William Desmond Taylor

Coordinates: 34°03′39″N 118°16′24″W / 34.06091°N 118.27336°W / 34.06091; -118.27336

William Desmond Taylor
Born	William Cunningham Deane-Tanner (1872-04-26)26 April 1872 County Carlow, Ireland
Died	1 February 1922(1922-02-01) (aged 49) Los Angeles, California, U.S.
Cause of death	Homicide
Resting place	Hollywood Forever Cemetery
Nationality	Irish-American
Other names	William D. Taylor William Taylor
Occupation	Director, actor
Years active	1913–1922
Spouse(s)	Ethel May Hamilton (m. 1901–12)
Children	1
Relatives	Denis Gage Deane-Tanner (brother)

William Desmond Taylor (26 April 1872 – 1 February 1922) was an Irish-born American director and actor. He directed 59 silent films between 1914 and 1922 and acted in 27 between 1913 and 1915. He was a popular figure in the growing Hollywood motion-picture colony of the 1910s and early 1920s.^[1]

Taylor's murder on 1 February 1922, along with other Hollywood scandals, such as the Roscoe Arbuckle trial, led to a frenzy of sensationalist and often fabricated newspaper reports.^[2] His murder remains an official cold case.^[3]

Early life

William Cunningham Deane-Tanner was born into the Anglo-Irish gentry on 26 April 1872 at Evington House, County Carlow, Ireland, one of five children of a retired British Army officer, Major Kearns Deane-Tanner of the Carlow Rifles, and his wife, Jane O'Brien. His siblings were Denis Gage Deane-Tanner, Ellen "Nell" Deane-Tanner Faudel-Phillips, Lizzie "Daisy" Deane-Tanner and Oswald Kearns Deane-Tanner.^[4] The Home Rule MP Charles Kearns Deane Tanner was his father's youngest brother.

In 1890 he left Ireland for a dude ranch in Kansas. At the time it was a short-lived trend among some of the Anglo-Irish and English gentry to send their sons to the United States to become "gentlemen farmers". In Kansas, William became reacquainted with acting (his first experiences being at school) eventually moving to New York.^[1] While in New York, he worked in "The Antique Shoppe" and eventually married Ethel May Hamilton. The Episcopalian ceremony took place on 7 December 1901, at the Little Church Around the Corner;^[4] they divorced in 1912.^[5]

Although Mrs Deane-Tanner had appeared as a member of the Florodora sextet as Ethel May Harrison,^[6] she was the daughter of a wealthy Wall Street broker who provided Deane-Tanner with funding to set up the English Antiques Shop, through which he could support a family. The Deane-Tanners were well known in New York society and members of several clubs until Deane-Tanner abruptly vanished on 23 October 1908 at the age of 36, deserting his wife and their daughter Ethel Daisy.^[1] After his disappearance friends said that William had suffered "mental lapses" before, and his family thought at first that he had wandered off during an episode of amnesia. His brother, Denis, a former lieutenant in the British Army and a manager of a New York antiques business, would also disappear four years later, in 1912, abandoning his wife and two children.^[6][7]

Career

After William left his family and New York, he traveled through Canada and the northwestern United States gold mining and working with various acting troupes. Eventually he switched from acting to producing. By the time he arrived in San Francisco, William Deane-Tanner had changed his name to William Desmond Taylor;^[1] by December 1912, he was in Hollywood. He worked successfully as an actor—including four appearances opposite Margaret "Gibby" Gibson—before making his first film as a director, The Awakening (1914). Over the next few years, he directed more than fifty films.

At some point around 1915, contact was made between William and his former sister-in-law, Ada Brennan Deane-Tanner, wife of his younger brother Denis. Denis had abandoned Ada and their two surviving children in New York in 1912. Shortly after Denis left, Ada and her daughters moved to Monrovia, California where Ada could be treated at the Pottinger Sanitorium for tuberculosis. Ada's sister Lillian Pomeroy was married to the sanitorium's physician in charge, Dr. John L. Pomeroy.^[8] William decided to send Ada a monthly check in the amount of $50.00 to help her support her children after her husband's abandonment.^[9] This would become public after Taylor's murder and the press descended upon the little town of Monrovia.

