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Marion Davies: A Biography
In this detailed biography of film star Marion Davies (nee Douras) who was in so many ways created by and for William Randolph Hearst -- the symbiotic relationship spanned from 1915 when W.R. first ogled her chorus-girl charms to his death in 1951. But she was much more quickly superannuated cinema-historically speaking by the Orson Welles-Herman Mankiewicz dumb-blond caricature in Citizen Kane, paradoxically the most important Film in her life.
Fred Lawrence Guiles presents the life story of one of the most deft comedians in silent pictures—up from Brooklyn, show biz, the engaging stammer, private then public Hearst inamorata, Hollywood, the Chaplin liaison, encounters with the famous, San Simeon, W.R.'s demise, the constant drinking (she hid her gin from Hearst in the water tank of the toilet), the quick marriage to Captain Horace Brown, finally her death from cancer in 1961. Now a deserving revival.
Fred Lawrence Guiles presents the life story of one of the most deft comedians in silent pictures—up from Brooklyn, show biz, the engaging stammer, private then public Hearst inamorata, Hollywood, the Chaplin liaison, encounters with the famous, San Simeon, W.R.'s demise, the constant drinking (she hid her gin from Hearst in the water tank of the toilet), the quick marriage to Captain Horace Brown, finally her death from cancer in 1961. Now a deserving revival.
419 pages, Hardcover
First published September 1, 1972
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Displaying 1 - 17 of 17 reviews
August 28, 2012
Overall, I found this biography of the sparkling comedienne and generous friend, Marion Davies, to be disappointing. I almost gave up on it several times (especially when untruths regarding the Roscoe Arbuckle case and Thomas Ince's death were unveiled), and it only stopped being rather dull (much unlike Marion, who was by all accounts a good and interesting lady) about halfway through, once Marion's film career ended and she embarked on her retirement with Hearst.
W.R. Hearst was a ruthless publisher who didn't let the truth get in the way of a headline that would sell more papers. In the matter of Marion, however, ruthless was the last word that could be used to describe him. It appears that she cared deeply for him, as well. She bailed him out in the late 1930s when his profligate spending caught up with him, and she took care of him during his final years, months and days. It was an unconventional relationship, to be sure - Hearst remained married (albeit in name only) and Marion entertained other gentlemen from time to time, but he didn't hide her and she largely deferred to him, though she had her moments of defiance.
I always admired Marion Davies, and that continues, even in the face of this rather Norma Desmond-ish depiction of her final years. Guiles had the advantage of talking to people who knew and loved them both, and it shows. For all its many faults, as one of my film historian friends tells me, its likely that this is the best biography of Marion that we're going to get. I'm only sorry that Guiles passed away before he could update it as he wished to do.
W.R. Hearst was a ruthless publisher who didn't let the truth get in the way of a headline that would sell more papers. In the matter of Marion, however, ruthless was the last word that could be used to describe him. It appears that she cared deeply for him, as well. She bailed him out in the late 1930s when his profligate spending caught up with him, and she took care of him during his final years, months and days. It was an unconventional relationship, to be sure - Hearst remained married (albeit in name only) and Marion entertained other gentlemen from time to time, but he didn't hide her and she largely deferred to him, though she had her moments of defiance.
I always admired Marion Davies, and that continues, even in the face of this rather Norma Desmond-ish depiction of her final years. Guiles had the advantage of talking to people who knew and loved them both, and it shows. For all its many faults, as one of my film historian friends tells me, its likely that this is the best biography of Marion that we're going to get. I'm only sorry that Guiles passed away before he could update it as he wished to do.
May 4, 2023
08/2018
Marion Davies was an actress (in silent films), and though she is considered sometimes talented, she was and always will be known as the girlfriend of William Randolph Hearst (for 35 years until his death). Her memory was also quite affected by the film Citizen Kane, which was based on Hearst. The portrait of Kane's girlfriend was admittedly untrue, but Mankiewicz and Welles thought it preferable for the fiction to have her be untalented. So in that movie Kane divorces his wife and marries the girlfriend (Susan), and this book informed me that this plot point was mandated by the Production Code. Interesting.
Marion Davies was an actress (in silent films), and though she is considered sometimes talented, she was and always will be known as the girlfriend of William Randolph Hearst (for 35 years until his death). Her memory was also quite affected by the film Citizen Kane, which was based on Hearst. The portrait of Kane's girlfriend was admittedly untrue, but Mankiewicz and Welles thought it preferable for the fiction to have her be untalented. So in that movie Kane divorces his wife and marries the girlfriend (Susan), and this book informed me that this plot point was mandated by the Production Code. Interesting.
