By Michael G. Ankerich
Mae Murray (1885--1965), popularly often called "the woman with the bee-stung lips," was once a fiery presence in silent-era Hollywood. popular for her vintage good looks and charismatic presence, she rocketed to stardom as a dancer within the Ziegfeld Follies, relocating around the nation to superstar in her first movie, To Have and to carry, in 1916. An speedy hit with audiences, Murray quickly turned some of the most recognized names in Tinseltown.
However, Murray's second within the highlight was once fleeting. The advent of talkies, a string of failed marriages, a significant profession blunder, and a few sour felony battles left the previous megastar in a nation of poverty and psychological instability that she could by no means overcome.
In this interesting biography, Michael G. Ankerich strains Murray's profession from the footlights of Broadway to the klieg lighting fixtures of Hollywood, recounting her awesome physique of labor at the degree and reveal and charting her speedy ascent to repute and decline into obscurity. that includes unique interviews with Murray's purely son, Daniel, and with actor George Hamilton, whom the actress heavily befriended on the finish of her existence, Ankerich restores this significant determine in early movie to the limelight.
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Extra resources for Mae Murray: The Girl with the Bee-Stung Lips
Courtesy of Eric T. Rebetti. When production wrapped on To Have and to Hold in late February 1916, Mae went to work on another costume drama, Sweet Kitty Bellairs (1916), the film promised her when she left New York. Based on the 1903 play of the same name and the popular 1900 novel, The Bath Comedy, the film chronicles the romance between a fl irtatious tease and a lieutenant. Mae, in a big bouffant wig and plenty of eighteenth-century gowns, was much more at ease in this picture, partially because she was given a dance to perform.
Among those who had come forward to offer congratulations during Mae’s Watch Your Step run was a suave man-about-town who had followed her from the New Amsterdam to Sans Souci. It was his pearl studs against his glossy shirt that Mae claimed to have noticed fi rst. Then she looked up into the handsome face and dark brooding eyes of Jay O’Brien. She all but melted into his arms as he swept her off her tiny feet and onto the dance floor. “He had a high-flown way of talking that shocked her with its excessive ardor,” Jane Ardmore wrote in The Self-Enchanted.
Mae was overjoyed. “I have always remembered what Flo Ziegfeld said to me that day,” she later wrote. “It was typical of him. He came straight to the point, told me what he had in mind for me, and advised me to take it. ”9 Since his fi rst Follies, Ziegfeld’s reputation had become that of a master showman. He was recognized as one of Broadway’s great producers and impresarios. Sans Souci closed for the season, and Mae reported to the New Amsterdam in early May for rehearsals. Ziegfeld put together plans for the best Follies ever.