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Kathleen Key
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Kathleen Key (born Kitty Lanahan; April 1, 1903[1] – December 22, 1954) was an American actress who achieved a brief period of fame during the silent era. She is best remembered for playing Tirzah in the 1925 film Ben-Hur.
Key Information
Early life and career
[edit] | This section needs additional citations for verification. (November 2017) |
Born in Buffalo, New York, Key moved with her family to an isolated ranch between Los Angeles and San Francisco while still an infant. Her family moved permanently to Los Angeles when she was nine. With a talent for sketching, her initial ambition was to be a commercial artist, but, as a teenager, she soon found employment playing small parts at nearby film studios.
She was hired by Snowy Baker Productions around this time and spent a year in Australia, where she appeared in eight films, including the 1920 The Jackeroo of Coolabong, in which she made her starring debut. From her return to the U.S. to the end of the 1920s, Kathleen Key, sometimes credited as Kathleen Keys, starred in several more films, but never reached A-level stardom.
Charles Donald Fox's 1925 encyclopedia of film stars, Famous Film Folk summarizes her early career and reports that "Her chief off-screen diversions are riding and dancing, in both of which she excells. She is 5 feet 3 inches tall, weighs 118 ibs., and has dark hair and brown eyes."[1]
In 1922, she was featured in Omar Khayyam (which was not released until 1925 as A Lover's Oath)[2] and played a vamp in Where's My Wandering Boy Tonight? The same year she signed to play with Charles Buck Jones in Vamoos for Fox Film.
Prior to making Vamoos, Kathleen starred with John Gilbert in St. Elmo, also for Fox studios. She was cast as an "innocent young thing" rather than playing her usual vamp role.
An early career highpoint was her selection as one of the 1923 WAMPAS Baby Stars; however, by the end of the decade Key had her last significant film role, as Colette in 1929's The Phantom of the North.[3] Her name does not appear in the credits of her four final films: as Rosalie Lawrence in Sweeping Against the Winds (1930), as an unnamed Guest in Thunder in the Night (1935), and in 1936, as a Dance Hall Girl in Klondike Annie, and finally, a bit part in One Rainy Afternoon. After these last, tiny roles, Key apparently retired from film altogether.[citation needed]
Personal life
[edit]In the early 1930s, Key had a well-known love affair with silent-film actor Buster Keaton, who was married at the time. As told in Marion Meade's biography of Keaton, the actor attempted to call off the relationship, but Key flew into a jealous rage and ransacked his MGM dressing room, which caused her to be virtually blacklisted afterward by the movie industry. Sidney Skolsky, a Daily News columnist, sent Keaton a joking telegram, reading: "Congratulations. Hear you are off Key."[4] It was also reported that the dressing-room fracas was sparked by Keaton refusing to give Key a monetary loan.[5]
Death
[edit]On December 22, 1954, Key died from cirrhosis of the liver. She was buried at Valhalla Memorial Park in North Hollywood, California.[6]
Filmography
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1920 | The Jackeroo of Coolabong | Edith MacDonald | Lost film |
| The Rookie's Return | Gloria | ||
| 1921 | The Four Horsemen of the Apocalypse | Georgette | Uncredited |
| The Fighting Breed | Enid MacDonald | Lost film | |
| 1922 | Where's My Wandering Boy Tonight? | Veronica Tyler | Lost film |
| West of Chicago | Señoria Gonzales | Lost film | |
| Bells of San Juan | Florrie Engel | Lost film | |
| The Beautiful and Damned | Rachel | Lost film | |
| 1923 | Hell's Hole | Mabel Grant | Lost film |
| The Rendezvous | Varvara | ||
| North of Hudson Bay | Estelle McDonald | Alternative title: North of the Yukon Incomplete film | |
| Reno | Yvette, the governess | ||
| The Man from Brodney's | Neenah | Incomplete film | |
| 1924 | The Trouble Shooter | Nancy Brewster | |
| The Sea Hawk | Andalusian Slave Girl | ||
| Revelation | Madonna | Lost film | |
| 1925 | A Lover's Oath | Sherin | Lost film |
| The Big Parade | Miss Apperson | Uncredited | |
| Ben Hur | Tirzah | Alternative title: Ben-Hur: A Tale of the Christ | |
| 1926 | Under Western Skies | Milly Leewis | Lost film |
