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De Cordoba’s parentage was fascinating. His mother was a true Parisienne, dainty, dark, vivacious. His father was a Spaniard, born in Camaguey in Cuba. Pedro was born in New York, in the shadow of the Metropolitan Opera House. Above is a portrait of de Cordoba and, at the left, is a glimpse of Pedro with Director Chet Withey and Norma Talmadge doing “The New Moon” at Lake Saranac, N. Y.
Photo C. Smith Gardi
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You know what to expect in a motion picture studio, dont you ? The light? and the props and the dust and the sound of hammerings, shouts, commands, the grinding of the camera, the shiftings, the inevitably waiting groups of actors, weird or natural, the desultory, staring onlookers, the occasional blase child. The reek of the grease-paint, the scrambling carpenters, the glimpses of ornate receptionrooms, palm gardens and conservatories. These are the things of a studio.
I went to the Talmadge studio to interview Norma Talmadge’s new leading man, Pedro de Cordoba. Perhaps you have seen him with Farrar on the screen and with Elsie Ferguson. Perhaps you saw him with Marjorie Rambeau in “Where Poppies Bloom.” / saw him in Russian habiliments but with the manifest spirit of old Spain, only I wasn’t certain it was Spain until he told me so.
There is a reason for everything in this world which is essentially reasonable in its fundamentals. There is a very good and sufficient reason for the Castilian atmosphere of de Cordoba, which reminds me that I wish you might hear him pronounce his own name. It is soft, slurring, infinitely musical and magical. You see, Don Pedro’s — I simply cannot dull the magic of his birthright by affixing a horrible mister to him, not after hearing that name in the Spanish tongue — Don Pedro’s parentage
Don Pedro de Cordoba