Lilyan Tashman's top 5 famous feuds

Despite being mostly forgotten today, actress Lilyan Tashman was a powerful figure in Precode era America. Her popular film and stage performances were eclipsed only by her fabulous lifestyle and reputation as the "best dressed woman in Hollywood". 

She was the reigning Queen of Glamour in the late 20s and early 30s taking over from the silent mega-star Gloria Swanson. Her marriage to actor, Edmund Lowe which lasted until her death was dubbed 'perfect' by fan magazines with their house Lilowe reaching an equal level of design perfection with opulent furnishings and architecture. 

Edmund and Lilyan during a 'private' moment

Tashman's wardrobe received even more public interest and press attention with her glamourous and stylish outfits and accessories creating envy from women all over the world. Like so many other stars on the top, Tashman's life was cut short when in 1934 aged only 37, she died of cancer. (For more information about Tashman's life and career see this great article from Shadows and Satin blog.)

However, another side of Tashman's private and public life shows the woman was not a person to start a fight with. Feuds between the actress and other Hollywood figures became fodder for fan magazines and newspapers. In these incidents, Tashman rarely came out second best. She always fought hard for her reputation and her integrity and didn't pull any punches. For five of her best feuds see below:

5) Eleanor Boardman

Like most of Tashman's public feuds, her little tiff with silent actress Eleanor Boardman was about fashion. According to reports, there had been a "coolness" between the actresses who at the time were both employed by Paramount. 

Eleanor Boardman

The magazine reported that a comment of Tashman's about Boardman's dress sense started the argument. This was continued when Tashman believed Boardman had copied the interior design of her red and white themed house by using green and white as base colours. Although, it turned out costume designer, Adrian, was responsible for the decorating, the similarity between both didn't help the tension between the women. The magazine continued that this "coolness" was resolved after a chance meeting and:

          "Lilyan dashed right up to Eleanor and said graciously,

          "Your house is lovely!"

          Eleanor smiled. "I hope you like it better than my dresses-"

          Lilyan laughed gaily. "Now, Eleanor-"

          And being two intelligent women all was forgotten and they're as chummy as before."

4) Lupe Velez

Nothing represented the public's view of the unrestrained, egotistical Hollywood elite of the late 20s and early 30s more than the feud and reported cat-fight between Tashman and passionate, voluptuous actress, Lupe Velez. 

Lupe Velez

The extent of the conflict and the events leading up to their supposed 'tussle' is unclear; however, author of Lupe Velez: The Life and Career of Hollywood's Mexican Spitfire, Michelle Vogel, believes the tension had been mounting for some time before it became public knowledge. She explained the rivalry in her book:

"One time, while Lupe was dining at the Embassy club, she spotted Lilyan Tashman from across the room. Lilyan was wearing long white gloves, so Lupe proceeded to wrap napkins around her arms and make fun of her for all to see. People snickered at Lupe's impromptu show but Lilyan wasn't laughing. On that occasion, both ladies were retrained before a physical altercation could happen. But sarcastic, bitchy remarks flew back and forth between Lupe and Lilyan for ages. Then came the culmination of years of pent-up frustration and the feisty pair came to blows on the power room floor in the Montemarte Cafe in Hollywood. They clawed, punched and kicked each other and by all accounts, Lupe won a clear decision."

3) Hedda Hopper

The public fight between Hedda Hopper and Lilyan Tashman proved that some leading figures of Precode Hollywood just didn't care bad publicity.

Hedda Hopper

These two press staples didn't hold back when a feud started over who was a better authority on the current fashion. It all began when Hopper wrote a piece on Tashman's wardrobe commenting that she "wears the theatre on her back" and that her over-the-top outfits were both excessive and gaudy. These statements didn't go down well with Tashman who fired back at Hopper's clothing and even making remarks about the columnist and former actresses age. It was followed by a heavily reported incident when both Lilyan and Hopper were invited to judge an Easter fashion show at the Agua Caliente Casino. Both refused taking the opportunity to continue to attack each other's fashion knowledge in a very passive and hilarious way. But don't just take it from me, it's best to read conflict in the words of both ladies:

Lilyan said:

“If she were an authority on clothes, I would pay some attention to her criticism. But, of course, it’s really too absurd. One is either smart – or one simply isn’t smart. One is chic – or one is not chic. Unfortunately, Miss Hopper is not noted for her chic. I am very fond of Hedda and I think she looks quite nice in her things. One would place her as a very respectable aunt from the Middle West. But chic? No. She simply does not have an affinity for clothes. And, of course, I would be foolish to pay the slightest attention to her remarks on a subject which she is so ignorant.”

