The New Movie Magazine (Dec 1929-May 1930)

The New Movie Magazine biters. People go places out of fear. Fear is on parade : fear of being forgotten if you are not in the procession, fear of being talked about if you stay away and fear of the ravening critical eyes when you are present. "It's a terrible place. Thank God I'm out of it all!" She spoke with mirthful detachment even of Hollywood, with an amused mockery that embraced herself. "It's like the war," I said. "You can laugh at it all when it's over." "Exactly," she said. "And particularly at your own ridiculous self, taking it so seriously." "And you will never return?" "Well, hardly! I haven't heard from anyone there and never expect to hear. ..." The telephone rang an interruption. "Who is it?" she asked the assistant. "Some studio. ... I don't get the name. ..." Natacha was aghast. . . . "Can you beat that ! Speak of the devil and. . . . You brought this on!" She went to the 'phone. "Believe me or not," said she, returning. "They called to ask me where the 'Beaucaire' costumes are that I designed six years ago. Beat that! How in the world should I know where their costumes are?" "You'll have to go back, Natacha," I said solemnly. "You'll have to go back and find those costumes for them or they'll add thief to your string of names." But Natacha was reduced to muttering astonishment and didn't heed me. "Now what on earth possessed them to call me . . . How did they know where I was . . . My heavens!" LAST year Natacha designed the sets and costumes for the American opera at the Champs Elysees theater in Paris. They received the marked attention of artists and critics. It was suggested that she should return to the cinema as an art director. "You were ahead of your time before," they said. "Yes, I'm always ahead of my time and getting kicked out for it," mused Natacha. "Never again! "No sir, I'm content sitting right here," she said, glancing around her shop. "I am a business woman and I shall continue one until. ..." A transient shadow passed over her eyes, a trifle weary, and I knew the vaulting spirit of Natacha had touched futility — "until I can go off to live in an adobe shack with some books, at the end of nowhere. ..." She looked at me now, the amused expression she had maintained through the conversation faded out. "I am glad Rudie died when he did, while the world still adored him. The death of his popularity would have been a thousand deaths to him. Of course he might have gone on, but I'm afraid . . . Today we have realism in pictures and on the stage. Rudie belonged to the age of romance. He brought it with him, it went with him. I think it was a climax he would have wished. "I'm sure of it," I said. He died still in that fabulous dream of romance such as few men on earth have had, so the tragedy of awakening was averted. 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