Aberdeen and Aberdeenshire have produced a fair list of well-known singers and actors from Annie Lennox, Evelyn Glennie, Mary Garden, Lisa Milne, Sandi Thom, Emeli Sande, Andrew Cruickshank and David Rintoul (both Dr Finlay’s Casebook) to Laura Main from Call the Midwife – lots and lots and recently I came across a couple of women I’d never heard of so thought I’d find out a bit more about them.
I should say that I spent a huge amount of time on this and turned up very little so if anyone has information about the incident relating to Polly Walker’s father in particular I would love to hear from you. Okay, this is what I’ve managed to dredge up. Polly Heather Walker wasn’t born in Aberdeen but her father, John, came from Alford, from Bithnie where her grandfather William Walker was a prominent farmer.
Polly’s aunt, John’s sister Margaret, lived at Kemnay and others in the family lived at the Smiddy at Whitehouse. John, Polly’s dad, moved to Aberdeen where he was an apprentice draper with Esslemont and Mackintosh before migrating to the United States. This was back at the turn of the 20th century.
John played the bagpipes and was something of an all-round entertainer. He married into a travelling circus family, his wife was the niece of a famous clown and somersault leaper Al Armer. Polly was born in 1904 in Chicago but tragedy struck the family when John Walker was shot dead by a drunk in the audience at the circus where he was performing when Polly was aged three. Apparently the killer took exception to John appearing in a kilt, dressed as a Highlander with an act called the Scotch Pipers.
Al Armer helped support the child and her mother and trained Polly for life in the circus paying for lessons in singing and dancing but Polly had different ideas. She certainly followed the family tradition and went on stage as a young child, in Vaudeville, travelling around the States but she rejected life in the big tent for the world of films and stage, finding success on Broadway and with the Ziegfeld Follies.
Polly grew into a beautiful, talented young woman who was selected to star in the RKO Picture Hit the Deck in 1930, one of the earliest films to be shot in Technicolor and in which she played Looloo, a winsome and charming darling of the US navy – so the publicity reads, and she was in Sleepless Nights with Stanley Lupino.
As a stage actress Polly appeared often in New York and while in London for a part in Lovely Lady at the Phoenix Theatre she met her future husband a Harley Street doctor. She also used the opportunity while in Britain to meet her family in Scotland.
Polly’s life was far more glamorous than her parents experience in the entertainment business blessed as she was with ‘beautiful titian-blonde’ looks which helped her celebrity status.
Margaret Mann was most definitely an Aberdonian but unlike Polly she wasn’t a blond bombshell and only found film success when a much older woman, in character roles.
Margaret was born on April 4th 1868 in Aberdeen and died in Los Angeles in 1941. Her remaining sister, she had seven, she visited one final time in 1928 at her home in Forest Avenue when they were both aged and the sister was about to lose her sight.
When Margaret entered the film business films were still silent. Her first picture was The Heart of Humanity in 1918. In 1921 she was in Black Beauty and in ’28, the year she returned to Aberdeen, she played the mother who lost three sons in the Great War in John Ford’s drama Four Sons which incidentally was one of John Wayne’s first movies.
Margaret’s kindly appearance led her to be somewhat typecast in motherly roles but she picked away with parts until sound came in which more or less did for her career that included over 80 movies. Her appearances were numerous but often she appeared in bit-parts and wasn’t always credited.
She played a grandmother, Mrs Mack, in two Our Gang comedies in 1931; had a small role in Frankenstein, in You Can’t Take it With You, she was in Gone with the Wind and appeared as a nun with cheering orphans in Mr Smith Goes to Washington and took a part in Laurel and Hardy’s Bonnie Scotland. Her final film was The Remarkable Andrew in 1942 which was released a year after her death.
Margaret died of cancer at the age of 72 on Feb 4th 1941. Described in American newspapers as Hollywood’s unofficial ambassador of sweetness and light, it was said Margaret’s life was a sad one despite the career she forged for herself in the film industry.
Her final visit to her home city of Aberdeen came about when her sister wrote telling her how much she was looking forward to seeing Margaret in the John Ford picture Four Sons but regretted her cataracts were so bad she might not see it. Margaret immediately cabled home to say she was coming back home, after thirty-eight years, and so she did.
Margaret got into films when she moved to San Diego where she was approached by the governor of Washington State who was struck by her likeness to the former American president George Washington’s wife Martha. Margaret was hired to appear as Martha Washington in a tableau which formed part of the opening of the state fair. Following this she was persuaded to move north to Los Angeles where she approached various movie casting directors and three days later she was called by Universal Studios. Her career was born. There never were really major starring roles, although the Ford film was I suppose, and she became well-known as a film actress but work was always piecemeal; often her pay amounted to just a few dollars. When she was signed up for the role of the mother in Hearts of Humanity for Universal in 1917 she got her first proper contracted salary of $60 a week.
When film-goers became more interested in glamorous Polly Walker actress types rather than white-haired older women Margaret’s roles dried up. The film extra who ambled to fame retreated to obscurity once again.