by dancing in various cities across the country, including New York City, Chicago, New Orleans, and at the 1915 World's Fair in San Francisco. La Marr's dance partners included Rudolph Valentino and Clifton Webb, and her dance routines attracted the attention of publisher William Randolph Hearst, who featured her and a dance partner in a series of articles published in the San Francisco Examiner around 1914. Move to Hollywood and acting While working in the writers' building at United Artists, La Marr was approached by Mary Pickford, who reportedly embraced her and said, "My dear, you are too beautiful to be behind a camera. Your vibrant magnetism should be shared by film audiences." La Marr's association with filmmakers led to her returning to Los Angeles and making her film debut in 1920 in Harriet and the Piper. Though a supporting part, the film garnered her attention from audiences. La Marr made the successful transition from writer to actress with her supporting role in The Nut (1921), playing a femme fatale. Later the same year, she was hired by Douglas Fairbanks to play the substantial part of Milady de Winter in The Three Musketeers. Over the next several years, La Marr acted frequently in films, and became known to the public as "The Girl Who Is Too Beautiful", after Adela Rogers St. Johns, a Hearst newspaper feature writer, saw a judge sending her home during a police beat in Los Angeles because she was "too beautiful and young to be on her own in the big city." This publicity did much to promote her career. Among La Marr's films are The Prisoner of Zenda and Trifling Women, both 1922 releases directed by Rex Ingram. Although her film career flourished, she embraced the fast-paced Hollywood nightlife, remarking in an interview that she slept no more than two hours a night. In 1923, La Marr appeared in the comedy The Brass Bottle, portraying the role of the Queen, and Poor Men's Wives. She had a supporting part in the Fred Niblo-directed comedy Strangers of the Night, and was noted in a New York Times review for her "capable" performance. She starred in the lead role, with Bert Lytell and Lionel Barrymore, in The Eternal City (1923), which featured a cameo appearance by Italian dictator Benito Mussolini. Decline and career resurgence In 1924, during the filming of Thy Name Is Woman, production supervisor Irving