| The Flaming Frontier | Lucretia | Incomplete film | |
| Money Talks | Vamp | Incomplete film | |
| College Days | Louise | Lost film | |
| The Desert's Toll | Muriel Cooper | ||
| 1927 | Hey! Hey! Cowboy | Emily Decker | Lost film |
| Irish Hearts | Clarice | Lost film | |
| 1928 | Golf Widows | Ethel Dixon | |
| 1929 | The Family Picnic | Cleo of Paris | Lost film |
| The Phantom of the North | Colette | Alternative title: Phantoms of the North Lost film | |
| 1930 | Sweeping Against the Winds | Rosalie Lawrence | Lost film |
| 1935 | Thunder in the Night | Guest | Uncredited |
| 1936 | Klondike Annie | Dance Hall Girl | Uncredited |
| One Rainy Afternoon | Bit Role | Uncredited Alternative title: Matinee Scandal (final film role) |
References
[edit]- ^ a b Fox, Charles Donald (1925). Famous Film Folk. New York: George H. Doran and Company. p. 189.
- ^ Kadivar, Darius (March 3, 2003). "Khayyam Mania!!!: Hollywood's depiction of the great Persian Poet's life". Archived from the original on 2017-11-12. Retrieved 2014-05-01.
- ^ "The Phantom of the North (1929) - Overview - TCM.com". Turner Classic Movies. Archived from the original on December 22, 2013. Retrieved 2017-07-15.
- ^ Meade, Marion. Buster Keaton: Cut to the Chase. HarperCollins. p. 202.
- ^ "Keaton Tells Story of Beating by Girl". The Pittsburgh Press. 1931-02-05. Retrieved 2018-12-08.
- ^ Resting Places
Further reading
[edit]- The Los Angeles Times, "In Race to Reign at Legion's Fete", November 9, 1921, Page III 1.
- The Los Angeles Times, "Dancers Versatile", January 16, 1922, Page 19.
- The Los Angeles Times, "Stops Vamping Awhile", July 28, 1922, Page I 14.
External links
[edit]
Wikimedia Commons has media related to Kathleen Key.
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Kathleen Key
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Early life
Birth and family background
Kathleen Key was born Kitty Lanahan on April 1, 1903, in Buffalo, New York.[2][1] She claimed descent from Francis Scott Key, the composer of the lyrics to "The Star-Spangled Banner," as his great-great-granddaughter.[1][3] Little is known about her parents or immediate family structure, including any siblings.[2] The family resided in Buffalo during her early infancy before relocating westward.[1]Childhood and relocation to California
Shortly after her birth in Buffalo, New York, Kathleen Key's family relocated to a ranch in California, where she spent her early childhood immersed in a rural environment.[4] This move occurred when she was an infant, around 1903 or 1904.[2] The family later moved to Los Angeles when Key was nine years old, approximately 1912, shifting from ranch life to the urban setting of the growing city. During her childhood on the ranch and in Los Angeles, she experienced the rapid development of the motion picture industry, with studios and production companies establishing themselves in the area and influencing local culture. As a teenager, Key aspired to become a commercial artist, engaging in drawing and design activities that reflected her creative interests before her path led elsewhere.Acting career
Beginnings in silent films
Kathleen Key entered the silent film industry as a teenager in the early 1920s, drawn to the opportunities in Hollywood's expanding studios following her family's relocation to Los Angeles during her childhood.[5] Her professional debut came in 1920 at age 17, when she was cast in a leading role opposite Snowy Baker in The Jackeroo of Coolabong, marking her association with Snowy Baker Productions and providing an entry point into international film production.[6] Upon returning to the United States, Key secured a contract with prominent producer Thomas H. Ince, who recognized her potential in the competitive landscape of early Hollywood.[1] The nascent silent film era presented young actresses like Key with a mix of opportunities and challenges; while the industry's rapid growth allowed women to take on diverse roles in production and performance, newcomers often faced intense competition, limited formal training, and the instability of short-term contracts in an unregulated environment.[7] Key's early persistence paid off with supporting roles in American films, including an uncredited appearance as Georgette in the 1921 epic The Four Horsemen of the Apocalypse, directed by Rex Ingram.[5] This period established her as an emerging talent amid the era's innovative but demanding conditions for aspiring performers.[7]Australian film period
