|~Ironwood Daily Globe~
Monday, February 28, 1921 & Tuesday March 1, 1921
Run for your lives, boys; it's Louise Glaum who is approaching. She testifies however, that she has
quit "vamping" as a regular business. What "vamp" stuff she pulls nowadays is just for the moral
affect, as a foil to the retribution which always follows. So-after all-maybe you needn't run. Let's stay
and find out more about her. Listen!
"Vamps," they say, are "going out" - perhaps have already "gone out."
But Louise Glaum, credited with being the original screen vampire, hasn't.
Louise is "going full blast," blossoming more and more in every picture in the full luxuriance of her
But not as a "vamp," as the term is popularly used.
Louise is now a "vamp" with a moral, as it were. On the screen she's a misled woman who reforms in
the fifth reel, or is hit between the eyes by the retribution to which the "vamp" in real life is heir.
Thus, she is no longer a "vamp," but "a portrayer of emotional roles true to life."
Fifty-Fifty (1925) .... Nina Olmstead
Greater Than Love (1921) .... Grace Merrill
I Am Guilty (1921) .... Connie MacNair
Love (1920) .... Natalie Storm
The Leopard Woman (1920) .... Madame, the Leopard Woman
Love Madness (1920) .... Mary Norwood
Sex (1920) .... Adrienne Renault
The Lone Wolf's Daughter (1919) .... Princess Sonia/Sonia, her daughter
Sahara (1919) .... Mignon
... aka Forbidden Fire (USA: copyright title)
The Goddess of Lost Lake (1918) .... Mary Thorne
A Law Unto Herself (1918) .... Alouette DeLarme
Wedlock (1918) .... Maargery Harding
Shackled (1918) .... Lola Dexter
An Alien Enemy (1918) .... Neysa von Igel/Frau Meyer
Staking His Life (1918) .... Bubbles
Idolators (1917) .... Viola Strathmore
Golden Rule Kate (1917) .... Golden Rule Kate
A Strange Transgressor (1917) .... Lola Montrose
Love or Justice (1917) .... Nan Bishop
Sweetheart of the Doomed (1917) .... Honore Zonlay
The Weaker Sex (1917) .... Annette Loti
Somewhere in France (1916) .... Marie Chaumontel
The Return of Draw Egan (1916) .... Poppy
The Wolf Woman (1916) .... Leila Aradella
Honor Thy Name (1916) .... Viola Bretagne, 'The Moth'
Home (1916) .... Daisy Flores
The Aryan (1916) .... Trixie, 'the Firefly'
Hell's Hinges (1916) .... Dolly (dance-hall girl)
The Three Musketeers (1916) .... Miladi Winter
... aka D'Artagnan
The Forbidden Adventure (1915) .... Ameera
... aka City of the Dead (USA: new title)
Matrimony (1915) .... Thelma Iverson
The Iron Strain (1915) .... Kitty Molloy
Keno Bates, Liar (1915) .... Anita ... aka The Last Card
The Toast of Death (1915) .... Mlle. Poppea
The Golden Trail (1915)
When the Tide Came In (1915) .... Miss Arnold
The Phantom Extra (1915) .... Whalen's Confederate
Hearts and Swords (1915)
The Reward (1915/I) .... Trixie
The Secret of Lost River (1915)
The Tavern Keeper's Son (1915)
The Conversion of Frosty Blake (1915)
... aka The Convert
The Darkening Trail (1915) .... Fanny
... aka The Hell-Hound of Alaska (USA: reissue title)
The Renegade (1915/I) .... Normah, a Slave Girl
The Cup of Life (1915) .... Irene Bullard
A Case of Poison (1915) .... Mrs. Barr
Winning Back (1915) .... Yvette
College Days (1915) .... Nell Saunders
The Customary Wife (1915)
A Lucky Blowout (1915)
In the Land of the Otter (1915) .... Anne
The Scrub (1915)
The Panther (1914)
Universal Ike in Mary Green's Husband (1914)
... aka Mary Green's Husband (USA: alternative title)
Universal Ike in the Neglected Wife (1914)
Universal Ike in Three of a Kind (1914)
Universal Ike Junior in the Shack Next Door (1914)
Universal Ike Junior in the 'Dear' Hunter (1914)
Universal Ike Junior in the Scarecrow and the Chaperone (1914)
Universal Ike Junior Nearly Gets Married (1914)
Universal Ike Junior at the Dance of Little L.O. (1914)
