Writer F. Scott Fitzgerald, in an essay titled 'Echoes of the Jazz Age,' cited three movies that defined the spirit of that unique time. They are 1921 'The Sheik,' the mostly lost 1923 'Flaming Youth' and 1923 "Black Oxen." The last movie, based on the 1923 Gertrude Atherton best-selling novel of the same name, concerns an Austrian countess (Corinne Griffith) who hasn't aged in years and is spotted by an old boyfriend (Tom Ricketts). Stunned, he informs his young friend Lee (Conway Tearle) of his remarkable observation.
As a quasi-science fiction movie, December 1923's "Black Oxen" tackles the problem-or grace-of aging. It turns out the countess earlier had received a rejuvenating glandular treatment and a type of modern day facelift, X-Ray surgery. Janet (Clara Bow) epitomizes the youthful flapper who's attracted to Lee, since they both share the same age and interests. But Lee's attracted to the more mature-acting countess, much older than he realizes.
Corinne Griffith, nicknamed 'The Orchid Lady of the Screen,' was considered one of the most beautiful actresses in silent movies. According to her biographer, Anthony Slide, the phrase "the camera loves her" was attributed to Griffith. At 22, after winning a beauty contest in Southern California, Griffith signed a $15 a week contract in 1916 with Vitagraph. Rising in popularity because of her sheer attractiveness, she signed with First National in 1923 with "The Black Oxen," under Frank Lloyd's direction, as her first film with the studio.
After her movie acting career ended in the early 1930's, she married Washington Redskins football owner and businessman George Preston Marshal. Griffith wrote the lyrics to the team's song, 'Hail to the Redskins,' one of professional football's most famous post-touchdown songs, until the name was dropped.
For actress Clara Bow, "Black Oxen" was her largest role in her budding career. One of many actresses who drew the attention of movie scouts by winning beauty contests, Bow, living in Brooklyn, N. Y., entered a publication's annual awards at 16. She earned the 1921 second place silver trophy, along with some bit parts in New York movies. With resume in hand, she journeyed to Hollywood a year later.
After one film there, Bow dropped in on director Frank Lloyd, who was frustrated over trying to find the right actress to play the vivacious Janet for "The Black Oxen." Bow recalls, "When I came into his office a big smile came over his face and he looked just tickled to death." Once filming was completed, the director told reporters, "Bow is the personification of the ideal aristocratic flapper, mischievous, pretty, aggressive, quick-tempered and deeply sentimental."
Bigger parts awaited Bow as she matured into one of later silent movie's biggest star.