In 1920, Kathleen Key traveled from the United States to Australia, where she was cast as the female lead in The Jackeroo of Coolabong, a silent Western produced by Snowy Baker Productions. Directed by Wilfred Lucas and co-written by Bess Meredyth, the film marked Key's acting debut and paired her with Australian sportsman and actor Snowy Baker, who starred as the Irish immigrant jackeroo Brian O'Farrell. Key portrayed Edith MacDonald, the strong-willed daughter of a cattle station owner (played by Lucas), whose storyline involves rescue from urban criminals in Sydney's slums after witnessing a crime, highlighting themes of adventure and romance in the Australian outback.[6] Filming occurred primarily in June 1920 across diverse Australian locations, including bushland near Narrabri for cattle station scenes and Sydney for urban sequences, exposing Key to the challenges of remote outdoor shoots amid unfamiliar terrain and wildlife. As an American actress new to the industry, Key adapted to the production's emphasis on authentic Australian elements, such as horsemanship stunts performed by Baker and his horse Boomerang, while collaborating with local cast members like Bernice Vere. The experience immersed her in Australian film culture, contrasting the more studio-bound Hollywood environment she would later enter.[8] The Jackeroo of Coolabong enjoyed strong box office success in Australia, drawing crowds eager for Baker's athletic appeal and the film's blend of action and melodrama, despite criticism from local reviewers who faulted its "Americanisms" in storytelling and style. The production's popularity underscored the growing interest in hybrid Anglo-American cinema Down Under during the early 1920s. This brief Australian stint elevated Key's visibility on an international stage, showcasing her as a capable leading lady and paving the way for her return to the U.S. in late 1920, where she secured a contract with producer Thomas Ince and transitioned into Hollywood's burgeoning silent film scene.[4]Hollywood breakthrough and peak
Upon returning to Hollywood in late 1920 after her time in Australia, Kathleen Key quickly reestablished herself in the industry, appearing in supporting roles that showcased her versatility as an emerging talent. Her momentum built with the 1923 release of North of Hudson Bay, a Fox Film Corporation adventure directed by John Ford, where she played a lead opposite Tom Mix. That same year, Key was honored as one of the thirteen WAMPAS Baby Stars by the Western Associated Motion Picture Advertisers, a prestigious promotional initiative designed to spotlight promising young actresses and boost their visibility in fan magazines and trade publications.[5][2] Key's breakthrough came in 1925 with her role as Tirzah, the devoted sister of the titular hero, in MGM's epic production Ben-Hur: A Tale of the Christ, directed by Fred Niblo. This lavish adaptation of Lew Wallace's novel, filmed partly on location in Italy and featuring groundbreaking chariot race sequences, starred Ramon Novarro as Judah Ben-Hur, with co-stars including Francis X. Bushman as Messala, May McAvoy as Esther, Carmel Myers as Iras, and Claire McDowell as Ben-Hur's mother. Key's poignant portrayal of Tirzah, who endures imprisonment and leprosy alongside her mother, earned her critical praise for its emotional depth and subtlety, with Variety noting her and McDowell's performances as scoring tremendously amid the film's spectacle. The movie's massive budget of nearly $4 million and its status as one of the era's biggest hits elevated Key's profile, positioning her as a key player in Hollywood's silent film elite.[9][10][11] Throughout the mid-to-late 1920s, Key continued to star in notable silent productions, transitioning from ingenue parts to more dramatic and vampish roles that highlighted her striking beauty and expressive screen presence. Highlights included The Flaming Frontier (1926), a Universal Western directed by Edward Sedgwick where she supported Hoot Gibson in a tale of frontier justice, and Hey Hey Cowboy (1927), another Gibson vehicle directed by Lynn Reynolds and Edward Laemmle that emphasized her romantic allure in comedic Western scenarios. By 1929, she appeared as Colette in the adventure The Phantom of the North, a Tiffany-Stahl release directed by Harry S. Webb, co-starring Edith Roberts and featuring an early Boris Karloff in a Canadian wilderness mystery. These films solidified her as a reliable supporting actress in diverse genres, from epics to action thrillers.