You probably never heard of Marion Davies--------
-----but you probably know the name of Yellow Journalism Publisher William Randolph Hearst and that Castle, below, he built in San Simeon, California.
If not, but you're a movie history buff, you at least know of Orson Welles', 1941, "Citizen Kane", edited by future director Robert Wise, and the fictional story of the two.
This is is a motion picture and television blog, and as such, I am not writing a detailed biographical work on Marion Davies, but will concentrate on the motion picture career of the actress, screenwriter. and producer.
WHO WAS MARION DAVIES?
On January 3, 1897, Marion Cecilia Douras was born in Brooklyn, New York, and was the youngest of five children. Her parents were Bernard J, Douras, both a lawyer and judge in New York City, and, Rose Reilly, also a lawyer.
Marion had three sisters, Reine, the eldest and the first of the sisters to use the stage name of "Davies", Ethel, I could not locate any information about her, and Rosemary "Rose". The girls also had a brother named Charles, but he apparently drowned and was laid to rest, again I could not locate any information on him.
Marion attended the "Convent of the Sacred Heart" school for pre-kindergarten through 12th grade, and then was sent to another Convent school in Tours, France. She is on record as being unhappy as a child, because Marion hated being taught by Nuns.
The Douras family were long-time friends with architect Sanford White. At the time of Marion's "Sacred Heart" schooling, there had been a "Chorus Girl" named Evelyn Nesbit, who became a "Featured Star", and she became the escort to several very wealthy men.
Stanford White had first met Nesbit in 1901, when depending upon the source, she was either 15, or 16-years old, and White was 48-years-old, and became Evelyn's "Benefactor".
Five-years-later, when Marion was nine-years-old, Sanford White was murdered on June 25, 1906. The murderer was Evelyn Nesbit's husband, of one-year, multi-millionaire Harry Thaw. What followed, was dubbed "The Trial of the Century", and revolved around two facts.
First at the trial, Evelyn stated that she was invited over to White's home and after drinking some champagne, became unconscious. Evelyn claimed she woke-up in Sanford White's bed naked with a sleeping naked White next to her. Her testimony was that she had been raped by the famous architect.
Second, Harry Thaw's murder of Sanford White, was in his words of his defense, retaliation for what White had done to Thaw's wife. However, it was revealed that Thaw was both mentally unstable and abusive to Nesbit and previously, other women. He was committed to a mental hospital and Evelyn Nesbit began touring Europe, as a result of the sensational trial.
There is a fictionalized 1955 motion picture, "The Girl in the Red Velvet Swing", that stars Ray Millan as "White", Joan Collins as "Nesbit", and Farley Granger, as "Thaw".
Marion Douras Becomes Marion Davies!
Around 1914, Marion Douras left school to pursue a career as a "Show Girl", following her older sister Reine Davies in that profession. According to the story, the stage name of Davies, came from an office sign Reine saw for a "Valentine Davies".
Like Evelyn Nesbit, Marion, now Davies, started her career as a "Chorus Girl", in 1914, at the Forest Theatre, in Philadelphia, Pennsylvania. The musical show, being previewed, was a fantasy entitled, "Chin-Chin: A Modern Aladdin", and she moved with it to Broadway, on October 20, 1914, at the Globe Theatre, the show would run for 295 performances.
Marion would be seen in three more Broadway shows over the next two years, but also started modeling for two famous illustrators, Harrison Fisher, and, Howard Chandler Christy, the creator of "The Christy Girl", the successor to "The Gibson Girl".
Enter William Randolph Hearst!
In 1916, Marion Davies became a "Ziegfeld Girl", one of the chorus and show girl's of the "Ziegfeld Follies", at the New Amsterdam Theatre, on Broadway. However, Marion had a problem, she had a stammer when reading her lines, and Florenz Ziefeld had to place her only in dancing routines.
Marion Davies first encounter with William Randolph Hearst is described in her posthumously published, 1975, autobiography:
[Hearst] always sat in the front row at the Follies. The girls in the show told me who he was. They said, 'Look out for him—he's looking at you. He's a wolf in sheep's clothing.' ... He sent me flowers and little gifts, like silver boxes or gloves or candy. I wasn't the only one he sent gifts to, but all the girls thought he was particularly looking at me, and the older ones would say, 'Look out'.
