved Mysteries, together with a number of others, some of which are not well known and some of which would still be familiar to many people even today.

I once asked G.D. Hamann for his opinion concerning the death of Thelma Todd. He is someone who has some familiarity with the subject.  G.D. Hamann is the publisher of a series of reprint books that collect newspaper articles about movie stars. One of his books, THELMA TODD IN THE THIRTIES, reprinted some of the same articles that I put on this blog.



G. D. Hamann's message, sent via e mail, of April 28, 2000:

'Since 99% of the material I see is from the newspapers I can apply the old
Will Rogers adage, "All I know is what I read in the newspapers."

BUT.

From reading the newspapers, I do know that the LAPD in the 30's was at
least as corrupt as any police department in the nation, and that the
District Attorney, Buron Fitts was as strange a DA as ever existed.
Fortunately for Buron, he lived in a town where the best criminal defense
attorneys in the nation lived, which meant that he beat the raps he used
to find lodged against him. A very interesting book that took Buron's
side, was an autobiography by one of the DA's investigators, Leslie
White, called "Me, Detective." White went into great detail of the war
between the DA's office and the LAPD.

By 1938 the excesses of the LAPD reached the point where the LAPD
intelligence department planted and detonated a bomb in the car of an
investigator hired by a civic group to track vice in the police
department. Oddly, the investigator, Harry Raymond, is lauded in LA
history books as a tireless crusader against vice. But in the 1920s, as a
LAPD detective lieutenant, Raymond led a police detachment on a mission
of planting incriminating evidence on a LA city councilman. The best
reading in LA is in the morgue of of one of the old LA papers which
miraculously preserves some of the memos to the City Editor from
reporters on stories of civic corruption usually captioned as "TOO HOT TO
PRINT."

I also know that both John Huston and Busby Berkeley managed to beat
homicide charges due to the incompetence of the DA's office (with a
little help from the studios) when they killed people while driving
drunk.

A year after Thelma's death, Ted Healy died under somewhat suspicious
circumstances and many of his fans believe that his death was a homicide.


In Thelma's case, I just don't know. The sloppy way in which the evidence
was gathered and reported in the papers, however, do leave a lot of
questions.

Gary'



I don't know for sure, myself. It doesn't seem that anybody else does, either.


G.D. Hamann Page On Jeanette McDonald Site:
http://www.jeanettemacdonaldfanclub.com/GD_Hamann_Page.htm