[5][12] During this peak period, Key cultivated a glamorous public image as a rising silent-era star, often featured in Photoplay and Motion Picture Magazine for her dark-haired elegance and poised demeanor, which contrasted with the era's blonde flapper icons. Media coverage portrayed her as an accessible yet sophisticated beauty, with fan mail and studio publicity emphasizing her relatability and rapid ascent, fostering a dedicated following among theatergoers eager for her next role.[2][5]Transition to sound films and retirement
As the film industry transitioned to synchronized sound beginning in 1927 and accelerating after 1929, Kathleen Key's opportunities diminished significantly, mirroring the challenges faced by many silent-era performers whose careers stalled amid the shift.[1] Her last silent-era role came in 1929 with The Phantom of the North, after which she experienced a notable gap in major parts. Key's first credited sound film appearance was as Rosalie Lawrence in the now-lost drama Sweeping Against the Winds (1930), a modest production about labor struggles in a textile factory.[13] This role represented a brief return, but subsequent work proved sparse and insignificant, reflecting the broader contraction of her career trajectory during the early talkie period. By the mid-1930s, Key was relegated to uncredited bit parts, such as a party guest in the mystery Thunder in the Night (1935), a dance hall girl in Mae West's comedy Klondike Annie (1936), and an unnamed bit role in the romantic farce One Rainy Afternoon (1936).[14] These appearances, all minor and without speaking lines in most cases, underscored the erosion of her prominence as Hollywood prioritized new talent suited to the demands of sound production.[1] Compounding the industry's changes, a publicized scandal in the early 1930s generated adverse publicity that further hampered Key's prospects, leading to her effective exit from acting.[15] She retired from films around 1936, with no subsequent on-screen roles of note, marking the conclusion of her professional involvement in the entertainment industry.[1]Personal life
Romantic affairs
In the late 1920s, Kathleen Key entered into a romantic affair with Buster Keaton, the acclaimed silent film comedian who was married to actress Natalie Talmadge. The relationship, conducted amid Hollywood's vibrant social scene, lasted until early 1931 and reflected the era's frequent extramarital entanglements among industry figures seeking companionship and excitement in the fast-paced studio environment.[16] The affair concluded dramatically in early February 1931, when Key confronted Keaton in his dressing room at the MGM studio in Culver City, California, demanding financial assistance amid her own career struggles. In a heated argument over money, Key attacked Keaton, inflicting scratches, cuts, and bruises on his face and body while ransacking the room.[17][18] Studio guards intervened, and Key was briefly arrested for disturbing the peace, though charges were dropped after Keaton refused to press a formal complaint, stating he bore no grudge. The incident, stemming directly from the breakup of their liaison, exploded into tabloid headlines across the nation, with papers like the Pittsburgh Press and Star Tribune detailing the "beating" and financial quarrel in lurid fashion. This sensational coverage provided Key with unintended short-term publicity, amplifying her visibility in gossip columns even as it highlighted the volatile personal dynamics of pre-Code Hollywood romance.[17][18] Key's involvement with Keaton exemplified broader patterns of romantic pursuits in 1920s and 1930s Hollywood, where actors and actresses often navigated overlapping social and professional circles, leading to passionate but precarious affairs that fueled both creativity and scandal. While specific details of her other liaisons remain sparse in public records, such entanglements were commonplace, contributing to the industry's reputation for dramatic off-screen lives.Marriages and family
