Lucille Carlisle - A Leading Lady
Lucille Carlisle c. 1918
as published in Steve Rydzewski's SLAPSTICK! #6, May 2002, the Magazine Devoted to the Appreciation, Documentation and Preservation of Early Film Comedy
Lucille Carlisle?---She was a nothing! A curator at the Cinematheque Francaise
in an interview by the author, September 1992
[...] one of the loveliest and most talented girls who has ever appeared on the screen---Lucille Carlisle. Why in the world
doesn't some star-hunting manager grab her? The LA Times, 15 April, 1919
Lucille Carlisle was born Ida Lucile White in Galesberg, Illinois. Lucille's father, Frank, came from a family in Illinois
who owned a theatre in Detroit. They were well off as it seems. Frank was handsome and charming, but unstable. Lucille's mother,
Della Pope, was born on a farm in Quebec. Her father went off to the gold fields in Nevada to find his fortune. One day, his family
received word from him that he had become ill. Della was sent to nurse him to health. She left Boston where she was attending a school
for secretaries and travelled to Nevada by way of Panama. There was no canal then so she crossed Panama by train. It was a hot and dangerous
journey, especially for a young girl, and many people came down with malaria. She found her father and took care of him. Della became a teacher
and married someone of whom there is no record. They had a son, but soon husband and son died of fever. It remains unknown where and when Della
finally met Frank White, Lucille's father. They married and had four children: May Della (b. May 1892), Edna Ellen, who later used the name Helen
Carlisle (b. November 1893), Ida Lucille (b. August 1895), and Melba Nevada (b. June 1898). Frank must have tried to be a good husband, but he worked
as a horseshoer at racetracks and eventually left the family between 1907 and 1911. Alcohol was a problem and has been for some of his descendants.
The last anyone heard from him was that he was seen in Louisville, Kentucky. The year their youngest child was born, Frank gave Della a large ''temperance''
bible. He probably attempted to give up drinking, failed and left.
Della was a rock. She held everything together for her daughters and took them from Detroit to Spokane, Washington, to live near
her sister Florence. That was in 1911. Della purchased a boarding house which she also ran. The four girls worked in the boarding
house and where ever else they could get jobs to help with finances.
Already at an early age, Lucille's beauty became apparent. She had evidently inherited the good looks and the charm of her father.
Early photos show a lively and bright girl of a warm personality with lovely dark eyes and a captivating smile. As far as friends,
Lucille always was popular with men. She might have been a sort of tomboy since she and her mother in later years never missed a
football game on the radio.
The Stage Hand, 1919
Sometime in the 1910s, Lucille married and assumed her husband's name Zintheo or Zinther whose identity cannot be determined, though.
Since the name Zintheo has not been common in the United States, two approaches seem likely, but remain unconfirmed: The first is that
Lucille married the brother of a Clarence Janne Zintheo, who was born in France of French and Swedish parents and belonged to the only
Zintheo branch that had settled in the Seattle area. Clarence Janne has a fairly well documented life that does, however, not include
Lucille. The second possibility pertains to two brothers, N.N. and another Clarence Janne (C.J.) Zintheo, who emigrated from France to
the States and are probably related to the other Clarence Janne. C.J. worked for the US Department of Agriculture, while the other became
a soldier. Maybe Lucille married a descendant of N.N. or C.J. Zintheo1. There is also another possibility as the Western State Marriage
Record Index suggests: the index of Coeur d'Alene, Idaho, a place less than 40 miles from Spokane, lists the complete marital information
for Lucile White and Eldred J. Zinther, who married on 20 June, 1912. Then, Lucille would have been sixteen . Provided this is the right
link, Lucille, embarking on a career in show business, changed her name from Zinther to Zintheo.
As it seems, Lucille was quite an energetic and somewhat liberated young woman. According to a friend of both Melba and Lucille, she left
her first husband because he did not want her ice skating at night, this surely being not the whole story.
As a contemporary article from Movie Weekly reports , it was Lucille's sister Helen (Edna Ellen) who encouraged the hesitant Lucille
to enter in a ``Brains and Beauty'' contest conducted by Photoplay in 1916. Incidentally, Helen worked for the magazine as a writer and
press agent. If that article is right, Lucille had already shown considerable acting talent, her current profession, however, being a
job at an office. In the end, Lucille mailed her photograph and was invited to take a test from which she emerged as a winner. It was
actually the first contest of this kind announced by Photoplay. Other contestants of the same year who won were Mildred Lee, later
playing leads with Universal Comedies as Mildred Moore, and Claire Lois Butler Lee (later Lois Lee), impersonating the Countess Helga
in Rex Ingram's Prisoner of Zenda .