What the above quote doesn't explain is that William Randolph Hearst did not meet with Marion Davies at the time. He left, and she became the mistress of Paul Block, a business associate of Hearst, and owner of "Block Communications". Paul Block is credited with creating the concept of "National Advertising" of a product. He was also the publisher of both the "Pittsburgh-Gazette", and the "Toledo Blade", and it was Paul that actually introduced William to Marion.
When the two finally came together in 1918, their eventual "Partnership" would last Thirty-four-years until his death on August 14, 1951.
Hearst's wife, Millicent Veronica Willson Hearst, would not divorce him, she was Catholic, and he would not have given Millicent a divorce anyway, because of what she would demand as a settlement.
William and Millicent, who gave him five sons, had become estranged in 1926, but would stay married until his death.
Below is part of the interior of Marion Davies bedroom at San Simeon.
One last bit of biographical information I want to give my reader, prior to moving to Marian Davies motion picture career. Patricia Douras Van Cleve Lake was a American socialite, actress and radio comedian. From her birth, on June 8, 1919, near Paris, France, Patricia was presented as the daughter of Marion's sister, Rose, and her husband, George Van Cleve. The rumor mill had always claimed that in reality she was Marion and William's illegitimate daughter. Shortly before her death, on October 3, 1993, Patricia Lake acknowledged the truth of those rumors.
Citizen Kane vs Reality!
To the general public at the time, and still thought of today by many. Is the belief that Orson Welles', 1941, motion picture, "Citizen Kane", was based upon the life of William Randolph Hearst and that "Charles Foster Kane" was the fictionalized Hearst.
However, in interviews with Mark W. Estrin, edited in 2002, for the University of Mississippi Press, Welles stated:
Mr. Hearst was quite a bit like Kane, although Kane isn't really founded on Hearst in particular.Probably, the closest sequence to the real William Randolph Hearst in "Citizen Kane", was when he manipulates public opinion over the "Spanish American War". Although the screenplay leaves out his competition, publisher, Joseph Pulitzer.
That real-life story is very interesting, even if you're not a history major. My article, "Hearst, Pulitzer, Theodore Roosevelt, Hollywood and the Spanish American War", can be read at:
Like the motion picture's title character, many of the characters in "Kane's" orbit were either entirely fictional, or when composites based upon real people, as Welles implies above.
The real question for this article is, was "Susan Alexander Kane", played by Dorothy Comingore, Marion Davies? The screenplay and the motion picture describe "Susan Alexander" as an actress that becomes "Charles Foster Kane's" second wife. Davies was Hearst's "partner", but never his wife!
Above, Orson Welles as "Charles Foster Kane", and, Dorothy Comingore as "Susan Alexander Kane".
Both in his "Foreword" to Marion Davies autobiography, and in a 1992 interview with director Peter Bogdanovich. Orson Welles claimed that "Susan Alexander Kane" was a fictional character not based upon Marion Davies. However, in both, Welles mentions Harold Fowler McCormick, the chairman of the board of International Harvester Company, and his mid-1920s attempts to promote the Opera career of his lack luster, terrible singing, second wife, Polish born Opera singer Ganna Walska, below, as a source for the "Alexander" character. In the motion picture Orson Welles has "Kane" react to "Susan's" career in the exact same manner as McCormick did for his wife.
No matter what Orson Welles may have said about the sources for the characters of "Charles Foster Kane", and, "Susan Alexander Kane", at the film's release. William Randolph Hearst believed otherwise and went ballistic. It is fact, that Hearst banned any advertising, reviews, or mention of the motion picture in any of his publications. He went a step further and sued Orson Wells for libel, which just added to the idea that he was "Kane", and, "Alexander" was Marion Davies.
MARION DAVIES 1916 TO 1924
Marion Davies made her on-screen debut not in a motion picture, but a 1916 film of her modeling the fashions of popular dress designer "Lucy, Lady Duff-Gordon", who was a survivor of the 1912 sinking of "HMS Titantic".
Davies Silent Screen Career Begins and Hearst Spends Millions to Promote It!
Next, and keeping it in the family, was Marion Davies actual first feature, filmed in New York City, were a majority of Motion Picture Studios were located at the time.
RUNAWAY ROMANY released on December 23, 1917
The silent feature was Produced and Directed by George W. Lederer, the husband of Marion's sister, Reine Davies.
