Latin Women in the Early Days of Film: Myrtle Gonzalez and Beatriz Michelena

The real world exhibits sexism, and the world of cinema follows suit. We require individuals like Patricia Arquette advocating for equal pay between women and men in her Oscar acceptance speech, prominent actors speaking out against gender bias within film studios, and research revealing the underrepresentation of women in the roles of screenwriters, directors, and producers. However, this was not always the case. During its early years, the film industry was regarded with skepticism and considered a passing trend. As a result, many women were actively involved in the creation of motion pictures. During the silent film era, there existed a multitude of talented female screenwriters, directors, producers, and, of course, actresses.”

If we’re currently addressing the issue of women’s objectification, especially when it comes to non-American women (hello, Sofía Vergara), it’s important to acknowledge that the situation was much more complex in the past. In the 1910s, Latin characters were predominantly depicted as ‘greasers’ — Mexican men with long mustaches and dark sombreros who were consistently cast as villains in movies. Latin women, on the other hand, were often portrayed as femme fatale archetypes: alluring yet untrustworthy. However, amidst the era’s most prominent and celebrated actresses such as Mary Pickford, Lillian Gish, and Mabel Normand, two Latin actresses stood apart from these stereotypes: Myrtle Gonzalez and Beatriz Michelena.

myrtle gonzalez

Myrtle Gonzalez, born in Los Angeles in 1891, had a uniquely diverse heritage, with an entirely English first name and a surname that clearly reflected her mixed Mexican and Irish roots. Her early desire for the stage, inherited from her mother, led her to start singing and acting as a child. In 1913, as film studios began relocating from New York to Los Angeles, Myrtle secured her first role, all while dealing with the challenges of being divorced and caring for her baby son.

myrtle gonzalez movies

Myrtle initially played minor roles in Vitagraph short films, where she had the opportunity to share the screen with William Desmond Taylor in five films between 1913 and 1914. One of the few surviving records of Taylor’s on-screen appearances is in the 1914 film “The Kiss,” in which the leading lady was Margaret Gibson. Interestingly, in 1964, on her deathbed, Margaret Gibson made a startling confession, suggesting her involvement in the mysterious murder of William Desmond Taylor in 1922, although no concrete evidence was ever presented to substantiate these claims.

At the outset of her career, Myrtle initially flew under the radar, but as time passed, she secured more significant roles. Her portrayals of leading women, as seen in films such as “The End of the Rainbow” (1916), featured strong heroines living harmoniously with nature, undeterred by adversity in their pursuit of success.

Myrtle’s career in the film industry was relatively short-lived. In December 1917, she decided to leave the world of movies to enter into her second marriage. Tragically, less than a year later, in October 1918, Myrtle Gonzalez succumbed to the Spanish flu at the age of just 27, aggravated by a pre-existing heart condition. Her husband, Allen Watt, went on to direct and act in several Universal films during the 1920s.

Born in New York in 1890, Beatriz Michelena had a strong family connection to the world of entertainment. Her father, a Venezuelan tenor, introduced both of his daughters, Vera and Beatriz, to the performing arts. Vera pursued a career in New York theater and became a part of the Ziegfeld Follies from 1914 to 1921. In contrast, Beatriz married her childhood sweetheart in 1907 and dedicated herself to the theater in the ensuing years.

In 1912, George E. Middleton, Beatriz’s spouse, founded the California Motion Picture Corporation with the aim of creating promotional films for the automobiles he was selling. Beatriz Michelena made her cinematic debut in 1914 with “Salomy Jane,” a captivating and intricate Western film that showcased her exceptional performance. It raised the question: Could the California Motion Picture Corporation have discovered a potential star?

The impressive 1914 production sparked a vision in George Middleton’s mind: his wife had the potential to become an even bigger star than Mary Pickford! While Beatriz didn’t quite reach that pinnacle, she did experience some success, juggling roles in Westerns where she often performed her own stunts and adaptations of opera.’

Between 1916 and 1917, challenges during the production of the epic film “Faust” led Beatriz to depart from the California Motion Picture Corporation. During this period, she also authored a newspaper column focused on the film industry and offered advice to aspiring actresses. Scenes from “Faust” were incorporated into the 1919 film “The Price Woman Pays,” but Beatriz had already embarked on other ventures.

In the same year that Mary Pickford joined United Artists as a partner, Beatriz established her own production company, named Beatriz Michelena Features. Although only two films were produced under her banner, it proved sufficient to secure Beatriz’s enduring place in the annals of cinema history.

myrtle gonzalez cause of death

After retiring from the film industry in 1920, Beatriz shifted her focus back to opera. She embarked on a Latin American opera tour in 1927, but in 1931, a devastating fire ravaged all the film copies stored at Beatriz Michelena Features, although some survived in archives across the globe. Tragically, Beatriz Michelena passed away in 1942 at the age of 52.

Myrtle and Beatriz, despite being American by birth, embodied the strength and grace often associated with Latin heritage. They never wavered in the face of adversity, carving out their own place in the spotlight. They portrayed resilient, strong women on screen, leaving behind a remarkable legacy that should be celebrated by people of all genders and backgrounds, whether they have Latin roots or not.