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Alma Bennett
Alma Bennett
Alma Bennett
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Alma Bennett (born Alma Long; April 9, 1904[1] – September 16, 1958) was an American film actress of the silent era. She appeared in more than 60 films between 1919 and 1931.

Key Information

Early years

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Alma Bennett was born Alma Long on April 9, 1904 in Seattle. She was educated in San Francisco.[2]

Career

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Bennett made her film debut in the 1919 short His Friend's Trip, followed by His Master's Voice, and The Right to Happiness, which starred Dorothy Phillips and William Stowell.

Bennett specialized in westerns and vamp roles. She appeared in films such as The Face on the Bar-Room Floor (1923), The Dawn of a Tomorrow (1924), A Fool and His Money (1925), starring Madge Bellamy, The Lost World (1925), and the Colleen Moore film Orchids and Ermine (1927).

Bennett's final screen appearance was in the 1931 short The Great Pie Mystery.

Personal life and death

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In the mid-1920s, Bennett was married to Fred Bennett, who was brother of her mother's husband, Charles Bennett.[3] On August 16, 1929, Bennett married her manager, Harry Spingler, in Los Angeles.[4]

Bennett died on September 16, 1958, in Los Angeles, California.[5] She is interred at Chapel of the Pines Crematory in Los Angeles.

Partial filmography

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References

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Alma Bennett

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Alma Bennett was an American film actress of the silent era known for her prolific career in Hollywood, appearing in more than sixty films between 1919 and 1931. She was particularly recognized for her portrayals of alluring vamps and seductive characters, as well as for her work as a leading lady in slapstick comedies opposite performers such as Harry Langdon and Ben Turpin. Among her notable roles are those in the adventure film The Lost World (1925), the comedy Orchids and Ermine (1927), and Harry Langdon's Long Pants (1927). Born Alma Long on April 9, 1904, in Seattle, Washington, Bennett began acting in films as a teenager and quickly became a familiar presence in shorts and features during the 1920s. A brunette performer standing 5'4½" tall, she appeared in a mix of westerns, comedies, and dramatic roles before her parts gradually shifted to smaller appearances by the late 1920s and early sound era. She retired from acting after 1931 and lived quietly until her death from pneumonia on September 16, 1958, in Los Angeles, California, at the age of 54. She was married three times: to Fred Bennett, Harry Spingler, and Blackie Whiteford. Though she never achieved major stardom, Bennett's work contributed to the vibrant landscape of silent cinema, particularly in supporting roles that showcased her versatility and screen presence.

Early life

Birth and family background

Alma Bennett was born Alma Long on April 9, 1904, in Seattle, Washington. She was the only child of Frederick James Long and Doris Geraldine McCrea. Her father, Frederick James Long, was born on November 11, 1879, and died on November 4, 1918. Her mother, Doris Geraldine McCrea, was born on April 25, 1884, and died on November 21, 1945. Her mother married Charles Bennett in 1913. Her mother subsequently married at least two more times, in 1929 and 1936. She received her education in San Francisco. There are no records of any early childhood involvement in acting or public performances during this period.

Pursuit of a film career

Bennett's determination to enter the film industry began in her early teens, around the age of 15, when she repeatedly pleaded with her mother for permission to pursue acting in motion pictures. Once her mother relented and granted approval, Bennett started frequenting movie studios in Los Angeles, hoping to attract attention and secure any available work. During this period she appeared in a few uncredited short films, though these minor roles did not provide the advancement she sought. Realizing she needed a more significant opportunity, Bennett focused her efforts on director Cecil B. DeMille and Paramount Studios (then operating as the Lasky Studio). She began camping out in the outer office, sitting on a bench nearly every day and waiting patiently for nearly a year to see him, earning a reputation among staff as the "prize sticker" despite the office boy's repeated warnings that DeMille was too busy to meet her. Her persistence finally paid off when several studio employees interceded on her behalf, convincing DeMille to grant her a screen test. After passing the test, Bennett signed a long-term contract with Paramount, marking her entry into professional filmmaking. This contract led directly to her film debut in 1919.

