Betty Compson

Compson was sent a 1912 Rolls-Royce by a South American who had it stored in a New York garage. As she already had a limo, she was initially annoyed but later discovered she could rent it to the movie studios at $100 per day. She ultimately made $20,000 on it before selling it. This situation may have been the inspiration for a similar situation in Sunset Boulevard (1950).

In 1918 Mack Sennett reportedly offered Compson $150 a week to leave Al Christie. Compson claims that when Sennett confirmed that the offer was legit, she replied, "In that case the bid's not high enough.".

A mining engineer's daughter, blond, blue-eyed Betty Compson began in show business playing violin in a Salt Lake City vaudeville establishment for $15 a week. Following that, she went on tour, accompanied by her mother, with an act called 'the Vagabond Violinist'. Aged eighteen, she appeared on the Alexander Pantages Theatre Circuit, again doing her violin solo vaudeville routine, and was spotted there by comedy producer Al Christie. Christie quickly changed her stage name from Eleanor to Betty. For the next few years, she turned out a steady stream of one-reel and two-reel slapstick comedies, frequently paired with Roscoe 'Fatty' Arbuckle. In 1919, Betty was signed by writer-director George Loane Tucker to co-star opposite Lon Chaney as Rose in The Miracle Man (1919).

During the late 1920's, Betty appeared in a variety of dramatic and comedic roles.

The film was a huge critical and financial success and established Betty Compson as a major star at Paramount (under contract from 1921 to 1925). One of the more highly paid performers of the silent screen, her weekly earnings exceeded $5000 a week at the peak of her career. She came to own a fleet of luxury limousines and was able to move from a bungalow in the hills overlooking Hollywood to an expensive mansion on Hollywood Boulevard.

From 1921, Betty also owned her own production company.

She went on to make several films in England between 1923 and 1924 for the director Graham Cutts.

She received good reviews acting opposite George Bancroft as a waterfront prostitute in The Docks of New York (1928), and was even nominated for an Academy Award for her portrayal of a carnival girl in The Barker (1928).

She gave a touching performance in The Great Gabbo (1929), directed by her then husband James Cruze, as the assistant of a demented ventriloquist (Erich von Stroheim), with whom she is unhappily in love.

That same year, she appeared in RKO's first sound film, Street Girl (1929), and was briefly under contract to that studio, cast in so-called 'women's pictures' such as The Lady Refuses (1931) and Three Who Loved (1931).

The stature of her roles began to diminish from the mid 1930s, though she continued to act in character parts until 1948. Betty's personal fortunes also declined.