From under my hat (1952)

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5 To F. Scott Fitzgerald it was the Lost Generation. To Hollywood it was the Golden Twenties. Everything touched turned to money. Girls were plucked from the ribbon counter, the dairy lunch, from Hungary without their being able to speak a word of English; small-town clerks and collar-ad boys all were fitted into the Hollywood mold. The symbol of the mold was a golden calf. Gloria Swanson was the most talked-of star of that part of the century. She was unpredictable, often unmanageable, and I watched her goings on for years. Born shrewd, she took advantage of every break. She reached her great period under contract to Cecil DeMille. What he couldn't think of, she did. I never made a picture with her until Sunset Boulevard, but I knew her well. Gloria's romances were as talked about as her clothes and her pictures. During the days when Gloria was in love with Mickey Neilan she was sent to New York to make ZaZa under Allan Dwan's direction. Wisely Allan saved the love scenes until Mickey could follow her to town. All he had to do then was step aside and let Nature, name of Mickey Neilan, take its course. When Gloria finished Madame Sans Gene in Paris, she returned to the land of her birth in a triumph equaled only by the progress among us of Queen Marie of Rumania. The star brought with her a new husband, the Marquis de la Falaise de la Coudraye, her third, acquired while she worked on the picture. When Gloria and Hank Falaise entered a theater in New York, even if the first act was half over, the curtain was lowered while they were seated. When everybody had had a good look the curtain was raised and the actors went on with their play. Such gnashing of teeth! In Hollywood I stood at the entrance of the old Paramount Studio at Sunset and Vine, where the National 164