In July 1918, towards the end of World War I, Taylor enlisted in the Canadian Expeditionary Force as a private at the age of 46. After training for four and a half months at Fort Edward, Nova Scotia, Taylor sailed from Halifax on a troop transport carrying five hundred Canadian soldiers.^[10] They arrived at Hounslow Barracks, London on 2 December 1918.^[10]

Taylor was ultimately assigned to the Royal Army Service Corps of the Expeditionary Forces Canteen Service, stationed at Dunkirk and promoted to the temporary grade of lieutenant on 15 January 1919.^[11][12] At the end of April 1919, Taylor reached his final billet at Berguet, France, as Major Taylor, Company D, Royal Fusiliers.^[13] Returning to Los Angeles on 14 May 1919, Taylor was honoured by the Motion Picture Directors Association with a formal banquet at the Los Angeles Athletic Club.^[13]

After returning from military service, Taylor went on to direct some of the most popular stars of the era including Mary Pickford, Wallace Reid, Dustin Farnum and his protégée, Mary Miles Minter, who starred in the 1919 version of Anne of Green Gables. Between 1914 and 1919 Taylor was engaged to actress Neva Gerber, whom he had met during the filming of The Awakening. Gerber later recalled, "He was the soul of honour, a man of personal culture, education, and refinement. I have never known a finer or better man."^[14] By this time, Taylor's ex-wife and daughter were aware that he was working in Hollywood. In 1918, while watching the film Captain Alvarez, they saw Taylor appear on the screen. Ethel responded, "That's your father!" In response, Ethel Daisy Deane-Tanner wrote to her father in care of the studio. In 1921, Taylor visited his ex-wife and daughter in New York City and made Ethel Daisy his legal heir.^[15]

Murder

At 7:30 am on the morning of 2 February 1922,^[16] the body of William Desmond Taylor was found inside his bungalow at the Alvarado Court Apartments,^[16] 404-B South Alvarado Street,^[17] in Westlake, Los Angeles, a trendy and affluent neighbourhood. A crowd gathered inside and someone identifying himself as a doctor stepped forward, made a cursory examination of the body and declared Taylor had died of a stomach haemorrhage. The doctor was never seen again, perhaps owing to his own embarrassment, because when doubts later arose, the body was rolled over by forensic investigators and it was discovered the 49-year-old film director had been shot at least once in the back with what appeared to have been a small-caliber pistol, which was not found at the scene.

Funeral

Taylor's funeral took place on February 7, 1922, in St. Paul's Pro-Cathedral. After an Episcopal ceremony, Taylor was interred in a mausoleum at Hollywood Cemetery on Santa Monica Boulevard in Hollywood.^[18] The inscription on his crypt reads, "In Memory of William C. Deane-Tanner, Beloved Father of Ethel Deane-Tanner. Died 1 February 1922."^[19]

Investigation

In Taylor's pockets, investigators found a wallet holding $78 in cash, a silver cigarette case, a Waltham pocket watch, a pen knife and a locket bearing a photograph of actress Mabel Normand.^[20] A two-carat diamond ring was on his finger.^[21] With the evidence of the money and valuables on Taylor's body, it seemed apparent that a robbery was not the motive for the killing; however, a large but undetermined sum of cash that Taylor had shown to his accountant the day before was missing and apparently never accounted for. After some investigation, the time of Taylor's death was set at 7:50 p.m. on the evening of 1 February 1922.^[17]

While being interviewed by the police five days after the director's body was found, Mary Miles Minter said that following the murder a friend, director and actor Marshall Neilan, told her Taylor had made several highly "delusional" statements about some of his social acquaintances (including her) during the weeks before his death. She also said Neilan thought Taylor had recently become "insane".^[22]

In the midst of a media circus caused by the case, Los Angeles Undersheriff Eugene Biscailuz warned Chicago Tribune reporter Eddie Doherty, "The industry has been hurt. Stars have been ruined. Stockholders have lost millions of dollars. A lot of people are out of jobs and incensed enough to take a shot at you."^[23]

According to Robert Giroux, "The studios seemed to be fearful that if certain aspects of the case were exposed, it would exacerbate their problems." King Vidor said of the case in 1968: "Last year I interviewed a Los Angeles police detective, now retired, who had been assigned to the case immediately after the murder. He told me, 'We were doing all right and then, before a week was out, we got the word to lay off.'"^[23]

Suspects and witnesses

More than a dozen individuals were eventually named as suspects by both the press and the police. Newspaper reports at the time were both overwhelmingly sensationalised and speculative, even fabricated, and the murder was used as the basis for much subsequent "true crime" fiction. Many inaccuracies were carried forward by later writers who used articles from the popular press as their sources. Overall, most accounts have consistently focused on seven people as suspects and witnesses.

