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Mae Marsh
Mae Marsh
(born Mary Wayne Marsh, November 9, 1894[1] – February 13, 1968) was an American film actress with a career spanning over 50 years.

Contents

1 Early life 2 Career rise 3 'Talkies' 4 Personal life 5 Silent filmography 6 Talkie filmography 7 References 8 External links

Early life[edit] A frequently told story of Marsh's childhood is that her father, a railroad auditor, died when she was four. Her family moved to San Francisco, where her stepfather was killed in the great earthquake of 1906. Her great-aunt then took Mae and her older sister Marguerite to Los Angeles, hoping her show-business background would open doors for jobs at various movie studios needing extras. However, her father, S. Charles Marsh, was a bartender, not a railroad auditor, and he was alive at least as late as June 1900, when Mae Marsh
Mae Marsh
was nearly six.[1] Her stepfather, oil-field inspector William Hall, could not have been killed in the 1906 earthquake, as he was alive, listed in the 1910 census, living with her mother, May née Warne, and sisters.[2] Marsh worked as a salesgirl and loitered around the sets and locations while her older sister worked on a film, observing the progress of her sister’s performance. She first started as an extra in various movies, and played her first substantial role in the film Ramona (1910) at the age of 15. “I tagged my way into motion pictures,” Marsh recalled in The Silent Picture. “I used to follow my sister Marguerite to the old Biograph studio and then, one great day, Mr. Griffith noticed me, put me in a picture and I had my chance. I love my work and though new and very wonderful interests have entered my life, I still love it and couldn’t think of giving it up.”[3] Career rise[edit]

Mae Marsh
Mae Marsh
in The Birth of a Nation, 1915.

Mae Marsh
Mae Marsh
in Intolerance, 1916

Mae Marsh
Mae Marsh
as a Belgian girl and A. C. Gibbons as a German soldier in Goldwyn's all-star Liberty Loan
Liberty Loan
picture, Stake Uncle Sam to Play Your Hand (1918)

Marsh worked with D.W. Griffith
D.W. Griffith
in small roles at Biograph when they were filming in California
California
and in New York. Her big break came when Mary Pickford, resident star of the Biograph lot and a married woman at that time, refused to play the bare-legged, grass-skirted role of Lily-White in Man's Genesis. Griffith announced that if Pickford would not play that part in Man’s Genesis she would not play the coveted title role in his next film, The Sands of Dee. The other actresses stood behind Pickford, each refusing in turn to play the part, citing the same objection. Years later, Marsh recalled in an interview in The Silent Picture, “...and he called rehearsal, and we were all there and he said, ‘Well now, Miss Marsh, you can rehearse this.’ And Mary Pickford said, ‘What!’ and Mr. Griffith said, ‘Yes, Mary Pickford, if you don’t do what I tell you I want you to do, I’m going to have someone else do The Sands of Dee. Mary Pickford
Mary Pickford
didn’t play Man’s Genesis so Mae can play The Sands of Dee.’ Of course, I was thrilled, and she was very much hurt. And I thought, ‘Well, it's all right with me. That is something.’ I was, you know, just a lamebrain.”[4] Working with Mack Sennett
Mack Sennett
and D.W. Griffith, she was a prolific actress, sometimes appearing in eight movies a year and often paired with fellow Sennett protégé Robert Harron
Robert Harron
in romantic roles. In The Birth of a Nation (1915) she played the innocent sister who waits for her brothers to come home from war and who, in one of the film's most racially charged scenes, leaps to her death rather than submit to the lustful advances of Gus, the so-called "renegade Negro" who is later killed by the Ku Klux Klan. In Intolerance (1916) she plays the wife who has her baby taken away after her husband is unjustly imprisoned. She signed a lucrative contract with Samuel Goldwyn
Samuel Goldwyn
worth $2,500 per week after Intolerance, but none of the films she made with him were particularly successful. After her marriage to Lee Arms, a publicity agent for Goldwyn, in 1918, her film output decreased to about one per year. Marsh's last notable starring role was as a flapper for Griffith in The White Rose (1923) with Ivor Novello
Ivor Novello
and Carol Dempster. She re-teamed with Novello for the film version of his hit stage play, The Rat (1925). In 1955, Marsh was awarded the "George Eastman Award",[5] given by George Eastman House
George Eastman House
for distinguished contribution to the art of film. 'Talkies'[edit] Marsh returned from retirement to appear in "talkies" and played a role in Henry King’s remake of Over the Hill (1931). She gravitated toward character roles, and worked in this manner for the next several decades. Marsh appeared in numerous popular films, such as Rebecca of Sunnybrook Farm (1932) and Little Man, What Now? (1934). She also became a favorite of director John Ford, appearing in The Grapes of Wrath (1940), How Green Was My Valley (1941), 3 Godfathers
3 Godfathers
(1948), The Robe (1953), and The Searchers (1956). Marsh has a star on the Hollywood Walk of Fame
Hollywood Walk of Fame
located at 1600 Vine Street. Personal life[edit] She married Sam Goldwyn's publicity agent Louis Lee Arms, in 1918 and bore him three children. They were married until her death in 1968. Louis Arms died in June 1989 at age 101. They are buried together in Section 5, at Pacific Crest Cemetery, in Redondo Beach, California. Her sister Marguerite Marsh died in 1925 at the age of 37. Her only brother, cinematographer Oliver Marsh, died in 1941. Her daughter, Marguerite Arms White, died in 2016 when she was 88 years old. Silent filmography[edit]

