|Writers||Oscar Wilde (play); Peter M Winters (scenario)|
|Cinematography||Charles Van Enger|
|Art Direction / Costume||Natacha Rambova|
|Mitchell Lewis||Herod, Tetrach of Judea|
|Alla Nazimova||Salomé, stepdaughter of Herod|
|Rose Dione||Herodias, wife of Herod|
|Earl Schenk||Narraboth, Captain of the Guard|
|Nigel De Brulier||Jokanaan, the Prophet|
|Arthur Jasmine||Page of Herdias|
|Frederick Peters||Naaman, the Executioner|
|Louis Dumar||Tigellinus, a young Roman|
Alla Nazimova (3 June 1879 – 13 July 1945) was an American film and theatre actress, a screenwriter, and film producer. She is perhaps best known as simply Nazimova, but also went under the name Alia Nasimoff. She emigrated to the United States from the Russian Empire.
She was influential in the film industry in the silent era and continued to play character roles until the end of her life.
She was born Miriam Edez Adelaida Leventon, one of three children of Yakov Leventon and Sonya Horowitz. The family was Jewish and lived in Yalta, Crimea (then a part of the Russian Empire; now a part of Ukraine). She grew up in a dysfunctional family and after her parents’ separation was shuffled among boarding schools, foster homes, and relatives. A precocious child, she was playing the violin by age seven.
As a teenager she began to pursue an interest in the theatre and took acting lessons at the Academy of Acting in Moscow before joining Constantin Stanislavski’s Moscow Art Theatre as “Alla Nazimova,” and later just “Nazimova.” (Her stage name was a combination of her middle name Adelaida – shortened to Alla, usually a distinct Russian first name in its own right – and the surname of Nadezhda Nazimova, the heroine of the Russian novel Children of the Streets.
Nazimova’s theater career blossomed early; and by 1903 she was a major star in Moscow and Saint Petersburg. She toured Europe, including London and Berlin, with her boyfriend Pavel Orlenev, a flamboyant actor and producer. In 1905 they moved to New York City and founded a Russian-language theatre on the Lower East Side. The venture was unsuccessful; and Orlenev returned to Russia while Nazimova stayed in New York.
She was signed up by the American producer Henry Miller and made her Broadway debut in New York City, in 1906 to critical and popular success. She quickly became extremely popular (a theater was named after her) and remained a major Broadway star for years, often acting in the plays of Henrik Ibsen and Anton Chekhov. Dorothy Parker described her as the finest Hedda Gabler she had ever seen.
Alla Nazimova in her Broadway debut in ‘Hedda Gabler’
Due to her notoriety in a 35-minute 1915 play entitled War Brides, Nazimova made her silent film debut in 1916 in the filmed version of the play, which was produced by Lewis J Selznick. A young actor with a bit part in the movie was Richard Barthelmess whose mother taught Nazimova English. In 1917, she negotiated a contract with Metro Pictures, a precursor to MGM, that included a weekly salary of $13,000. She moved from New York to Hollywood, where she made a number of highly successful films for Metro that earned her a considerable amount of money.
Nazimova soon felt confident enough in her abilities to begin producing and writing films in which she also starred.
In 1921, Nazimova produced and starred in Camille, based on the play adaptation La Dame aux Camélias (The Lady of the Camellias) by Alexandre Dumas, fils, which was first published in French as a novel in 1848 and as a play in 1852. The film featured Nazimova as Marguerite and Rudolph Valentino as her lover, Armand and was set in 1920s Paris, whereas the original version took place in Paris in the 1840s. It had lavish Art Deco sets and Rudolph Valentino later married the film’s art director, Natacha Rambova.
Nazimova and Valentino in Camille (1921)
In her film adaptations of works by such notable writers as Oscar Wilde and Ibsen she developed her own film making techniques, which were considered daring at the time. Her projects, including A Doll’s House (1922), based on Ibsen, and Salomé (1923), based on Wilde’s play, were critical and commercial failures.
By 1925 Nazimova could no longer afford to invest in more films; and financial backers withdrew their support. Left with few options, she gave up on the film industry, returning to perform on Broadway, notably starring as Natalya Petrovna in Rouben Mamoulian’s 1930 New York production of Turgenev’s A Month in the Country and an acclaimed performance as Mrs. Alving in Ibsen’s Ghosts. In the early 1940s, she appeared in a few more films, playing Robert Taylor’s mother in Escape (1940) and Tyrone Power’s mother in Blood and Sand (1941). This late return to motion pictures fortunately preserves Nazimova and her art on sound film.
Marriages and children
In 1899 she married Sergei Golovin, a fellow actor. While still in Russia and before going to America in 1905, Nazimova may have given birth to a child. The father has been speculated to be either her husband Golovin or her lover Orlenev.
