This is the kind of thing I’m talking about—each bio accompanied by a photo. Think there’s a place for this?
Art Acord (1890–1931) Cowboy actor of the 1910s and ’20s, whose career faded with the coming of sound. Never as big a star as Tom Mix or William S. Hart, rodeo star Acord entered films in 1911 and found success by 1915, playing the character Buck Parvin in several comic western shorts. After serving in World War I, he worked steadily through the 1920s, mostly in westerns such as Winners of the West (1921), The Oregon Trail (1923), Rustlers’ Ranch (1926) and Spurs and Saddles (1927). His last major role was as The Arizona Kid (1929); Acord made only one talkie, Trailing Trouble (1930), before killing himself (with cyanide) in Mexico at the age of 40. About 20 of his films are thought to have survived, but mostly in private hands.
Renée Adorée (1898–1933) Lovely, flower-like French-born romantic lead of the 1920s. A minor stage actress in Europe, Adorée entered American films in 1918 and struggled for years before achieving stardom opposite John Gilbert in King Vidor’s The Big Parade (1925), as a French peasant girl in World War I. She made an average of three films a year through the 1920s: most notably as Musette in La Boheme (1926), opposite Lon Chaney in Mr. Wu (1927), with Gilbert again in The Cossacks (1928). When talkies arrived, Adorée made a good showing in The Pagan (with Ramon Novarro, 1929), Redemption (with Gilbert, 1930) and Call of the Flesh (Novarro again, 1930), before being sidelined by the tuberculosis that would kill her at the age of 34.
May Allison (1890–1989) Pert blonde leading lady of the 1910s and ’20s, married to Photoplay editor James Quirk (from 1926 till his death in 1933). Allison made her film debut with a bang as a clean-cut modern woman in Theda Bara’s A Fool There Was (1915), and filmed steadily till her swan song in 1927, The Telephone Girl. Never a major star, she nonetheless played leads in such long-forgotten silent comedies and dramas as Social Hypocrites (1918), Peggy Does Her Darndest (1919),
Are All Men Alike? (1920), Flapper Wives (1924) and Wreckage (1925)—an impressive total of nearly 60 films in a little over ten years. Allison specialized in modern, adventurous, romantic characters, much like her own personality. A wealthy society hostess after her retirement, she lived to be 98.