The Sunday Oregonian., May 21, 1922, Magazine Section, Page 7, Image 95

THE SUNDAY OREGOHTA.N, PORTLAND, MAT 21, 1922
ofS
One Who Earned For
tunes Now Bankrupt
Another Who Is Famous
Was Sued by Her Plumber
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tWi?I rteir kind ever need one? An
almshouse near New York, with
Francis X. Bushman and Beverly
Bayne, who have been playing ten
nis, stopping for a moment to pon
der upon it.
THE unfortunate situation of Miss
Rose Coghlan, who has been one
of the best-known figures on the
American stage, and who has come to a
period of suffering for the need of
money, has caused a great many observ
ers of the trend of "human events" to
wonder what sort of circumstance It Is
that leads stars of the theatrical world to
the edge of the poorhouse lawn. Most
especially Is It wondered whether or not
the young ladies and gentlemen of the
tilm world who are now enjoying such
fabulous salaries and all the magnificence
of luxuries that hark back to the days of
Babylon will eventually have to have a
sort of "film - star poorhouse" of their
own.
On Staten Island, in New York's harbor
there Is a Very beautiful little estate, with
wide, sweeping lawns, charmingly land
scaped gardens, trees and flower bushes,
which., despite Its attractive exterior, is,
after all. Just a theatrical poorhouse. It
is a home for stage folk who have come
to the end of their active careers and
who find themselves penniless. It is a
home conducted by the theatrical world
Itself. And there are none who can say
that the players who move In the footlight
world are not generous to their own and
sympathetic to those who are in distress.
On the "guest register" at the stage
people's borne are many names which, not
(o many years ago were names to conjure
with. Some were blazoned on billboards
across the country. Some achieved the
distinction of being entertained and feted
by royalty in Great Britain and on the
continent.
Of course the majority of these old peo
ple in their day earned those enormous
salaries which always have been one of
the spectacular embellishments of the
theatrical world. Miss Coghlan, for ex
amplewho has not, however, found it
necessary to go to Staten island was
known to be one of the highest salaried
actresses of the last generation. There
are ' many reasons why she is almost
penniless today. They are the reasons
that have Intimately to do with the per
sonal circumstances which have governed
her career. They make a drama, of
course. In every spectacular life there Is
a drama, with its changing climaxes and
its thrilling sequences. Only Miss' Coghlan
herself could reveal the secret of her
present distress.
But it is Interesting to speculate upon
the mystery of the future as It will affect
these newer lights of the theatrical world,
which may be spoken of generally as "our
film stars." There still is something new,
something mysterious and unknown,
about the foremost players in the cinema.
We are constantly wondering at them,
our attention is constantly attracted to
them. And there are most clearly drawn
signs that these young ladies and gentle
men o the film world are most profligate
with the weekly fortunes which filter into
their hands as the result of their popu
larity with the public.
The time for a poorhouse solely for
cinema stars has not yet arrived. There
is no old generation of these. The films
are still so new that their first celebrities
still are well within their working days
in another ten years, though, some of
those whose names have been flashed
around the world in the electric lights '
that glitter so brightly before the film
theaters will have reacned the age when
they will no longer be received by the
"casting directors." Some of them even
now are playing minor parts filling in
with groups, or impersonating, gentle old
ladies and eccentric elderly men. In their
youth they were stars, and their field
was . romance. Now they have become
"fathers and mothers" In their charac
terizations, and the scope of their abili
ties is that of parental sentiment only.
Fathers and mothers on the screen draw
but little pay. The screen does not asso
ciate romance with age. And It is ro
mance only that commands huge salaries.
It was but a few years ago, for ex
ample, that the most prominent mascu
line star of the "movies" was the hand-
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Misc Murray, who has Italian gardens
in her apartment and who was sued
by her plumber.
some, debonair and dashing Maurice Cos
ello. Who is there who attended the
cinema theaters when the price of admis
sion was seldom higher than 15 cents who
Soes not remember this hero of a thou
sand thrilling photoplays? The popularity
of a Fairbanks, a Reid or even a Chaplin
of today is as nothing compared to the
tame of Maurice Costello when, as the old
song would say, "he was in his pTlme."
The earnings of this star, when he was
a star, are still traditional. It was said
of him that no theatrical celebrity ever
had earned such a salary. Each year
when his contracts expired film makers
vied with each other in their inducements
to him to join their forces. The pros
perity of many pf the firmly established
producing companies today was founded
upon their profits from the making of
those early Costello film dramas.
Just the other day a rather nondescript,
somewhat pathetic little figure, still
spruce and debonair, however, was: no
ticed leaning over the last seats in a
rather small film theater, interestedly
watching the Bilent play of the drama on
the screen. The picture being shown was
one of those that had been dug out of the
past a sentimental and romantic episode
of the west in which Maurice Costello had
been the star. And the somewhat forlorn
locking figure leaning over the seats was
tnat of Costello himself.
