Silent Film Star: Patsy Ruth Miller.

Patsy Ruth Miller (January 17, 1904 – July 16, 1995). After being discovered by the actress Alla Nazimova at a Hollywood party, Patsy Ruth Miller got her first break with a small role in Camille, which starred Rudolph Valentino.Please click here for past articles on Patsy Ruth Miller.

Camille(1921). Silent film starring Rudolph Valentino and Alla Nazimova. It is one of numerous screen adaptations of La Dame aux Camélias by Alexandre Dumas, fils. The original play opened in Paris in 1852. The first Broadway production of the play opened on 9 December 1853. There have been 15 Broadway revivals of the popular play, the last in 1935.
First video of 7.

“Camille” (1921)

“Camille” (1921) is a silent romantic drama starring Alla Nazimova, Rudolph Valentino, and Patsy Ruth Miller. Directed by Ray C. Smallwood, this film was adapted from the novel by French author, Alexandre Dumas, “La Dame aux camelias,” and the scenario for this modern day version was written by June Mathis.

The story begins with a Parisian courtesan, Marguerite Gautier, played by Alla Nazimova, despising her life and not being able to break free of it. She also has tuberculosis and is frequently beset by bouts of illness. One evening, Marguerite meets a young law student, Armand Duval, played by Rudolph Valentino, at the opera. Armand pursues her, but she rejects his advances at first. Eventually, Marguerite and Armand begin a relationship and they start living together. Marguerite’s love for Armand is a way out of her sordid way of life. Unfortunately, Armand’s father, Monsieur Duval, played by William Orlamond, demands that Marguerite renounce Armand for the sake of his own future and that of his sister. Marguerite finally relents and runs away to a wealthy client, leaving a note for Armand.


By the fall of 1921, Valentino was solidly established in the movies, and he was a name. Playing Duval to Nazimova’s modern-dress Camille was no easy assignment. Nazimova was an actress of great experience and talent. Against her somewhat cold but forceful performance, Valentino seems low-key and subtle, and he blows her off the screen. Nazimova knew it, and cut him completely out of her death scene. Valentino absolutely commands attention, despite Nazimova’s Art Deco costumes and bizarre settings. In “Camille” (1921), Valentino was expected to be her co-star, yet he managed to establish himself much more strongly in the film than she did. “Camille” (1921) was not a financial success, but Valentino was not harmed by it. He and Nazimova made a curious pair and a sharp contrast in film acting styles. Valentino was a movie star as opposed to an actor. Nazimova was more theatre- oriented and at times her performance goes far over the top. “Camille” (1921) was designed with magnificent sets and costumes by art designer Natacha Rambova, who became Valentino’s second wife. One of my favorite scenes was the daydream sequence where Nazimova appears as Manon Lescaut and Valentino as Manon’s lover. Even though I like the 1936 version with Greta Garbo and Robert Taylor, I think Valentino was more expressive than Robert Taylor. The love scenes with Valentino and Nazimova were subtle and very well done.




Alla was born Mariam Edez Adelaida Leventon in the Ukraine on June 3, 1879, of Jewish parents. At age 17, abandoning her training as a violinist, she quietly studied theatre with assorted young actresses with whom she shared a boarding house. At age 17, she auditioned at the Philharmonic School in Moscow with Konstantin Stanislavsky. Her work with the Moscow Art Theatre led to tours of the United States, where she impressed the Shubert Brothers. The theatrical giants opened her in “Hedda Gabler” in English. For the following several years she established a reputation as the outstanding portrayer of the Ibsen works, “A Doll’s House,” “The Wild Duck,” “The Master Builder,”and “Little Eyolf.” During the early years of World War I, Alla appeared on the stage in a one-act pacifist drama, “War Brides.” Alla also debuted in films in “War Brides” (1916) and immediately created a sensation with her exotic manner, powerful presence, and sincere portrayal. Metro offered her a five-year, $13,000 a week contract, and she had a meteoric career appearing in 17 silent films. As her success in films grew, Alla became convinced that she alone could best direct her efforts. After several major companies refused to finance the projects, she made the unwise decision to produce both “A Doll’s House” (1922) and “Salome” (1923) with her personal savings. “A Doll’s House” (1922) was extremely well acted and Alla was said to be truly effective in her emotional scenes. Alan Hale, Alla’s leading man in the film, was a pioneer film actor in hundreds of films from 1911 to 1950. “Salome” (1923) is so outlandishly stylish and bizarre that it is actually enjoyable. Unfortunately, both “A Doll’s House” (1922) and “Salome” (1923) were critical and commercial failures. After her production of “Salome” (1923), Alla lost what remained of her fortune. Left with few options, Alla returned to perform on Broadway. In the early 1940’s, she appeared in a few more films, playing Robert Taylor’s mother in “Escape” (1940) and Tyrone Power’s mother in “Blood and Sand” (1941). Alla died on July 13, 1945. She was 66 years old.

Silent Film Star: Patsy Ruth Miller.

Patsy Ruth Miller (January 17, 1904 – July 16, 1995). After being discovered by the actress Alla Nazimova at a Hollywood party, Patsy Ruth Miller got her first break with a small role in Camille(1921). A silent film starring Rudolph Valentino and Alla Nazimova.