Universal Ike Junior on His Honeymoon (1914)
Universal Ike Junior in the Dangers of a Great City (1914)
Universal Ike Junior's Legacy (1914)
Universal Ike Junior in His City Elopement (1914)
Universal Ike Junior in Cupid's Victory (1914)
Universal Ike Junior in the New Cook (1914)
Universal Ike Junior in Me, Him, and I (1914)
Universal Ike Junior and the Vampire (1914)
Universal Ike Junior in a Case on the Doctor (1914)
Universal Ike Junior Bearly Won Her (1914)
Universal Ike Is Kept from Being an Actor (1914)
Universal Ike Junior in a Battle Royal (1914)
Universal Ike Junior and His Mother-in-Law (1914)
Universal Ike in Pursuit of Eats (1914)
Universal Ike Gets a Line on His Wife (1914)
Universal Ike Almost a Hero (1914)
Universal Ike and the School Belle (1914)
When Universal Ike Set (1914)
Universal Ike Makes a Monkey of Himself (1914)
Universal Ike Has His Ups and Downs (1914)
Why Universal Ike Left Home (1914)
Universal Ike Goes Astray (1914)
Universal Ike in the Battle of Little Tin Horn (1914)
The Award of Justice (1914) .... Hester Hale - the Mountaineer's Daughter (Kalem)
Universal Ike Has One Foot in the Grave (1914)
Universal Ike's Wooing (1914)
Universal Ike Gets a Goat (1914)
Chasing the Smugglers (1914) .... Doris Wellington
The Fatal Clues (1914) .... Ethel Hawkins
Out in the Rain (1914) .... Henry's Wife
The Convict's Story (1914) .... Elizabeth - Lawrence's Sweetheart (Kalem)
The Masquerader (1914/II) .... Mildred - an Heiress
Lucille Love and the Girl of Mystery (1914) episode #15
A Triangle Marriage (1914) ... Movie Still Code: 656-X
The Fatal Clues (1914) ?
The Invisible Foe (1913) .... Mary Stanley - Billy's Sweetheart
The Sign of the Snake (1913)
The Efficacy of Prayer (1913)
The Reaping (1913)
Loaded Dice (1913)
The Quakeress (1913) .... Village Girl
The Girls and Dad (1913) .... One of the Girls
Old Mammy's Secret Code (1913)
The Seal of Silence (1913)
The Boomerang (1913/I)
The Village Choir (1913)
Cupid's Assistants (1913)
Cowgirl Cinderalla (1912) - Nestor
Sharps and Chaps (1912) .... Louise Canby
Making a Man of Her (1912)
The Lady Barber of Roaring Gulch (1912) .... Marcia Allen
Her Friend, the Doctor (1912) .... Jane Carston
Love and a Lemon (1912)
Hearts and Skirts (1912) .... Mabel Russell, an Heiress
Those Lovesick Cowboys (1912) .... Mabel Jones
The Girls and the Chaperone (1912) .... Grace Cameron
The $2500 Bride (1912)
Jealousy on the Ranch (Short) (1912) ... Nell Barclay (unconfirmed)
A Stubborn Cupid (1912) .... Bess ...
When the Heart Calls (1912/I) .... Mary Gordon, the Ranchman's Daughter
Brave Heart's Hidden Love (Short) (1912) ... The Hidden Love
The Goddess of Lost Lake (1918) (producer)
Born: September 10, 1888 in Baltimore, Maryland, USA
Died: November 25, 1970 in Los Angeles, CA, USA
Why Louise has not been snuffed out, but continues to wax in reputation while "vamps" wane;
what she herself thinks of "vamp" roles and their passing; and her own explanation of regenerated
vamphood - that you will learn in the course of human events if you read on.
Alone, with no protecting escort of local Anti-"Vamp" leaguers without a special wire to the police
station, sans even a coat of armor. I tracked the original "vamp" to her lair! 'Twas at the Thomas H.
Ince studio at Culver City, where by special arrangement J. Parker Reed, Jr., her producer is
permitted to sick Louise on handsome leading men.
I expected ponderous seductive charms of the boa constrictor type.
There were "vamps" and "vamps" of course, but "BEEF" predominates in the physique of most of
the modern successors of the singing sirens who made Odysseus lash himself to the mast and stuff
his sailors' ears with wax to sail the gauntlet at their isle.
