Mae Murray

Mae Murray (born Marie Adrienne Koenig; May 10, 1885 – March 23, 1965) was an American actress, dancer, film producer, and screenwriter.

Murray Rose to fame during the silent film era and was known as "The Girl with the Bee-Stung Lips" and "The Gardenia of the Screen".

Murray was born in New York City, the second-oldest child of Joseph and Mary (née Miller) Koenig.

Her maternal grandparents had emigrated from France while her paternal grandparents had emigrated from Germany.

She had two brothers, William Robert and Howard Joseph.

The family eventually moved to an apartment in the Lower East Side.

In May 1896, Murray's father, died from acute gastritis due to his alcoholism.

To support the family, her mother took a job as a housekeeper for Harry Payne Whitney.

Murray began acting on the Broadway stage in 1906 with dancer Vernon Castle.

In 1908, she joined the chorus line of the Ziegfeld Follies, moving to headliner by 1915.

Murray became a star of the club circuit in both the United States and Europe, performing with Clifton Webb, Rudolph Valentino, and John Gilbert as some of her many dance partners.

Murray made her motion picture debut in To Have and to Hold in 1916.

She became a major star for Universal, starring with Rudolph Valentino in The Delicious Little Devil and Big Little Person in 1919.

At the height of her popularity, Murray formed her own production company with Robert Z. Leonard.

Critics were sometimes less than thrilled with her over-the-top costumes and exaggerated emoting, but her films were popular with movie-going audiences and financially successful.

At her career peak in the early 1920s, Murray, with other notable Hollywood personalities such as Cecil B. DeMille, Douglas Fairbanks, William S. Hart, Jesse L. Lasky, Harold Lloyd, Hal Roach, Donald Crisp, Conrad Nagel and Irving Thalberg, was a member of the board of trustees at the Motion Picture & Television Fund – a charitable organization that offers assistance and care to those in the motion picture and television industries without resources.

Four decades later, Murray received aid from this organization.

In the early 1920s, Murray was painted by Hollywood portrait painter Theodore Lukits.

This work titled Symphony in Jade and Gold (The Actress Mae Murray) (1922, private collection, northern California) depicted Murray nude, gazing in a mirror.

In 1925, Murray, Leonard, and Stahl produced films at Tiffany Pictures, with Souls for Sables (1925), starring Claire Windsor and Eugene O'Brien, as the first film made by Tiffany.

For a brief period of time, Murray wrote a weekly column for newspaper scion William Randolph Hearst.

Murray appeared in the title role in the Erich von Stroheim-directed film The Merry Widow (1925), with John Gilbert.

The couple married on June 27, 1926, and Mdivani became her manager, suggesting that his new wife ought to leave MGM.

Murray took her husband's advice and walked out of her contract with MGM, making a powerful foe of studio boss Louis B. Mayer.

Later, she swallowed her pride and pleaded to return, but Mayer would not rehire her.

In effect, Mayer's hostility meant that Murray was blacklisted from working for the Hollywood studios.

Meanwhile, in 1927, Murray was sued by her then-masseuse, the famous Hollywood fitness guru Sylvia of Hollywood, for the outstanding amount of $2,125; a humiliating and detailed court case followed.

When silent films gave way to sound film, she debuted in the medium in Peacock Alley (1930), a remake of her earlier 1921 version Peacock Alley.

In 1931, she was cast with Irene Dunne, Lowell Sherman, and fellow silent screen star Norman Kerry in Bachelor Apartment.

The film was critically panned at the time of release, and Murray made only one more film: High Stakes (1931), also with Sherman.

A critical blow to her film career occurred after she married her fourth husband David Mdivani, a Georgian man of minor aristocratic roots, whose brothers Serge and Alexis married actress Pola Negri and the heiress Barbara Hutton respectively.

In the 1940s, Murray appeared regularly at Billy Rose's Diamond Horseshoe, a nightclub that specialized in a "Gay '90s" atmosphere, often presenting stars of the past for nostalgic value.

Her appearances collected mixed reviews: her dancing (in particular the Merry Widow Waltz) was well received, but she was criticized for her youthful costumes and heavy makeup application, which were seen as attempts to conceal her age.

In 1946 she taught ballroom dancing to teenagers at a dance studio in Los Angeles.

It was located on Crenshaw Blvd., near 48th Street.

Murray's finances continued to collapse, and for most of her later life, she lived in poverty.

She was the subject of the authorized biography The Self-Enchanted (1959), written by Jane Ardmore, that has been incorrectly called Murray's autobiography.

On the evening of February 19, 1964, 78-year-old Murray was found disoriented in St. Louis, thinking that she had completed a bus trip to New York City.

Murray explained to a Salvation Army officer that she had become lost trying to find her hotel, which she had forgotten the name of.

It was exhibited at the Pacific Asia Museum in 1999 and two other venues as part of the exhibition Theodore Lukits, An American Orientalist.