Kathleen Key remained unmarried throughout her life and had no children. Her personal life after the decline of her acting career was marked by financial struggles, during which she lived with her mother in Los Angeles.[19] By the early 1940s, Key was reported to be unemployed and reliant on odd jobs, reflecting a period of instability without the support of a spouse or family unit beyond her immediate relatives.[19]Death and legacy
Final years and health decline
After retiring from acting in the early 1930s, with only brief uncredited appearances in the mid-1930s, Kathleen Key lived a reclusive existence in the Los Angeles area during the 1940s and into the 1950s, marked by financial hardship and social withdrawal following the dissolution of her marriages.[1][19] Key's personal challenges intensified with incidents related to alcohol consumption, including an arrest for public intoxication in November 1938 and another for drunk driving in 1941, during which she admitted to being financially destitute and dependent on loans from acquaintances.[1][19] These events reflected her deepening struggles with alcoholism, which contributed to increasing isolation as she navigated life without the support of a stable family or professional network.[1] By the mid-1950s, Key's health had deteriorated significantly from prolonged alcohol use, leading to a diagnosis of cirrhosis of the liver that confined her to limited daily activities and further seclusion in Woodland Hills.[1]Death, burial, and posthumous recognition
Kathleen Key died on December 22, 1954, at the age of 51 from cirrhosis of the liver while residing at the Motion Picture Country Home in Woodland Hills, Los Angeles, California.[1][2] Her funeral arrangements were private, and she was interred at Valhalla Memorial Park Cemetery in North Hollywood, California, in Section L, Lot 816.[2] Contemporary coverage of her passing was modest, with brief mentions in trade publications noting her earlier silent film work but no extensive tributes, consistent with her low profile following retirement in the early 1930s. Posthumous recognition has centered on her role as Tirzah in the 1925 silent epic Ben-Hur: A Tale of the Christ, where she portrayed the sister of the protagonist alongside Ramon Novarro; this performance remains her most cited contribution in silent film histories.[11] In the 2020s, renewed interest in early Hollywood has led to reevaluations of her career in academic analyses, such as a 2021 thesis examining the Ben-Hur franchise's cultural impact, which highlights Key's supporting role and its place in MGM's blockbuster era.[20]Filmography
Silent era roles
Kathleen Key's silent era career spanned from 1920 to 1929, during which she appeared in approximately 25 films, primarily in supporting roles that highlighted her expressive features and dramatic range in genres such as epics, westerns, and romances.[1] Many of these productions were with prominent studios like Metro-Goldwyn-Mayer and Universal, and while several survive in archives, a number are considered lost or partially preserved due to the era's nitrate film degradation. Her roles often involved romantic interests or tragic figures, contributing to her brief but notable presence in Hollywood's burgeoning silent cinema scene. Key debuted in the Australian silent film The Jackeroo of Coolabong (1920), directed by and starring Snowy Baker, playing a supporting role in this outback adventure that marked her entry into acting after being discovered in Los Angeles.[1] The film is presumed lost, with no known surviving prints.[21] In 1921, she transitioned to Hollywood under a Thomas Ince contract, appearing in The Rookie's Return, directed by Jack Nelson, as a supporting player in this comedy-drama; the film is preserved.[1] That same year, Key had a breakthrough in The Four Horsemen of the Apocalypse, directed by Rex Ingram, portraying Georgette in the World War I epic that grossed over $4 million and launched Rudolph Valentino to stardom; it remains fully preserved and is considered a landmark of the era.[22] Her 1922 output included The Beautiful and the Damned, directed by William A. Seiter, where she played Rachel in this adaptation of F. Scott Fitzgerald's novel about Jazz Age excess; the film survives in incomplete form.