Instead, I found an attractive woman with an engaging manner positively naive, a charming,
unassuming woman with a personality, a robust young woman, not an ounce over weight.
She was meekly sipping tea from a thermos bottle, as the last reel of a box lunch, in the seclusion of
her dressing room, far away from the maddening and vampable crowd.
And she was "fussed" to death.
Honestly, she was twice as scared as I was! Even if I do say it, I shouldn't.
There was a hesitant little catch in her voice, as, unaffectedly, she tried her faltering, modest best to
give her testimony to her "life and works."
Her hands were clasped, instead of being outstretched for prey; and she rubbed 'em together hard
and often in a smiling effort to tell "the truth, the whole truth, and nothing but the truth."
But the poor girl - the brazen hussy who had "lured away" Charles Ray and "Bill" Hart and goodness
knows how many more, many a time and often, upon the screen - was so "fussed" that she didn't
have a date in her system! Of course, it is historic, personal dates to which I refer.
She has beautiful features, dark brown eyes to match her hair - which was blossoming in 999,999
little round curl-lets-rainbow shaped eyelashes and a dimple in her chin, that would have made St.
Simon Stylites climb down off his pillar and "follow her up."
Even if Sim hadn't felt like "stepping out," I'm sure Louise would have Glaumed him because of her
It was a sheer chiffon house gown in two tones, wine color and yellow, cut rather low.
That lure deadlier than T. N. T. a leopard skin girdle, was caught over one perfect shoulder with a
bejeweled oriental chain.
Slippers and stockings of gold made her 100 per cent dangerous.
I pursuaded Miss Glaum to take me out on her "set." We glimpsed at an $8,000 setting with period
furniture said to have been owned by a princess, which Louise said she'd like to move into." Beside
the regulation "vamp prop," a gigantic polar bearskin, stood a sedan chair which Louise inhabits
during her current picture; and gosh, it was dark! Facing the "sets" real stairs and real banisters -
down which eight ladies had slid during the making of a wild night scene resulting from too much
cider - Miss Glaum testified as follows:
"C. Gardner Sullivan, who wrote the story I am now doing, knows me, and he writes my parts now
days bold at first, but always punished later - teaching a moral. Such parts are true to life, and I'm
glad to do them.
"I have only done a few real vampire parts, according to the figurative definition: 'One who lives by
preying on others.' The term has been so misused that any woman who does anything a bit naughty
is now called a "vamp."
"If 'Zaza,' 'Camille' and 'Sapho' were done in pictures now, they'd call 'em 'vamp' plays; yet the
greatest actresses played them and they were called immoral. They were true to life.
"The woman I now portray are bad to start with, but they are always that kind in real life - people
who make a mistake, do wrong, but later atone for it. They are not vampires - woman entirely bad. If
a woman just makes a mistake unintentionally, I don't believe she should be condemned for it.
That's what makes life interesting - people changing, characters developing.
"The term 'vampire' may and should die, but heavy emotional roles true to life will never die - just as
little curly-haired ingenues will never die.
"I'm not conceited enough to say I originated the 'vamp' on the screen - it's hard to prove that
"But about 1913, at Inceville in Topango Canyon, I first 'vamped' and first starred in my first five
reeler, when five-reelers were new. It was 'The Toast of Death,' Mr. Sullivan's first story for Ince.
They started it as a two-wheeler, then made it a five-reeler.
"It was so successful that they had Mr. Sullivan write for me later "The Wolf Woman," since which I
have always starred.
"Young Charley Ray, who started at Inceville about the time I did, and whom I had led astray in
several pictures, looked so pitiful in 'The Wolf Woman' when he killed himself after I turned him
So! This star had a heart!
And now wonder they starred Miss Glaum. Charley's so good looking that anyone who could vamp
him - even on the screen - by that very fact would demonstrate herself to be the champion of sirens,
the "vamp" of "vamps!"
"The first thing I knew about being a 'vamp,'" Louise declared, "was when I woke up one morning to
read a newspaper notice calling me 'the peacock woman' and a 'vampire.' The term wasn't used in
title, sub-titles or advertising, but was probably invented by eastern critics. I didn't mind the
'peacock woman' part of it, as I wore the first peacock gown on the screen, I think, and I have one in
this picture, and love peacocks.
"My first big emotional role was in a picture called something about 'Ashes.' It changed my whole
type of acting. Mr. Ince saw the possibilities in me, realized that I was better at that, and thereupon
put me into dramatic work. From then on I played emotional roles or 'heavies.'