What exactly happened in the wake of Lucille's success with Photoplay can hardly be traced. Her picture had not only been submitted to
the magazine judges, but also to a motion picture company that was cooperating with the magazine and unnamed outsiders. As one of the
latest beauty queens she would be given a chance in celluloid industry, albeit without any further tutelage, as Movie Weekly writes.
The magazine furthermore claims that for this very reason she went straight to Hollywood where upstart Vitagraph comedian Larry Semon
was awaiting her for casting. But things seemed to have been a bit different. According to her grand niece Jessie Salmon, Lucille went
from Spokane to New York. That she was in New York at a very early stage of her career is supported by an entry in the Internet Broadway
Database: in 1917, she belonged as Lucile Zintheo at least to the opening night cast of His Little Widows, a musical production by Broncho
Billy Anderson, playing opposite performers such as Carter DeHaven and his wife Flora Parker . Probably through her work with Anderson
she moved into pictures. Lucille's first film appearance that survives is in the one-reel Semon comedy Boodles and Bandits, released 24
June, 1918. Lucille, not yet in her typical star outfit, plays a she-sheriff, who manages to outclever dangerous Lightning Larry (Larry Semon).
It is noteworthy that already in this picture she obtains the second leading role after Semon. As Semon at that stage was commuting between
Hollywood and New York to produce his pictures and continued with his vaudeville performances, they might very well have met more or less
by chance while both appearing on stage.
After making Boodles and Bandits, Lucille also got a smaller role in Big Boobs and Bathing Beauties. For the time being, she disappears
from Semon comedies only to return about seven months and eight films later as a featured extra in his Scamps and Scandal, which then
starred Vera Steadman as Semon's foil. The Semon comedies were now steadily produced in Hollywood. It is intriguing to consider Lucille's
part in relation to the entire film. She makes an only appearance as a wedding guest and when the camera focusses on the party she is
highlighted while talking to a disguised Larry. The scene itself does not make much sense for the plot and apparently Lucille obtained
attention for some very special reason. It probably marked Lucille's future reign as Larry's leading lady since from now on she claims
the female part in the subsequent sixteen Semon comedies. Soon, she would change her name from Zintheo to Carlisle. The Carlisle-Semon
duo became an institution in filmland and did as well on screen as in real life. Evidently, Semon created his best comedies while joining
forces with Lucille, often granting her as much screen time as himself. Lucille had already been noticed by the critiques, who were in
praise of her beauty and talent. She seemed the perfect counterpart to Semon, bringing in a humorous and cordial performance. She was
convincing in whatever character she impersonated; be it the vamp in Passing the Buck, the innocent girlie in The Simple Life or the
dignified aristocrate in A Pair of Kings. A May 12, 1920 newspaper review of School Days exemplifies the main tenor of the reviewers:
Lucille, Frank Hayes and Larry in School Days, 1920
Lucille Carlyle, Larry Semon's leading lady, is always attractive, but finds the pinafore and curls necessary to her role in School
Days particularly becoming. She is a pleasant addition to the pictures in which Semon is endeavoring to immortalize the boob [...] 
Now that Lucille and Larry had become so popular on the silver screen, their first in person appearance was awaited with much excitement.
It would soon follow on stage of New York's Kinema Theatre in form of an all-too-short song and dance act that ensued every evening the
screening of the latest Semon comedy. The act had been staged by Larry himself and was approved of for its uniqueness .
Lucille and Larry
Eventually, lightfoot Larry fell for Lucille. Unlike their usual romantic billing in film magazines, Ed Roberts, a former editor of Photoplay,
did not mince matters. In his as famous as wicked expose of the ``vices'' of film industry, an exemplar of what nasty little stories were done
long before the National Enquirer age, Roberts terms the relationship of Lucille and Larry illicit . And as if this was not enough, he
describes Lucille as a man-eating, gold digging parasite and thus finds their liaison not a bilateral one. Allegedly, Larry--being not much for
looks--ended up paying the bills for Lucille's extravagant life. They lived together and being only too well aware of the alerted moral authorities,
Lucille and Larry tried to conceal their affair to the public:
[Larry] bought [Lucille] a handsome light blue car--a limousine. [He] was her slave. He visited her apartments. Virtually [Larry]
lived there--day and night. A paid chauffeur drove her to the studio. [Larry] drove a nondescript car. Of course, they did not arrive
at the studio together. That would be too crude .
