Photoplay (Jan - Jun 1933)

Fhotoplay Magazine for March, 1933 l I I They slipped off — leaving only a cute little note of explanation. And the newspapers carried the story they were quarreling so about Michael's not wanting to finish the picture that they had to get off the train! When she reached London for the interior shots the script was not yet finished. When Gloria saw the director-author at the tennis matches, she remonstrated on the time he spent for sports and not for work — but she was chided for rushing genius. Oh, it was such a typically Gloria Swanson hectic situation! And then — great gusts of awakening! Another director. Another cameraman. Highspeed American efficiency! Gloria sat for twelve hours every day for more than a week working with a new writer to finish that script before Genevieve Tobin and other members of the cast should arrive from America. It was a race! Could they finish a new script before the boat docked? All that fire of her nature went into work. No one will ever know how much of that dialogue is hers and how much belongs to the one who is given credit. HTHE race was a tie. But Gloria was ex*■ hausted. She knew she was going to break. She went to a secluded spot on the edge of one of England's quiet rivers to rest. All the shots not needing her could be taken first. She left Michael Farmer to run the picture. And it was there that he acquired the taste for the champagne-allure of pictures! He was no longer the leading man. He had a small part. But he was the producer — doing the work of his producerwife. In Hollywood, he had not been able to understand why Gloria could not keep her dinner appointments. When she telephoned she could not get away for dinner but must remain at the studio, he had writhed. Now one day from London, he had said that he would surely be down to her retreat for dinner. He didn't even telephone. At nine, Gloria called the studio. He was so busy with retakes, rushes, etc., he had forgotten his promise. The next day, Gloria reminded him it had been their wedding anniversary! There is no doubt, he has caught the picturefever. Gloria was still afraid of a breakdown. After all, she left her baby when it was less than three weeks old to start the picture. She must have something to do. She took up knitting. And between every scene she made on that picture, she knit with the haste of a woman who feared she couldn't get a sweater to the frontline trenches before winter set in. Some way, the picture was finished. It is not the best picture made, but Gloria, herself, looks more beautiful than for years. And it is her best dramatic work since "The Trespasser." Incidentally, she looks more beautiful in life. About eighteen years old that afternoon, as she sat beside me telling me bits about the film. Naturally, there have been other complications. I can only give you a bird's eye view. After all, you can't describe whirlpools, cascades and miniature Niagara Falls of emotion all in one article. There was the furniture in Hollywood. She had ordered some on consignment and when she left she said she didn't want it. The furniture man thought she'd kept it too long on consignment and sued. PT"HEN, there was the artist who painted her ■*■ picture some years ago. She thought she didn't need to buy it unless she wanted it. Now, he's suing because she didn't pay for it. He has the picture. There are rumors of her unhappiness with her husband. I will never prophesy about the future of Gloria. She and Michael appear happy. They are both mad about one of the most beautiful babies I have ever seen and they seem to feel that ai.1 this hectic straining has drawn them to a more complete understanding of each other. But I will never bet on Gloria. I have known her too long. Whirlpools and cascades and Niagara Falls forever. That is the one certainty about her. 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