Silent film career

Debut and early roles (1919–1923)

Alma Bennett made her screen debut in 1919 with a role in the short comedy His Friend's Trip, directed by Eddie Lyons and Lee Moran. That same year, she appeared in the shorts His Master's Voice and The Right to Happiness, taking the role of Lily in the latter feature. These early appearances marked her entry into the film industry, primarily through short subjects that showcased her in supporting parts during Hollywood's silent era expansion. In 1920, Bennett continued working steadily in short comedies, including Thieves' Clothes, along with others such as A Pajama Marriage, Too Many Burglars, and Pick Out Your Husband, where she played the Second Wife. By 1921, she secured a small uncredited part as a chorus girl in Cecil B. DeMille's feature The Affairs of Anatol, her first involvement in a major production. Her work during this initial phase often placed her in comedic shorts, helping establish her within the studio system. Bennett's roles expanded into features by 1923, including the western Three Jumps Ahead as Annie Darrell, Man's Size as Jessie McRae, and The Face on the Bar-Room Floor as Lottie. During these early years, she began to be typecast in western heroines and vamp-like characters in comedies, a pattern that defined much of her initial Hollywood presence. These foundational roles laid the groundwork for her later specialization in vamp parts and comedic performances.

Peak years and notable performances (1924–1927)

Alma Bennett experienced the height of her silent film career from 1924 to 1927, a period marked by prominent roles in features and shorts that capitalized on her established screen persona as a vamp and comedic leading lady. She frequently appeared in Mack Sennett-style slapstick comedies and collaborated with comedians such as Harry Langdon and Ben Turpin, while also taking on western heroines and seductive vamp characters in dramatic and adventure films. In 1924, Bennett featured in several notable productions, including supporting roles in The Dawn of a Tomorrow, Lilies of the Field, and Triumph, which allowed her to display her range beyond pure comedy. The following year brought one of her most recognized appearances when she played Gladys Hungerford in the pioneering adventure film The Lost World (1925), a supporting role in the groundbreaking special-effects spectacle adapted from Arthur Conan Doyle's novel. ) She also starred in The Light of Western Stars (1925), reinforcing her presence in western genre pictures during this prolific phase. By 1927, Bennett's comedic talents shone in leading lady parts opposite Harry Langdon in Long Pants, where she portrayed the romantic interest in the slapstick feature, and as the vamp character in Orchids and Ermine, further solidifying her reputation for alluring and flirtatious screen types. These performances represented the apex of her visibility in the silent era, with frequent credits in both high-profile features and comedy shorts that highlighted her specialization in vamp roles, western heroines, and lighthearted romantic leads.

Decline and retirement (1928–1931)

By the late 1920s, Alma Bennett's career in silent films had declined significantly from her peak years of prominence, shifting to smaller and often uncredited bit parts in comedy shorts and supporting roles rather than the leading vamp or western characters she had previously played. During this period, she appeared in minor capacities in films such as Painted Faces (1929), where she played an uncredited jury member, and Midnight Daddies (1930), in which she portrayed the vamp Camille McNab. Her roles continued to diminish in size, reflecting the broader challenges faced by many silent-era performers during the transition to sound films. Bennett's final credited screen appearance came in the 1931 comedy short The Great Pie Mystery, where she played the character Peaches Stone. She retired from the film industry thereafter, with no known further screen work.

Personal life

Marriages

Alma Bennett was married three times during her adult life. Her first marriage was to Frederick Clayton Bennett in 1924. The marriage ended in divorce in 1925. On August 16, 1929, Bennett married her manager and actor Harry Spingler in Los Angeles. This second marriage lasted until Spingler's death in 1953. In 1954, she married actor Blackie Whiteford, and they remained married until her death in 1958. No children or other relationships are documented from any of her marriages.

Later years and death

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