Joan Crawford: The Rise of a Hollywood Icon in the Silent Era
Joan Crawford is indisputably a Hollywood legend. She captivated audiences with her striking beauty, infectious energy, and commanding onscreen presence. Although her turbulent personal life often seems to overshadow her memorable achievements in cinema, many also forget that Crawford’s lengthy career started during the silent era. Not only did she survive the crossover into talking pictures (or “talkies”), but she did such a magnificent job of transforming with each passing decade that her work in silent film has largely been brushed aside.
Silent movies aren’t everybody’s cup of tea. Even among those who enjoy them, most of the silents that Joan starred in are less sought after and celebrated. Though she didn’t appear in many acclaimed silent works, Joan Crawford’s rise to fame began in that era. In fact, it was a silent film that made her famous – Our Dancing Daughters. So, even as most of her silents fell short of artistic and historical prestige, what Joan did with what she had is what propelled her to the success she awaited.
With an extensive body of early work that fully demonstrates her evolving skills and style, Crawford went from an inexperienced newcomer to a globally acclaimed actress in less than five years. And it was her arduous journey in the realm of silent cinema that played a vital role in shaping her illustrious career.
The Empress of Emotion and Her Early Career
At the opening of the 1930 film Paid, a Los Angeles theatre marquee referred to Crawford as the “Empress of Emotion.” It’s a very fitting title, as Crawford had the natural ability to convey complex emotions onscreen. Her performances were characterized by a raw intensity and an emotional depth that set her apart from other actresses throughout the years. She could portray characters who were strong-willed and independent yet vulnerable and soft. Even in simple roles, there was an authenticity to her that quickly made her one of Hollywood’s most endearing and unique stars.
Crawford began her career as a dancer and chorus girl, and that experience served her well in her early films. Her start at Metro-Goldwyn-Mayer (MGM) in January of 1925 was a major turning point, and she would never look back. Under the guidance of studio head Louis B. Mayer and various publicity heads, directors, and cameramen, Crawford began to develop her talent and screen presence. She took advantage of MGM’s extensive resources, watched movie sets for other films, experimented with makeup, and more. This allowed her to hone the foundation of her craft and develop her skills as an actress and icon.
Her collaborations with prominent directors such as Frank Borzage, Edmund Goulding, Tom Browning, and Harry Beaumont also furthered her talents. They helped her as she began to solidify her reputation as one of the industry’s most gifted performers.
But it didn’t start out that way. Her first credited role under her birth name Lucille LeSueur was in the 1925 film Lady of the Night, where she played a bit part as the body double of Norma Shearer. Over the next several months, she appeared in a number of silent films, all in minor roles that didn’t amount to much. Because of this, she became increasingly anxious about her job security toward the spring of 1925 and began to use her dancing skills in popular Hollywood clubs to get her name into the papers.
Her strategy worked. MGM saw the public’s growing interest – the potential it held – and gave her more to do.
Sally, Irene, and Mary: A Turning Point
Joan Crawford finally got a break in the late-1925 silent classic Sally, Irene, and Mary. Alongside co-stars Constance Bennett and Sally O’Neil, Crawford’s career received a decidable boost after the movie’s premiere. In the film, she plays the naive Irene, a Broadway dancer looking for love in all the wrong places. An affable gentleman pursues her character, but she becomes entangled with a wealthy playboy instead. Joan was able to dance the Charleston in a brief but memorable scene.
William Haines also had a role in the movie, and though their characters didn’t interact, this was the first time their names were seen in the same film together. The two were already friends by this time, but several more onscreen collaborations and a lifelong bond would follow. Esteemed director Edmund Goulding helmed the project, leaving an indelible mark on Crawford’s trajectory in cinema. He saw the star power in her and worked with her to bring it out.
Some things take time.
Sally, Irene, and Mary was a hit with audiences, and Joan’s performance was praised. But, the most critical effect of the film was that Crawford continued to get actual movie roles instead of mere bit parts from then on. The star was beginning to shine.
Paris: Learning From Failure
In the 1926 film Paris, Joan Crawford took on the role of “The Girl,” a part specifically chosen for her by director Edmund Goulding. The character becomes caught in a love triangle with a wealthy American and her violent apache lover. Goulding, who envisioned the film as a promising project, believed in Crawford’s star potential and her ability to bring the character to life.
Unfortunately, despite their best efforts, Paris failed to resonate with critics and audiences, ultimately falling short of expectations. Nevertheless, this experience proved to be a valuable learning opportunity for Crawford. It showed her where she was overacting and compensating for having little professional training. The film helped her refine her craft and grow as an actress.
In the end, there were no regrets. “I would still be dancing the Charleston on tabletops if it weren’t for Eddie,” she later said of Goulding.
Top Billing in The Taxi Dancer
Crawford appeared in The Taxi Dancer in 1927, playing a young woman who works as a taxi dancer when she can’t make it as a dancer on Broadway. It was Crawford’s first film where she got top billing, and she said it was the first time she put her own ideas into her character instead of just listening to the director.
She also landed a starring role with top billing in The Understanding Heart around this time. Although neither film landed, with mixed reviews from the public and ho-hum words from critics, they went far in keeping Joan’s name in lights.