Edward Sands

Edward F. Sands had prior convictions for embezzlement, forgery and serial desertion from the US military. Born in Ohio, he had multiple aliases and spoke with an affected cockney accent. He had worked as Taylor's valet and cook up until seven months before the murder. While Taylor was in Europe the summer before, Sands had forged Taylor's name on checks and wrecked his car. Later Sands burgled Taylor's bungalow, leaving footprints on the film director's bed. Following the murder, Edward Sands was never heard from again.^[24]

Henry Peavey

Henry Peavey, who replaced Sands as valet, found Taylor’s body. Newspapers noted that Peavey wore flashy golf costumes but did not own any golf clubs. Peavey had a criminal record. Three days before Taylor's murder, Peavey had been arrested for "social vagrancy" and charged with being "lewd and dissolute".^[25]

According to Robert Giroux,

"Even though the police decided, after severe questioning, that Peavey was not the murderer, the Hollywood correspondent of the New York Daily News, Florabel Muir, came to a private conclusion that Peavey was the murderer. In that era of ingenious women reporters, Muir thought she could engineer a scoop by tricking Peavey into a confession. She knew (from the movies) that blacks were deathly afraid of ghosts. With the help of two confederates, Frank Carson and Al Weinshank, she offered Peavey ten dollars if he would identify Taylor's grave in the Hollywood Park Cemetery (which she had already visited).^[26] Weinshank had gone on ahead with a white sheet, and Muir and Carson drove Peavey to the site. Weinshank, who came from a tough section of Chicago, spoke with the accents of a hoodlum. When he loomed up in the sheet and cried out, "I am the ghost of William Desmond Taylor. You murdered me. Confess, Peavey!" Henry laughed out loud. Then he cursed them roundly. Unfortunately for Muir, she was unaware that Taylor had a distinctive British accent. Weinshank, as Muir revealed in her memoirs, not only spoke like a hoodlum but was one of the Chicago mobsters who later were gunned down in the infamous St. Valentine's Day Massacre."^[26]

In 1931, Peavey died in a San Francisco asylum where he had been hospitalised for syphilis-related dementia.^[27]

Mabel Normand

Mabel Normand was a popular comedic actress and frequent costar with Charlie Chaplin and Roscoe Arbuckle. According to author Robert Giroux, Taylor was deeply in love with Normand, who had originally approached him for help in curing her cocaine dependency. Based upon Normand's subsequent statements to investigators, her repeated relapses were devastating for Taylor. According to Giroux, Taylor met with Federal prosecutors shortly before his death and offered to assist them in filing charges against Normand's cocaine suppliers. Giroux expresses a belief that Normand's suppliers learned of this meeting and hired a contract killer to assassinate the director. According to Giroux, Normand suspected the reasons for her lover's murder, but did not know the identity of the triggerman.^[28]

On the night of his murder, Normand left Taylor's bungalow at 7:45 pm in a happy mood, carrying a book he had given her as a loan. They blew kisses to each other as her limousine drove away. Normand was the last person known to have seen Taylor alive. The Los Angeles Police Department subjected Normand to a grueling interrogation, but ruled her out as a suspect.^[29] Most subsequent writers have done the same. However, Normand's career had already slowed and her reputation was tarnished by revelations of her addiction, which was seen as a moral failing. According to George Hopkins, who sat next to her at Taylor's funeral, Normand wept inconsolably throughout the ceremony.^[30]

Ultimately, Normand continued to make films throughout the 1920s. She died of tuberculosis on 23 February 1930. According to her friend and confidant Julia Brew, Normand asked her a few days before she died: "Julia, do you think they'll ever find out who killed Bill Taylor?"^[19]

Faith Cole MacLean

Faith Cole MacLean was the wife of actor Douglas MacLean and the couple were neighbours of Taylor. She is widely believed to have seen Taylor's killer. The couple were startled by a loud noise at 8 pm. MacLean went to her front door and saw someone emerging from the front door of Taylor’s home whom she said was dressed, "like my idea of a motion picture burglar". She recalled this person paused for a moment before turning and walking back through the door as if having forgotten something, then re-emerged and flashed a smile at her before disappearing between the buildings. MacLean decided she had heard a car back-fire. She also told police interviewers this person looked "funny" (like movie actors in makeup) and may have been a woman disguised as a man.