Costello still is an active drawing card
In the theatrical world. The Incident of
the little theater is mentioned only that it
may emphasize the contrast. Costello re
turned to vaudeville, whence he came to
adorn the film world. His ability to do
this is fortunate. Few others have the
same opportunity.
Another star of Costello's day was the
famous John Bunny, who was far more
popular as a comedian than any who
reign today. Bunny was rich as well as
beloved. Throughout the country theaters
were named for him. A beautiful country
estate was his relaxation. During the
""".rller periods of his fame he "put away"
small farm in the west, which he de
v. fired was to be his retreat when old age
should come. . When Bunny signed new
contracts with film' producers the amount
of his salary was an Item of important
news among those who were interested in
the various phases of the motion-picture
industry of that day. There seemed to be
no limit to his progress toward a weekly
pay envelope of enormous proportions. .
, Suddenly this gentle-natured comedian
died. There was a will and an estate. But
they had to do only with a few dollars.
He left scarcely enough to guard his
widow from serious inconveniences. No
charge of profligacy could have been
brought against him. He did not live as
do many of the picture stars of today. He
was associated with no revels, no spec-
and a "Hero"
Who Reigned as
a King Sold His
Furniture Mys
tery of Their
Vanishing Millions
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A scene in the Actors' Home in Staten island: The old man is D. W. Griffith, who was one of the well-known tra-
gedians of other days. All shown in the picture were famous in their time.
tacular tours around the world, no large
fleet of multicolored automobiles. Nor
any of the other rather pathetic extrava
gances to which so many film stars com
mit themselves.
Another similar instance was that of
the unfortunate Olive Thomas, whose
tragic death in Paris still is somewhat of
a mystery, with its suggestions of suicide.
Miss Thomas, who was one of the fore
most stars of her time, and whose name
outside the theater drew hundreds of
thousands every day to Bee her "latest
production," was a familiar figure In New
York's Fifth and Park avenues, where al
most every day she was to be seen dash
ing about in expensive automobiles of for
eign make with liveried chauffeurs and
footmen. Her furs and jewels were
one of the sensations of the "Rialto."
Periodically she flitted away to Europe
with a" retinue of admirers in her train,
and abroad her passage was something ol
the procession of an empress. When she
died she left only her automobiles, her
furs and her jewels. And even these were
mortgaged and had to be sold at auction.
Just the other day it was noted in the
news that Miss Mae Busch, who, while not
one of the foremost tars, has enjoyed
most generous salaries tor some time, and
whose name has been associated with
some of the most successful of the later
film masterpieces, had been compelled to
resort to bankruptcy proceedings. Her
estate, as she listed it, amounted virtu
ally to nothing. Her creditors .were
modistes and tailors and she had not been
able to pay them. Undoubtedly Miss
Busch earned during the last few years
of her prominence, much more than
J150,000.
One of the most spectacular of the ro
mantic stars of the film world now prom
inently before the public is the vivacious
Mae Murray. Miss Murray's career, like
nerself, has been most spectacular. It
frequently has been said that, despite the
-laims of many othr stars, Miss Murray's
income has conslx cently been larger than
the majority of them. It might well be
taken for granted that her weekly pay
envelope Includes a figure close to $3500.
And It might further be accepted as a
certainty that there are contracts which
guaranteed that this pay envelope will ma
terialize each week for at least a year
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or two. Miss Murray has no family re
sponsibilities, she has often told her
friends. And, in addition, there is a most
successful husband whose wages also may
be estimated at almost the same figure as
those of his wife.
Just a short time ago Miss Murray at
tracted attention by appearing in court
to defend a suit brought against her by
a plumber, who declared that he had been
unable to collect from her the two or
three hundred dollars he had charged for
installing some of the luxuries of Miss
Murray's bath.
It was then dlscuosed that Miss Murray
:s the happy mistress of an apartment
which includes such items as an apart
ment which includes such items as Roman
gardens, Italian suites and indoor land
scapes all mere features of an apart
ment which nestles away In one of New
York's apartment houses.
Miss Murray contended, of course, in
her defense to the plumber's suit, that it
was not that she could not pay, but that
she would not. And so . that must be
right. Miss Murray may be accepted,
however, as the example of a class. And
will they some day have to have a poor
house of their own?
Francis X. Bushman still is a tradition
in the film world. Especially noted as be
ing "the handsomest man," he also was a
most convincing interpreter of romantic
cineme. roles. He was, in fact, for many
years the one supreme matinee idol of the
film fans. His versatility seemed to know
no limitations. From the chaparral of
the Wyoming cowboy riding fast and
furious across the plains to the rescue of
the cowpuncher's fair daughter he passed
with delightful ease into the habiliments
of Romeo and stood gracefully below the
balcony on which was borne his entranc
ing Juliet. And those who thrilled at his
cowboy brushed away tears at his tragic
finish as Romeo. It made no difference
what the subject. It was Francis X.
