Clara Bow profile picture

Clara Bow

The IT Girl!!!!!

About Me

My name is Audrey Bow (maiden name). I made this site as a tribute page in dedication to my Great, Great Aunt Clara Bow! Clara was incredibly talented in many ways and I am trying to make sure she is remembered through new generations. I am fortunate enough to be the only female left in the family to resemble her (I got her great eyes and lips among other traits). She would actually be 102 years old if she were still alive but myspace wouldn't go back that far! LOL! Please enjoy~
Clara Gordon Bow, destined to become THE flapper of the 1920's, was born and raised in poverty in Brooklyn, New York, on July 29, 1905. Her family was also beset with violence. Her mother tried to slit Clara's throat when she attempted to enter the film industry. She won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933. It was the movie It (1927), which was to define her career. The film starred Clara as a shop girl who was asked out by the store's owner. As you watch the silent film you can see the excitement as she prepared for her date with the boss, her girlfriend trying hard to assist her. She was trying to use a pair of scissors to modify her dress in order to look more "sexy". This movie did a lot to change society's mores as there was only a few years between World War I and Clara Bow, but this movie went a long way in how society looked at itself. Clara was flaming youth in rebellion. In the film she was presenting a worldly wisdom that somehow sex meant having a good time. But you shouldn't be misled by the film, because she was still close to Lillian Gish in that when her boss tries to kiss her goodnight, she slaps him. Yes, she, too, was a good girl and a first cousin of Trueheart Susie. At the height of her popularity she received over 45,000 fan letters a month. She, too, was probably the most overworked and underpaid star in the industry. With the coming of sound, which did lend itself to her thick Brooklyn accent, her popularity waned. Clara was also involved in several court battles ranging from unpaid taxes to being in divorce court for "stealing" women's husbands. After the court trials, she made a couple of attempts to get back in the public eye. One was Call Her Savage (1932) in 1932. It was somewhat of a failure at the box office and her last was in 1933 in a film called Hoop-La (1933). She, then, married cowboy star, Rex Bell and retired from the film world at the age of 26. She was a doting mother of her two sons and would do anything to please them. Haunted by a weight problem, and a mental imbalance, she never entered show business again. She died of a heart attack in West Los Angeles, on September 26, 1965. She was 60 years old. Today she is finding a renaissance among movie buffs, who are recently discovering the virtues of silent film. The actress who wanted so much to be like the wonderful young lady in It (1927) has the legacy of her films to confirm what a wonderful lady she really was. She, too, was America's first sex symbol.
Famous Redhead And Cowboy Actor Deny Secret Nevada Wedding At First – Marriage Climaxes Two-Year RomanceMovie Classics, February 1932Ending the suspense of their two-year romance, Clara Bow and Rex Bell, cowboy actor and rancher, were quietly married in Las Vegas the night of December third. The following day, reporters discovered their secret, and broadcast it to the world. That same day, Rex denied that there had been any ceremony – though the District Attorney and Deputy County Clerk said they had seen the couple married the previous evening.The romance of the tall, stalwart young Westerner and Clara began when he played a supporting part in her picture, True to the Navy, and then became her business manager.It was Rex who counseled her to prosecute her former secretary, Daisy De Voe, for grand larceny, even though Daisy was reported to be in a mood to "tell all." Rex’s advice was, in effect, "Let her tell what she has to tell, which isn’t much – then the slate will be washed clean." Clara won new friends for her courage – but lost her health. To regain it far from the maddening crowd, she went to the faithful Rex’s ranch.On December 6, the couple went into Las Vegas again and Rex told reporters that the reason for all the secrecy – and denials – had been that they weren’t sure whether or not there was a non-marriage clause in Clara’s new film contract. He had now discovered that there wasn’t.But on December 8, back at her house in Beverly Hills, Clara revealed she was Mrs. George F. Beldon (Rex’s real name). She explained that they had denied the wedding in the hope of getting some privacy, and added they wished reporters would give them "a break and let a couple of honeymooners alone."That satisfied everybody – the movie colony, the reporters, and Sam Rork, independent producer, to whom Clara is now under contract. As quoted by the Associated Press, Mr. Rork’s exact words were: "I think marriage is the best thing Clara could have done. She has married a good man, one who will love and protect her, and she will be better than ever for it." And the story goes that the women’s clubs, which have openly disapproved of Clara’s exciting romances, are also satisfied. Other stars and their prospective husbands may travel to Europe and back on the same trains and the same boars (three have done so only recently) without being frowned upon, but if Clara had climaxed her six months’ convalescence at the Rex Bell ranch with no wedding, the reformers would almost certainly have had something to say. But Clara and Rex broke down any such potential opposition to her return to the screen, whether or not that was their intention by marrying before her comeback.I edited my profile with Thomas' Myspace Editor V4.4

