Rin Tin Tin

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  ALSO BY SUSAN ORLEAN

  Lazy Little Loafers

  My Kind of Place

  The Bullfighter Checks Her Makeup

  The Orchid Thief

  Saturday Night

  Red Sox and Bluefish

  Simon & Schuster

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  Copyright © 2011 by Susan Orlean

  All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. For information address Simon & Schuster Subsidiary Rights Department, 1230 Avenue of the Americas, New York, NY 10020.

  First Simon & Schuster hardcover edition September 2011

  SIMON & SCHUSTER and colophon are registered trademarks of Simon & Schuster, Inc.

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  The photograph on page 42 is used with the permission of General Photographic Agency/Hulton Archive/Getty Images. The photographs on pages 100 and 254 are provided by courtesy of the Rin Tin Tin/Lee Duncan Collection [A719] of the Riverside Metropolitan Museum, Riverside, CA.

  Designed by Nancy Singer

  Manufactured in the United States of America

  10 9 8 7 6 5 4 3 2 1

  Library of Congress Cataloging-in-Publication Data

  Orlean, Susan.

  Rin Tin Tin: the life and the legend / Susan Orlean.

  p. cm.

  Includes bibliographical references.

  1. Rin-Tin-Tin (Dog). 2. German shepherd dog—United States—Biography. 3. Working dogs—United States—Biography. 4. Dogs in motion pictures—History—20th century. 5. Dogs in the performing arts—History—20th century. I. Title.

  SF429.G37O75 2011

  636.737’6092—dc23 2011024476

  ISBN 978-1-4391-9013-5

  ISBN 978-1-4391-9015-9 (ebook)

  For John and Austin, my people

  and

  For Molly, Cooper, and Ivy, my dogs

  CONTENTS

  Chapter 1: Forever

  Chapter 2: Foundlings

  Chapter 3: The Silver Screen

  Chapter 4: Heroes

  Chapter 5: The Phenomenon

  Chapter 6: The Leap

  RIN

  TIN

  TIN

  FOREVER

  He believed the dog was immortal. “There will always be a Rin Tin Tin,” Lee Duncan said, time and time again, to reporters, to visitors, to fan magazines, to neighbors, to family, to friends. At first this must have sounded absurd—just wishful thinking about the creature that had eased his loneliness and made him famous around the world. And yet, just as Lee believed, there has always been a Rin Tin Tin. The second Rin Tin Tin was not the talent his father was, but still, he was Rin Tin Tin, carrying on what the first dog had begun. After Rin Tin Tin Jr. there was Rin Tin Tin III, and then another Rin Tin Tin after him, and then another, and then another: there has always been another. And Rin Tin Tin has always been more than a dog. He was an idea and an ideal—a hero who was also a friend, a fighter who was also a caretaker, a mute genius, a companionable loner. He was one dog and many dogs, a real animal and an invented character, a pet as well as an international celebrity. He was born in 1918 and he never died.

  There were low moments and setbacks when Lee did doubt himself and Rin Tin Tin. The winter of 1952 was one such point. Lee was broke. He had washed out of Hollywood and was living in the blank, baked valley east of Los Angeles, surviving on his wife’s job at an orange-packing plant while Rin Tin Tin survived on free kibble Lee received through an old sponsorship arrangement with Ken-L-Ration, the dog food company. The days were long. Most afternoons Lee retreated to a little annex off his barn that he called the Memory Room, where he shuffled through old newspaper clips and yellowing photographs of Rin Tin Tin’s glory days, pulling the soft quilt of memory—of what really was and what he recalled and what he wished had been—over the bony edges of his life.