Charles Eyton

Charles Eyton was the General Manager of Paramount Pictures. Several sources claimed that in the hours following Taylor's murder, Eyton entered Taylor's bungalow with a group of Paramount employees and removed compromising items, either before police arrived or with their permission.

Mary Miles Minter

Mary Miles Minter was a former child star and teen screen idol whose career had been guided by Taylor. Minter, who had grown up without a father, was only three years older than the daughter Taylor had abandoned in New York. Love letters from Minter were found in Taylor’s bungalow. Based upon these, the reporters alleged that a sexual relationship between the 49-year-old Taylor and 19-year-old Minter had started when she was 17. Robert Giroux and King Vidor, however, dispute this allegation. Citing Minter's own statements, both believed that her love for Taylor was unrequited. Taylor had often declined to see Minter and had described himself as too old for her.

However, facsimiles of Minter's passionate letters to Taylor were printed in newspapers, forever shattering her screen image as a modest and wholesome young girl. Minter was vilified in the press. She made four more films for Paramount, and when the studio failed to renew her contract, she received offers from many other producers. Never comfortable as an actress, Minter declined them all. In 1957, she married Brandon O. Hildebrandt, a wealthy Danish-American businessman.^[31] She died in wealthy obscurity in Santa Monica, California on 4 August 1984.

Charlotte Shelby

Charlotte Shelby was Minter’s mother. Like many stage mothers before and since, she has been described as consumed by wanton greed and manipulation over her daughter's career. Minter and her mother were bitterly divided by financial disputes and lawsuits for a time, but they later reconciled. Shelby's initial statements to police about the murder are still characterised as evasive and "obviously filled with lies" about both her daughter's relationship with Taylor and "other matters".^[32]

Perhaps the most compelling bit of circumstantial evidence was that Shelby allegedly owned a rare .38 calibre pistol and unusual bullets very similar to the kind which killed Taylor. After this later became public, she reportedly threw the pistol into a Louisiana bayou. Shelby knew the Los Angeles district attorney socially and spent years outside the United States in an effort to avoid official inquiries by his successor and press coverage related to the murder. In 1938 her other daughter, actress Margaret Shelby (who was by then suffering from both clinical depression and alcoholism), openly accused her mother of the murder during an argument. Shelby was widely suspected of the crime and was a favourite suspect of many writers. For example, Adela Rogers St. Johns speculated Shelby was torn by feelings of maternal protection for her daughter and her own attraction to Taylor. Although (like Edward Sands) Shelby feared being tried for the murder, at least two Los Angeles county district attorneys publicly declined to prosecute her.^[16][33] Almost twenty years after the murder, Los Angeles district attorney Buron Fitts concluded there was not any evidence for an indictment of Shelby and recommended that the remaining evidence and case files be retained on a permanent basis (all of these materials subsequently disappeared). Shelby died in 1957. Fitts, in ill-health, committed suicide in 1973.

"Blackie" Madsen (Ross Sheridan)

Recently, author William J. Mann has identified career criminal "Blackie" Madsen (real name Ross Sheridan) as the killer in his 2014 book.^[34] Mann hypothesizes that Taylor was being blackmailed by Madsen associate Don Osborn, and provided with information by Margaret Gibson.

Margaret Gibson's 1964 confession

Margaret Gibson was a film actress who worked with Taylor when he first came to Hollywood. In 1917 she was indicted, tried and acquitted on charges equivalent to prostitution (there were also allegations of opium dealing) and changed her professional name to Patricia Palmer. In 1923 Gibson was arrested and jailed on extortion charges which were later dropped. Gibson was 27 years old and in Los Angeles at the time of the murder. No record of her name was ever mentioned in connection with the investigation. Soon after the murder she got work in a number of films produced by Famous Players-Lasky, Taylor's studio at the time of his death.

