Nell Shipman
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Nell Shipman (born Helen Foster-Barham; October 25, 1892 – January 23, 1970) was a Canadian actress, writer, and director who was active in silent film in the 1910s and 1920s. She used "the girl from God's country" as her sobriquet after starring in God's Country and the Woman.
Born in Victoria, British Columbia, in 1892, her family moved to Seattle, Washington, in 1904. She became interested in performing arts while on a family vacation in the United Kingdom and joined a vaudeville group in 1905. While working in a play she met and married Ernest Shipman and the couple moved to California.
Shipman wrote and directed a few films before receiving a contract with Vitagraph Studios. After doing ten films with Vitagraph she formed her own company and adapted James Oliver Curwood's Wapi the Walrus into Back to God's Country. During the production of the film she had an affair with Bert Van Tuyle and divorced Ernst. Van Tuyle and Shipman formed another company and produced a few films, including The Grub-Stake, before going bankrupt. She attempted to revive her filmmaking career and moved across the United States until her death.
Early lifeEdit
Helen Foster Barham was born in Victoria, British Columbia, on 25 October 1892,Template:Sfn to Arnold and Rose Barham. Her parents were born in the United Kingdom and moved to Canada a few years before her birth.Template:Sfn In 1904, her family moved to Seattle, Washington.Template:Sfn
During a family trip to the United Kingdom Foster-Barham decided to become a performer after seeing a theatreTemplate:Sfn and started taking acting lessons before joining a vaudeville group in 1905.Template:Sfn From 1908 to 1910, she worked with the National Stock Company, Taylor Stock Company, and Sutton Players. These companies took across the Pacific Northwest and Alaska.Template:Sfn
From an early age, she developed a respect towards animals. She was passionate about animal rights and advocated them in Hollywood. She developed her private sanctuary, containing more than 200 animals.<ref>D.J. Turner, "Who was Nell Shipman and why is everyone talking about her?", The Archivist No. 110 (1995), Magazine of the National Archives of Canada.</ref>
Early careerEdit
At age 18, Foster-Barham was cast in a production of Rex Beach's The Barrier, which was being managed by Ernest Shipman.Template:Sfn On 25 August 1910, she married Shipman, with whom she had Barry Shipman;Template:Sfn she was his fourth wife.Template:Sfn The couple moved to California in 1910, and she worked as a screenwriter. She wrote and star in The Ball of Yarn in 1912, but was critical of its quality stating that it was so bad "that even Ernie couldn't book it".Template:Sfn The first film she directed was Outwitted by Billy.Template:Sfn
From 1912 to 1917, Shipman sold scripts to Selig Polyscope Company, Australasian Films, the American Film Company, the Palo Alto Film Corporation, and Universal Pictures.Template:Sfn Shipman advertised her writing ability in trade magazines as she understood "the technicalities and limitations of the camera".Template:Sfn She turned her film Under the Crescent into a 277 page novel with 58 stills from the film.Template:Sfn
Rollin S. Sturgeon, the director of God's Country and the Woman, brought Shipman onto the project to help with the script with no pay.Template:Sfn This was the first Vitagraph Studios film that she acted inTemplate:Sfn and she used "the girl from God's country" as a publicity sobriquet.Template:Sfn Vitagraph gave her an acting contract and loaned her out to Famous Players–Lasky for The Black Wolf (1917).Template:Sfn During her time at Vitagraph from 1915 to 1918, she played major roles in at least ten feature films.Template:Sfn Gayne Whitman starred alongside Shipman in four films directed by William Wolbert.Template:Sfn At the end of Shipman's contract with Vitagraph she was earning $300 per week.Template:Sfn Goldwyn Pictures offered her a seven year contract, but she declined the offer as she was critical of the costumes they had for their contract actors.Template:Sfn
Shipman almost drowned during the production of A Gentlemen's Agreement (1918) for a scene depicting an overturned canoe.Template:Sfn In 1918, Shipman and her mother Rose Barahm both fell ill with influenza. Shipman managed to fully recover while her mother died.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Back to God's Country to The Grub StakeEdit
