Pearl Fay White (March 4, 1889 – August 4, 1938) was an American stage and film actress. She began her career on the stage at age 6, and later moved on to silent films appearing in a number of popular serials.
Dubbed the "Queen of the Serials", White was noted for doing the majority of her own stunts, most notably in The Perils of Pauline. Often cast as a plucky onscreen heroine, White's roles directly contrasted those of the popularized archetypal ingénue.
Early life
White was born in Green Ridge, Missouri to Edgar White, a farmer, and Lizzie G. House. She had four brothers and sisters. The family later moved to Springfield, Missouri. At age 6, she made her stage debut as "Little Eva" in Uncle Tom's Cabin. When she was 13, White worked as a bareback rider for the circus.
Career
left|thumb|upright|White in an advertisement for The Iron Claw in [[The Moving Picture World, 1916]]
She began performing with the Diemer Theater Company while in her second year of high school. Against the wishes of her father, White dropped out of school, and in 1907,
right|thumb|upright|Pearl of the Army, 1917
Pathé director Louis J. Gasnier offered her the starring role in film serial The Perils of Pauline, based on a story by playwright Charles W. Goddard. The film features the central character Pauline in a story involving considerable action, for which the athletic Pearl White proved ideally suited. The Perils of Pauline consisted of 20 two-reel episodes that were released weekly. The serial proved to be a hit with audiences and made White a major celebrity; she soon was earning $1,750 per week. She followed this serial with an even bigger box-office hit: The Exploits of Elaine (1914–1915).
Over the next five years, White appeared in the popular serials The New Exploits of Elaine (1915), The Romance of Elaine (1915), The Iron Claw (1916), Pearl of the Army (1916–1917), The Fatal Ring (1917), The House of Hate (1918), The Lightning Raider (1919) and The Black Secret (1919–1920).
A male stunt double wearing a wig performed the majority of the more dangerous stunts in White's later films. After the filming of Plunder was complete, White traveled to Europe for another vacation.
By 1919, White had grown tired of film serials and signed with Fox Film Corporation with the ambition to appear in dramatic roles, including J. Searle Dawley's A Virgin Paradise, filmed near Harrington Sound in the British Imperial fortress colony of Bermuda, 640 miles off North Carolina where Searle had previously filmed The Relief of Lucknow and For Valour in 1912. Animals, including monkeys and lions, were imported for the production. On December 21, 1920, Dawley received a cable at 8:25 AM at the Princess Hotel urging that White, who had previously visited Bermuda in 1913, leave Bermuda that day for New York aboard the RMS Fort Victoria. As the ship had already departed from the City of Hamilton, she was flown by a seaplane of the Bermuda and West Atlantic Aviation Company from the Princess Hotel to board the ship at Murray's Anchorage before it passed through Hurd's channel onto the open Atlantic Ocean. White was photographed boarding the seaplane by the proprietors of the Bermuda and West Atlantic Aviation Company, Major Henry Hamilton "Hal" Kitchener (the son of Lieutenant-General Sir Frederick Walter Kitchener) and Major Harold Hemming. Over the next two years, White appeared in 10 drama films for Fox but her popularity had begun to wane. Influenced by her French friends from Pathé, White was drawn to the Montparnasse Quarter of Paris. While living there, she made her last film for her friend, Belgian-born director Edward José, who had directed her in several serials. Silent films could be made in any country, and as White was a recognizable star worldwide, she was offered many roles in France. She made Terreur (released as The Perils of Paris in the United States), her final film, in France in 1924. White returned to the stage in a Montmartre production Tu Perds la Boule. In 1925, she accepted an offer to star with comedian Max Wall in the "London Review" at the Lyceum Theatre in London, where she earned $3,000 per week. She then retired from performing.
By the time she retired from films in 1924, White had amassed a fortune of $2 million ($ million in ). A shrewd businesswoman, she invested in a successful Parisian nightclub, a Biarritz resort hotel/casino, and a stable of 10 race horses. White divided her time between her townhouse in Passy and a 54-acre estate near Rambouillet. She became involved with Theodore Cossika, a Greek businessman, who shared her love of travel. Together, they purchased a home near Cairo.
According to published reports after her death, White's friends claimed that she intended to make a comeback in sound films. White later told friends that after she made a test for sound films in 1929, she was told that her voice was unsuitable. White made occasional visits to the United States in 1924, 1927, and 1937. On her last visit, White told reporters she was not interested in making a comeback and mused that acting in silent films was more difficult than acting in sound films. By this time, White had gained a substantial amount of weight. She told reporters she did not like to be photographed as she felt that photos made her face look fat, adding "Why should I have my picture taken when I can get paid for it?"
Personal life
White was married twice and had no children. She married actor Victor Sutherland on October 10, 1907. They divorced in 1914. In 1913 she lived with Jane Fearnley, an early film actress. In 1919, she married actor Wallace McCutcheon Jr., son of pioneering cinematographer and director Wallace McCutcheon Sr. Their marriage ended in divorce in 1921.
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|1911
|An Unforeseen Complication
|The Professor's Daughter
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|1911
|The Stepsisters
|The Stepmother's Spoiled Daughter
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|1912
|The Mad Lover
|Ethel Marion
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|1912
|The Spendthrift's Reform
|The Wife
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|1912
|The Mind Cure
|Pearl
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|1912
|Oh That Lemonade
| The Widow
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|1913
|Pearl as a Detective
|Pearl
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|1913
|The Paper Doll
|Alice Wilson
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|1914
|The Perils of Pauline
|Pauline
|Serial <br /> A reformatted version exists
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|1914
|The Exploits of Elaine
|Elaine Dodge
|Serial <br /> Lost film
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|1915
|The New Exploits of Elaine
|Elaine Dodge
|Serial <br /> Lost film
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|1915
|The Romance of Elaine
|Elaine Dodge
|Serial
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|1916
|Hazel Kirke
|Hazel Kirke
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|1916
|The Iron Claw
|Margery Golden
|Serial
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|1916
|Pearl of the Army
|Pearl Date
|Serial
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|1917
|Mayblossom
|Anabel Lee
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|1917
|The Fatal Ring
|Violet Standish
|Serial
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|1918
|The House of Hate
|Pearl Grant
|Serial
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|1919
|The Lightning Raider
|The Lightning Raider
|Serial <br /> Incomplete film
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|1919
|The Black Secret
|Evelyn Ereth
|Lost film
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|1920
|The White Moll
|Rhoda, the White Moll
|Lost film
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|1920
|The Thief
|Mary Vantyne
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|1921
|Know Your Men
|Ellen Schuyler
|Lost film
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|1921
|A Virgin Paradise
|Gratia Latham
|Lost film
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|1922
|Any Wife
|Myrtle Hill
|Lost film
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|1922
|The Broadway Peacock
|Myrtle May
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|1922
|Without Fear
|Ruth Hamilton
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|1923
|Plunder
|Pearl Travers
|serial
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|1924
|Perils of Paris
|Hélène Aldrich
|serial<br />alternative title: Terreur
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See also
Notes
Sources
- Davis, Lon. 2008. Silent Lives: 100 Biographies of the Silent Film Era. Foreword by Kevin Brownlow. BearManor Media, Albany, Georgia.
- Johaneson, Bland, "Good-by, Boys, I'm Through," Photoplay, April 1924, p. 31. Retirement announcement.
External links
- Pearl White at the Women Film Pioneers Project