Biography

In her divorce proceedings from Jack Dempsey, she received a settlement of $40,000 in cash, their $150,000 home, including all paintings and furniture, along with three cars. Dempsey remarked, "I resented her more than I disliked her. In fact, I would have taken her back if she had snapped her fingers. But she was glad to be free and away from me.".

Was one of Lupe Velez's best friends. She was also one of the last persons who spoke with Velez before the Mexican actress' death. Taylor once said that Velez was her favorite movie star because of her "personality and spontaneity".

Following her divorce from Jack Dempsey, a fan approached her for her autograph. Holding the piece of paper, the actress saw Dempsey's name scrawled near the top of it. She signed the page: "This is the last time that son-of-a-bitch is on top of me. Estelle Taylor.".

She had a dramatic soprano voice and studied singing in the late 1920s and early 1930s. When she retired from films in the mid-1930s, she began a successful career as a singer, receiving a salary of $1,000 a week. She performed in vaudeville, on the stage in musicals, and in night clubs. At one point, she even gave a concert at New York's Carnegie Hall.

"Photoplay" included her role in Where East Is East (1929) in its eight Best Performances of the Month (June 1929).

[in March 1923, when a reporter told her that Cecil B. DeMille was considering her to be his new leading actress] Wouldn't it be wonderful! Because he can so easily make every one of his actresses someone to really think about.

My part in The Ten Commandments (1923) brought me an avalanche of offers and, somewhat astounded, I accepted the most money, playing in a succession of independent productions. I was too easy-going, too content with the things that were coming my way again - clothes, good living, a luxurious background. I love comfort.

[on working with William Farnum in The Adventurer (1920)] Mr. Farnum gave me so many valuable suggestions and really brought me to Mr. Fox's notice. I feel that I owe this opportunity to him.

[in 1930] Even to this day I'm clothes conscious on the set. When I decided to do The Ten Commandments (1923) I had a net suit made that was skin tight and completely covered me. You couldn't see through it but it didn't pick up in the camera, so cleverly was it made. I always thought Mr. DeMille was a good sport to humor me in that.

Upon completion of Playthings of Desire (1924), in which I also played, Cecil B. DeMille sent for me. When I entered his office I noticed that he was writing. As he continued to write I had ample opportunity to study the room. One thing I liked particularly was a boat standing on a table. On the walls were knives, oriental and antique, all sorts of knives - more of a collection than I'd ever seen before. On the floor were several beautiful fur rugs. My gaze was resting on one of them when, at last, he stopped his writing, looked up from his desk and let me know he was aware of my presence. Mr. DeMille asked several questions about what I'd done. I named some of the pictures in which I had played the leads. He then told me that he planned, in the near future, to put on The Ten Commandments (1923). "Do you know them - the ten commandments, I mean?" he inquired. "I know the more important ones, anyway," I answered. A few days later I signed a contract with Mr. DeMille to play the part of Miriam, Moses' sister.