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The It girl At the height of her popularity, Bow wrote the foreword for this 1928 novelization of one of her films.In 1927, Bow reached the heights of her popularity with the film It, after Bow had already been dubbed "The It Girl" by Elinor Glyn— "It... that strange magnetism which attracts both sexes... entirely unself-conscious... full of self-confidence... indifferent to the effect... she is producing and uninfluenced by others.") (The Glyn quote appears in her novel, It). More commonly, "It" was taken to mean "sex appeal" ("It, hell," said the It-free Dorothy Parker, "She had those.")[3]This image was enhanced by various off-screen love affairs publicized by the tabloid press. However, some Hollywood insiders considered her socially undesirable, especially in light of rumored sexual escapades with many famous men of the time. Bela Lugosi, Gary Cooper, Gilbert Roland, John Wayne, director Victor Fleming, and John Gilbert were reputed to be among her many lovers.Bow's alleged alcoholism, drug abuse, and mental instability were also becoming problems for the studios. Budd Schulberg, the producer's son, said, "There was one subject on which the staid old Hollywood establishment would agree: Clara Bow, no matter how great her popularity, was a low life and a disgrace to the community" (The Schulberg quote appears in his memoir, Moving Pictures). Not all of the negative rumors were true, but Bow probably did inherit mental instability from her mother.Her acting, however, was finer than her good-time-girl reputation implied. Bow was praised for her vitality and enthusiasm — Adolph Zukor once said that "She danced even when her feet weren't moving"[citation needed] — though her roles rarely allowed her to show much range. In the early 1930s, Motion Picture magazine complained that the studio never gave her films plots any thought beyond "Hey, let's put Clara in a sailor suit!"[citation needed] At least one important film writer, Adela Rogers St. Johns, felt Bow had enormous promise that was never tapped by the studios.Documentation indicates that as Bow developed a reputation as "Crisis-a-Day Clara".[citation needed] Paramount went out of its way to humiliate the increasingly emotionally frail actress by cancelling her films, docking her pay, charging her for unreturned costumes, and insisting that she pay for her publicity photographs. Her contract also included a morality clause offering her a bonus of $500,000 for behaving like a lady and staying out of the newspapers, and for controlling her sexual exploits.[citation needed]In 1927, Bow also made Wings, a war picture largely re-written to accommodate her, as she was Paramount's biggest star at the time. The film went on to win the first Academy Award for Best Picture. After movies such as Wings, Bow's career continued with limited success into the early sound film era. Much of the mystique around Bow was destroyed by the advent of sound, when her fans heard her heavy, lower-class Brooklyn accent. Worse, Bow began experiencing mike fright on the sets of her sound films.She finally retired in 1933 to raise her children with her husband, cowboy actor Rex Bell (actually George F. Beldon), later a lieutenant governor of Nevada. Bow and Beldon married in 1932 and had two sons, Tony Beldon (born 1934, changed name to Rex Anthony Bell, Jr.) and George Beldon, Jr. (born 1938).

