Modern Screen (Dec 1935 - Nov 1936)

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Little Man, What Next? probably never dreamed of the series of events which would be brought about by this gift, for Concoll proved to be a sort of turning point in Freddie's manner of living. Up to this time Freddie and his aunt had been content to live in a simple apartment, and they rode to the studio each day on the bus. But, as you must admit, any dog— particularly "a relative of Flush" — needs a yard in which to run, so Freddie and his aunt looked about for a house with a garden that would lend itself to the happiness of Concoll. "And we found a very nice house," Freddie will tell you, in a manner that indicates it isn't at all important to him but is probably of great interest to you. "It has three bedrooms and two baths and a lot of other rooms and a two-car garage." But he admits with a sigh that Concoll didn't appreciate the yard. In fact, he proved himself most ungrateful by running away. Freddie was disconsolate and the studio was in a turmoil until the dog was found and returned a few days later. "But he hardly ever goes outdoors. He seems to like to be in the house better," Freddie added in a perplexed tone of voice. THE next important event following the advent of the dog occurred on a sad day when the conductor on the bus refused to allow Concoll to ride. "It's against the law," he told Freddie, and that presented a major problem because, of course, Concoll had to go to the studio. How else could he be shown to all of Freddie's friends ? "So," Freddie recounted, "we just had to have a car to cart the clog around in." It seems that this was a problem to be taken up with no one less important than L. B. Mayer, the head of the studio, so Freddie paid a call on Mr. Mayer. What happened next is best told in Freddie's own words. "I told him that we had to have a car for the dog because he wasn't allowed to ride on the bus. No dogs are allowed to ride on the bus, you see. We couldn't bring the dog to the studio without a car. "Mr. Mayer said he would attend to it right away," Freddie continued. "We had to wait a short while because they didn't have a black car. We wanted a black car. I think they're much nicer, don't you?" It was agreed that a black car was much to be desired, but why did Freddie believe he could get a car by merely asking Mr. Mayer for one? "Oh, I was sure Mr. Alayer would give us one. He's a charming gentleman and we're very good friends," Freddie explained airily. This confidence was no doubt fostered by his experience, a few months previous, when he wanted very much to own a bicycle. His aunt, fearing an accident, refused to allow him to buy one. Freddie figured out in his own mind that if a bicycle were given to him, his battle would be more than half won, so he hinted to David Selznik that he "would like it extremely well" if he had a bicycle. Unaware of Miss Bartholomew's objections, Mr. Selznick gave Freddie a bicycle and everything turned out as Freddie had hoped. It was no doubt a spirit of gratitude which prompted him, the next time he visited Mr. Selznick's office, to add his bit to a handsomely carved chair. This he did by cutting his initials on the largest polished surface he {Continued from page 42) could find, right in the middle of the back of the chair. All of which proves him just a normal, fun-loving boy, but doesn't answer any questions as to whether or not he has a chance to become a normal man. What lies before this attractive, unusual child, who is so clever as to be called a genius? The studio has four or five pictures in mind as starring vehicles for him, all to be made within the next year. Besides, he has been loaned to 20th Century-Fox to do "Professional Soldier," with Victor McLaglen and then he will portray "Little Lord Fauntleroy" for United Artists — all good breaks, but what of the future? Even a contract that will, within a few years, make him a rich young man, can't stop Freddie from growing. And there is a strange lack of screen roles for a boy of adolescent age. Even when he reaches manhood there is no assurance that he will be as attractive a man as he is a child. Has he plans? Will he be prepared for whatever comes ? I wondered, and I found out. Freddie has a definite plan for his future. Although his new contract, which he has just signed, covers a seven-year period, he anticipates a time within a few years when there will be no roles for him and he is determined to utilize that time to further his education. His earnings are put into a trust fund which will provide for his advanced schooling as well as for his future. He wants a good, solid education — -"Oxford and other good English schools" — because, he will tell you earnestly, "I want to write," and if you ask him what he wants to write he will say, confidently, "Oh, classics, like Shakespeare." Freddie understands everything that is going on about him. He realizes his importance in the film world. But tennis, swimming, horseback riding and all the sports enjoyed by any normal boy, occupy his thoughts for the most part. HE knows that articles are written about him in newspapers and magazines, but he isn't interested in reading them. "Why should I?" he asks blandly. "I know all about myself." He never reads the reviews of his pictures and, not without some logic, explains: "If they say nice things about me, I don't need to know that. If they criticize my work, it's too late to do anything about it. I did my best when I made the picture." He hates to watch himself on the screen, preferring for amusement to see a good murder mystery or a western picture. It is most difficult to remember, when talking to this boy, that he is but eleven years old because he is mentally so much older. He has an eager, curious mind that has grasped and retained everything he has ever heard. He has stored up knowledge far beyond his years, and his cultural background is one that the ma Meet Freddie Bartholomew's family. His sisters, Eileen and Hilda, his father and mother. They lost Freddie's guardianship to his Aunt Cis, who has taken care of him since he was three years old. 64