Hedda said:

“Understand, any remarks that I make about Lilyan’s clothes are not a reflection on her personally. I like Lil. I adore her. .  .  . She wears very beautiful clothes. She dresses in the latest style – often far ahead of it, in fact! I wish I could afford clothes like hers. I wish I could have as many clothes as she has – but if I did, I certainly would not try to wear them all at the same time!

"Lil has a flair for the spectacular. She pays simply appalling prices for very simple little tailored suits that are the last word in chic - and then spoils the effect with jewellery. I wish, my dear, that you could have seen Lil as she arrived from one of her New York trips. She wore a tailored suit and four diamond clips on the lapel of her jacket. Four clips, mind you. Imagine that, if you can! I have always been taught that it is - well - not the best taste.”

Lilyan said:

"At least, my diamond clips are set with real diamonds!"

Hedda said:

"I'm really astonished that Lil should be hurt or angry at what I've said. In criticising her dress, I certainly would not have her think I am criticising her personally. She is very witty and so amusing! The fact that she overdresses is really not of terrific importance. What if she does wear such charming little suits and then drapes her neck with six or seven strands of pearls…?"

Lilyan said:

"I really do not care to discuss Miss Hopper. I consider that I have been very kind and given her all the publicity that even she could want. Knowing how badly she needs publicity. I have been very tolerant but of course there is a limit."

Like all Tashman's feuds, the fire cooled but both women never returned to a cordial relationship before the actress’s early death.

2) Constance Bennett

Although, I suspect most of what is written in the public forum is at the least exaggerated, it is not difficult to see where this feud between Constance Bennett and Tashman started. 

Constance Bennett

In the early 30's both women were in the running for the coveted title of 'best dressed woman in Hollywood'. A 1931 Photoplay identified this as the key to the contempt between the women with Tashman fearing the arrival of the glamorous Bennett in Hollywood would take over her position:

"And then Connie Bennett slithered upon the scene of action. Connie with her fine European ways, her fascinating background, her last-word clothes, threw everybody into a dither. Connie got talked about. Connie got quoted. And Lilyan didn't like that. Lilyan didn't like that and a lot of other things that we can't go into here."

The article continues with a 'passive argument' between the pair at the Embassy Club where, when seeing Tashman enter, Bennett and her friends blatantly left, one-by-one in disgust. A February 1933 Picture Play article supported the claims, saying:

"Constance Bennett does not like Lilyan Tashman and Lil holds for Constance about the same affection. They almost came to blows a year or so ago, according to the grapevine telegraph from Malibu. They will not appear together in a picture."

Even more shocking and - what I consider to be - a completely fabricated, over-the-top account is one from biographer Darwin Porter in his book 'The Secret Life of Humphrey Bogart'. He describes a scene at a party hosted by Basil Rathbone and his wife Ouida Bergere in (I believe) August 1929. As it was a dress-up affair Tashman was dressed as Lady Diana Mayo from The Shiek and Bennett as Maid Marian from Robin Hood. The book argues that Bergère deliberately instigated a conflict by placing both simultaneously in front of press cameras.

Despite wild rumours and strange, outlandish accounts from some authors, it is clear Tashman and Bennett did not get on. Whether they actually came to blows will never truly be known.

1) Alona Marlowe

The only one of Tashman's conflicts to reach the courts was her notorious alleged 'cat fight' between herself and Alona Marlowe (sister of actress, June Marlowe). 