One of these films was among the last made by Mary Miles Minter. Gibson (in her words) "fled" the United States to the Far East in 1934, where she married her husband who worked for Socony (later Mobil Oil). However, she returned to Los Angeles in 1940 for medical reasons. Her husband, Elbert Lewis, died in a March 1942 Japanese attack on the Socony oil refinery at Penang, Straits Settlements (now Malaysia) during World War II. Lewis left Gibson with a small pension, which she lived on until her death in 1964. In 1999, the widely cited newsletter Taylorology published an account that on 21 October 1964, while living in the Hollywood hills under the name Pat Lewis, she suffered a heart attack. As a recently converted Roman Catholic, before dying she confessed she "shot and killed William Desmond Taylor", along with several other things the witness didn't understand and could not remember more than 30 years later.^[35] The witness to her confession later repeated his recollection in a televised documentary.^[36]

Taylorology

From 1993 to 2000 Bruce Long, a staff member at Arizona State University (later retired), transcribed several hundred newspaper and magazine articles from the 1910s and 1920s relating to Taylor, his murder, the suspects, many of Taylor's contemporaries and their links to Taylor. The compiled result is a journal called Taylorology, which contains over a thousand pages of text and has been noted as a significant archive of primary and secondary source material relating both to Taylor's murder and the early Los Angeles film colony.

Lack of evidence

Through a combination of poor crime scene management and apparent corruption, much physical evidence was immediately lost, and the rest vanished over the years (although copies of a few documents from the police files were made public in 2007).^[37] Various theories were put forward after the murder and in the years since, along with the publication of many books claiming to have identified the murderer, but no hard evidence was ever uncovered to link the crime to a particular individual. Given Margaret Gibson's thoroughly documented background, the report of her dying confession attracted the attention of film historians,^{[2][38][39][40]} but aside from circumstantial evidence, no independent confirmation has emerged.^[41]

Aftermath

A spate of newspaper-driven Hollywood scandals during the early 1920s included Taylor's murder, the Roscoe Arbuckle trial, the death of Olive Thomas, the mysterious death of Thomas H. Ince and the drug-related deaths of Wallace Reid, Barbara La Marr, and Jeanne Eagels, which prompted Hollywood studios to begin writing contracts with "morality clauses" or "moral turpitude clauses", allowing the dismissal of contractees who breached them.^[42][43]

In popular culture

• The 1950 film Sunset Boulevard with William Holden and Gloria Swanson featured a fictional, aging silent screen actress named "Norma Desmond" whose name was taken from Taylor's middle name and Mabel Normand's last name as a way to resonate with the widely publicised scandals of almost thirty years before.^[44]

• The 1951 film Hollywood Story, an attempt by Universal Pictures to take advantage of the success of Sunset Boulevard, is clearly based directly on the Taylor murder.^[45] While the film reaches a fictional conclusion, it follows the circumstances of the real-life event closely.

• Gore Vidal's 1990 novel Hollywood features a fictionalised account of the Taylor murder.^[46]

• Taylor's murder was depicted in David Merrick's production of the Jerry Herman - Michael Stewart "cult" musical Mack & Mabel which opened on Broadway at the Majestic Theatre on 6 October 1974 and ran for six previews and 66 regular performances. Directed and choreographed by Gower Champion, the production starred Robert Preston as Mack Sennett and Bernadette Peters as Mabel Normand, with James Mitchell portraying William Desmond Taylor.^[47]

• In 2012, to mark the 140th anniversary of his birth, The William Desmond Taylor Society, in his home town of Carlow, established Taylorfest, an annual arts and film festival honoring Ireland's most prolific film maker and celebrating the contribution of the Irish to silent film.

• In 2013, TinPot and Cleverality Productions produced, with funding from The Broadcast Authority of Ireland, a one-hour drama-documentary examining the murder of William Desmond Taylor presented in the style of a 1920s live radio show entitled "Who Killed Bill?'. Written and directed by Marc-Ivan O'Gorman the show combined dramatizations with interviews from experts; including Oscar-winning film historian Kevin Brownlow.

