Silent Star of April 1996
"Imperious." "Exotic." "Mysterious." Who else but
She was born Apolonia Chalupec on December 31, 1895 in Lipno, Poland. She
became Pola Negri: toast of two continents, rival of
Swanson, lover to
Valentino. In her last film
The Moon-Spinners (1964), her character, Madame Habeb
exclaims, "I have survived two wars, four revolutions, and five husbands," a
line more relevant to the life of the tempestuous actress than the character
An only child, Pola's comfortable childhood was shattered when her father was
arrested by the Russian Army and sent to a Siberian gulag. She and her
mother moved to Warsaw, where she spent her childhood and early teens in
poverty. With the help of neighbors, Pola auditioned for and was accepted
into the Imperial Ballet, where she was a promising ballerina until the
threat of tuberculosis cut her career short. Desperate to avoid the poverty
of her youth, under the guidance of her mother's childhood friend Casimir de
Hulewicz, she auditioned for and was accepted into the Warsaw Imperial Academy
of Dramatic Arts. Her triumphant debut as Hedwig in Ibsen's The Wild
Duck brought her to the attention of the prestigious and daring Little
Theatre of Philharmonic Hall. After a brief stay, Pola moved on to The
Rozmaitosci, the national theatre of Poland.
By now, Pola had become a popular and well-known actress in Warsaw, but the
outbreak of World War I interrupted her rise and left her and her mother in
dire financial straits. By the time the war receded, Pola had signed with
the Polish film company Sphinx, and starred in her first motion picture role,
Slave of Sin.
As the situation in Warsaw stabilized, the city's theatres soon became active
again, and Pola gained the chance of a lifetime. David Ordynski, a Polish
director currently working with
Max Reinhardt at his Berlin Deutsches
Theatre, returned to Warsaw to stage the Polish premiere of Reinhardt's
Sumurun, the story of a mulatto dancer bought in the slave market
for the Sheik, loved by his son, who kills the Sheik in self-defense. Pola's
success in the role of the slave girl took her to Berlin and the Deutsches
Theatre, but before she left, she starred in one last role for Sphinx,
The Yellow Pass.
While Pola found considerable success at the Deutsches Theatre, but even more
important, Pola found
Ernst Lubitsch, the director who became famous for the
"Lubitsch Touch," the skillful blending of sly wit and innuendo that
confounded even the strictest censor in the 20s. Lubitsch introduced Pola to
Paul Davidson, head of Germany's Union Film Alliance, and
together they made films such as Eyes of the Mummy Ma (1918),
Carmen (1918), (based on the Bizet opera), and
a film version of Sumurun (1920). While Pola also hit it big in such
non-Lubitsch films as Camille and
Sappho (1921), it was their pairing in the smash hit
Madame du Barry (Passion) (1919) that
made them an overnight, European sensation.
First National bought the rights to Madame du Barry (1919),
calling it Passion for
the US release, and leasing the Capitol Theatre for a one-night run.
Instead, the film ran 2 weeks, effectively breaking the ban on German films
and launching the U.S. careers of Lubitsch and Negri. Both signed contracts
with Famous Players and headed for Hollywood.
In her films, Pola's characters, as well as her screen presence, were
distinctly European: sexy in every contemporary sense of the word; strong,
earthy, passionate -- full of fire, and her roles to date were of women whose
will and ardor were equal to Negri's own. But while the 20s were "roaring"
in the U.S., Hollywood was ever mindful of Will Hays and the unwritten "code
of behavior" for women's characters. Pola's U.S. film characters were women
whose intensity never matched her own. Famous Players ended up casting her
in films that were never quite worthy of her, including her U.S. debut
Bella Donna (1923).
Her next film, a remake of The Cheat (1923), became her
best-known role, but it wasn't until she and Lubitsch teamed up for
Forbidden Paradise (1924) that Pola began to make her mark
in Hollywood. Hotel Imperial (1927), directed by
Mauritz Stiller, became another success, and it seemed as
though Pola was beginning to hit her stride.
The death of Rudolph Valentino changed all that. Heavily
attired in black, supported by bodyguards, Pola rushed out to New York
in the middle of filming to throw herself on Valentino's coffin. The
public, sensing melodrama, cooled, resulting in diminishing box-office
receipts, despite critical acclaim in the film Barbed Wire (1927).
Her U.S. career over, and Famous Players (now Paramount) only willing to pay
a fraction of her previous contract, Negri returned to Europe. She returned
to America to make her first talkie with RKO-Pathe,
A Woman Commands (1932), but returned to Europe and Germany, again
making films for UFA, now under the direction of the Nazis. She made her
way out of Germany in 1940 and returned, penniless, to the U.S. to escape
the escalating hostilities. She eventually retired from show business in
1964, living in San Antonio until her death.
Glen Pringle /
Kally Mavromatis /
Copyright © 1996-2012
by Glen Pringle and Kally Mavromatis