Alona Marlowe

Marlowe brought forward battery charges on May 9, 1931 after an incident which supposedly occurred at the studio offices of Tashman's husband, Edmund Lowe. She alleges that she called in to Lowe's office and that, "Miss Tashman found her there and struck and scratched her. Lowe was not present." Lowe and Tashman both denied ever knowing Marlowe. Lowe was even reported as commenting that, "it is a most fantastic tale". Two days later newspapers announced the case had been dropped but the affair still remained in the minds of film-lovers and the pages of fan magazines.

Marlowe later said that the case was dropped - not because it lacked truth - but because the parties had made an out-of-court settlement. Her attorney said the agreement was made before the court date and that Marlowe, "had received a fair amount of damages for injuries she suffered". The opposing attorney came out against this remark saying, "only a nominal amount was paid. Such a trifling amount as to be insignificant". The settlement signalled the end of the conflict. Despite this the story has continued through history with the usual factual problems and exaggerations. One major problem that even made its way into reputable newspapers was that it was June not Alona who was involved in the incident. 

When an actress disappears…

Where is Edna Mae Cooper? It was a headline grabbing mystery that caught the public's attention and imagination decades before the famous disappearance of Agatha Christie and infamous kidnappings of Patty Hearst and Frank Sinatra Jr dominated newspaper headlines. It happened late February 1931 around Monterey, California. Tram car operator, Melvin Wickman, reportedly saw a woman who resembled Cooper and gave her directions to the Santa Monica canyon. This would be the last anyone would see of the actress and aviatrix for five days.

By the time of her disappearance, Cooper was a household name. At age 18 she began her film career at Famous Players-Lasky Corporation and featured in several popular films such as Rimrock Jones (1918) with Wallace Reid, Old Wives for New (1918) and Sauce for the Goose (1918) with Constance Talmadge. Her roles were mostly walk on or supporting but she was soon being teamed alongside famous stars in even more famous films for example, Cecil B. DeMille's Male and Female (1919) with Gloria Swanson and Why Change Your Wife? (1920) with Gloria Swanson and Bebe Daniels. Her career slowed in 1922 when she married writer and cinematographer, Karl Brown, a man widely known for his connection with director, D. W. Griffith.

Edna Mae Cooper in 1919

Cooper stayed out of the headlights for a period, focusing on forwarding her husband's career until a handful of roles came her way in the mid 1920's. She never snagged a leading role but was credited in more A pictures including Grounds for Divorce (1925) with Florence Vidor and Sally, Irene and Mary (1925) with Constance Bennett and Joan Crawford. These roles would sadly bring the peak of Cooper's varied screen career.

In her late 20's, Cooper turned to another pursuit - flying. With Charles Lindbergh's successful solo Atlantic flight in 1927 and the growing celebrity of Amelia Earhart, aviation was an attractive hobby for wealthy and ambitious women. Early 1931, Cooper and a friend, aviator Bobbi Trout, made plans to break the two person endurance record. Trout was not newcomer to headlines being named the first woman to fly all-night, breaking the women's solo endurance record and breaking the light class aircraft altitude record all in 1929. Their first attempt at the record on January 1 failed due to technical problems but their next attempt proved more successful with the woman flying 122 hours and 50 minutes straight. The pair covered over 7,370 miles and only stopped due to the lack of fuel and were named the record holders.

Bobbi Trout

This success put Cooper on a high. It would be short-lived, however, with a mystery incident or illness causing her to become a national missing person only a month later. It would be Trout alongside Cooper's mother, Mary Cooper, who were the first to speculate on the cause of her disappearance. Newspaper reports from February 28 claimed,

"Mrs Mary Cooper said her daughter, worried over the finances, may have gone to a rest home or hospital. Miss Bobbi Trout said Miss Cooper had often spoken to her of a banker admirer who had rented the upper floor of the Cooper home for a time last year and intimated she might marry him. Miss Trout suggested they may have eloped."

Cooper in her flying gear

It seemed, despite the strange nature of her disappearance, both her mother and her friend believed this it to be of her own choosing. Police investigating the case released details the same day of jewellery found at a Los Angeles pawn shop that they believed belonged to Cooper. Newspapers reported police found $4,500 worth of jewellery Cooper was wearing at the time of her disappearance. They reportedly believed Cooper had either voluntarily parted with the items or was kidnapped and robbed.

