Silent Sin
E.J. Russell
M/M Historical (1920s America; silent-era Hollywood)
Release Date: 03.03.20
Blurb
When tailor Marvin Gottschalk abandoned New York City for the brash boomtown of silent-film-era Hollywood, he never imagined he’d end up on screen as Martin Brentwood, one of the fledgling film industry’s most popular actors. Five years later a cynical Martin despairs of finding anything genuine in a town where truth is defined by studio politics and publicity. Then he meets Robbie Goodman.
Robbie fled Idaho after a run-in with the law. A chance encounter leads him to the film studio where he lands a job as a chauffeur. But one look at Martin and he’s convinced he’s likely to run afoul of those same laws—laws that brand his desires indecent, deviant… sinful.
Martin and Robbie embark on a cautious relationship, cocooned in Hollywood’s clandestine gay fraternity, careful to hide from the studio boss, a rival actor, and press on the lookout for a juicy story. But when a prominent director is murdered, Hollywood becomes the focus of a morality-based witch hunt, and the studio is willing to sacrifice even the greatest careers to avoid additional scandal.
Thank you to Love Bytes for having me today.
Disappearing fathers
Today, when much of American existence is digitized and codified, when the internet, ubiquitous cell phones, and security cameras can track so much of our movement, it’s still possible for people to disappear. It’s not easy, but it’s possible.
In the early twentieth century, though, a person could vanish with much less effort. Consider this snippet from Silent Sin. It’s August 1921, and Robbie, still on edge after escaping a run-in with the law in Idaho, is driving Martin to the premiere of The Three Musketeers.
“You know, Robbie,” Martin said slowly, “you don’t have to be ashamed if there’s something in your past you’re trying to forget. Nearly everyone in Hollywood has something they’d prefer to hide.” Some of us more than others.
“Thank you for being so nice about it, Mr. Brentwood, but I really think—”
“For instance, take Doug Fairbanks, the star of tonight’s picture. He got expelled from high school for cutting the wires on the school piano.”
Robbie laughed and his shoulders relaxed a trifle, lowering from their position by his ears. “Really?”
“You have my word for it. It doesn’t play very well to his image, does it?”
“I suppose not.”
“And the absolute last thing he’d want the public to know was that his father abandoned his family when Doug was only five. Because that might lead people to pity him, and no one that robust and successful can survive being pitied.”
“But it’s a shame, isn’t it? For a father to abandon his family?”
“Perhaps. But in this town, it’s a story that’s not remarkable in any way. Half of Hollywood’s got disappearing fathers.”
“The other half comes from good homes?”
Martin grinned at Robbie’s hopeful tone. “The other half are the disappearing fathers.”
Think about it. Mass communication didn’t exist, nor did commercial aviation. The most common transcontinental travel method was by rail, which wasn’t an option for many—especially a woman with multiple children, for instance, in search of a missing spouse.
Yes, the Model T had effectively reduced distances for many, but its top speed was 45mph, highways were sketchy at best, and not everyone could afford even the cheapest automobile. A person could steal away from his hometown and completely reinvent himself elsewhere in the country without worrying too much about pursuit.
Early Hollywood was a great place to stage that reinvention, particularly if you were a studio asset. The studios had the press and police in their pockets. So the stories they fed to reporters about their stars’ origins and pedigrees (many of which were complete fabrications) were taken as gospel. If some inconvenience surfaced from the past—such as director William Desmond Taylor’s wife catching sight of him on-screen in 1914 after he’d abandoned her and their daughter in 1908—well, one way or another, those little details could get… handled.
“I’m not working with Boyd Brody again, Sid. I can’t.” Martin Brentwood met his own gaze in the mirror over the drink cart in his living room. God, he looked like ten miles of bad road. “He tried to drown me.”
Sid Howard, Martin’s manager, emerged from the kitchen, drying his hands on a dish towel. “Come on, Marty. He was just kidding. Giving you the business, same as he does with any actor. You can’t take this personal.”
“I damn well do take it personally. He’d never try that shit with Fairbanks.”
“Shite.”
Martin frowned at Sid. “What?”
“A baronet’s son from Hertfordshire wouldn’t say ‘shit.’”
“But I’m not a baronet’s son from Hertfordshire.” Martin sloshed more gin into his glass. “That would be you. Me? I’m only a tailor’s apprentice from Flushing.”
Sid tossed the towel on top of the piano and pried the glass out of Martin’s grip. “No. That would be me. And don’t forget it, even when we’re alone. Even in your own head. It’s easier to remember the lies if you live ’em full-time.” Sid sniffed the contents of the tumbler and made a face. “And don’t drink this shit. You’ll go blind.”
“I’ll have you know this gin was brewed in Barstow’s finest bathtubs.” Martin shuffled to the davenport and flopped down on the cushions. “But you’re right.” He bared his teeth. “It’s shite.”