Fact is that Larry was still married tohis first wife, whom he had left behind with their mutual daughter in New York when Vitagraph
settled in Hollywood. They would have divorced in 1919. And Lucille played obviously delaying tactics on Larry, as Roberts maliciously
observes. Larry was only too interested in marrying her. Lucille, by contrast, was rather drawn to the hotel life of New York where she
allegedly teamed up with other men to indulge in an insatiable lust for life:
Every now and then she makes a trip to New York--fatigued from being too closely wedded to her art--she needs a change. [...] Her face
is familiar in every hotel lobby on Broadway. She has many telephone calls--many midnight suppers. Every day [Larry] talks to [Lucille]
from Los Angeles--if he fails to reach her he comes home sick. She disappeared for two days on her last trip and they had to get a doctor for [Larry].
A hint at their on-and-off romance can also be spotted in a Times article on Hollywood social events:
Larry Semon had parked his comedy make-up and wore the moonlights; and lovely Lucille Carlisle, just to show there was no
hard feeling, any more, was the partner of his terpsichorean joys and sorrows, looking very spankable in a kid outfit. 
Lucille was off the screen for Larry's complete 1921 season . In the meantime, Larry had Maryon Aye and Norma Nichols under
contract. Whether Lucille's absence was connected with any link to New York cannot be proven. Rob Stone mentions that Lucille
spent the first three quarters of that year at the East coast to perform on the stages of New York City [10, p. 283]. Other
sources suggest her being hospitalised for a nervous breakdown, see [9,7]. This is probably not far-fetched as all her sisters,
except for May, had sadly shown a certain mental instability, too. Helen, at some time, would commit suicide.
Lucille and Larry in Dull Care, 1919
In 1922, Lucille returned for Semon's The Show and after another trip to New York for a Broadway musical comedy2 , she and Larry
announced their engagement on 13 July, 1922 . The wedding was to take place sometime in the fall , but it is not clear whether
the two were actually married .
Lucille led the life of a star. She had her photograph taken by Witzel, wore expensive robes and took part in the important social
events. She knew Houdini and his wife and their obsession with the afterlife. Lucille also knew Rudolph Valentino. He was very fond
of her and Helen, who probably resided in Hollywood, too, and he brought each one a scarf from Spain. Her grand nieces still have them.
Reportedly, Lucille was very good friends with Anna May Wong and one of the few non Chinese persons to be admitted to the real Chinatown of San Francisco.
Lucille never lost contact with her family and documents show how close she was to her relatives, paying them visits and being
visited by them. When Lucille's pretty sister Melba came to see Lucille in Hollywood in about August 1920, it seems that the two
even worked together. In a baby book, Melba noted down how much Lucille actually was attached to her family and that she preferred
staying in Spokane much to returning back to Hollywood. One reason was Melba's daughter, Lucille Johnson, who was named for her aunt.
Lucille never had children and loved the younger Lucille as if she was her own daughter.
Lucille made her last traceable screen appearance in Semon's two-reel comedy No Wedding Bells that reached box offices in 1923.
Discords in her relationship with Larry led to difficulties in casting for his future productions [10, p. 298]. Around that time,
she was up for the part of Esmeralda in the Hunchback of Notre Dame, the sumptuous Universal production starring Lon Chaney. However,
Lucille had her nose changed to make it smaller and the effect was not pleasing. So she lost the part to Patsy Ruth Miller.
Lucille left motion picture industry before 1930. She married Leland H. Millikin, a successful businessman who sold expensive cars,
and remained married to him until her death. When Melba's husband passed away in 1932, Melba suffered a nervous breakdown. She asked
that Lucille and Della raise her daughter, the younger Lucille, who was about thirteen years old then. They agreed to do this and lived
together in Spokane, Seattle and Los Angeles. The younger Lucille stayed with them until she married in 1942.
It seems that Lucille kept her connections to show business alive and groomed her beautiful niece for a career, but was very disappointed
when she learned that the younger Lucille wanted a family more. The younger Lucille actually continued the line of highly talented family
members: May was a wonderful artist and painted in all mediums. She had learned it from Della. The older Lucille also showed great talent
for painting. Melba had a great business sense. A cousin was a Disney cartoonist. Young Lucille became a dancer in ballet and tap, a model
and an artist in watercolour and oils. She attended Hollywood Professional School where she had a good friend who ended up being Cyd Charisse.