Below, Davies is in the car on the set of the motion picture and Lederer is setting up the shot.
Below, is a newspaper ad:
CECILIA OF THE PINK ROSES released June 2, 1918.
Marion Davies second motion picture was important for two reasons:
1. William Randolph Hearst formed the motion picture company, "Cosmopolitan Productions", based in New York City, with Paramount Pictures chief executive, Aldolph Zukor, because United Artists, owned and formed by Mary Pickford, her husband Douglas Fairbanks, and Charlie Chaplain, had refused him.
However, Zukor jumped at the offer, because it gave Paramount access to every story that appeared in Hearst's publications. Such as "Cosmopolitan Magazine", the source for the new company's name, "Harper's Bazaar", and, "Good Housekeeping".
Cosmopolitan Productions was actually formed to have Marion work for William, and he signed her to a $500-per- week contract, equal as of this writing, to $9,083-per-week.
Until 1923, all of "Cosmopolitan's" films were released by "Select Distribution". Which was originally Lewis J. Selznick's, "Selznick Pictures", with his sons David, and Myron. In 1917, Adolph Zukor purchased half of that company and the name was changed to "Select".
2. Marion Davies had formed her production company, "Marion Davies Film Corporation", and this was her first produced motion picture.
At the time that the 21-years-old Davies signed an excusive contract with 58-years-old Hearst, their sexual relationship began.
The "Cecilia of the Pink Roses" was based up the first novel of authoress Katharine Haviland-Taylor. The scenario was by writer, Samuel "S.M." Weller, but he seems to disappear from motion pictures after doing the scenario for three 1918 films and another in 1919.
The basic plot has Irish girl, "Cecillia" faced with the imminent death of her mother and having to take over running the family.
Above, Marion Davies as "Cecilia (Celie)", and, Eva Campbell as "Dolly Vernon".
The Marion Davies Film Corporation in conjunction with Cosmopolitan Pictures, filmed a World War One spy drama:
THE BURDEN OF PROOF released on September 21, 1918,
The scenario was written by S.M. Weller from a play by French playwright Victorien Sardou. Marion's character of "Elaine Brooks", marries "Robert Ames", played by John Merkyl, who works for the U.S. Department of State.
The German's employ "Viola Durand", played by Eloise Clement, to get some documents "Robert" has in his possession and she tricks "Elaine" into helping her and then frames her, making "Elaine" seem a traitor.
Above, Mary Richards as "Mrs. Brooks", and Marion Davies as her daughter, "Elaine".
Although, by this time Marion was also filming in the new town called "Hollywood". My reader my find the story behind "Tinsel Town", not as they imagined, and my article, "Hollywood: Segregated Housing, Motion Picture Studios and Movie Palaces", can be read at:
The second, and parodied in 1941's, "Citizen Kane", was Hearst assigning one reporter, from his "Los Angeles Herald Examiner", to follow Marion around every day and write articles about her daily life to be sent to all his publications, and, he had a camera man, from the "Hearst Metrotone Newsreels", filming her daily activities, to be shown in movie theaters across the World. All to promote the motion picture career of his Mistress Marion Davies. It is estimated that he spent $7 million, 1918 and 1919 dollars, equal at the time of this writing, to $110,992,485 dollars, to accomplish his task.
THE BELLE OF NEW YORK released on March 27, 1919.
THE DARK STAR released on August 3, 1919.
The screenplay was by Francis Marion, she is often considered the most renowned female screenplay writer of the 20th Century. Francis was also the first screenplay writer to win two Academy Awards for, 1931's, "The Big House", and 1932's, "The Champ".
After being a war correspondent, upon her return to the United States in 1919, Hearst offered Francis Marion a $2,000 a week salary to write for "Cosmopolitan Productions".
The following description of Frances Marion's screenplay comes from the TCM Website:
According to tradition, some metal which had fallen from a dark star, or evil planet, was fashioned into the image of Erlik, Prince of Darkness. Secret plans detailing Turkish fortifications are hidden in the image. An American missionary in Turkey, not knowing of the plans, brings the image to America. When he dies, his daughter, Rue Carew, born under the influence of the star, who as a child played with the image and copied the plans so much she had memorized the drawings, gives the plans to her friend Jim Neeland, who secretly works for the French secret service. German spies convince Rue that Jim himself is a German spy, then follow him on board a steamer to Europe where they tie up Rue and Jim and set up explosives to blow them up with the plans. Rue, a sharpshooter, shoots off the fuse of the bomb. Later, in a Paris café, she is rescued from the spies by Jim, then the spies are killed and she and Jim are united as lovers.