Leaving Vitagraph on 1 November 1918, Shipman formed the Shipman-Curwood Producing Company with Ernest as the business-manager and sales agent.Template:Sfn She created a contract with James Oliver Curwood in order to adapt and star in adaptations of his work.Template:Sfn Other actresses, such as Gene Gauntier, Clara Kimball Young, Florence Turner, and Anita Stewart, had formed their own production companies after working for other studios.Template:Sfn
Curwood's short story Wapi the Walrus was adapted into Back to God's Country.Template:Sfn Shipman stated that the original story "was trash as a movie; a mere outline" and her adaptation increased the role of the female protagonist, which was played by Shipman.Template:Sfn Back To God's Country was a major Canadian and international silent film hit. Despite the film's success, Curwood did not like the fact that Shipman changed the plot of his short story and the protagonist from Wapi the Great Dane to Delores.<ref>Template:Cite journal</ref>Template:Sfn
Shipman had an extramarital affair with Bert Van Tuyle during the production of Back to God's Country.Template:Sfn On 10 May 1920, she divorced ErnestTemplate:Sfn and moved to Highland Park, Los Angeles, with her son and Van Tuyle, who constructed a building next door. Shipman did two films for automobile companies, Trail of the Arrow and Something New, while awaiting her earnings from Back to God's Country.Template:Sfn The animals used for Back to God's Country were purchased by Shipman as part of the severance agreement for her partnership with Ernest and Curwood.Template:Sfn
Nell Shipman Productions was formed in October 1920.Template:Sfn Shipman and Van Tuyle raised $250,000 for The Girl from God's Country in Spokane, Washington, through the company Nell Shipman Productions. The film was unsuccessful and Shipman moved her company to Priest Lake, Idaho, where she produced The Grub-Stake.Template:Sfn She transported her zoo of animals on barges up to Priest Lake for her films at Lion Head Lodge. The Grub-Stake cost around $180,000 to produce.<ref name=":5">Trusky, Tom. "Nell Shipman." In Jane Gaines, Radha Vatsal, and Monica Dall'Asta, eds. Women Film Pioneers Project. New York, NY: Columbia University Libraries, 2013. {{#invoke:doi|main}}</ref> The distributor went bankrupt before it received money earned from films released after February 1923, including The Grub-Stake.Template:SfnTemplate:Sfn<ref name=":0">Template:Cite journal</ref>
The relationship between Shipman and Van Tuyle ended in 1924.Template:Sfn Van Tuyle threatened to kill Shipman around Christmas 1924, and Shipman tried to kill herself by drowning, but was stopped by Barry.Template:Sfn In 1925, Shipman's company went bankruptTemplate:SfnTemplate:SfnTemplate:Sfn after it produced ten films.<ref name=":0" />
Later lifeEdit
After Shipman's company went bankrupt she moved to Seattle and then New York. She met Charles Ayers and married him in 1925, with whom she had twins on 3 May 1926. Ayers and Shipman separated in 1934. During Shipman's marriage with Ayers she lived in Taos, Glendale, Sausalito, Los Angeles, Requa, Klamath, Venice, and Big Bear.Template:SfnTemplate:Sfn
In March 1928, Shipman played Sara de Sota for an annual pageant hosted by the Ringling Bros. and Barnum & Bailey Circus in Sarasota, Florida.Template:Sfn Are Screen Stars Dumb?, an one-act play, was written by Shipman and she performed in it alongside Barry in Miami in May 1928; it was the last time that she acted.Template:Sfn Dial Press published three books by Shipman: Kurly Kew and the Tree Princess, Get the Woman, and Abandoned Trails. Good Housekeeping published her work This Little Bear Went to Hollywood, which reminisced about her filmmaking career.Template:Sfn One of her stories was adapted into Wings in the Dark (1934).<ref name=":0" />
In 1935, Shipman started a relationship with Arthur Varney, a former film director, that lasted until the 1950s.Template:Sfn Varney and Shipman moved six times in 1939 alone.Template:Sfn They lived in New York, Florida, and California, attempting to finance productions in the 1940s, but eventually became homeless. They received financial backing for The Story of Mr. Hobbs and completed it in 1947, but it was never released although an incomplete version was shown by the British Film Institute in 1996. Inspired by Joseph McCarthy, the couple attempted to make an anti-communist film, but never received financial backing.Template:Sfn
