Born Clara Gordon Bow in Brooklyn to a poor family (an abusive father and a mother who suffered from mental illness), she escaped hardship through movies. In 1921, as a teenager, she won a “Fame and Fortune” contest sponsored by Motion Picture Magazine, which led to early small roles. She moved to Hollywood in 1923 and signed with producer B.P. Schulberg (Preferred Pictures, later Paramount).

Bow quickly became typecast in energetic, free-spirited flapper and tomboy roles that matched the decade’s spirit of bobbed hair, shorter skirts, jazz, smoking, drinking, and sexual liberation. She worked at a relentless pace, often multiple films per year (as many as 14–15 in peak years like 1925).

Her breakthrough came in 1927 with It, adapted from Elinor Glyn’s story about a charismatic shopgirl with irresistible “It” (sex appeal + charm + confidence). The film was a massive box-office hit and cemented her nickname, “The It Girl.” That same year she co-starred in Wings (with Charles “Buddy” Rogers and Richard Arlen), a World War I aviation drama that became the first film to win the Academy Award for Best Picture. Other 1927 titles included Children of Divorce, Rough House Rosie, Hula, and Get Your Man.

She remained a top box-office draw through the late 1920s, receiving tens of thousands of fan letters monthly (reports of 30,000–45,000 in peak months). Her natural red hair, cupid-bow lips, expressive energy, and on-screen vitality made her a style icon and cultural emblem of the era. F. Scott Fitzgerald and others described her as the quintessence of the flapper.

Bow’s look and persona—bobbed hair, glamorous yet accessible fashion, and a mix of innocence and bold sexuality—helped popularize 1920s trends. She continued working into the early sound era (e.g., The Wild Party and The Saturday Night Kid in 1929, released in both silent and talkie versions), though she was uneasy about the transition due to her Brooklyn accent and the industry’s shift.

Many of her films from the peak years (especially some 1928 titles) are lost or only partially survive, but surviving ones such as It, Wings, Mantrap, and others show her lively, modern screen presence. She made dozens of films in the decade overall (part of a career total around 46–58 features, mostly silent).

Raised in Lawrence, Massachusetts, Todd initially intended to pursue a career in teaching. After winning the title of Miss Massachusetts 1925 and competing in the Miss America pageant, she caught the attention of a Paramount Pictures talent scout.

Todd was selected as one of only 16 students for the experimental Paramount Players School in Astoria, Queens, where she trained in acting, diction, and screen movement. She made her screen debut in Fascinating Youth (1926), a showcase feature produced by Paramount for its class of newcomers.

Throughout the mid-to-late 1920s, studios primarily cast Todd as a glamorous leading lady or sidekick in silent dramas, mysteries, and Westerns. Notable silent credits included Nevada (1927) opposite Gary Cooper and William Powell, The Gay Defender (1927), The Noose (1928), and Seven Footprints to Satan (1929).

Recognizing her natural charisma and sharp sense of humor, producer Hal Roach signed Todd to his studio in the late 1920s. Unlike many silent stars who struggled when motion pictures gained audio, Todd thrived in the talkie era due to her quick wit and engaging speaking voice. She starred alongside Stan Laurel and Oliver Hardy in their very first sound short, Unaccustomed As We Are (1929), setting up her peak comedy career in the decade that followed.