Above, Marion Davies on the cover of the January 1920 issue of "Motion Picture Classic".
Below, Marion Davies on the cover of the June 1920 issue of "Theatre Magazine".
This was the first motion picture Davies played a dual role and the idea of using reincarnation for a motion picture plot was a very rare idea!
The screenplay was based upon two sources, the first, the 1898 novel of the film's title, by Charles Major writing as Edwin Caskoden. The second, was the 1901 play by playwright Paul Kester.
The motion picture was directed by Italian Robert G. Vignola. Vignola had started out as an actor in 1906's, "The Black Hand", for the Biograph Company, and started directing in 1911, while remaining an actor for four more years, for the Kalem Company. His last film, was directing 1937's, "The Girl from Scotland Yard".
Luther Reed adapted the novel for film and William LeBaron wrote the screenplay. In 1926, LeBaron became a very successful motion picture producer.
Some of the he Cast as Presented in the Opening Credits:
The basic story has 16-years-old "Mary Tudor", forced to marry "Louis XII", as part of a peace agreement between England and France. However, she is really in love with "Charles Brandon", and "Mary" appears freed by the death of "Louis" However, the evil, "Francis I", comes to power and has wanted her and makes attempts to marry the Queen, but in the end, she marries her true love, "Brandon".
ADAM AND EVA released on February 11, 1923.
"Adam and Eva" was the last of Marion Davies motion picture made by Paramount Pictures. Hearst started looking for another studio for "Cosmopolitan" to work with, the following feature was distributed by "Goldwyn Pictures".
Marian Davies portrayed "Princes Mary of Burgundy", who disguises herself as "Yolanda".
Ralph Graves portrayed the disguised "Maximillian of Austria"
The Thomas H. Ince Scandal
It is that death I am concerned with here and it started with Ince being invited to spend the weekend on Hearst's yacht, "Oneida".
The Official Story:
While on board, Thomas Ince suffered an attack of acute indigestion caused by an ulcer. He was taken off in San Diego, and escorted by Dr. Daniel Goodman, actually Hearst's studio manager, and put on a train for Los Angeles. On the train his condition worsens, and in Del Mar, the train was met by Dr. T.A. Parker and nurse, Jesse Howard. Ince stated he had a strong liquor on the yacht, which by doctor's orders for the ulcer, he shouldn't have drank. Once in Los Angeles, Thomas Ince was driven to his home, at 1051 Benedict Canyon Drive, in the Los Angeles hills, where he passed away from a heart attack
The following morning the "Los Angeles Times" had the headline:
Movie Producer Shot on Hearst Yacht
The evening edition did not have that headline and on November 20, 1924, the times ran Thomas H. Ince's obituary, that stated the cause of his death was a heart attack.
The rumor mills claimed that William Randolph Hearst found Thomas H. Ince making unwanted advances toward Marion Davies, and in a rage, Hearst fatally shot him. A variant of the story, had Charlie Chaplin making sexual advances on Davies and Hearst thought it was Ince, not Chaplin, and shot him instead.
Guests on board the "Oneida", claimed they were sworn to secrecy over the actual events. However, at Ince''s funeral the coffin was open and not one person who attended saw any bullet wound, but the scandal shook Hollywood for some time.
In 1926, Millicent and William Hearst separated and she moved to New York City. This was followed by William and Marion moving into "Hearst Castle".
Among those in the crowd with Marion Davies, were John Barrymore, future 1930's "B" Cowboy "Wild" Bill Elliot, Douglas Fairbanks, Clark Gable, Janet Gaynor, John Gilbert, the sisters Dorothy and Lillian Gish, producer Samuel Goldwyn, the builder and owner of both the Chinese and Egyptian Theatres, Sid Grauman, Nobel Johnson the future, 1933, King of Skull Island in "King Kong", director Henry King, Harold Lloyd, Carole Lombard, Myrna Loy, Colleen Moore, Mary Pickford, Tom Tyler, and Fay Wray.
Meanwhile, the "Jazz Age" was in full swing and at "Hearst Castle", and the King and Queen held court.