Career as director

Taylor directed more than 60 films. The notable among these include:

• The Diamond From the Sky (1915)
• The Heart of Paula (1916; *co-directed with friend Julia Crawford Ivers)
• Davy Crockett (1916)
• Tom Sawyer (1917)
• Mile-a-Minute Kendall (1918)
• How Could You, Jean? (1918) with Mary Pickford
• Anne of Green Gables (1919) with Mary Miles Minter
• Huckleberry Finn (1920)
• Judy of Rogue's Harbor (1920)
• The Green Temptation (1922) (released posthumously)
• The Top of New York (1922) (released posthumously)

References

Further reading

• Giroux, Robert (1990). A Deed of Death: The Story Behind the Unsolved Murder of William Desmond Taylor. Knopf. ISBN 0-394-58075-3. 
• Higham, Charles (2004). Murder in Hollywood: solving a silent screen mystery. University of Wisconsin Press. ISBN 0-299-20360-3. 
• Kirkpatrick, Sidney D. A Cast of Killers (King Vidor's view of the Taylor murder), publisher: Onyx; Reprint edition, 1 September 1992, paperback, 336 pages, ISBN 0-451-17418-6.
• Long, Bruce (1991). William Desmond Taylor: A Dossier. Scarecrow Press. ISBN 0-8108-2490-6. 
• Sennett, Mack (1954). King of Comedy. Doubleday. ISBN 0-916515-66-4. 
• Brash, S. and J. Cave, ed. (1993). "The Director". Unsolved Crimes (True Crime Series). Time-Life Books. ISBN 0-7835-0012-2. 
• 'Fallen Angels, a Blackwood McCabe Hollywood Mystery' by Dominic Lagan, Strategic Books, New York 2009, ISBN 978-1-60860-196-7

External links

Wikimedia Commons has media related to William Desmond Taylor.

• Taylorology Homepage Links to all issues of Taylorology (4 through 98).
• William Desmond Taylor at the Internet Movie Database
• William Desmond Taylor at the TCM Movie Database
• The Kiss on YouTube
• 16 Silent Film Celebrities & the William Desmond Taylor Case on YouTube

Films directed by William Desmond Taylor The Smouldering Spark (1914)*short A Soul Astray (1914)*short The Song of the Sea Shell (1914)*short The Criminal Code (1914)uncredited The Awakening (1914)*short The Judge's Wife (1914) When the Road Parts (1914)*short* A Slice of Life (1914)*short The Beggar Child (1914)*short The Last Chapter (1914) Brass Buttons (1914)*short An Eye for an Eye (1915) The High Hand (1915) The Diamond from the Sky (1915) Eyes That Cannot See (1915)*short Tricks of Fate (1915) The Lonesome Heart (1915) The Soul of the Vase (1915)*short Peggy Lynn, Burglar (1915)*short A Woman Scorned (1915) He Fell in Love with His Wife (1916) Ben Blair (1916) The Heart of Paula (1916) Pasquale (1916) The American Beauty (1916) Davy Crockett (1916) The Parson of Panamint (1916) The House of Lies (1916) Her Father's Son (1916) Redeeming Love (1916) Happiness of Three Women (1917) Out of the Wreck (1917) The World Apart (1917) Big Timber (1917) The Varmint (1917) North of Fifty-Three (1917) Jack and Jill (1917) Tom Sawyer (1917) The Spirit of '17 (1918) Huck and Tom (1918) Up the Road with Sallie (1918) His Majesty, Bunker Bean (1918) Mile-a-Minute Kendall (1918) How Could You, Jean? (1918) Johanna Enlists (1918) Captain Kidd, Jr. (1919) Anne of Green Gables (1919) Huckleberry Finn (1920) Judy of Rogue's Harbor (1920) Nurse Marjorie (1920) Jenny Be Good (1920) The Soul of Youth (1920) The Furnace (1920) The Witching Hour (1921) Sacred and Profane Love (1921) Wealth (1921) Beyond (1921) Morals (1921) The Green Temptation (1922) The Top of New York (1922)

Authority control WorldCat VIAF: 62634283 LCCN: n84100300 ISNI: 0000 0000 7319 9621 GND: 12966085X BNF: cb146493268 (data)