Motion Picture Magazine (Aug 1928-Jan 1929)

Nijinska Dances Alone (Continued from page 88) secrate to caring for a magnificent invalid. There would be ample funds, it seemed. Surely, there must be much remaining of the gold from happier days. But as the world politic toppled, the world of finance was shattered with it. Princes were paupers, barons beggars, and the Nijinskys bankrupts. So Romola turned her face westward, and with head erect, marched toward the setting sun. There was an offer from Hollywood to play opposite Richard Barthelmess. But before it could be realized, word from the bedside of her lover took her back posthaste to Europe. A crisis past, she returned again with Reinhardt and "The Miracle." And danced with feet of mercury and heart of lead, turning again to Europe and the man she loved when the engagement terminated. Then came Morris Gest with his idea for "The Darling of the Gods" produced as a super-picture with an international cast including Romola and Chaliapin. Here, at least, was a straw to clutch — a means to an end — an opportunity to gain the wealth necessary to the sick man's sustenance, to the welfare of their children. HELP TO THE HELPLESS OH, yes, there had been children. Two had slipped into her busy life to divide her increased love. Both were girls. Kyra came first.. And five years later little Tamara had joined her sister. The baby was in Budapest. The elder, a tall girl, evidenced almost in infancy her heritage of talent, and had been made a member of the Paris Opera, with all its benefits. So Romola came again to Hollywood to play in the picture which has never been produced. But with the courage of her kind she clung to a forlorn hope. At first it seemed there was no place for an artist, as there is no place for art, in the crass mechanism of the cinema. Then came some small parts, and a few better ones. Not productive of sufficient money for her purposes, but providing a little to help. And as it came, it went — back to Paris — to the hospital— to Budapest — to the baby. " My husband always told me that to be a great artiste I would have to know poverty. I used to laugh. But, sure enough, here it is. Odd, isn't it?" and the soft, wellmodulated, delightful voice, with its faultless, careful English, takes on a puzzled air. As though this new adventure with poverty as a companion is not quite understandable. A suggestion of a return to the ballet or the stage meets with a little shudder. "Oh, no, I could not. I shall never dance again. I could not face the public any more. There are too many memories. That is why I like the screen. One does not have to face the audiences." And her friends avoid playing records of "Scheherazade," "Carnival," "Prince Igor, " "L'Apres Midi d'unFaune," the music to which she danced with her god-like lover while the world worshiped. Folks are thoughtful that way, don't you think? You can't afford to be without Motion Picture. 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