  Twenty years earlier, the death of the first Rin Tin Tin had been so momentous that radio stations around the country interrupted programming to announce the news and then broadcast an hour-long tribute to the late, great dog. Rumors sprang up that Rin Tin Tin’s last moments, like his life, were something extraordinary—that he had died like a star, cradled in the pale, glamorous arms of actress Jean Harlow, who lived near Lee in Beverly Hills. But now everything was different. Even Ken-L-Ration was doubting him. “Your moving picture activities have not materialized as you expected,” the company’s executives scolded Lee in a letter warning that they were planning to cut off his supply of free dog food. Lee was stunned. He needed the dog food, but the rejection stung even more because he believed that his dog, Rin Tin Tin III, was destined to be a star, just as his grandfather had been. Lee wrote back to the company, pleading. He said that the dog had “his whole life before him” and new opportunities lined up. His father and grandfather had already been celebrated around the world in silent films, talkies, radio, vaudeville, comics, and books; this new Rin Tin Tin, Lee insisted, was ready to conquer television, “the coming medium,” as he described it.

  In truth, Lee had no contracts and no connections to the television business and doubts about its being anything more than a fad, but with the prospect of losing Ken-L-Ration hanging over him, he rushed to find a producer interested in making a television show starring Rin Tin Tin. It couldn’t be just anybody, though: Lee wanted someone who he felt really understood the dog and his profound attachment to him.

  The winter went by with no luck; then spring, then summer. Then one September afternoon in 1953, a stuntman who knew Lee from his Hollywood days came out to visit along with a young production manager named Herbert “Bert” Leonard. The stuntman knew Lee was looking for a producer, and he also knew Bert wanted a project to produce. Even so, it was an unlikely match. Lee was a Westerner, an eccentric cowboy who was comfortable only with his dogs and horses; Bert was a young, loud New Yorker who gambled, smoked cigars while playing tennis, and loved attention, but had no interest in dogs. And yet their connection was lightning, and Bert decided he wanted to make a television show starring Rin Tin Tin.

  At the time, Bert was managing the production of a low-budget thriller called Slaves of Babylon; during his lunch break the next day, he wrote up his idea for a show he called The Adventures of Rin Tin Tin, starring the dog and an orphaned boy who are adopted by a U.S. Cavalry troop in Arizona in the late 1800s, during the Apache wars. As Bert recalled later, Lee “went crazy for it.” The story was fiction, but it captured something essential in Lee’s relationship to the dog, and in the dog’s nature—a quality of pure attachment, of bravery, of independence that was wrapped around a core of vulnerability. The show debuted three years later. It climbed in the ratings faster than any show in the history of television. Almost four decades after Lee first found Rin Tin Tin, the most famous dog in the world was born again. Lee had always been convinced that his dog was immortal. Now Bert was convinced, too. As he liked to say, “Rin Tin Tin just seems to go on forever.”

  In the first years of the twenty-first century, Daphne Hereford hitched her 1984 Cadillac El Dorado Biarritz convertible parade car to the back of a U-Haul truck and fishtailed out of her driveway in Texas, setting off on an eleven-month tour of t
he United States with three of her German shepherds: Gayle, Joanne, and Rin Tin Tin VIII, whose registered name was Rin Tin Tins Oooh-Ahhh but whom she generally referred to as the Old Man. Gayle was pregnant and needed attention and Joanne was good company; the Old Man, though, was the big ticket. Daphne never went anywhere without the Old Man. At home, the other dogs spent most of their time in their kennels in the backyard; only the Old Man had house privileges. She planned to have him taxidermied when he died so she could always have him around.

  The purpose of this cross-country trip was to present the Old Man at German shepherd shows and Hollywood memorabilia events around the country. It was not luxury travel. Daphne tolerated the meaner vagaries of life on the road, including, for example, the time when a friend she was staying with out west tried to kill her. She shrugs off the attempted murder along with all the other inconveniences of the journey. “I don’t give up,” she told me when I visited her in Texas not long ago. “I just don’t give up.”

  Persistence is a family trait. Her grandmother, who had fallen in love with Rin Tin Tin when she saw his early movies, was so determined to have a Rin Tin Tin dog of her own that in 1956 she tracked down Lee Duncan and sent a letter pleading for a puppy. “I have wanted a Rin Tin Tin dog all my life,” she wrote, adding, before asking the price, “I am not one of those Rich Texans you hear about. Just a plain old country girl that was raised on a ranch.” She said she hoped to begin “a living legacy of Rin Tin Tin dogs in Houston” and promised that if Lee would send a puppy to her in Houston, she would return the shipping crate to him, posthaste, parcel post. Lee, impressed by her determination, agreed to sell her a puppy “of excellent quality” sired by Rin Tin Tin IV.

