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16
One hardly expects Cecil De Mille, the creator of dizzy motion-picture sets, to live in such a beautiful and restrained home as this.
Only the right wing of the house is shoivn in the picture.
HEN I mentioned to an eminent dowager of my acquaintance that I was going to write a story on society in the films, she looked at me in sheer amazement, then burst into laughter.
"Just what do you mean, my dear?" she said, recovering her heavy gold-rimmed glasses which had flown off her nose. "Society in the C. B. DeMille pictures? That's the only society that I can imagine in the movies. You surely aren't talking seriously."
And with that she apparently dismissed the subject with a wave of her hand.
I noted, though, that she was meditating. Her unceremonious hauteur was softening a little, and after a pause, she broke out with :
"I was just thinking that there are, perhaps, a few whom you might call eligible to society, in a sense. They have money, and that nowadays is a common meeting ground for many of the younger set. I'm not in favor of it, understand. I come from Boston, where such things are regulated by traditions and blood, but I've seen a lot of the world too, and I realize that we of the old school have been, perhaps, too conservative.
"One must give place to talent. I suppose, and really" — and here she smiled rather coyly, despite her years — "I presume if any of us did have a chance to be entertained by Mary Pickford, we'd accept in a minute. I'm not sure that I wouldn't do it myself. For she is sweet."
And there you have it. Society is weakening. Why, even the aristocracy of the old world, the lords and dukes and duchesses. — such of them as are left — are delighted to be the guests of filmdom's elect. Some of
F i 1 m d o m
Hollywood's glittering pageant the players will soon have a
By Elza
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them are happy even to be playing in their pictures, since their dukedoms and earldoms and princedoms have gone tobogganing.
But what of the movies and their present society complex ?
You know, of course, that ever since last fall filmdom has been caught in the glittering swirl of a social typhoon, and from all indications it has completely succumbed to its dizzying power. I mean this quite sincerely.
The impression exists, of course, that professional people don't care for conventional pleasures, and I don't say that sociability in the movie colony is in any sense conventional. But I have observed that conditions are quite different in the picture world than they are in other artistic pursuits. In a word, the life is more stabilized, and consequently there is greater opportunity for social mingling. This situation is quite unique, and on it are founded whatever superficial evidences there are that filmdom is beginning to take its dress suit and decollete life seriously.
You've been told, of course, how the stars spendtheir spare time. They have a multitude of diversions