“That’s more like it.” Sid settled in the wingback chair across from Martin. “So. I met with Jacob Schlossberg today.”
“Better you than me,” Martin muttered. “I loathe the bastard, and the feeling is decidedly mutual.”
“Maybe. But the reasons for the hate are different. You hate him because he’s—”
“A pontificating blowhard with delusions of grandeur and the morals of a weasel?”
“Because,” Sid raised his voice over Martin’s, “he’s the one who controls your career.”
“He’s not the only one. Ira owns half the studio.”
“Yeah, but Ira’s the talent-facing brother. Jacob’s got his sausage-like finger on the studio’s financial pulse. And when it comes down to it, at Citadel Motion Pictures, money’ll trump talent every time.”
Martin snorted. “So much for art.”
“Pictures aren’t art, Marty. They’re business. Big business. And if nobody pays to see your picture, it don’t matter if it’s as arty as the Russian crown-fucking jewels.”
“Really, Sid,” Martin murmured. “Your language.”
Sid grinned. “Unlike some, I don’t forget who I’m supposed to be.” Sid folded his hands on his knee, and no matter how much he might be able to ape a working-class stiff from Queens, if anybody in Hollywood paid attention, his hands would give him away. Tailor’s apprentices didn’t have the kind of practiced grace that had been drilled into Sid when he was busy getting kicked out of every prep school in England.
“As I said, I met with Jacob today.”
“And?”
Sid’s heavy brows drew together. “He and Ira are split on whether they want to re-up your contract. Ira’s liked you since he brought you in from Inceville and put you in a suit instead of a cowboy hat. He thinks you’re the best bet the studio has to counter Valentino. But Jacob… well….”
“I know, I know. He hates queers.”
“Nobody knows for sure that you’re queer, Marty.” Sid’s scowl said, “And keep it that way” louder than words could. “Anyway, Jacob may hate queers personally, but he depends on them too, as long as they’re in their place.”
Martin’s snort was a low-class sound, but nobody could hear him except Sid, who already knew the truth. Sid had invented Martin’s backstory. Hell, Sid had lived Martin’s backstory and he’d traded it with Martin’s when it became obvious which one of them could make a go of it in pictures.
“Right. In wardrobe. In the art department. Where the public never sees.”
“It’s not the invisibility that he cares about. He covets their taste. He knows he’s got none. He’s a stevedore’s son from the Bronx. He craves sophistication, so you’ll keep delivering it, because the only thing Jacob really hates is a threat to his profits. You can be as queer as Dick’s bloody hatband and he wouldn’t care as long as your pictures make money. But they won’t make money if your fans turn away. Remember what happened to Jack Kerrigan.”
“Kerrigan’s popularity dropped because he made that asinine comment about being too good to go to war, not because he’s queer.”
“Exactly. But with the Hollywood press in their back pocket, the studio didn’t lift a finger to save him. He’d become a liability with all his talk about no woman measuring up to Mother, and his lover tucked cozily away downstairs, masquerading as his secretary. You don’t want to be in that position.”
Martin pinched his eyes closed. “If it’s not because they suspect I’m in the life, then what is it? The cocaine? Because I told you, I’m never taking that stuff again, no matter how much the studio doctor prescribes.”
“No. It’s because of your last driver. What was his name? Homer?”
“Vernon, actually.”
“Right. Well, they don’t like that you fired him.”
“I fired him because he was a manipulative son of a bitch who saw driving a studio car as a sure way to stardom, provided he could fuck the right people.”
“Swive.”
“What? Are you telling me a baronet’s son wouldn’t say fuck?”
“Baronets’ sons definitely do, especially when imprisoned at boarding school with dozens of other baronets’ sons. But Martin Brentwood, leading man and one of Hollywood’s finest gentlemen, does not.”
Martin leaned his head on the cushions. “Jesus, Sid. Don’t you ever get tired of the act?”
“I’ll keep up with the act as long as it pays the bills. And so will you.”
Multi-Rainbow Award winner E.J. Russell—grace, mother of three, recovering actor—holds a BA and an MFA in theater, so naturally she’s spent the last three decades as a financial manager, database designer, and business intelligence consultant (as one does). She’s recently abandoned data wrangling, however, and spends her days wrestling words.
E.J. is married to Curmudgeonly Husband, a man who cares even less about sports than she does. Luckily, CH loves to cook, or all three of their children (Lovely Daughter and Darling Sons A and B) would have survived on nothing but Cheerios, beef jerky, and satsuma mandarins (the extent of E.J.’s culinary skill set).
E.J. lives in rural Oregon, enjoys visits from her wonderful adult children, and indulges in good books, red wine, and the occasional hyperbole.
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