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196 IT TOOK NINE TAILORS
paupers were tearing their hair, screaming, and fainting in board rooms all over Paris.
I thought to myself that if I had not sold out when I did, this thing would surely have killed me. For I would have become as excited and hysterical as all these others and in my weakened condition I would probably have burst my seams.
My appendix had been removed, but my unruly ulcer was still with me. However, the rest and the diet that followed the operation improved my health, and by January, 1930, I was ready to start shooting Mon Gosse de Pere, which translated freely means My Adolescent Father. It was one of the first of the stories about the father who behaves like a perennial youth and the son who is sedate and serious.
For a director we finally secured Jean de Limur, who had been one of the technical experts on the Chaplin picture and who had just finished shooting The Letter in New York, with Jeanne Eagels and Herbert Marshall.
Two complete casts were used— one for the French version and the other for the English. My two leading ladies were Alice Cocea, a Rumanian girl who spoke French and who was very popular with the French fans, and Elissa Landi, who had been brought over from London to play in the English cast.
We shot the picture in six weeks, but what a six weeks! I never worked so hard on a picture in my life, for actually in that time I was making two pictures, memorizing the same part in two languages, playing the same scenes twice. M. Nathan and his partners really got their money's worth. But of course I was one of the partners.
During the making of that picture I discovered why it usually takes six months to shoot a movie in France. There is too much handshaking. With the French, handshaking is almost as necessary as breathing. I would arrive on the set at nine a.m. sharp and immediately the handshaking would start. This was all done according to protocol. First M. Pathe, one of the owners of the studio, would rush up and shake my hand— not a strong, vigorous