On March 2, newspapers broke the news: "Noted Actress, Aviatrix Found in Hospital". According to reports Cooper had been registered at a Monterey hotel under the name of Caroline Hope for several days. Hotel staff noticed she was suffering an illness and called a doctor to attend to her. Dr Hugh Dormody who treated Cooper said she had an abrasion on the back of her head which was possibly a week old as well as bruises and contusions. She was removed to the local hospital where she was identified by old acquaintances, Mrs Gouverneur Morris and former actor Roscoe 'Fatty' Arbuckle as Edna Mae Cooper. Newspapers continued that Cooper told authorities that she believed she was in Santa Monica. A cab driver later came forward claiming he had picked Cooper up while she was wandering aimlessly in Carmel, a nearby art colony.

The following day more strange information came to light. Apparently, Cooper - in desperate need of a rest - took off in her plane for Santa Monica. She told newspapers that she remembered nothing else. What happened after Cooper's plane left the ground is a mystery. The mostly likely answer, and the dominant opinion at the time, was that under intense mental and physical stress, Cooper experienced temporary amnesia. It seems likely and reasonable yet what happened to her during her disappearance still remains a mystery.

Regardless of the publicity the incident afforded Cooper, she only appeared in one more film as a 'Woman of the Court' in The Ten Commandments (1956). She retired to a private life and remained married to Mr Brown until her death aged 85 on June 27, 1986.

Karl Brown in 1980

Precode Pants Parade

Ever since Marlene Dietrich’s controversial and breathtaking appearance in a tailored black tuxedo and top hat in Morocco (1930), dressing in typically masculine clothing became the rage for film actresses in the early thirties. From the distinctly feminine (Myrna Loy, Constance Cummings) to the classically androgenic (Katharine Hepburn, Miriam Hopkins), it seemed all Precode screen icons were getting into the craze of dressing up like men. Have a look at the best examples below:   

The Original - Marlene Dietrich:

Anna May Wong:

Sally Blane:

Miriam Hopkins:

Mary Pickford:

Myrna Loy:

Joesphine Baker:

Fred and Adele Astaire:

Dorothy Mackaill:

Leatrice Joy:

Louise Brooks:

Constance Cummings:

Katharine Hepburn:

Bebe Daniels:

Stunning film advertisements I've never seen before

I found this advertisements in the Paramount’s 20th Birthday Jubilee (1931) publication available online at the Media History Project website. I have never seen them before and thought they were so incredibly beautiful that I had to share them.

Lili Damita Striptease in 'This is the Night' (1932)

   A scene from This Is The Night (1932) featuring the divine and delightful Lili Damita (aka Mrs Errol Flynn I). It’s not a ground breaking film and is a little dated mostly due to the stilted, play like direction. However, with a great performance by Lili, a hilarious few scenes from comedy genius Thelma Todd, a couple of talented wits in Charles Ruggles and Roland and an oh-too-handsome idiot played by Cary Grant, it’s a pretty decent film. If you loved Norma Shearer’s Private Lives (1931) you’ll love This Is The Night (1932).    

 

'He peed on the cadets': Lee Tracy in Mexico

In most tales from Hollywood history, the truth will never really be found. The passing of time and the death of key players as well as the problem of preserving positive legacies, keeps some facts buried forever. Surprisingly with the strange arrest of Lee Tracy during the filming of Viva Villa in late 1933, the facts were never confirmed. With the allegations never going to trial plus the alleged rumour mongering of compulsive liar - namely director Howard Hawks - and the disgruntled, face-saving Mexican authorities there was more accounts of the incident than hours in the day. Despite all the confusion and interested parties, the explanation from Tracy and most of the media seem to support one another with most of the details. Nonetheless, the prevailing story at the time is not the story that has permeated into contemporary pop culture.

The truth (or the closest account to what actually happened)

 

The short version of the account is that on November 20, 1933 during filming of 'Viva Villa' in Mexico, Tracy got heavily intoxicated; appeared on the balcony of his hotel room; and made some kind of obscene gesture to a crowd of people below. This included a parade of cadets, which was taken as a massive insult to the Mexican people. He was arrested, then let go and then rearrested the following day. Authorities then gave Tracy permission to return to the US. According to media reports, Tracy was initially charged with "violation of public morals and insulting the government, the result of a personal appearance, informal and undraped on a hotel balcony". These charges were dropped. Despite media reports, all up Tracy spent seven hours in jail.