"I played a female 'Bill' Hart, with two little pistols, in 'Golden Rule Kate' before such roles were
common. I played a wicked dance hall girls, leading 'Bill' Hart astray, when dance hall girls were new.
In 'The Aryan,' with Hart for Ince, I was the bad girl who pretended to be good, 'Bill' found me out
and dragged me by the hair of my head."
For about a year and a half after "The Toast of Death," which she said she'd "love to do again and
make a big picture out of," and after which she always "vamped," Miss Glaum "alternated." That is,
as Ince was not yet prepared to make features permanently, she played "heavies" with Frank
Keenan as well as Hart. Twice, she said, she left Ince, but was "never been success except on the Ince
Her first three pictures produced under her present three-year contract with J. Parker Reed, Jr. are
"Sahara," by Sullivan; "The Lone Wolf's Daughter," by Louis Joseph Vance, and "Sex," by Sullivan.
Director Fred Niblo, handsome, curly-headed, pleasant, spruce, bowed himself into the party at this
juncture. He's the hubby and director of Enid Bennett, you know. Anyhow, he tore Miss Glaum away
from me to "vamp" - pardon me, to "baby" - William Conklin in a scene before my very eyes and
those of Conklin's screen wife, pretty Myrtle Stedman.
And she certainly did it!
The seductive-looking Glaum, puffing at a cigarette, her mocking laughter raising above the soft
music of a violin and portable organ, was alluring as the deuce! That is stating it mildly.
Ah! The enthusiastic Mr. Nibo has restored the lost Louise to give the following resume of her
earlier deeds: "I went into pictures because I couldn't get a job in stock here, Mother didn't want me
return cast, where I'd been a stock. Ingenue, after my little sister died. We lived on Pico Heights. My
home has been in Los Angeles most of the time, though I was born in the country near Baltimore,
Md., leaving there when I was about 4.
"After making the rounds of the studios for a few weeks hunting a job, I started at Universal at $35 a
week, as ingenue lead in one and two-reel comedy dramas, not 'slapstick.' That was about a year and
a half before "The Toast of Death." I played opposite Eddie Lyons, Lee Moran was working in those
"I know I wasn't very good at first, but I seemed to get along all right, staying six or seven months. I
was crazy to get into dramatic work, and had applied to Ince. When he offered me a contract as
Ingenue at $50 a week I was the happiest woman in the world. So many were anxious to work at
Inceville that I felt highly honored.
"For about a year there I 'got by' in two-reel dramas-not my real line of work, though I didn't know it
then. For about $75 a week I went to the Kalem company for four or five months, in which I cried
nights for making such a mistake, being such a fool as to leave Ince. A raise means nothing unless
you can progress artisically.
"He took me back, very repentant. I stayed with him during the time he released through Triangle,
and when he built and went to the present Goldwyn studio at Culver City. When he went over to
Paramount, I remained with the new owners of his studio and later I spent a year on the Brunton
'lot' on the Hodkinson programme."
Miss Glaum, who attended Berendo street school on Pico Heights, said that she never studied for
the stage. When about 16, she "left home" as ingenues with a cheap little road show "Why Girls Leave
Home." She got the job through an employment agency with experience and received $25 a week,
furnishing her own gown, which she made.
Even now she designs her own unusual gowns, spending a large part of her salary for odd creations,
including 20 changes in her current picture.
After reaching her goal, Chicago, Miss Glaum played ingenues in the Imperial Stock company there
for a year and a half, playing in "The Lion and the Mouse," and "The Squaw Man," among other plays.
Then, in a summer stock engagement in Toledo, she created the ingenue role in "Officer 666." Its
author, Augustin McHugh, her stage director in Toledo, tried it out there before New York ever saw
that successful farce.
Miss Glaum's picture debut followed a few more months in stock in Chicago.
"An odd personality, wonderfully easy to get along with," is what her manager calls the Glaum.
"In full 'vamp' regalia, wonderfully hard to tear away from," I'll amend his motion.
I didn't get away till Louise had introduced me to and said a good word for everybody of the set,
including her permanent and "most wonderful" camera man, courteous Charlie Stumar.
"Remember!" said the original ex-"vamp," I'm not vamping nowadays in the erroneous sense of the
bad "vamp." I'm cold-blooded and selfish on screen, but retribution comes and teaches a moral."
written by: Ray W. Frohman