Above Charlie Chaplin with Marion Davies, below, Claudette Colbert and Davies at a San Simeon costume party.
Above, Gloria Swanson, Charlie Chaplain and Marian Davies. Below, Mary Pickford, Gary Cooper, and Marion Davies.
The movie was a comic look at Hollywood during the silent era and included twenty-two cameo roles by famous stars, including cowboy actor William S Hart, Norma Talmadge, future gossip columnist Louella Parsons, John Gilbert, Charlie Chaplain, Douglas Fairbanks, and Claire Winsor.
In one scene, Marion Davies appeared as herself, and King Vidor, as himself, is seen directing another motion picture.
THE SOUND ERA AND THE START OF MARION'S DECLINE
There had been short sound segments in motion pictures since D.W. Griffith was seen stepping out of a curtain, in the original road show release, of his 1923, "Dream Street", and introduced the movie to the audience. However, it was four years later, when Al Jolson not only sang, but spoke in Warner Brothers, "The Jazz Singer", that upset the Silent Movie Industry.
The rush started to make sound features and MGM, like the other majors, had to figure out what to do with already made silent films, as the public demanded sound. An example of this was MGM's, 1929, release of Jules Verne's "The Mysterious Island", starring Lionel Barrymore. The picture had begun production in 1926 as a silent and rather than starting all over, the remaining scenes were shot with sound. This dual footage, as with many other transitional motion pictures, was given to the film's editors. Who had to create a hybrid blend of silent and sound film, while learning how to work with sound, sometimes moving back in forth between both in one sequence, "The Mysterious Island's" film editor was the father of a neighbor of mine and she lent me her mother's scrapbook for my article:
"Carl L. Pierson Forgotten Film Editor", at:
The story is set during the First World War, and young French girl, "Marianne", must choose between "Andre", a blind French soldier she is engaged to, and an American soldier, "Stagg", she falls for.
In the silent version, "Andre" was portrayed by George Baxter, and in the sound version by, Fred Solm using the stage name of Robert Castle. The role of "Soapy" was portrayed by Cliff Edwards in the silent version, and Robert Ames in the sound. While, Scott Folk portrayed "Lieutenant Frane" in both versions.
NOT SO DUMB released January 17, 1930
Marion Davies portrayed "Dulcinea 'Dulcy' Parker". She's a constant chatterbox interrupting others and saying the wrong things. At the end of the film, "Dulcy" has changed and ends up with "Gordon 'Gordy' Smith" played by Elliot Nugent.
There was a problem for Marion Davies with sound films, she had that constant stutter, Ziegfeld had moved her over, in her delivery. The stutter aside, the MGM executives considered the actress an astute business woman and her investments and income purchases backed up their belief.
Marion Davies next motion picture was the comedy:
THE FLORODORA GIRL released May 31, 1930.
From a strictly technical perspective, the movie was shot in black and white, until a Two-Strip Technicolor finale. The basic plot has Marion Davies playing a "Gay Nineties" Chorus Girl, named "Daisy Dell". This was still Pre-Motion Picture Code, and like many features pushed the censors' limits.
Business woman Marion Davies, now sold her jewelry. all her stocks and bonds, and wrote Hearst a check for one-million dollars, equal, as of this writing, to $16,425,748 dollars, and saved his empire for the moment.
FIVE AND TEN released June 13, 1931.
Above "Berry Rhodes" and the two women in his life, Mary Duncan portrayed "Muriel Preston".
POLLY OF THE CIRCUS released February 27, 1932.
As the above poster indicates, this was a Marion Davies Production and featured C. Aubrey Smith, but with the placement of Davies foot, it seems to read C, Audrey Smith.
Marion Davies portrayed Circus Trapeze artist, "Pauline 'Polly' Fisher, but the picture really is of interest for her leading man. Clark Gable was two pictures away from the classic, 1932, "Red Dust", co-starring Jean Harlow with a fourth billed, Mary Astor.
When the circus arrives at a small rural town, "Polly" is outraged to find that clothing has been painted onto the posters to cover-up her skimpy costume. She immediately goes to the man she believes is responsible, the "Reverend John Hartley". He denies having anything to do with the change and this will lead to a romance between the two people from different worlds.