 

Tracy's own account after the event substantiated this view:

 

"Tracy freely admitted that he was 'feeling the drinks' after a cabaret party when he hailed a Mexican parade from his hotel balcony. He denied he was unclothed. 'The whole thing started with a grand cabaret party when I came off location Saturday, celebrating the finish of the picture Viva Villa ' Tracy told United Press correspondent in El Paso. 'I heard a parade going by. I ran out on the balcony, waved and shouted 'via la parade. I had on pajama pants. Some of the guys in the parade saw me waving my arms and shouting and they hollered back at me to shut up. I was feeling pretty high so I shouted back as loud as I could, 'Why don't you go to hell'. But I was just helping them celebrate."

 

Charles Clark, who also worked on the film as a cinematographer, made this comment about the event in his autobiography titled Highlights and Shadows: The Memoirs of a Hollywood Cameraman. His view of the event is even more complimentary of Tracy's actions than the actors own story:

 

"As in all parades, there were frequent holdups, and during these many of the paraders would shout for 'Wally Bee-ery'. He and Lee Tracy eventually came out on the balcony of their room and responded to the cheers of their fans. All of the paraders were not ardent fans, however, and some of them would make obscene gestures… Our boys, in innocence, may have laughingly returned a gesture or two, but if so, I did not witness it. I thought it was nice of them to make an appearance and that they must have thrilled many of the country boys…In a short time, our government liaison connections rushed down to the hotel and stated Lee Tracy had to be gotten out of the country immediately. They said that the papers were coming out that afternoon with a story to the effect that Tracy had insulted the Mexican flag, Mexican motherhood and the nation in general."

It was not until November 21 after Tracy was released for the first time that reports surfaced alleging Tracy was in fact naked on the balcony. A newspaper article printed on November 21 by a Mexican paper brought forward the eye witness account of a local man and his daughter:

 

"Heraclio Rodriguez, acting prosecutor of the federal district, said Tuesday that he was ordering the police of all border towns to arrest Lee Tracy, American movie actor, who left here some hours earlier by train for Laredo, Tex. The American actor had departed by permission of the police after being held in custody twice since Sunday and questioned on a complaint that he had "offended public morals". No explanation was made of the apparent divergence of opinion on the action. The case passed to Rodriguez when Tracy was arrested for the second time Monday on the complaint of a lawyer, Alfonzo Esparza, who said he and his 12-years-old daughter saw Tracy standing unclothed on a balcony of his hotel. Tracy was told that he had to remain in the city after he was released on his own recognisance following the arrest, but he left Tuesday morning, apparently with permission…A delegation requested Present Rodriguez to refuse to allow the film, already made, to be taken from Mexico."

 

A memo was later sent to the US authorities from the US ambassador to Mexico which mentions Tracy as being 'unclad':

"A memo sent to the State Department by the American ambassador to Mexico, Josephus Daniels…: Tracy appeared on a balcony of the Hotel Regis, unclad and using very profane and insulting language at the moment when the military cadets marching in the parade of November 20 were passing in front of the hotel."

It was also reported:

"Mexican officials declared he wore only a robe that slipped from his shoulders during his outburst."

The aftermath

The outburst from Mexican authorities and media was enough pressure to make MGM boss, Louis B. Mayer to sack the actor from both the film and the studio. On November 23, he made a public and private apology to Mexico:

"The insult offered by this actor to the Mexican cadet corps has embarrassed and shocked the Metro-Goldwyn-Mayer organisation fully as deeply as it has the Mexican people. As a result of this actors deplorable behaviour, Metro-Goldwyn-Mayer has removed him not only from the film 'Viva Villa' but has dismissed him entirely from its employ and cancelled his long term contract."

 Tracy with H. W. Waller of El Paso upon his return to the US

On Tracy's return to the US where he was greeted by girlfriend and actress Isabelle Jewel, he made more statements to the media regarding the incident. With the legal issues resolved, Tracy's focus was now on the future of his movie career.