Bushman the great throngs clamored to
see. And these same throngs never re
membered, or, if they did,, did not care,
that their hero had been not so long be
fore a promising grocer's clerk.
The whilom grocer's boy moved into
one of the most magnificent estates in
the aristocratic suburbs of Baltimore.
Out beyond the lawn was a roomy sUble,
553
where high-bred horses were quartered.
Mr. Bushman had long looked forward
to the time when he might have a "racing
string of his own. Close by was the spa
cious stone garage in which Mr. Bush
man's town car, . his touring car, his
roadster and his racer were kept, always
spick and span and ready to answer what
ever might be their master's whim of the
COWBOY CHAMPIONSHIPS DIRECTOR
WANTS TALK OF RANGE PRESERVED
"Slick Ear Is Yearling That Has Escaped Branding or Being Ear Marked, Accord
ing to Definition Prepared for New Dictionary.
I
T IS insisted by Fred Beebe of San
Antonio, director of the cowboy
championship contests at the last
frontier day celebration there, that steps
should be taken to preserve for future
posterity the rich and expressive words
that went to make up the vocabulary of
the men of the range in the old days of
Texas and the southwest, and are still
in common use. In order that the talk
of the cowboys may be better understood
by the inexperienced visitor to the ranch
region, Mr. Beebe has compiled what he
calls a "cowpersou's dictionary," as fol
lows: "Slick ear," a yearling that has es
caped branding or being ear-markea.
"Round-up," the spring and fall gath
ering of cattle on the ranges in order to
brand the calves or make shipments of
beef.
"Remuda," a Mexican word, mearing
the herd of saddle horses used, by the
cowboys when on round-up.
"Chuck wagon," the moving commis
sary wagon of the round-up.
"Chaperajos," the leather or hairy leg
gings worn by the cowboy as protection
against the chaparral of mesquite brush
and the weather, which, according to the
cowpuncher's disinclination to use long
words, has been shortened to "chaps."
"Bedground," the spot selected for the
trail herd to be held over night
"Wild horses," distinguished from the
bucking horses, , native to the range,
which have never been handled.
"Outlaw," the term applied to a buck
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Mae Busch, who has received gener
ous salaries, but who has jnst gone
into bankruptcy.
momont. It was said by someone then
that there were more servants on the
Bushman estate than there had been
clerks in all the grocery stores in the
Bushman native town.
Not so long ago an auctioneer disposed
to haggling, bartering buyers the furni
ture, rugs, paintings and other effects
of Mr. Bushman's home. Marvelous vases,
which had been imported for him from
France and which had cost thousands of
dollars each, were sold for the song that
is sung by a five-dollar bill. Almost mar
velous rugs from Persian looms, brought
to this country for Mr. Bushman by
agents sent abroad, were sold for the
smallest fraction of their original cost.
Just why this sale was held, why Mr.
Bushman found it necessary or advisable
to sell at such great loss the furnishings
which had made his home so lavishly
elaborate, Is not disclosed. He still Is
most active in the theater and still re
mains a star. Perhaps he wished merely
to outfit his home anew but this hardly
seems possible.
Quite recently it was disclosed that
even tie foremost star of today has what
his admirers think a most meager bank
account. This is Charles Chaplin, who
recently admitted to an interviewer that
the most of his estate was represented by
nis bank balance, and that after all these
years of his prominence and success this
balance at that time reached only $850,
000. "So you see," said Mr. Chaplin, "1
have good reason to worry about my old
age. And that explains why I am not
such a spectacular spendthrift as many
think I should be."
And if "Charlie" Chaplin is worrying
about his old age, certainly it Is permissi
ble to wonder how spacious a poorhouse
it will require for the prosperous film
stars of today when their dreaded old age
comes along.
ing horse whose spirit is unconquerable.
"Sun fisher," a movement which some
bucking horses have, twisting in the air.
A "sun fisher" is usually very difficult
to ride.
"Pulling leather," a term applied to a
rider in grabbing any part of the saddle
In riding a bucking horse in order to
steady himself; this disqualifies the rider.
"Choking the horn," "grabbing the post,"
"reaching for the apple," "holding the
jog handle," "safety first," "shaking
hands" with old grandma," are all syno
nyms of "pulling leather."
"Riding safe," sitting tight in the sad
dle, legs tightly clinched against the
horse's sides and spurs set firmly in the
clinch.
"Sloppy riding,"- sitting loosely in the
sadde allowing the body to flop about iu
response to the pitching of the animal,
not considered good form by competent
judges.
"Ciose seat," steady and firm seat in
the Baddle, otherwise called "sitting clrue
to your wood."
"Bucking straight away" consists of
long jumps straight ahead without any
twist, whirling or rearing; not generally
a hard horse to ride.
"Seeing daylight," the term applied
when a rider leaves his seat with each
jump of his horse so spectators can see
between rider and saddle.
"Tenderfoot," that's what one Is if he
aoesn't know what these terms mean
without reading this dictionary. Kansas
City Star.