From 1912 to 1925 Nazimova maintained a “lavender marriage” with Charles Bryant (1879–1948), a British-born actor. In order to bolster this arrangement with Bryant, Nazimova kept her real marriage to Golovin secret from the press, her fans and even her friends. In 1923, she arranged to divorce Golovin without actually traveling to the Soviet Union. Her divorce papers, which arrived in the United States that summer, stated that on May 11, 1923, the marriage of “citizeness Leventon Alla Alexandrovna” and Sergius Arkadyevitch Golovin, “consummated between them in the City Church of Boruysk June 20, 1899,” had been officially dissolved. A little over two years later, on November 16, 1925, Charles Bryant, now 43, surprised the press, Nazimova’s fans and Nazimova herself by marrying Marjorie Gilhooley, 23, in Connecticut. When the press uncovered the fact that Charles had listed his current marital status as “single” on his marriage license, the revelation that the marriage between Alla and Charles had been a sham from the beginning embroiled Nazimova in a scandal that damaged her career.
Relationships with women
Between the years of 1917 and 1922 Nazimova wielded considerable influence and power in Hollywood. By all accounts she was extremely generous to young actresses in whom she saw talent and became involved with at least some of them romantically. For instance, after meeting a young Patsy Ruth Miller at a Hollywood party, Nazimova assisted in getting Miller’s career launched. (Miller got her first break with a small role in Camille.) Another noteworthy example was Anna May Wong, whose first film role at age 14 was as an extra in The Red Lantern.
Nazimova helped start the careers of both of Rudolh Valentino’s wives, Jean Acker and Natacha Rambova. Although she was involved in an affair with Acker, it is debated as to whether her connection with Rambova ever developed into a sexual affair. Nevertheless, there were rumors that Nazimova and Rambova were involved in a lesbian affair (they are discussed at length in Dark Lover, Emily Leider’s biography of Rudolph Valentino) but those rumors have never been definitely confirmed. She was very impressed by Rambova’s skills as an art director; and Rambova designed the innovative sets for Nazimova’s film productions of Camille and Salomé.
Of those Nazimova is confirmed to have been involved with romantically, the list includes actress Eva Le Gallienne, director Dorothy Arzner, writer Mercedes de Acosta, and Oscar Wilde’s niece, Dolly Wilde. Bridget Bate Tichenor, a Magic Realist artist and Surrealist painter, was also rumored to be one of Nazimova’s favored lovers in Hollywood during the World War II years of 1940 to 1942. The two had been introduced by the poet and art collector Edward James, and according to Tichenor, their intimate relationship angered Nazimova’s longtime companion, Glesca Marshall. It is allegedly Nazimova who coined the phrase “Sewing circles” as code to refer to lesbian or bisexual actresses of her day who concealed their true sexuality.
Nazimova lived with Glesca Marshall from 1929 until her death in 1945.
Life in the United States
Her private lifestyle gave rise to widespread rumors of outlandish and allegedly debauched parties at her mansion on Sunset Boulevard, in West Hollywood, California, known as “The Garden of Alla”, built in 1919. This mansion in 1927 became the Garden of Allah apartment-hotel complex. In later years, she continued to live in one of the villas there.
Edith Luckett (stage actress and mother of future U.S. First Lady Nancy Reagan) was a friend of Nazimova, having acted with her onstage. Edith married Kenneth Seymour Robbins, and following the birth of their daughter Nancy in 1921, Nazimova became her godmother. Nazimova continued to be friends with Edith and her second husband Dr Loyal Davis and the Reagans until her death.She was also the aunt of American film producer Val Lewton.
Nazimova became a naturalized citizen of the United States in 1927.
Death and memorials
She died of a coronary thrombosis, age 66, in the Good Samaritan Hospital in Los Angeles. Her ashes were interred in Forest Lawn Memorial Park Cemetary in Glendale, California. Her contributions to the film industry have been recognized with a star on the Hollywood Walk of Fame.
Born Winifred Kimball Shaughnessy (1897 – 1966), Natacha Rambova was an American film costume and set designer, and occasional actress who was active in Hollywood in the 1920s. In her later life, she would abandon design to pursue other interests, specifically Egyptology, a subject on which she became a published scholar in the 1950s.
Rambova was raised in San Francisco and educated in England before beginning her career as a dancer, performing under Russian ballet choreographer Theodore Kosloff in New York City. She relocated to Los Angeles at age nineteen, where she became an established costume designer for Hollywood film productions. It was there she became acquainted with actor Rudolph Valentino, with whom she had a two-year marriage from 1923 to 1925. Although they shared many interests such as art, poetry and spiritualism, Valentino’s colleagues felt that she exercised too much control over his work and blamed her for several expensive career flops.
Natacha Rambova and Rudolph Valentino
Rambova has been noted by fashion and art historians for her unique costume designs that drew on and synthesized a variety of influences, as well as her dedication to historical accuracy in crafting them.