Ramona (1910) Serious Sixteen (1910) Fighting Blood (1911) The Siren of Impulse (1912) A Voice from the Deep (1912) Just Like a Woman (1912) One Is Business, the Other Crime (1912) The Lesser Evil (1912) The Old Actor (1912) A Beast at Bay (1912) When Kings Were the Law (1912) Home Folks (1912) A Temporary Truce (1912) Lena and the Geese (1912) The Spirit Awakened (1912) The School Teacher and the Waif (1912) An Indian Summer (1912) Man’s Genesis (1912) The Sands of Dee (1912) The Inner Circle (1912) The Kentucky Girl (1912) The Parasite (1912) Two Daughters of Eve
Two Daughters of Eve
(1912) For the Honor of the Seventh (1912) Brutality (1912) The New York Hat (1912) The Indian Uprising at Sante Fe (1912) Three Friends (1913) The Telephone Girl and the Lady (1913) An Adventure in the Autumn Woods (1913) The Tender Hearted Boy (1913) Love in an Apartment Hotel
Love in an Apartment Hotel
(1913) Broken Ways (1913) A Girl’s Stratagem (1913) Near to Earth (1913) Fate (1913) The Perfidy of Mary (1913) The Little Tease (1913) The Lady and the Mouse (1913) If We Only Knew (1913) The Wanderer (1913) His Mother’s Son (1913) A Timely Interception
A Timely Interception
(1913) The Mothering Heart
The Mothering Heart
(1913) Her Mother’s Oath (1913) The Reformers (1913) Two Men of the Desert (1913) Primitive Man (1913) Influence of the Unknown (1913) For the Son of the House (1913) Judith of Bethulia
Judith of Bethulia
(1913) The Battle at Elderbush Gulch
The Battle at Elderbush Gulch
(1913) The Great Leap; Until Death Do Us Part (1914) Brute Force (1914) Home, Sweet Home (1914) The Escape (1914) The Avenging Conscience
The Avenging Conscience
(1914) Moonshine Molly (1914) The Birth of a Nation
The Birth of a Nation
(1915) The Outcast (1915) The Outlaw's Revenge (1915) The Victim (1915) Her Shattered Idol (1915) Big Jim’s Heart (1915) Hoodoo Ann
Hoodoo Ann
(1916) A Child of the Paris Streets (1916) The Wild Girl of the Sierras (1916) The Marriage of Molly-O (1916) Intolerance (1916) The Little Liar (1916) The Wharf Rat (1916) Polly of the Circus (1917) Sunshine Alley (1917) The Cinderella Man (1917) Field of Honor (1918) The Beloved Traitor (1918) The Face in the Dark (1918) All Woman (1918) The Glorious Adventure (1918) Money Mad (1918) Hidden Fires (1918) The Racing Strain (1918) The Bondage of Barbara (1919) Spotlight Sadie (1919) The Mother and the Law (1919) The Little ’Fraid Lady (1919) Nobody’s Kid (1920) Till We Meet Again (1920) Flames of Passion (1922) Till We Meet Again (1922) The White Rose (1923) Paddy the Next Best Thing (1923) Daddies (1924) Arabella (1924) Tides of Passion (1925) The Rat (1925) Racing Through (1928)

Talkie filmography[edit]

Black Fury (1935) Dixie Dugan (1943)

References[edit]

^ a b U.S. Census records for 1900, El Paso, Texas, Sheet No. 6 ^ U.S. Census records for 1910, Los Angeles, California, Sheet No. 4A ^ The First Female Stars: Women of the Silent Era by David W. Menefee. Connecticut: Praeger, 2004. p. 114 ^ The First Female Stars: Women of the Silent Era by David W. Menefee. Connecticut: Praeger, 2004. p. 117 ^ "Eastman House award recipients · George Eastman House
George Eastman House
Rochester". Eastmanhouse.org. Archived from the original on April 15, 2012. Retrieved 2013-07-03. 

Bibliography

When the Movies Were Young. By Linda Arvidson. New York: Dover Publications, Inc., 1969. Adventures with D. W. Griffith. By Karl Brown. New York: Farrar, Straus and Giroux, 1973. Robertson-Cole Offers Mae Marsh
Mae Marsh
in a Sumptuously Produced Play From Novel. The Moving Picture World, 18 December 1920. Mae Marsh
Mae Marsh
in an Interview with Robert B. Cushman. By Anthony Slide in The Silent Picture. New York: Arno Press, 1977.

External links[edit]

Wikimedia Commons has media related to Mae Marsh.

Works by or about Mae Marsh
Mae Marsh
at Internet Archive Works by Mae Marsh
Mae Marsh
at LibriVox
LibriVox
(public domain audiobooks) Mae Marsh
Mae Marsh
on IMDb Mae Marsh
Mae Marsh
at Find a Grave Screen acting, Mae Marsh, Photostar publishing co, 1921 Mae Marsh
Mae Marsh
at Virtual History

Authority control

WorldCat Identities VIAF: 46961972 LCCN: n86075567 ISNI: 0000 0001 1944 6190 GND: 1011706962 SUDOC: 060744928 BNF: cb140412579 (data) BNE: XX1168

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