  When her grandmother died in 1988, Daphne took on the stewardship of that legacy. She also revived the Rin Tin Tin Fan Club and registered as many Rin Tin Tin trademarks as she could. All of her money went to the dogs, the fan club, and other dog-related projects. She lived in a little shotgun house in Latexo, Texas, and scrimped to keep her costs down. For Daphne, it was all about continuing the Rin Tin Tin line. The line led from the Old Man back through the generations, from dog to dog to dog, a knot here and there, but always continuing, back to the original dog, and, most important, back to the original notion—that something you truly love will never die.

  My most vivid memory of Rin Tin Tin is not of a live dog at all, but of a plastic one: a Rin Tin Tin figure about eight inches high, stoic, bright-eyed, the bud of his tongue draped over his bottom teeth. My grandfather kept this figurine on his desk blotter, maddeningly out of reach. Somewhat dour and formal, my grandfather, an accountant, was not very interested in, or natural with, children. Strangely enough, however, he was very fond of toys; in fact, he collected them, and displayed a few special ones in his office at home. The most exceptional of these was the Rin Tin Tin figurine, that special dog, the star of the television show I loved.

  At that time, in the 1950s, Rin Tin Tin was everywhere, universal, almost something in the air. I was only four years old when the show began its initial run, so my memory of that period is only a faint outline. But my brother and sister watched the show with the dedication and regularity of churchgoers, so I’m sure I plunked down beside them. When you’re as young as I was at the time, you just soak something like that up and it becomes part of you, so I feel I have always known of Rin Tin Tin, as if he was introduced to me by osmosis. He became part of my consciousness, like a nursery lullaby you can sing without realizing how you came to know it. In the buzzing white noise of my babyhood, a boy on a television was always shouting “Yo, Rinty,” a bugle was always blowing, and a big dog was always bounding across the screen to save the day.

  That is why the first dog I ever wanted was a German shepherd, and why I kept wanting one well past the point at which it had been made amply clear that I was never going to get one—my mother, unfortunately, was afraid of dogs. Like so many childhood passions, it eventually receded but never died. I came across the name “Rin Tin Tin” a few years ago, while reading about animals in Hollywood. It was a name I had not heard or thought about for decades, but a shock of recognition surged through me and made me sit up straight, as if I had brushed against a hot stove.

  And instantly I remembered that figurine, and remembered yearning for it. My desire for it had remained unrequited. My grandfather allowed us to hold one or two of his toys on occasion, but never Rin Tin Tin. I didn’t understand why this was the one treasure we could never touch; it wasn’t more delicate than the other toys, and it didn’t have any finicky mechanism. There was no explanation; it was simply not ours to have.

  There was something spellbinding about our visits to that office—my grandfather looming above us, his hand hovering over the desk blotter to choose the toy he would allow us to hold, our eyes following his hand as it paused at this toy and that toy, each time drifting close to Rin Tin Tin but passing it by again, lifting our hopes and dropping them; then his hand grasping and passing to us some other forgettable toy and waving us out of the room. Time tumbled on, as it does, and people changed, as they do, but that dog figurine was always constant, always beckoning, always the same. When I was reminded of Rin Tin Tin after decades of forgetting all about him, the first thing I thought of, with a deep, sharp pang, was that mysterious and eternal figurine.

  FOUNDLINGS

  1.

  Rin Tin Tin was born on a battlefield in eastern France in September 1918. The exact date isn’t certain, because no one who was present during the birth ever reported on it, but when Lee found the puppies on September 15, 1918, they were blind and bald and still nursing. They were probably just a few days old.