"…Tracy said he had no plans but that he was mighty sorry it all happened. 'I do feel a bit bad about the whole thing', Tracy said when he arrived by train from El Paso, 'It seems to me I should be given a chance to tell the studio my side of the story.' 'Why, I like the place,' he cried, waving his hands, 'I stood at the balcony and cheered the boys. You know how those things area. Somebody shouted up at me and I shouted back…I'll still keep on working. The whole thing is a misunderstanding and I want most to straighten it out so everybody will be happy again.'"

Seven days after the incident occurred film industry magazines reported Stuart Erwin was announced as taking over Tracy's role in the film. He was an experienced actor but by no means as famous or talented as Tracy. As the initial shock and interest of the event died down, speculation as to the future of Tracy's place in the film industry began. A shock to the film industry, Tracy came out on top and almost unscathed:

Stuart Erwin with Wallace Beery

"Despite the fact that MGM have given Lee Tracy the proverbial spanking his fans are still loyal. Last evening I attended a preview of Lee's most recent cinematic effort –Advice for the Lovelorn - and the applause that greeted Mr Tracy was breath taking." Also that the San Fran theatre is doing capacity business. "And so you can easily understand that Lee's offers have been numerous for both screen and stage." (December 6, 1933)

"Lee Tracy is not through in motion pictures…If the women should turn thumbs down on Tracy, then he'll be through. They are too powerful to combat…Tracy has lost contracts before due to off-the-screen activities. But always there has been another major studio ready to hire him. And there are studios ready to sign him now." (December 14, 1933)

The urination situation

Claims are still circulating that instead of making 'obscene gestures' or even appearing 'unclad', Tracy urinated on the crowd. Although having no evidence in newspaper articles or eye witness accounts, some articles still insinuate that this occurred. But where did it come from? Biographers and historians seem to agree it was the films first director, Howard Hawks, who spread the rumour.  According to Bob Herzberg in his book Revolutionary Mexico on Film: A Critical History, 1914-2014, Hawks said Tracy, "peed on the Chapultepic Cadets during the Independence Day parade in Mexico and got in the can." Apparently, actor Dezi Arnaz who was involved in the making of the film, also wrote in his autobiography (admittedly I have not read it) that Tracy did indeed urinate on the crowd.

The juries out whether Tracy in fact urinated on the crowd. It is strange, however, that if it was the case why the Mexican newspapers did not report it. The country was openly against the production and would have used any and every opportunity they had to send the cast and crew packing. I agree with Herzberg, the rumour Tracy urinated on the crow most likely did not occur.

More troubles

Despite the Tracy incident, the film was riddled with problems and controversies. Around the time Tracy was fired, Hawks also left the production. There are several reported reasons for this including the assertion that Hawks was removed for standing up for Tracy and another that Hawks left due to unsafe working conditions.  Actress Mona Maris also began working in the lead female role but was replaced by Fay Wray. The film also causes several controversies between US and Mexican authorities with no Hispanic cast in the film and an actor typecast as a villain in the main role.

 

Adding further to the drama of the production, a plane carrying reels of film from Viva Villa crash landed in El Paso on November 22, 1933. A newspaper stated:

"J.J. Ingram, pilot, of Los Angeles jumped to safety today from his airplane which crashed in flames in an El Paso residential section. The plane was carrying films of Viva Villa in which Lee Tracy…was playing. Ingram suffered severe burns on the face and legs before he could be extricated. What caused Ingram's plane to burst into flames was not revealed. Howard Hawks, director, estimated the destroyed film was worth $100,000."

Somehow the film was completed and released on April 27, 1934 approximately three years after filming originally began. With a budget of just over $1million the film was an expensive production for MGM and had a poor gross taking of about $1.109 million. Despite the setbacks, the film was a critical and popular success with three Academy Award nominations (Best Picture, Best Writing Adaption and Best Sound Recording) and one win for John Waters as Best Assistant Director. Viva Villa (1934) is proof that no matter what troubles a film has during production, it has no bearing on its future success. The same of which can be said about actors, ie. Lee Tracy.