The Unknown: A Lesson From Lon Chaney
One of Crawford’s most notable silent film roles was in the 1927 film The Unknown, directed by Tod Browning and starring Lon Chaney. The film is a dark and twisted love story set in a circus, and Crawford’s impressive performance as the young and innocent Nanon was widely praised. In the film, Chaney plays an armless knife thrower who falls in love with Crawford’s character. The two become embroiled in a twisted and macabre love triangle with the circus strongman, played by Norman Kerry.
Crawford’s performance in the film was a dramatic departure from her earlier roles and showcased her range as an actress. Plus, Lon Chaney was a prominent star. His effect on her was more than significant. He pushed her skills as far as she could go, to the point that she later remarked it was “traumatic.” She also famously said that during the filming of this movie, she “became aware for the first time of the difference between standing in front of a camera and acting.”
The film was a critical and commercial success and is regarded as one of Chaney’s best performances.
Twelve Miles Out With the Stars
The 1927 drama Twelve Miles Out was the first time Joan acted alongside silver screen giants. For the movie, she took on the role of Jane, with John Gilbert and Ernest Torrence playing the leads. The film showcased an intriguing love story amidst the backdrop of a dangerous bootlegging operation.
As her first time sharing the screen with a movie star of Gilbert’s caliber, Crawford’s performance displayed immense growth, lifting her Hollywood status before the world.
Public reception of the film was generally positive, with audiences relishing the action-packed storyline and captivating onscreen chemistry between Crawford and Gilbert. Joan thought the film “was the first time that magic man-woman chemistry happened in one of [her] films: John Gilbert and I seemed to exude sex. (He was having an affair with Garbo at the time, so nothing came of it personally, but onscreen – wow!).”
Critics acknowledged the noteworthy performances, with one from the New York Review writing, “Joan Crawford is lovely as Jane, and though her part affords her little variety, she makes a lot out of it, and scores a pronounced success.”
Twelve Miles Out turned a decent profit and proved a crucial stepping stone for Joan. It offered her a chance to work with leading actors, further honing her skills and propelling her career forward.
Back with William Haines in Spring Fever
As previously noted, Joan Crawford and William Haines became a popular onscreen pairing during the silent film era, appearing in a total of five films together. Nearly two years after their success in Sally, Irene, and Mary, the duo starred in the 1927 romantic comedy Spring Fever, which took place in a country-club setting. Haines’ character, Jack Kelly, becomes fascinated with Crawford’s character, Allie Monte, as he teaches club members how to play golf. Although the film was a commercial hit and resonated with audiences, critics were less enthused with the storyline.
Clearly, the film was a vehicle thrown together to capitalize on Haines’ recent rise to stardom. But it got Crawford alongside a big name, and her character has a decent amount of screen time. On top of this, Joan makes her presence felt whenever she is onscreen.
Building such a presence had to be a skill she was starting to understand more because it shows. Working on the project was undoubtedly a valuable experience for her and likely enjoyable, although she later said the film was a waste of everyone’s time and money.
West Point
Later in 1927 (or in 1928, depending on where you look), Crawford and Haines were reunited for a third time in the romantic drama West Point, set at the United States Military Academy. Part of the movie was filmed on location at the campus, boosting its authenticity and leading to some offscreen antics (a cadet may have gotten expelled after he was found partying with Joan).
Crawford plays Betty Channing, pursued by Haines’ character, the arrogant blowhard Brice Wayne. Wayne is a headstrong Cadet at the academy who cannot stop goofing around. After alienating everyone around him and nearly getting kicked out of school, he has his work cut out for him to make it all right again.
Overall, the film was another formulaic vehicle for Haines, but it was a critical and commercial success. Joan had way less screen time than in Spring Fever, and her character really had no purpose other than to respond to Wayne. Still, having her name on the billing and being eye candy was excellent for her career and confidence.
Being real-life friends with Haines gave them natural onscreen chemistry, making them one of Hollywood’s most beloved onscreen couples. Their films together and lasting friendship profoundly affected Joan, professionally and personally, for the rest of her life.
Side note: their friendship profoundly affected Haines, as well. After all, Joan is largely credited with jumpstarting Haines’ second career in interior design after he ditched Hollywood. That story is for another blog post, however.
Queer Themes
To some, West Point may allude to queer themes. The side character, Tex, played by William Bakewell, is delicate and effeminate and seems to be in love with Wayne. On and off throughout the film, the feeling appears to be mutual. For instance, when Wayne first lays eyes on Tex, it’s a definite stare of intrigue. When the audience first sees Tex, he’s asking another person if the Cadets wear corsets to get that “military shape.”
Tex’s fondness for Wayne is hero worship to the extreme, with long shots of him gazing in adoration. In many ways, especially toward the end, the story is more about the male bond between Wayne and Tex than it is about Wayne and Betty. These LGBTQ+ themes are primarily subtle, though quite a few scenes strikingly lean queer.
