Ebook Tinseltown: Murder, Morphine, and Madness at the Dawn of Hollywood
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Tinseltown: Murder, Morphine, and Madness at the Dawn of Hollywood
Ebook Tinseltown: Murder, Morphine, and Madness at the Dawn of Hollywood
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Audible Audiobook
Listening Length: 15 hours and 55 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Blackstone Audio, Inc.
Audible.com Release Date: October 14, 2014
Language: English, English
ASIN: B00OGOP3YO
Amazon Best Sellers Rank:
This is an impressive and substantial book. Essentially, it is a true crime book that centers around the still-unsolved murder of William Desmond Taylor. Rather than being constructed as a linear mystery story, it is a ‘contextual’ book that sets the murder mystery within a series of ever-widening narratives. As such, it looks at the film industry in the early 1920’s, focusing on the career of Adolph Zukor and explores other scandals: the Olive Thomas drug-related death, the addiction of silent screen star Wallace Reid, the Fatty Arbuckle case, the Mabel Normand addiction story, Margaret Gibson’s arrest for prostitution, and so on. The overall ‘story’ cuts between the life stories of all of these individuals, plus Will Hays of the ‘Hays Office’, the con-artist crew of Don Osborn and the comings and goings of Mary Miles Minter and her mother, Charlotte Shelby (the latter a prime suspect in the murder case).The advantage here is that with all of these contexts and players the story is enriched immeasurably. The problem is that the story is also more diffuse and very, very long. Those with an interest in aspects of the story (the studio system; censorship; cultural history; cinematic history; the Taylor murder case per se) may feel that they are being forced to learn more than they want to about subsidiary issues. Those with an overarching interest in all of the contexts will feast on the book.While the book utilizes novelistic devices, it is scrupulously factual, to the degree possible, though the author’s speculation on Taylor’s killer is just that: speculative. It is also plausible and fits the available facts, though it does involve a leap of faith.The author praises Sidney Kirkpatrick’s A Cast of Killers, a predecessor book that arrives at different conclusions concerning the actual murderer. In my opinion, SK’s book is one of the monuments of true crime writing and should be read by anyone interested in the Taylor case. SK’s book is more focused and much more of a true crime mystery story, though it is less substantial than Tinseltown.I recommend this book highly, but with the proviso that the reader is in for a long story some of whose details may prove to be far more interesting than others. The illustrations are helpful, though the legends accompanying them are not always precise. The author’s choice for the murderer, e.g., is not identified as such in the illustrations. The author’s knowledge of 1920’s Hollywood (and its management from New York) is impressive; he has done his homework in working through archival material. The result is a commercial book with many of the trappings and advantages of a scholarly book. Check it out.
This is a highly-readable, very interesting book. The writing is so graceful and the characters so interesting that it reads like fiction. Yet the book seems thoroughly researched. The author makes a point of noting that he didn't assign words or thoughts to any of the characters that had not been indicated in their writings or in articles of the time. The book changed my opinion about some of the people I had heard of before; Mabel Normand seems an independent, thinking young woman, and Will Hays was not actually a moralistic censor.Though I had known that attitudes about some drugs were very different then, I was startled to learn how readily-available and prevalent drugs were in early Hollywood. This book also suggests something I had read elsewhere-- that organized crime really got its first important foothold in this country during Prohibition. It's depressing to learn that actors have been dying because of drugs since long before the 1970's. Only the names of the people and the chemicals change.This isn't to say that the book itself is depressing. Some of it is sad, but there is also humor. The story is fascinating, and I would recommend the book to anyone who is interested in the history of film or celebrities.
The death of William Desmond Taylor/William Deane-Tanner is among America's most enigmatic unsolved murders. What makes his case somewhat unique is that there were deliberate efforts from people high-up in the movie industry to ensure that the case remained enigmatic and unsolved. It is virtually certain that there were a number of people who knew--or, at least, had a pretty good guess--who shot the film director, but for their own reasons, they launched a conspiracy that allowed someone to get away with murder. Evidence was concealed, misleading rumors were launched, and mouths were kept firmly shut. As all the people "in the know" are now dead, we will never learn for certain who was behind the killing, and why it was done. As very little reliable evidence about the mystery survives, all theories about the case are necessarily based on speculation."Tinseltown" is no exception to this rule, but William J. Mann offers the fullest, richest account of the Taylor killing to date, introducing several new details, a novel, intriguing "solution," and--perhaps most valuable of all--offering a fascinating look at Old Hollywood.The Taylor murder is, in fact, only a plot element in the complex, often sordid, but always exciting history of the film industry's early days. The anti-hero of our story is Adolph "Creepy" Zukor, the ruthless film mogul who likely engineered the Taylor cover-up. Other stars of the show include Mabel Normand (one of the few sympathetic characters in this story,) the sad, tormented ingenue Mary Miles Minter, Taylor's eccentric valet Henry Peavey (depicted much more sensitively and positively than most other accounts of the case,) and a host of grifters, blackmailers, killers, drug addicts, and desperate wanna-be stars.Mann's scenario of how Taylor died is interesting, but, of course, he necessarily cannot present much hard evidence to back it up. His theory cannot be accepted as the "final word," but it's certainly one of the most plausible "solutions" to date.As thorough as Mann's book is in most respects, he does make a few odd omissions. He barely mentions the curious fact that Taylor's brother, Dennis Deane-Tanner, also abandoned his family and disappeared. It has been proposed, as a matter of fact, that Dennis was really Taylor's sinister former valet, "Edward Sands." Not long before the murder, Sands robbed Taylor and vanished--yet another puzzling element to this endlessly mysterious case. (Mann states that Sands was never seen again, although other accounts claim that the ex-valet was found dead under suspicious circumstances.) I believe Mann may have made a mistake in dismissing all possibility that brother Dennis and Sands the valet somehow figured in the murder.Still, this book is wonderfully absorbing reading. Even if you have little interest in true crime, the soap-opera like saga found in these pages is almost certain to draw you in.
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