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11: The Three Musketeers
DURING my first two or three years in Hollywood I saw almost every picture that was released. Having had little stage training and no theatrical background, I suffered from a feeling of inadequacy; I kept studying the methods and tricks of all the directors and stars in an effort to improve my own technique.
It was a period when motion pictures were beginning to make great strides in storytelling, photography, and direction; at the same time actors were learning to subdue their exaggerated gestures and facial contortions. By painful degrees the movies were acquiring a certain amount of refinement and good taste.
A number of memorable pictures were produced at that time. D. W. Griffith made an exciting melodrama called Broken Blossoms, with Richard Barthelmess and Lillian Gish. Lon Chaney was very effective in The Miracle Man. From Germany came The Cabinet of Dr. Caligari, full of startling innovations. Doug Fairbanks produced one of his best pictures, The Mark of Zorro. Fox made the first movie version of A Connecticut Yankee in King Arthurs Court. Richard Barthelmess gave a fine characterization in ToYable David, probably his best picture. And Charlie Chaplin finished his first full-length picture, The Kid, which made a star of Jackie Coogan.
Those were the days when a strange new thing was happening to actors. They were becoming millionaires. Those who didn't own their own companies drew fantastic salaries and paid their income taxes out of petty cash. Uncle Sam took less than 1 per cent out of the first $20,000; and an actor who made $5,000 a
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