Rose-Marie: Coming Into Her Own
In 1928, Joan Crawford starred in the silent film Rose-Marie, which marked another time she received top billing. The film is based on an operetta-style musical of the same name that proved successful on the Broadway stage. It isn’t easy, however, to replicate a musical into a silent film. Because of this, emphasis on the storyline became paramount, which most critics did not appreciate.
The film is considered lost, but it was said to roughly follow the original storyline. Crawford plays the role of Rose-Marie, a French-Canadian woman in love with an outlaw accused of murder, Jim Kenyon, played by James Murray. Rose-Marie marries a wealthier gentleman to save Jim from being caught. The real killer is on the loose, shenanigans ensue, and the inevitable happy ending reigns.
Although critics largely panned the story’s credibility and the “pidgeon English” (sic) title cards, Crawford was praised for her performance. Apparently, she was eager to play a part in the movie adaptation of Rose-Marie after seeing the stage version. In fact, according to the AFI Catalog, she personally expressed her interest to MGM executives, as mentioned in an article from the Brady Vindicator on May 31, 1928.
This suggests that Joan’s confidence in her talent was growing, not only as an actress but also as someone who could assert herself to attain the roles she wanted. This skill would be critical to her continued success as an actress.
Upward Momentum in Across to Singapore
In Across to Singapore, 1928’s silent romantic adventure, Joan Crawford appears alongside Ramon Novarro as the love interest, Priscilla Crowninshield, in a triangle with two sea-faring brothers. Novarro was at the height of his stardom here, which signals the upward momentum in Joan’s career. Though her role is of the typical keep-quiet ingenue, Crawford undoubtedly has a powerful onscreen presence, often seeming to dazzle on camera.
Although not a groundbreaking commercial success, the film enjoyed decent public reception, leaving the audience enamored by the exotic settings and obvious chemistry between the leads, particularly between Crawford and Novarro. Critics, too, showered praise on the maritime narrative and its visual execution while singling out Joan’s performance as charming and delightful.
Though Across to Singapore might not be the highlight of her illustrious career, it undeniably contributed to cementing Crawford’s position as an enchanting and versatile actress in the ever-changing Hollywood landscape.
Four Walls: Taking Over
In the 1928 silent drama Four Walls, Joan Crawford plays the role of Frieda, sharing the screen with John Gilbert as Benny Horowitz. Frieda is romantically involved with Benny, a small-time criminal striving for a better life.
Despite its somewhat cliche theme of love and redemption, Four Walls was well-received by both the audience and the critics. The public was captivated by the emotional depth showcased by Crawford and Gilbert, and critics commended Joan’s remarkable ability to hold her own against the screen legend Gilbert.
In fact, one critic wrote about the film: “Miss Crawford simply walks off with it. Not that Gilbert is very far behind her. He isn’t. He gives a competent performance, just as he always does. But the story gives an infinitely better opportunity to Miss Crawford than to him…[The picture] will go a long way toward lifting Miss Crawford to a point nearer the top in Hollywood circles, a point toward which she has been rapidly climbing in the last year or two.”
How true.
Jazz-Age Joan: Crawford Charlestons to Stardom
Joan Crawford had already secured a level of fame in Hollywood and worldwide by the time Our Dancing Daughters hit the screens in 1928. But, it was this film in particular that catapulted her among the stars forever. Joan even said she thought “it was the first time the script department was told to write strictly for Crawford.” Indeed, it isn’t a stretch to say the role of Diana Medford was made for Joan.
Diana, a vivacious socialite, Charlestons her way into a tangled love triangle that tests her moral compass. Joan, being such a natural dancer and used to people crowding around to watch her cut the rug, loved every minute of it. In the movie, she shares the screen with Dorothy Sebastian, Anita Page, Johnny Mack Brown, and Nils Asther – an excellent cast.
The film was met with resounding success. Audiences were fascinated by her bounding charisma and genuine flair for dance. Her iconic Charleston routine in the film remains one of the most renowned scenes in silent movie history. Critics lauded the performances, particularly Crawford’s, with accolades highlighting her refreshing and authentic portrayal of the effervescent flapper Diana. Joan’s ship had finally come in.
The impact of Our Dancing Daughters on Joan’s career was undeniable. It marked the beginning of her ascent to fame and solidified her status as a bona fide star, leading to further opportunities that would define her legendary Hollywood career. The realization of her lifelong potential came true following the release of this silent classic. Any fan of hers would be remiss to overlook this one.
Joan's Silent Era: The Start of a Lasting Legacy
Joan Crawford’s silent film era offers a fascinating glimpse into the formative years of an enduring Hollywood icon. Fans of her work will undoubtedly appreciate the opportunity to witness her evolution from a wide-eyed chorus girl to a fully-fledged star.
While her silent movies may not have achieved the same level of fame as her later “talkies,” they remain invaluable to understanding the depth and range of her later acting mastery. These early performances allow fans to trace the roots of her legendary career and appreciate the perseverance and dedication that propelled her to the mythical heights she will always maintain.
Joan Crawford: the Woman, the Myth, the Legend!
All information and imagery in this article was taken from JoanCrawfordBest.com, IMDB.com, the AFI Catalog, and the book, Conversations with Joan Crawford, by Roy Newquist.