On August 19, 1900, Kathleen Morrison was born with 1 blue eye & 1 brown eye in Port Huron, MI. She studied piano & was convent educated before her family moved to the South. Her uncle Walter Howey, managing editor of the Chicago Examiner, got her work as an extra for the Essanay Co. & called in a favor with director D.W. Griffith which led her & her grandmother to come West. She took the stage name Colleen Moore since it fit better on marquees. She appeared in Tom Mix westerns & as an ersatz Mary Pickford in films for various studios. Once she signed with First National, her rise to stardom began when she lobbied for & got the lead in Flaming Youth (1923). A Japanese doll inspired the bob she adopted for this flapper part; it proved an iconic hairdo that she kept for the rest of her life & other stars assumed in the resulting glut of flapper pics. Her films made a fortune for First National & her salary eventually reached to $12,500 a week; however, when sound arrived, her 1st 2 talkies, Smiling Irish Eyes & Footlights and Fools (both 1929) underwhelmed at the box office. The former was banned in Ireland for its Irish stereotypes; the Broadway cachet of Fredric March & Raymond Hackett plus Technicolor musical numbers did not do the trick for the latter. The studio dropped her; a rumored contract to United Artists failed to materialize. She remained away from Hollywood until MGM signed her for Flesh (1932); however, Karen Morley was cast instead. She was loaned to Fox for what she thought was her best film, The Power and The Glory (1933). She then made Social Register (1934) for Columbia at Paramount's Astoria studios & signed with RKO for 2 films. Only the 1st opposite Douglas Fairbanks Jr. was made. Her last film was The Scarlet Letter (1934). She retired to focus on her world famous doll house now housed in a Chicago museum & to write a memoir & an investment guide. Although a devoted Roman Catholic (& Republican), she had 2 divorces & 4 marriages. She died of cancer on Jan. 25, 1988 at her Hidden Valley ranch south of Paso Robles, CA. This still of her & Jack Mulhall was from We Moderns (1925). Like Moore, Mulhall's stardom ended with talkies.