December 26, 2018
"Perhaps all of the earlier critical misjudgments in our day cannot be ascribed to the impact of Citizen Kane but at least partially to the paradoxes in the lady herself. She spent most of her life surrounded by servants; her social appearances saw her bedecked with jewels; her wealth was sufficiently huge and far-flung to keep her heirs and executors at odds, but the fortune still not consumed by stiff and continuing legal fees even a decade after her death. Yet she was certainly the most human millionairess of our time. She remained mentally fixed to that turf she had known as a brawling youngster in Brooklyn, Chicago, and Manhattan--one of the kids on the block. And even while dying, she had managed to glance backward and see that she had had an extraordinary life. Shortly before her final coma, and while she still had a voice, she called over Horace to tell him that she had no regrets."
April 9, 2021
This turned out to be quite a satisfying book. Other friends were thrilled with it so I knew it was going to be good. 10 years ago I watched a documentary that showed how talented Marion was; she was not just that rich guys mistress.
LITTLE OLD NEW YORK was the first Davies film I remember and I was really surprised at how enjoyable it was. Recently I watched it again and it's still one of my favorites. The music, titles, historical storyline and comedy are blended perfectly. Thousands loved this film; it was the third highest box office smash in 1923.
Lilian Gish is the most revered silent screen actress, but, for my money, Marion has a much broader range and an easier, more modern acting style. Her comic gifts in SHOW PEOPLE reveal how really talented she was. She was a good friend of Charlie Chaplin's. They enjoyed each other tremendously. She learned from and was inspired by the master.
It was a treat to learn about her early, sometimes delinquent, childhood days in Brooklyn that prompted a move to Chicago before her modeling and stage work took hold in Manhattan.
Spoiler alert.
The dynamic of their relationship is interesting. Hearst truly loved her and despite his enormous wealth and power, could easily be hurt. He had to control his jealousy and accept her taste for champagne for the entire time of their life together. Even though she was devoted to making the films Hearst wanted, they were not that important to her. In many ways she had the upper hand in the relationship. She has stated openly that at first she was a gold digger but grew to really love him.
San Simeon is their most well known property and the week long and weekend parties there are described in detail. Everyone who visited wrote their own accounts. There are excerpts from other people's books about their experiences, not only at San Simeon, but other experience related to Marion and Hearst that broaden the scope of this book.
Hearst loved history and organized elaborate guided travel excursions all over Europe that included dozens of their friends. They were lush, quite rigorous and rewarding.
Hearst's wealth was enormous. They had more than one home in Los Angeles besides her famous beach house. There were properties that housed all her Douras relatives. She even paid allowances to one of her sister's husbands. There were buildings in New York on Riverside drive and a castle in Wales purchased a good price during the Depression. She owned vast acreage in Mexico, invested in a hotel in Palm Springs that she sold at a good profit. She built buildings in Manhattan. She was most proud of her charity work. In 1952 she donated $1.9 million to establish a Marion Davies Foundation to help fight childhood diseases. Her children's clinic at UCLA is still operating but has been renamed after another more recent donor.
Marion made a lot of money. Her films made money. She was very successful in real estate and held lot of properties at the time of her death.
This is a very well researched book and I had the feeling Mr. Giles really had an inside track. I was impressed that he interviewed Marion's nephew Charlie Lederer (and probably others). It is a fine biography, worthy of her extraordinary life.
LITTLE OLD NEW YORK was the first Davies film I remember and I was really surprised at how enjoyable it was. Recently I watched it again and it's still one of my favorites. The music, titles, historical storyline and comedy are blended perfectly. Thousands loved this film; it was the third highest box office smash in 1923.
Lilian Gish is the most revered silent screen actress, but, for my money, Marion has a much broader range and an easier, more modern acting style. Her comic gifts in SHOW PEOPLE reveal how really talented she was. She was a good friend of Charlie Chaplin's. They enjoyed each other tremendously. She learned from and was inspired by the master.
It was a treat to learn about her early, sometimes delinquent, childhood days in Brooklyn that prompted a move to Chicago before her modeling and stage work took hold in Manhattan.
Spoiler alert.
The dynamic of their relationship is interesting. Hearst truly loved her and despite his enormous wealth and power, could easily be hurt. He had to control his jealousy and accept her taste for champagne for the entire time of their life together. Even though she was devoted to making the films Hearst wanted, they were not that important to her. In many ways she had the upper hand in the relationship. She has stated openly that at first she was a gold digger but grew to really love him.
