Motion Picture Magazine (Feb-Jul 1919)

i the days when I worshipped at Mary Pickford's shrine I -spent hours in developing corkscrew curls. Truly, imitation was sincere flattery in my case." A few words from Geraldine Farrar, who had every one, from Mr. Lasky himself to the lowliest "extra," hypnotized by her magnetic personality, changed the tide in Marjorie's fortune, and from then on she was waited on by one of her French-heeled, white-capped, envious school chums. Her first appearance in a real part was in the child role made famous by Mary Pickford in Belasco's original production of "The Warrens of Virginia." In dainty flowered ruffles, her curls in a snood, she made an ador'able little sister to Blanche' Sweet, who had the leading role. Followed then "The Unafraid," starring Rita Jolivet ; "The Secret Orchard," with Blanche Sweet ; "The Puppet Crown," with Ina Claire and Carlyle Blackwell ; "Out of the Darkness," with Walker, and "The Lady," with Cleo in which Marjorie Daw played her first dramatic part as the silly younger sister. What a galaxy of stars ! Marjorie Daw lacked nothing in the way of talent to imitate in her kindergarten days. After this auspicious beginning, Charlotte Chorus Ridgely, 4 ~ u she retired and nothing more was heard from her for a year. During that time she absorbed the finishing touches to her education, and overcame a certain amount of awkwardness peculiar to all young ladies and gentlemen of fifteen and thereabout. Lasky heralded her return in Sessue Hayakawa's "The Jaguar's Claw," presenting a young-lady-Marjorie with a poise and dignity worthy of a grande dame. Her chestnut hair curls softly around her round, youthful face, no longer a tangled mass of curls, but pulled softly up on her head with a cloud of little ringlets escaping at the knot. Her laughing brown eyes assure you that she finds the world a wonderful place in which to work and play ; her smile is particularly infectious. "The very first thing I did after growing up was to revert back to my kid days in Mary Pickford's 'Rebecca of Sunnybrook Farm.' I was her chum, you will remember, and her obedient slave." Shortly after "Rebecca," Marjorie had a great honor conferred upon her. She was given the much-desired position of Douglas Fairbanks' leading woman, following in the footsteps of Eileen Percy. With Mr. Fairbanks she has played in "The Modern Musketeer," "Mr. FixIt," "Say, Young Fellow" and "He Comes Up Smiling." During the filming of "The Modern Musketeer" in Arizona, Miss Daw fell off her horse, sustaining several broken bones and painful injuries that kept her in the Los Angeles Hospital for a number of weeks, causing him to hunt for another star for "Doug's girl" in "Bound in Morocco," but she "came up smiling" with Douglas in the play of that name, proving a very fitting "opposite" for this effervescent gentleman. The whimsical nursery rhyme name, "Marjorie Daw," was bestowed upon her by friends at the Lasky studio, her real name being the more dignified one of Marguerite House. She has a little brother, Chandler House, an enterprising young person, who aspires to be a lawyer and scorns a motion picture career. They lost their mother a short time ago, and big sister is doing her best to take her place in the little fellow's life. They have a charming apartment in Hollywood, in which the Gish girls and Mildred Harris love to congregate for real "girl parties." Notwithstanding the fact that she is leading woman to one of the most prominent male stars in the cinema world and the charming chatelaine of her own home, Marjorie forgets this occasionally: and devotes herself to the business of having, in the vernacular of girlhood, "lots of fun." She shares the inevitable feminine adoration for pretty clothes, but she admits that she neither designs her own nor spends all her leisure time bothering with things to wear. The things in the shops suit her usually, and she'd so Marjorie much rather go Daw re to see "Hearts turned to of the World" the films a • .1 grown-up again than young lady shop. *■•■ f48 lAGc