Apart from inheriting the talents she also continued the near successes, as Jessie Salmon, her daughter, reports:
At one time she was up for a part in Gone with the Wind. She had beautiful long auburn hair and for some silly reason she cut it. That was
exactly not what to do.
Another cue of Lucille Carlisle's lasting connection with show business is that she did some radio before or during the war. She belonged
to a group called Mothers of America and acted as their voice. The radio show was against U.S. involvement in the war.
Photos that survive show a still very beautiful Lucille. People who met her were truly impressed and recall her as a smart and worldly
person, who loved baseball and had a great sense of humour. The bulk of memories about Lucille, however, center on her career, swallowing
up most of her personality. Shirley Lagasse, Jessie's sister, who never got to know Lucille personally, reports:
From what I know, my [Great] Aunt did a very noble thing in agreeing to raise my mom. I truly don't know what would have happened to her
if Lucille had not agreed to raise her. My mother's mom was mentally broken when she lost her husband. Although she eventually recovered
and remarried several times, she never took my mother back to raise her. My [Great] Aunt took on the financial responsibilities for both
my mom and her own mother. Her husband [Leland] didn't always have a steady job, so much of the responsibility for making ends meet were
on both my Aunt and my mother.
Lucille Carlisle died in around 1957, in Los Angeles, probably because of a liver disorder. She had been a drinker like her father, but
had given it up. The damage might have been done.
This article could not have been written without the invaluable help of Bob Dickson, Peter Kühnlein, Joe Moore, Steve Rydzewski,
Chris Seguin, Marilyn Slater and Elna Tymes. Very special thanks go to Lucille's grand nieces Jessie Salmon, and Shirley Lagasse,
who shared all their memories and family photos with me. Jessie also went to the pains of scanning a wealth of photos of which only
a few could be picked for this publication.
Filmography and Other Appearances
According to the database of the American Film Institute that covers feature films during the period Lucille Carlisle was in the movies,
no entry can be found for her. The films she appeared in were two-reelers, except for the one-reelers Boodle and Bandits and Big Boobs and
HIS LITTLE WIDOWS (1917) Musical, Astor Theatre, Broadway. Opening: 30 April, 1917, closing date unknown, total performances: 72.
Opening Night Production Credits: Produced by G. M. ``Broncho Billy'' Anderson and L. Lawrence Weber. Music by William Schroeder;
Book: Rida Johnson Young and William Carey Duncan. Lyrics: Rida Johnson Young and William Carey Duncan. Choreography: David Bennett.
Opening Night Cast Hattie Burke, Frances Cameron, Wallace Camp, Dwight Dana, Carter De Haven, Robert Emmett Keane, Frank Lalor, Flora
Parker, Charles Prince, Julia Ralph, John Robb, Violet Strathmore, Harry Tighe, Irma Von Nagy, Lucile Zintheo.
BOODLE AND BANDITS (1918) Lucille as a sheriff, who fights adamant Lightning Larry (Larry Semon).
BIG BOOBS AND BATHING BEAUTIES (1918) Lucille in a smaller role. She is the first girl Larry Semon, the big boob, chases on at the
beach. He even flirts with who he thinks is Lucille when it turns out to be her black friend. Probably uncredited.
SCAMPS AND SCANDAL (1918) Lucille as an extra, impersonating a guest at a wedding, probably uncredited.
WELL, I'LL BE (1919) Lucille as a bandit in disguise, who first appears to be a helpless girl trapped by gangsters; credited as Lucille Zintheo.
PASSING THE BUCK (1919) Lucille impersonating a sneaky young woman, who plays her charms on Detective Larry only to get hold of a bag of gems.
THE STAR BOARDER (1919) Lucille plays the warden's daughter, who is madly in love with Larry Semon, a prisoner de luxe.
HIS HOME SWEET HOME (1919) Lucille as Larry's wife, mitigating the fight between Larry and his mother-in-law.
THE SIMPLE LIFE (1919) Lucille as Captain Tillie, the leader of the farmerettes, soon to be marrying fool-hardy Larry Semon, the farmer's boy.