San Simeon is their most well known property and the week long and weekend parties there are described in detail. Everyone who visited wrote their own accounts. There are excerpts from other people's books about their experiences, not only at San Simeon, but other experience related to Marion and Hearst that broaden the scope of this book.
Hearst loved history and organized elaborate guided travel excursions all over Europe that included dozens of their friends. They were lush, quite rigorous and rewarding.
Hearst's wealth was enormous. They had more than one home in Los Angeles besides her famous beach house. There were properties that housed all her Douras relatives. She even paid allowances to one of her sister's husbands. There were buildings in New York on Riverside drive and a castle in Wales purchased a good price during the Depression. She owned vast acreage in Mexico, invested in a hotel in Palm Springs that she sold at a good profit. She built buildings in Manhattan. She was most proud of her charity work. In 1952 she donated $1.9 million to establish a Marion Davies Foundation to help fight childhood diseases. Her children's clinic at UCLA is still operating but has been renamed after another more recent donor.
Marion made a lot of money. Her films made money. She was very successful in real estate and held lot of properties at the time of her death.
This is a very well researched book and I had the feeling Mr. Giles really had an inside track. I was impressed that he interviewed Marion's nephew Charlie Lederer (and probably others). It is a fine biography, worthy of her extraordinary life.
June 16, 2010
A rather disappointing book. Even though Davies was apparently full of charm and good spirits, she (and Hearst) come off in the book as dull and childish. At least he doesn't gloss over their faults. He's actually better with her later years, and he was able to interview many people who knew her, though it's not clear if he was able to interview Horace Brown or Constance Talmadge. He appears to have little knowledge of silent films, so he doesn't really have a sense of context about Davies screen persona or career. Though she was a wonderful comedienne, she wasn't the only one in Hollywood who was--other stars made good films too!
March 7, 2013
Well, as a history it is thorough and well-researched. But there is a sadness about both Davies and Hearst which makes it a difficult read. It seems as though there was no time in either of their lives which was unclouded.
Do you want to force yourself through 419 pages of unhappiness, alchoholism, unfaithfulness, and boredom in these people's lives? I hope not.
Do you want to force yourself through 419 pages of unhappiness, alchoholism, unfaithfulness, and boredom in these people's lives? I hope not.
February 28, 2008
Bought with my last $30 when I found it in a bookshop in Brisvegas. And it was so worth it. <3
March 3, 2025
An intriguing look into the life of Marion Davies, silent screen star and the hostess of some legendary house parties at Hearst Castle. This book traces Marion from her origins in Brooklyn, her work as an actress on Broadway, and her success as a silent screen star. Of course, the book also delves heavily into her involvement and relationship with William Randolph Hearst. In today's world, her name is synonymous with his and his fantastic castle on a hill. The book also describes how Marion actually helped to save Hearst from financial ruin. I loved how the book gives us a glimpse of a time gone by.
July 26, 2022
I'd like to say my native interest in any-era filmmaking led me here; albeit if not related to onset of Synchronized Sound filmmaking (technological) or regarding genesis studio moguls (lore), I'm mostly Johnny-come-lately for traditional Hollywood (specifically, most everything pre-1940's).
I could insist I dove in after finishing Scott Eyman's exhaustive, definitive The Speed of Sound: 1926-1930 , but just as the updated introduction cites, in this new 2020 edition, my primary interest bore out of Fincher's B&W gem Mank (2020).
I think Peter Bogdanovich owes Pauline Kael (estate) an apology. Kael's revelatory 1971 essay, Raising Kane , went a long way towards exposing Welles' cinematical mediocrity (i.e. had he just stuck to or fell back on his [established] career in theatre, much less, radio, Welles might not of wallowed in nonentity -- in a perfect world Welles should have thrived as a filmmaker; Unfortunately Chuck-Two and a Half Men-Lorre is the Orson Welles of our generation forgood rea$on) but Welles sycophant and mediocre-brethren, Bogdanovich, couldn't allow Kael to torpedo Welles's lone reigning Greatest Film Ever keepsake; nor extend her dispute with fellow critic Andrew Sarris, leading proponent of the auteur theory, that commerce trumps auteurship (it does did, a long rime ago. And You Know This).
Regardless, it only spoke volumes Welles himself stayed mum throughout the controversy, blessing Bogdanovich his authoritative proxy, his editorial knight -- blasting Kael as charlatan and her research shotty -- rescuing Welles like the damsel in distress he feigned.
What's worse, the hit job Herman Mankiewicz and Welles leveled Marion Davies reigns.