  The Meuse Valley of France in 1918 was a terrible place to be born. In most other circumstances, the valley—plush and undulating, checkered with dairy farms—would have been inviting, but it rolls to the German border, and in 1918 it was the hot center of World War I. As the German artillery advanced westward, the villages in the Meuse were pounded to a muddy pulp. The troops faced off in trenches, where the fighting was slow, relentless, and brutal. Barbed wire was strung across hundreds of miles. Much of the combat was hand-to-hand. Weapons were crude. Blistering, poisonous chlorine and mustard gas had recently been introduced in battle for the first time. Casualties were almost medieval. There were so many victims with severe facial injuries that a group of them formed an organization called La Union des Blessés de la Face—the Union of the Smashed Faces. Death was everywhere. By 1918, when Rin Tin Tin was born, there were more than 1 million war orphans in France.

  Unlike the Rin Tin Tin I knew as a kid, the puppy in this litter who grew up to be a movie star was dark-coated and slim-nosed, with unexpectedly dainty feet and the resigned and solemn air of an existentialist. In his most popular portrait—shot in the 1920s, copied by the tens of thousands, and signed “Most Faithfully, Rin Tin Tin” in Lee’s spiky script—his jaw is set and his eyes are cast downward, as if he was thinking about something very sad. Even when he was photographed doing something playful like, say, waterskiing or sunbathing or riding a horse or getting a manicure or snowshoeing with starlets or drinking a glass of milk with a group of children who were also drinking milk, he had a way of looking pensive, preoccupied, as if there were a weight in his soul.

  2.

  Leland Duncan was a country boy, a third-generation Californian. One of his grandmothers was a Cherokee, and one grandfather had come west with the Mormon pioneer Brigham Young and then settled in the still-empty stretches of southern California. The family ranched, farmed, scratched out some kind of living, made their way. They were not fancy. Lee’s mother, Elizabeth, fell in love when she was sixteen. Little is known of her beau other than that his name was Grant Duncan, and he was a dreamer. Even though Grant’s family was better off than Elizabeth’s, her parents didn’t like him, and they were furious when she married him in 1891.

  Lee was born in 1893, when Elizabeth was just eighteen. She pictured a bright future for him: she named hi
m after California railroad magnate Leland Stanford. Three years later, Elizabeth gave birth to a girl, Marjorie. Two years after that, when Lee was five, the dreamy Grant Duncan took off and was never heard from again. In time, when Lee became a Hollywood figure, Grant’s disappearance was transformed by the alchemy of press agentry; instead of having abandoned his wife and children, he had suffered a “tragic early death due to a burst appendix.” Lee never corrected that account, nor did he elaborate on it.

  Lee was a great keeper of notes and letters and memos and documents, which are now archived in the Riverside Metropolitan Museum. In those thousands of pages, which include a detailed memoir—a rough draft for the autobiography Lee planned to write and the movie he hoped would be made about his life—there is only one reference to his father, and even that is almost an aside. Lee writes that he “lost Father” around the same time that Elizabeth’s brother died from a rattlesnake bite. Lee then notes that his mother took her horse for a long, hard ride to shake off the grief of losing her brother. Lee describes the horse in great detail, but there is not another word about his father.

  Uneducated, unskilled, and on her own with two young children, estranged from her parents and unaided by other relatives, Elizabeth gathered up Lee and Marjorie, took the train from Los Angeles to Oakland, and applied to leave them at the Fred Finch Children’s Home, an orphanage in the East Bay Hills.

  This was 1898. A decade earlier, the United States had been in a period of growth and comfortable decorousness, but in 1893 several major businesses had collapsed, setting off a financial panic, and the country had cartwheeled into a depression. Banks were failing; railroads were going bankrupt. There was a cholera outbreak; a smallpox outbreak; a miserable and suffocating closeness in city slums. For children, it was a particularly harsh time. Thousands lived on their own, having lost their parents to disease, and thousands more were cast out by families who couldn’t afford to keep them. In New York City, gangs of abandoned children lived on the streets. Eventually, more than two hundred thousand children from the New York area were sent west on “orphan trains,” which dropped them off along the route to be taken in by pioneer families, sometimes as foster children, and sometimes as near slaves.