Varney died in 1960, and Shipman lived with friends and relatives in New England, New Jersey, and New York between 1960 and 1965.Template:Sfn Shipman applied for support from the Motion Picture Relief Fund, but was rejected in January 1963, with her being ruled not eligible.Template:Sfn In 1965, she moved to California to live with Barry and then to Cabazon, California, in 1967.Template:Sfn She worked on her memoir, The Silent Screen and My Talking Heart, after moving to Cabazon. The first volume, which covered her life up to 1925, was completed in February 1969, and it was the only part of the book she completed.Template:Sfn Shipman died on 23 January 1970, in Cabazon,Template:Sfn and was buried in Banning, California.Template:Sfn Up until the end of her life she had been writing, planning new films,Template:Sfn and retained a talent agent.Template:Sfn
Unrealized projectsEdit
The Last Empire, a historical feature film set in the Carribean, was written by Shipman in 1917, and she intended to direct it. She went to the Danish West Indies to learn about the area.Template:Sfn However, the script was never sold to any studio.Template:Sfn After The Grub-Stake Shipman attempted to make a four-part series titled Little Dramas of the Big Places at her studio in Priest Lake.Template:Sfn Two of the shorts, Trail of the North Wind and The Light on Lookout, were completed.Template:Sfn She was unable to gain financing for The Purple Trail, a feature film about a woman being chased by a mountie.Template:Sfn Jungle Ship was envisioned as a film by Shipman prior to 1935, but was repurposed to a radio drama. A record was created by Columbia Records, but it was never aired.Template:Sfn The Catnip Mouse was a script she wrote for Jack Lemmon, but said that Bob Hope and Phyllis Diller could be added to it.Template:Sfn
FilmographyEdit
| Year | Title | Role | Notes | Ref. |
|---|---|---|---|---|
| 1913 | The Ball of Yarn | Screenwriter, actress | Template:Sfn | |
| 1913 | One Hundred Years of Mormonism | Screenwriter | Template:Sfn | |
| 1913 | Outwitted By Billy | Screenwriter | Lost | Template:Sfn |
| 1914 | The Shepherd of the Southern Cross | Screenwriter | Template:Sfn | |
| 1915 | Under the Crescent | Screenwriter | Lost | Template:Sfn |
| 1915 | The Pine's Revenge | Screenwriter | Template:Sfn | |
| 1915 | The Widow's Secret | Screenwriter | Template:Sfn | |
| 1916 | God's Country and the Woman | Actress | Lost | Template:Sfn |
| 1916 | The Fires of Conscience | Actress | Lost | Template:Sfn |
| 1916 | Through the Wall | Actress | Lost | Template:Sfn |
| 1916 | The Melody of Love | Screenwriter, actress | Template:Sfn | |
| 1916 | Son o' the Stars | Screenwriter | Template:Sfn | |
| 1917 | The Black Wolf | Actress | Template:Sfn | |
| 1917 | My Fighting Gentleman | Actress and writer | Template:SfnTemplate:Sfn | |
| 1918 | The Girl from Beyond | Actress | Lost | Template:Sfn |
| 1918 | Baree, Son of Kazan | Actress | Lost | Template:Sfn |
| 1918 | A Gentleman's Agreement | Actress | Template:Sfn | |
| 1918 | The Home Trail | Actress | Lost | Template:Sfn |
| 1918 | Cavanaugh of the Horse Rangers | Actress | Lost | Template:Sfn |
| 1918 | The Wild Strain | Actress | Template:Sfn | |
| 1919 | Back to God's Country | Screenwriter, actress | Template:Sfn | |
| 1920 | Trail of the Arrow | Writer, actress, director | Lost | Template:Sfn |
| 1920 | Something New | Writer, actress, director | Template:Sfn | |
| 1921 | A Bear, A Baby, and a Dog | Writer, editor, director | Template:SfnTemplate:Sfn | |
| 1921 | The Girl from God's Country | Writer, producer, director | Lost | Template:Sfn |
| 1923 | The Grub-Stake | Screenwriter, editor, actress | Template:SfnTemplate:Sfn | |
| 1923 | The Light on Lookout | Actress | Template:Sfn | |
| 1923 | The Trail of the North Wind | Screenwriter, editor, actress | Template:Sfn | |
| 1924 | White Water | Writer, director, producer, and actress | Template:Sfn | |
| 1935 | Wings in the Dark | Story | Uncredited | Template:Sfn |
| 1946 | The Clam-Digger's Daughter/The Story of Mr Hobbes | Writer | Template:Sfn |
ReferencesEdit
Works citedEdit
BooksEdit
WebEdit
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BibliographyEdit
Further readingEdit
- "Dreams Made in Canada – a history of feature film, 1913 to 1995" – an article by Sam Kula, Archivist, Archives and Government Records The Archivist No. 110 (1995), Magazine of the National Archives of Canada.
External linksEdit
- Nell Shipman Website
- Canadian Film Encyclopedia [A publication of The Film Reference Library/a division of the Toronto International Film Festival Group]
- Nell Shipman at the Women Film Pioneers Project
- Nell Shipman at Canadian Women Film Directors Database
- [https://www.imdb.com/{{#if: 0794109
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