Motion Picture (Feb-Jul 1938)

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Write for your catalog today LEWIS MANUFACTURING CO. Dept. 6482 Bay City, Michigan m "Don't Let Hollywood Change You!" Danielle [Continued from paijc 26] follow one another so swiftly that they almost escape identification. Which are you, Danielle? One — or all? You are part child and part an experienced woman (of twenty). You are all types now. You even look like half-a-dozen different people during the running of one film. As I watched you on the screen I had, every so often, to look twice to be sure that you were you. There were times when you had such gravity of expression that you reminded me of Norma Shearer, even to the regularity of feature, which is not really yours. For yours is a beauty, Danielle, of delicate, pliable features, with masses of pale brown hair, dark limpid eyes, a full, luscious mouth — a beauty at once demure and dangerous, naive and naughty. You can even look very plain. At other times on the screen you reminded me of Lillian Gish in her early days, the same fragility and wistfulness ; again you had the sophistication of a Miriam Hopkins whom, you tell me, you so admire. Yes, you are all types in one. That is your greatest asset and your greatest danger. For Hollywood has the Hand of the Potter and moulds the clay of new talent nearer to its heart's desire. And, often, its "heart's desire" takes one shape, one form, one set of gestures. If you should make a sensational hit in your first Universal picture, The Rage of Paris, you will really have to be careful lest, Hollywood without end, you play the self-same role, dressed up with different titles, trimmed with a different cast, but essentially the same. I don't think they'll be able to trap you, Danielle, even if they try to. Because your emotions cannot be captured. But keep on evading being "typed," Danielle, keep on being elusive . . . You said to me, in front of the log fire in your home in Bel Air, the house Chevalier once lived in and, later, Miriam Hopkins, you said : "I will not be changed unless I want to change." That's brave talk and I think you mean it. But you should bear in mind the changes that Mother Hollywood, has made in the young things who have come under her sculpturing hand. I don't say that they have not been changes for the better. For the box-office better. Which is, after all, the legitimate objective of stars and studios. That isn't the point at all, whether the changes have been for the better or for the worse. You may wonder what to do if you feel yourself being fitted into a mould, cut to a pattern? Shall I fight the studios, you ask? Well, I think that under that mobile exterior of yours there is a fighting spirit, Danielle. You've proven that. Of which more later. But a fighting spirit can be a two-edged sword. It can perform operations which either kill or cure. There are the "lessons" which should be learned when one considers Bette Davis and others who have fought — and lost. Although Bette really made capitol of her loss since, though the court verdict went against her, she has had better pictures, more variety of parts. I said that I think you are a fighter. After all, you were a War baby, weren't you? Born May 1st, in that torn year of 1917, in Bordeaux, France, your father having to wangle a furlough from the battle front to be on hand to greet you. I like the courage implicit in that picture of you, at fourteen, putting away your cello, which was to have been your career, stand ing "him" in "his" corner, saying to him "Monsieur Cello, I give you notice that your services are no longer required," and, with a crumpled newspaper ad in your reefer pocket, going to the studio and applying for the job advertised . . . the leading feminine role in Lc Bal. Previous screen experience, read the ad, was not necessary. But, "even if they had asked for a successor to Bernhardt," you said, "I would have apply' jus' the same." And you are always "prepared," I take it, Danielle. You said to me: "I am not so afraid of Hollywood, / know my job," — just as, when you applied for that first job, you had read the book from which the script was written and so were able to talk, intelligently, about the character. Well, you got the screen test and — you got the job. And after that you got the plaudits of the critics and fans. When you came home from that first interview and said to your mother and father : "I am now a cinema artist," they were delighted. Because, unlike the traditional parents of fact as well as fiction, they were all in favor of your being an actress. You told me that your father, Dr. Darrieux, often said before his death : "I do not worry about the future of Danielle, she will be a fine actress." You come close, too, to having the theatre in your blood, I'd say. For your father, an eminent oculist, was also a musician, playing the piano for sheer love of it ; your mother an Algerian, was a singer of professional calibre. You came from a musical environment, you began your musical education even earlier than did Deanna Durbin, only instead of singing, you took instrumental music, concentrating on the cello. You first dreamed that you might enter the Paris Conservatory and become a concert artist. The nearest you ever came to movies, or to an interest in movies, you told me, was reading the fan magazines. Yes, you have courage. You told me that you realized it was "the beeg step" to come to Hollywood. For if you should not succeed here your lustre in Paris would be dimmed. But you also said: "I do not worry much about what to do, what not to do. Always I make up my mind, snap-queek, like that." And added: "and so, I come. I come only if my husband come with me. He would have to attend to the business thing' for me. I am no good at the business, the contrac', the way the scrip' mus' go, the detail like that. He is a playwright, my husband. He has written a play for me. He know better than I know, what I can do; what is, what you call, my 'range.' " And while on this subject, Danielle, I'll mention here what I didn't mention when we were talking — your loyalty. Because I have heard tell how practically every major studio in Hollywood tried to get you ; how Universal, canny, offered your husband, Henry Decoin, a job, too — and so you came to Universal. I think, to go back a bit, that you will stand up for what you believe to be right for you, Danielle. I also think that you have enough of the French sagacity, diplomacy, suavity, to take your stand without offense to the Front Office. For after you made Lc Bal in France, when you were barely fourteen, after you were put (an old Hollywood custom, too) in as many films in as short a length of time as was humanly possible for you to do, you 62 Accept No Substitutes! Always Insist on the Advertised Brand!