[23] In 1923, Key starred in North of Hudson Bay, a western directed by John Ford and starring Tom Mix, in an unspecified supporting role amid fur-trading adventures; it is preserved.[24] The following year, 1924, saw her as an Andalusian slave girl in The Sea Hawk, directed by Frank Lloyd, a swashbuckling adventure based on Rafael Sabatini's novel featuring Milton Sills; the film is preserved and noted for its elaborate sea battles.[25] She also appeared in Revelation, directed by George D. Baker, as Madonna in a romantic drama; preservation status is unknown.[5] Key's most iconic silent role came in 1925 with Ben-Hur: A Tale of the Christ, directed by Fred Niblo, where she portrayed Tirzah, the leper-afflicted sister of Ramon Novarro's Judah Ben-Hur, in this lavish MGM epic that cost $4 million and won critical acclaim for its chariot race sequence; the film is fully preserved and a cornerstone of silent cinema.[11] That year, she also appeared in A Lover's Oath, directed by Ferdinand Pinney Earle, as Sherin opposite Ramon Novarro in this fantasy drama; the film is lost. In 1926, she featured in three westerns: The Flaming Frontier, directed by Edward Sedgwick, as Lucretia opposite Hoot Gibson in a tale of Custer's Last Stand; The Desert's Toll, directed by Clifford Smith, as Muriel Cooper in a story of frontier justice with Francis McDonald; and Under Western Skies, directed by Edward Sedgwick, as Molly in a ranch romance—all preserved and typical of her frequent forays into the genre.[26][27][5] Key continued with Hey! Hey! Cowboy (1927), a comedy-western directed by Edward Sedgwick, in a supporting role with Hoot Gibson; it is preserved.[5] Other 1927 appearances included The Road to Romance, directed by John S. Robertson, as a romantic lead in a South American adventure; both with unknown preservation status.[1] In 1928, she played Ethel Dixon in the comedy Golf Widows, directed by James Cruze, satirizing suburban life; preserved. Her final silent role was in The Phantom of the North (1929), directed by Harry Webb (as William P. Burt), a Yukon adventure with Edith Roberts and Boris Karloff, where Key had a supporting part; the film survives.[5] Among her other lesser-known silent credits from 1922–1928, such as The Fighting Breed (1921), Hell's Hole (1923), The Fighting Sap (1924), The Midshipman (1925), Money Talks (1926), The Trouble Shooter (1924), and Irish Hearts (1927), many are lost, reflecting the high attrition rate of silent films, with only fragments or no prints extant.[21]Sound era roles
Following the advent of synchronized sound in late 1920s cinema, Kathleen Key's screen work became markedly scarce, limited to just four known appearances in talking pictures from 1930 to 1936—a stark contrast to her more than 30 roles in the silent era. These roles were small, with only one credited performance, underscoring the difficulties she encountered adapting to the demands of sound films, including dialogue delivery and the shifting preferences of studios toward newer talent. Her first sound role came in 1930 with a supporting part as Rosalie Lawrence in the independent drama Sweeping Against the Winds, directed by Victor Adamson and starring Theodore von Eltz and Dorothy Lee; the film, now considered lost, depicted struggles in a small textile factory community.[13] Key then did not appear on screen for five years until 1935, when she had an uncredited bit part as a party guest in the Fox mystery Thunder in the Night, a Hungarian-set whodunit directed by George Archainbaud and featuring Edmund Lowe as a police commissioner unraveling a murder at a high-society gathering.[28] In 1936, marking her final year in films, Key took two uncredited roles in quick succession. She played a dance hall girl in Paramount's Klondike Annie, a Western adventure starring Mae West as a saloon singer who reforms in the Alaskan gold rush town of Skagway. Later that year, she appeared in a minor bit role in the RKO romantic comedy One Rainy Afternoon (also known as The Affair of a Lifetime), directed by Rowland V. Lee and centering on a mistaken-identity mix-up involving actor Francis Lederer and singer Ida Lupino in Paris.[29][30] These sparse, peripheral contributions in sound cinema effectively concluded Key's professional acting career at age 33, after which she withdrew from Hollywood entirely.References
- https://commons.wikimedia.org/wiki/File:Kathleen_Key_Stars_of_the_Photoplay.jpg