The story for "Going Hollywood" was from Francis Marion and is about an infatuated school teacher for crooner, "Bill 'Billy' Williams", portrayed by Bing Crosby. Who would perform solo, six songs, and a duet with Davies! While Davies, as school teacher "Sylvia Bruce", has one solo song. In all there are thirteen songs during the movie.
The story follows "Sylvia" as she goes to Hollywood and becomes "Bill's" fiancée's maid. So, she can be close to him with predictable situations involving his fiancée and the leading lady of the movie within this movie.
Despite the friendship between Davies and Thalberg, William Randolph Hearst retaliated against Thalberg and MGM. His newspapers would no longer run MGM ads and he moved Marion Davis to Warner Brothers and gave his friend Jack L. Warner all the distribution rights to "Cosmopolitan Productions" films.
For Marion it was:
OPERATOR 13 released June 8, 1934.
Gary Cooper portrayed "Confederate Officer Captain Jack Gailliard". Cooper had just portrayed "The White Knight", in the excellent, but forgotten 1933, "Alice in Wonderland".
"Gaillard" has been assigned to find the Union Spy, Loveless has been assigned to get information on the Confederate movements after the Union defeat at the "Second Battle of Bull Run". The two will meet at a ball and begin to fall in love, without knowing the truth about the other.
William Randolph Hearst caused problems for director Richard Boleslawski on the set and demanded that he direct one scene himself.
The picture lost MGM, $226,000 dollars.
CAIN AND MABEL released September 26, 1936.
Marion Davies was the "Mabel" of the title, portraying "Mabel O'Dare".
Another problem for Jack L. Warner was Marion Davies said that Sound Stage 16 was not large enough for the big musical numbers, it was the standard 45 feet in height, but she wanted a higher set. So, she called Hearst, who called Warner, and Warner hired several hundred workers at Hearst's expense. The workers using hand jacks actually started by lifting the sound stage one foot off the ground and placing railroad ties under the building. Then it was raised again, more railroad ties crisscrossed the others, and this went on until Sound Stage 16 had been raised to 98 feet. Once at that height, Warner than had a foundation built, and even today, Sound Stage 16, remains the tallest in North America.
The 98 foot figure comes from a video, "A Look Inside Stage 16, VIP Tour, Warner Brothers Studio Tour" at:
However, the website, "Dear Old Hollywood", states Sound Stage 16 was only raised 30 feet, which makes it 75 feet.
My reader can decide what the height of Sound Stage 16 actually is.
By 1937, William Randolph Hearst was $126 million 1937 dollars in debt, equal as of this writing to two billion, four hundred million, two-hundred and twelve thousand, five-hundred dollars. During that year, Hearst attempted to get Jack L. Warner to cast Marion Davies in the leading role for Warner Brother's film version of playwright, Robert E. Sherwood's, "Tovarich", but Claudette Colbert was cast.
In 1938, Hearst "Cosmopolitan Productions" closed down. Also, that year Hearst tried to get Thalberg to case Davies in the title role of MGM's, historical biography, "Marie Antoinette", it went to Norma Shearer.
During the Second World War the two spent most of their time at Wyntoon and only returned to San Simeon in 1945. On, August 14, 1951, the 88-years-old publisher passed away. In his "Will", William Randolph Hearst didn't forget Marion Davies, and gave her 170,000 shares of "Hearst Corporation Stock". Along with another 30,000 shares he had established in a 1950 trust fund.
This actually gave Marion total control over the corporation, but she voluntarily sold her 170,000 shares to Millicent Hearst on October 30, 1951 for one dollar. Marion Davies kept the 30,000 shares in the trust fund and an advisory role in the corporation.
The business woman the MGM executive remarked about, now purchased "The Desert Inn", in Palm Springs, California, and several properties in New York City. These included the "Squibb Building" at Fifth Avenue and 58th Street, and "The Douras Building", at East 55 Street.
Marion Davies would marry a sea captain named Horace Brown on October 31, 1951, in Las Vegas, Nevada. He treated her badly and admitted it, she filed for divorce twice, but never went through with them.
Marion Davies became a Philanthropist and became noted for her generality toward charities and established a children's clinic, named for her, at UCLA. However, it was changed in 1998 to the "Mattel Children's Hospital".
On September 22, 1961, 64-years-old Marion Davies passed away from cancer. She is buried at the "Hollywood Forever Cemetery", at 6000 Santa Monica Boulevard, in Hollywood, California.