 

The Never Films: Jealousy (1929)

This is the first in what I hope will be several posts on lost and, now, forgotten films of the Pre-code era. For more information on lost films and film preservation go to the National Film Preservation Foundation

 

 Publicly known as Jeanne Eagle’s 'obituary', Jealousy (1929) became one of the most significant insignificant films of the year. It was directed by Frenchman Jean de Limur whose only other talking film credit was also Eagles speaking debut in The Letter (1929). The first film Eagles and de Limur made together proved to be a commercial and critical success. Eagle’s talents as a screen actress as well as a stage actress were cemented as she was also nominated for Academy Award for Best Picture for the controversial film about adultery and murder without punishment. In 1929, Eagles was at the height of her Hollywood success. During that year Paramount announced Eagles would star in another melodrama:

"Jeanne Eagles, star of Paramount's all-talking picture The Letter, has begun 'Jealousy' her second film at the studio in Astoria. The picture will be directed by Jean de Limur - who directed The Letter - and the production will be under the general charge of Monta Bell, production executive of the studio. Alfred Gilks is cameraman."

Nothing much is written about the production which commenced on March 1929 except for the change of the leading man from British actor Anthony Bushell to Fredric March at Eagles insistence. The decision was made after all Bushell's scenes were completed, so extensive reshoots were ordered. Another tragedy plagued the set with co-star, British actress Hilda Moore, dying on May 18 before production was completed. She was just 43. It was believed she caught a streptococcal infection from her 5-year-old son and died after being ill for six days. An autopsy gave the official cause of death as blood poisoning. The final cut was completed with a length of just 66 minutes.

Before the film’s release date, trade and fan magazines wrote glowing accounts of the performances of the actors as well as the behind-the-scenes crew while others called it a disappointment compared to The Letter:

"Jealousy said to be a greater production than The Letter with Jeanne Eagles in the starring role, will be featured at the Fox-U O Theatre in the near future according to the announcement of the management. In this all-talking picture is the brief drama of a woman who loved and lost through jealousy. It portrays how the lives of three persons were changed by one spoken word. The screen version of the stage play has been elaborated in settings and augmented in cast. Characters originally only referred to by two players now appear in the persons of Halliwell Hobbes, former lover of the woman; Blanch Le Chair, his mistress; and Henry Daniell, her lover. Miss Eagles' leading man is Fredric March. "

 

"After The Letter any appearance of Jeanne Eagles is important for she is always arresting, intelligent, provocative, individual. She is all these in Jealousy, but the picture doesn't coalesce into a strong attraction, and certainly not one strong enough for Miss Eagles. One of the reasons lies in the fact that the play was written for two characters only - Yvonne, the mistress of a rich old man, and Pierre, the poor young artist whom she marries…The result is a somewhat rambling narrative lacking distinction or marked sympathy for any of the characters. But it is worth seeing for the sake of Miss Eagles who makes Yvonne a fascinating figure far from the conventional heroine with a "past"."

After the film premiered, Eagles underwent eye surgery in New York City as well as treatment for breathing issues and neuritis. Her health had never fully recovered after she began using heroin and abusing alcohol in the mid-1920s. On October 3, she suffered a collapse when visiting her doctor. She began convulsing and died. Her death was officially attributed as to an overdose of sedative 'chloral hydrate'; however, autopsy and toxicology reports also found Eagles had alcohol and heroin in her organs at the time of her death. She was buried in Calvary Cemetery, Kansas City on October 7.

Advertising and reviews of the film altered after her death. In one article it describes the marquees as reading,

"Outside - bright lights, life and movement. Inside - last respects to a great actress. It is more than merely a picture you watch at the Enright this week. It is a swan song of a woman, dead now for months, who climbed from tent shows to Broadway heights to the vivid, living climax of a career that has embraced everything from poverty to fame and fortune" 

Another review wrote:

"Jealousy is Jeanne Eagles obituary. It is a worthwhile epitaph for a worthwhile career."

It is this 'swan song' that will probably never be enjoyed by modern audiences. Although reviews weren't as favourable as the more popular and successful The Letter, Jealousy was still a part of Pre-code history as well as being the last film for both Jeanne Eagles and Hilda Moore.