Actorviews (1923)

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Making It Up With the Bordoni 293 She felt for the reason, found it, and phrased it perfectly. “The Frenchwoman has color-modesty. She won’t,” Bordoni went on, “wrear a green hat with a red bag and an orange dress. Color is as delicate as perfume to a Frenchwoman of taste.” “Yet all the violent perfumes seem to come from France.” “It’s the way they’re used that make them violent,” she countered. “I scent a handkerchief to-day for to-morrow’s use — and then with, oh, such a little drop. Myself I perfume only in the bath, where most of it can be rubbed away — never sweet; never strong. People on the stage that have to come close to me say, T never smell anybody like that !’ ” It was like a song, that last phrase, “I nevaire smell anybody like that!” — a French, jazzy companionditty to “Do It Again.” But I didn’t suggest melodizing the subtlety of scent. I thought of the classic “And I smell like Mary Garden, my God, ain’t that enough!” and refrained, asking Bordoni only where and how she had got the rights to “Do It Again.” “I’ll tell you how I got that song, after heartbreak and anguish,” and she showed me the revolving whites of her eyes. “My husband’s friend, George Gershwin, wrote it, and sang it to me, and said no, I couldn’t have it for a play because he and his partner wanted to save it for a musical comedy and make a lot of money. I couldn’t beg him, I couldn’t bribe him. And then one day came the benefit matinee for the Jewish children, which Mr. Gershwin was handling. All his big stars which he advertise they send him telegrams to say they could not appear, and he telephone to me in tears to help him out. ‘I’ll do anything in God’s world for you if you’ll come and sing a song,’ he said. “ ‘My dear friend,’ I say, ‘there’s only one song