BETWEEN THE ACTS (1919) Lucille as a vamp, who gets property boy Larry Semon into all sorts of trouble by her winsome ways.
DULL CARE (1919) Lucille as an unfaithful young wife, who gets into matrimonial entanglements, protected and courted by Detective Larry Semon.
DEW DROP INN (1919) Lucille, the picture actress, who chances upon revenue officer Larry Semon while she works on location and helps
him in quest of moonshiners.
THE HEAD WAITER (1919) Lucille Zintheo as a pretty cashier in a restaurant, who takes pity on Larry (a poor guy) to pay his bill.
Lucille Carlisle in The Headwaiter, 1919
THE GROCERY CLERK (1920) Now Lucille Carlisle, who plays Larry's girl and the postmistress of a grocery store.
Stage act at Tally's Kinema Theatre (probably Broadway). Opening: 1 February, 1920. Closing date unknown. Personal appearance after
the screening of Dew Drop Inn in a song and dance act with Larry Semon and his Beauties Brigade. Staged by Larry Semon.
THE FLY COP (1920) Lucille is a cabaret queen at a dubious Chinese club, protected by Detective Larry Semon.
SCHOOL DAYS (1920) Lucille as a class mate of Larry, whom he later wants to marry.
SOLID CONCRETE (1920) Lucille plays the daughter of the boss of a marble quarry. Larry Semon, the boob, protects her against gangsters
and she becomes his wife.
THE STAGE HAND (1920) Lucille as the prima donna of a show that would work well if stage hand Larry Semon was not around.
THE SUITOR (1920) Lucille is Larry's girl, though her rich father has other plans for her.
THE SPORTSMAN (1920) Lucille as a tourist's daughter, who gets locked up in a harem and is rescued by Larry Semon, the sportsman.
Broadway appearances in a musical comedy during the first three quarters of 1921. Unconfirmed.
THE SHOW (1922) Lucille as star of a fancy vaudeville house, whose jewels are stolen.
A PAIR OF KINGS (1922) Lucille as Princess Lucille, who is held in exile because King August (Larry Semon) has stolen the throne from her.
A stranger (also Larry Semon) reinstates her to the throne [10, p. 285].
GOLF (1922) Lucille playing two roles: a daughter, who is harrassed by a suitor and a girl with goose on a golf course.
THE COUNTER JUMPER (1922) Lucille as the beautiful Glorietta Hope, owner of a trading post employing handyman Larry Semon. She
is chased by a fortune hunter (Oliver Hardy), who intends to marry her in order to steal her wealth [10, p. 294].
THE AGENT (1922) Lucille as a federal agent, who goes undercover as a dance hall girl and co-operates with another federal agent,
Larry Semon [10, p. 292].
NO WEDDING BELLS (1923) Lucille plays a beautiful young girl whom the heroic Larry saves from the trials of a wicked Chinese. [10, p. 297].
Radio programmes as Lucille Millikin, the Voice of the Mother's of America (1939-1941?)
 Internet Broadway Database.
His Little Widows.
15 April, 1919.
Los Angeles Times.
 Iowa State University Library, Ames.
Department of Agricultural Engineering--Clarence J. Zintheo papers.
30 June, 2000.
 George A. Katchmer.
Don't Forget Larry Semon. Part Two. A Contender for Comedy King.
See also Silents' Majority http://www.silentsmajority.com/Guest/gk4b.htm
The Headwaiter, 1919
 Grace Kingsley.
Hollywood social events.
Los Angeles Times, 14 February 1921.
See also Taylorology Newsletter, Issue 20 - August 1994, http://www.public.asu.edu/ ialong/Taylor20.txt.
Kinema Offers Program That Is Quite Unusual.
2 February, 1920.
Kisses that were Real. Being the romantic story of Lucille Carlyle's and Larry Semon's love.
Movie Weekly, 9 August 1922.
 Ed Roberts.
The sins of Hollywood: An expose of movie vice.
Hollywood, May 1922.
See also Taylorology Newsletter, Issue 30 - June 1995. http://www.etext.org/Zines/ASCII/ Taylorology/Taylor30.txt.
 Richard M. Roberts.
Larry Semon - the Cartoonist as Comic. Part I.
Classic Images, (286), April 1999.
 Rob Stone.
Laurel Or Hardy.
Temecula: Split Reel Books.
Winners of Photoplay's First Contest.
22 September, 1922.
 Western States Historical Marriage Records Index.