Bow's screen introduction wasn't until her next film, Down to the Sea in Ships. This was a silent film, as were all of Bow's early films made in the 1920s. She was selected as one of the WAMPAS Baby Stars in 1924.She began to appear in small movie roles. All the while, she suffered guilty feelings over her mother's disapproval. In 1923, Bow was on the set when she learned that her mother had died. She was devastated, feeling that her acting was somehow responsible for her mother's death.Bow got her big break when an officer of Preferred Pictures approached her on the set. He offered her a free train fare to make a screen test in Hollywood, and Bow agreed to make the trip. The first time Preferred Pictures head B.P. Schulberg saw disheveled Clara Bow in her one ragged dress, he was dismayed. He was reluctant even to give her a screen test, but when he finally did, the results astounded him. Bow was already adept at pantomime, and she could cry on command.Starting with Maytime (1923), Schulberg cast Bow in a series of small roles. She nearly always stole her scenes. However, instead of creating projects for her, he loaned her out to other studios for easy money.As soon as Bow started to make money, she brought her father to live with her in Hollywood. For the next few years, she funded numerous business ventures for him, including a restaurant and a dry cleaners, all of which failed. He soon became a drunken nuisance on her sets, where he would try to pick up young girls by telling them his daughter was Clara Bow. Despite the behavior of her unwanted relative, Bow was adored during this time of her career. Crew members always seemed to fall in love with her. She was friendly, generous, and so grateful for her success that she always remained humble.In 1925, Schulberg cast Bow in The Plastic Age. The movie was a huge hit, and Bow was suddenly the studio's most popular star. She also began to date her co-star Gilbert Roland, who would become the first of many engagements for her. Bow followed her first big success with Mantrap (1926), directed by Victor Fleming. Though he was twice her age, Bow quickly fell in love with her director. She began seeing both Roland and Fleming at the same time.

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Movies:

Hoop-La (1933) .... Lou Call Her Savage (1932) .... Nasa 'Dynamite' Springer Kick In (1931) .... Molly Hewes No Limit (1931) .... Helen 'Bunny' O'Day Her Wedding Night (1930) .... Norma Martin Love Among the Millionaires (1930) .... Pepper Whipple True to the Navy (1930) .... Ruby NolanThe Saturday Night Kid (1929) .... Mayme ... aka Love 'Em and Leave 'Em Dangerous Curves (1929) .... Pat Delaney The Wild Party (1929) .... Stella Ames Three Weekends (1928) .... Gladys O'Brien ... aka Three Week Ends (USA: poster title) The Fleet's In (1928) .... Trixie Deane Ladies of the Mob (1928) .... Yvonne Red Hair (1928) .... Bubbles McCoy Get Your Man (1927) .... Nancy Worthington Hula (1927) .... Hula Calhoun Wings (1927) .... Mary Preston Rough House Rosie (1927) .... Rosie O'Reilly Children of Divorce (1927) .... Kitty Flanders It (1927) .... Betty Lou Spence Kid Boots (1926) .... Clara McCoy Mantrap (1926) .... Alverna The Runaway (1926) .... Cynthia Meade Fascinating Youth (1926) .... Guest Dancing Mothers (1926) .... Kittens Westcourt Two Can Play (1926) .... Dorothy Hammis Shadow of the Law (1926) .... Mary Brophy Dance Madness (1926) My Lady of Whims (1925) .... Prudence Severn The Ancient Mariner (1925) .... Doris The Plastic Age (1925) .... Cynthia Day The Best Bad Man (1925) .... Peggy Swain Free to Love (1925) .... Marie Anthony The Primrose Path (1925) .... Marilyn Merrill The Keeper of the Bees (1925) .... Lolly Cameron Kiss Me Again (1925) .... Grizette Parisian Love (1925) .... Marie My Lady's Lips (1925) .... Lola Lombard The Scarlet West (1925) .... Miriam The Lawful Cheater (1925) .... Molly Burns Eve's Lover (1925) .... Rena D'Arcy The Adventurous Sex (1925) .... The Girl Capital Punishment (1925) .... Delia Tate Black Lightning (1924) .... Martha Larned This Woman (1924) .... Aline Sturdevant Helen's Babies (1924) .... Alice Mayton Empty Hearts (1924) .... Rosalie Wine (1924) .... Angela Warriner Daughters of Pleasure (1924) .... Lila Millas ... aka Beggar on Horseback (USA) Poisoned Paradise (1924) .... Margot LeBlanc ... aka Poisoned Paradise: The Forbidden Story of Monte Carlo (USA) Grit (1924) .... Orchid McGonigle Black Oxen (1923) .... Janet Ogelthorpe Maytime (1923) .... Alice Tremaine The Daring Years (1923) .... Mary Enemies of Women (1923) .... Girl dancing on table Down to the Sea in Ships (1922) .... 'Dot' Morgan Beyond the Rainbow (1922) .... Virginia Gardener

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My Husband Rex Bell