Citizen Kane remains a technological marvel, but the shortcuts and fakery that populates it's witty narrative -- It’s also gimmicky with maddening inconsistencies, for after Kane says the word, “Rosebud”, he drops the snow globe, which shatters on the floor, and it is only then that the nurse hurries into the room. If he was alone in the room, who heard the man say “Rosebud”? -- Just think what Welles could have accomplished had he sincerely collaborated with Mankiewicz, rather than contract him, freelancer, with only remote participation?
Mankiewicz yielded his best output while still newspaperman, under the reign of authoritative (yet agreeable) editorial chief (aka fellow journeyman). By the time he got to Hollywood and helmed the writers'-Knight-0f-the-Round-Table-room, Mankiewicz was notorious for missing deadlines and convincing multiple writers to cobble together his principal body of work(s) (e.g. while under the thumb of disagreeably small-minded studio moguls), imho, or ...according to Eyman's essential Competing with Idiots .
I could insist I dove in after finishing Scott Eyman's exhaustive, definitive The Speed of Sound: 1926-1930 , but just as the updated introduction cites, in this new 2020 edition, my primary interest bore out of Fincher's B&W gem Mank (2020).
I think Peter Bogdanovich owes Pauline Kael (estate) an apology. Kael's revelatory 1971 essay, Raising Kane , went a long way towards exposing Welles' cinematical mediocrity (i.e. had he just stuck to or fell back on his [established] career in theatre, much less, radio, Welles might not of wallowed in nonentity -- in a perfect world Welles should have thrived as a filmmaker; Unfortunately Chuck-Two and a Half Men-Lorre is the Orson Welles of our generation for
Regardless, it only spoke volumes Welles himself stayed mum throughout the controversy, blessing Bogdanovich his authoritative proxy, his editorial knight -- blasting Kael as charlatan and her research shotty -- rescuing Welles like the damsel in distress he feigned.
What's worse, the hit job Herman Mankiewicz and Welles leveled Marion Davies reigns.
Citizen Kane remains a technological marvel, but the shortcuts and fakery that populates it's witty narrative -- It’s also gimmicky with maddening inconsistencies, for after Kane says the word, “Rosebud”, he drops the snow globe, which shatters on the floor, and it is only then that the nurse hurries into the room. If he was alone in the room, who heard the man say “Rosebud”? -- Just think what Welles could have accomplished had he sincerely collaborated with Mankiewicz, rather than contract him, freelancer, with only remote participation?
Mankiewicz yielded his best output while still newspaperman, under the reign of authoritative (yet agreeable) editorial chief (aka fellow journeyman). By the time he got to Hollywood and helmed the writers'-Knight-0f-the-Round-Table-room, Mankiewicz was notorious for missing deadlines and convincing multiple writers to cobble together his principal body of work(s) (e.g. while under the thumb of disagreeably small-minded studio moguls), imho, or ...according to Eyman's essential Competing with Idiots .
August 7, 2017
A very well meaning book about Marion Davies. A good imersion in that time and place (20's and 30's Hollywood) but in the end this was a pretty depressing and bleak book about how you can have fame, beauty, love and all the money in the world but still struggle to be happy.
June 14, 2022
Very good and illuminating account of a remarkable woman. It's clear the author had significant access to people who actually knew Marion Davies. This seems the only significant biography of Miss Davies, but it is a very good read.
September 19, 2019
A rather good biography of one of America’s most famous mistresses. She was also a silent film and stage star in her own right. A bit long and drawn out at points, but worth the read.
July 18, 2025
Love her. This was well written with Marion as the focus throughout 👏
March 2, 2020
Old Hollywood....we will never see anything like it again. This book gives the reader a glimpse into a past long gone. I visited San Simeon years ago and loved the castle on the hill and hope to pay it a visit again, sometime, which is why I wanted to read this book. You rarely see Marion's films on TV, but they are gems. She was talented, funny and reigned supreme as William Randolph Hearst's mistress, at San Simeon.
January 16, 2013
Biography of actress Marion Davies written in 1972. Traces her life, career and relationship with William Randolph Hearst. Recommended if you're interested in Marion Davies and her relationship with Hearst rather than casual reading.
June 6, 2010
a lovely book, its shows that there was more to Marion Davies than just being Mr Hearsts mitress and she was a successful actress. took a while to get into it, but when i did i really liked it.
October 7, 2012
Rather flat- more focus on Davies' life than her films, though I doubt that most of them would have been easily available for viewing at the time it was written. She's respectably treated.
Displaying 1 - 17 of 17 reviews