There's a very interesting book called A Cast of Killers by Sidney D. Kirkpatrick, which is about film director King Vidor's efforts in 1967 to investigate the 1922 murder of director William Desmond Taylor. By this time, 45 years had gone by since the unsolved murder, and Vidor was 72 years old. There were still a number of people alive who had known Taylor, and this book is an intriguing real-life detective story. Apparently he wanted to make a film about Taylor and his murder, and he investigated every lead he could follow. It looks like in the end he solved the mystery, but decided to keep it all locked away because certain details of an apparent coverup would make a lot of people who were still around at the time look bad. I'm only a little more than a third of the way through this book, so I can't tell you that much about it, but I wanted to share this with everyone, because I found a reference to Stan and Babe:
One page 106, Vidor remembered the 1930 funeral of Mabel Normand:
"An organ was playing. A flower-bedecked casket sat at the front of the aisle, just before the altar. In the pews Vidor saw Chaplin, Mack Sennett, Stan Laurel, Oliver Hardy, Buster Keaton, Minta Durfee, Fatty Arbuckle. Hollywood's comedians were crying."
There's also a reference to the loss of nitrate films, on page 101. Vidor went to the Paramount Studios in 1967 (where the murdered director had worked), trying to find out more about his subject:
"Over the years Vidor and [Colleen] Moore had seen many of their own films destroyed. In the early sixties, silent films were thought to have no commercial value. They were difficult to store, dangerous to handle, and a fire hazard. Vidor's had been destroyed in a Bekins Storage Company fire, and Colleen's entire collection had burned up in a fire at Warner Brothers.
Vidor's friend brought him the news of Taylor's films. What titles had not disintegrated by the fifties were in such bad condition that they were taken out of the vaults, cut into small pieces with a chain saw, then burned, to salvage the silver content of the film stock."
I hope that I'm not totally depressing Forum members with all this, but it was so interesting that I had to share it with you. In general, it's a lively book, for it keeps switching from Vidor in 1967 to various memories of his and other people's of long-gone events of the silent era. He even gave some investigating assignments to his students from a film class that he was teaching at UCLA at the time, in order to fill in background information and follow different leads at the same time that he himself was interviewing people and poring over documents. For an officially semi-retired 72-year old man, he sure had a busy schedule!



