The short answer to this is that a series of misfortunes during that period wounded Polas career, not the talkies themselves. If talkies were the culprit, then why did her song Paradise become such a big hit and go on to become a minor standard?
The long answer goes like this. The backlash from the big scene Pola made at Rudolph Valentinos funeral in 1926, followed by her rebound marriage to Prince Serge Mdivani, did hurt her box office draw and her fan mail stateside for a time during the end of the silent period (although internationally her pictures continued to do well). But people were starting to forget about that hulabaloo by the time her last Paramount pictures were released in 1928, and therefore they did OK at the box office, even though they werent blockbusters. Pola voluntarily chose not to renew her contract with Paramount and to retire from films because she was, at the time, an expectant mother and wanted to devote her life to raising a family. It was after Pola miscarried and in her depression turned to alcoholism that her mother suggested she get back into films, which she did with the British silent The Woman He Scorned (1929). It was here that things became a rollercoaster ride for Pola. In 1932 RKO signed P
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