Other Patsy Miller movies:
Trimmed (1922)
Fortune's Mask (1922)
Omar the Tentmaker (1922)

The Hunchback of Notre Dame (1923). Cast: Lon Chaney as Quasimodo and Patsy Ruth Miller as Esmeralda, and is directed by Wallace Worsley. The film is the most famous adaptation of Victor Hugo's novel, aside from the 1996 Disney adaptation. The film was Universals "Super Jewel" of 1923 and was their most successful silent film. The film is best known  for the beautiful sets that showcase 15th century Paris as well as Lon Chaney's performance and spectacular make-up . The film elevated Chaney, to full star status in Hollywood. It also helped set a standard for many later horror films. ON TCM: Silent Sunday, October 17, 2010. The Hunchback of Notre Dame (1923).



Other Patsy Ruth Miller films:
Why Girls Go Back Home (1926)
So This Is Paris (1926)
The First Auto (1927)The First Auto(1927). Silent's review.
The Aviator (1929)
Mother (1978)

“The First Auto” (1927) Patsy Ruth Miller

“The First Auto” (1927) is a silent drama starring Russell Simpson, Charles Emmett Mack, and Patsy Ruth Miller. Directed by Roy Del Ruth and set in rural America, this film is about the introduction of the horseless carriage into American society.The story begins with horse loving gentleman, Hank Armstrong, played by Russell Simpson, racing his mare, Sloe Eyes, in the 1895 Logan County Fair in Maple City, Michigan. Hank wins first prize and celebrates by bringing Sloe Eyes to the local tavern. However, Hank is upset that his son, Bob, played by Charles Emmett Mack, is not present to celebrate his triumph. Instead, Bob parties in the city with pretty Rose Robbins, played by Patsy Ruth Miller. Bob is a member of the horseless carriage generation and is fascinated with the newly developing automobiles. When Sloe Eyes dies of a stroke, Hank nurtures her foal as if she were his own child. When the automobile takes control of the streets, Hank’s livery business dwindles and dies. He is forced to sell his little thoroughbred, Sloe Eyes’ colt. With business and friends gone, Hank slips into madness and despair. Unfortunately, an opportunity to reconcile with his son meets with tragedy.

“The First Auto” (1927) is a charming film that came out the same year as “The Jazz Singer.” It uses some early sound techniques like crowd noises, laughter and one word dialogue. Even though it’s a drama, there is much comic relief provided by William Demarest who plays some old vaudeville routines and Barney Oldfield, a major name in early automobiles who races around the horse track. Russell Simpson gives a touching portrayal of an elderly man who is not able to adjust to the coming of the automobiles. Patsy Ruth Miller is excellent as Charles Emmett Mack’s love interest and looks adorable in her turn of the century costumes. Gibson Gowland, who is best known for his role in Erich Von Stroheim's "Greed" (1924) has a small part in the film. One of my favorite scenes in the film is when Charles Emmett Mack’s character sends Patsy Ruth Miller’s character a photo in which he appears with Barney Oldfield and Henry Ford in Detroit, Michigan. It is interesting to note that Charles Emmett Mack, who played Bob Armstrong, was killed in a real life automobile accident at the age of twenty-seven during the time the film was being made. His absence makes the ending seem incomplete. With its early automobile scenes and sound effects, “The First Auto” (1927) is certainly a fascinating silent film.

Patsy Ruth Miller was ranked as Warner Brothers’ top feminine star from 1925 to 1927. Stage-struck from childhood, she had her first experience in show business appearing in plays in the convent where she was educated. When she was sixteen, a vacation trip to California with her parents led her to her first break in films. At a social function in Hollywood, she attracted the attention of Alla Nazimova, the celebrated Russian actress, who was so impressed with Patsy that she gave her a small part in the Nazimova-Valentino version of “Camille” (1921). From then on, Patsy set her mind on a film career, quickly advancing from bits to leads. In 1922, she was chosen as a Wampas Baby Star, and in 1923 won plaudits for her portrayal of Esmeralda opposite Lon Chaney in Universal’s spectacular production of Victor Hugo’s “The Hunchback of Notre Dame.” Patsy was soon in demand for a variety of parts, distinguishing herself in a number of dramas. Among them were “Hell Bent for Heaven” (1926), “Broken Hearts of Hollywood” (1926), and “The First Auto” (1927). However, it was her work in comedies that brought her the most kudos from both critics and fans. An excellent foil for male comics, Patsy was often teamed. There was Monte Blue at Warner Brothers, Glenn Tryon at Universal, and at the beginning of sound, Edward Everett Horton back at Warners. Two of Patsy’s most outstanding performances in comedies came in 1926 at Warner Brothers. With Clive Brook as her leading man and up-and-coming Myrna Loy in support, Patsy played an aspiring actress in “Why Girls Go Back Home.” In Ernst Lubitsch’s highly acclaimed, sophisticated comedy “So This Is Paris,” she co-starred with Monte Blue. Lubitsch’s most popular American film in the silent era, the story revolved around two couples whose flirtations between opposite partners led to a marital mix-up. Although she

was committed to her career, Patsy always found time for other activities. She was one of the first actresses of the twenties to pilot an airplane and travelled all over the world on several occasions. Patsy successfully weathered the transition to sound, but withdrew from the screen in 1931. Patsy then began concentrating on her writing. Her stories were published in magazines such as “Vanity Fair” and two were included in the anthology “The Best Short Stories of 1935.” After her marriage to MGM screenwriter John Lee Mahin, she wrote “That Flannigan Girl,” a novel about Hollywood published in 1939 which received good reviews.