Pictures and the Picturegoer (Jan-Dec 1924)

AUGUST 1924 Picture s and Picture $oer y she will expatiate for hours on the various / charms of her friends in Hollywood, and she has some entertaining tales to tell of some of Filmland's most sparkling stars. " My first big part," echoed Marjorie, thoughtfully. " Well, I guess that was in The Warrens of Virginia — not Mary Pickford's version, but the one in which Blanche Sweet starred. I took the part of her kid sister. Then 1 was leading lady for Doug Fairbanks in several films, and after that 1 played _ " Love " in Ex perience. Then Marshall Neilan starred me and I played in 21 I Above : A charming profile study of Marjorie Daw. Right : With Matt Moore in " Don't Ever Marry." must say here that Marjorie needn't worry about that for a long time to come, for she is only twenty-two, and looks a lot younger. " Tell me how you started your picture work," I asked her. She smiled. " I was only fifteen at the time," she confessed, " but I had to do something. You see I had lost both my parents and my brother Chandler had to be kept and educated. I was young and foolish and picture work appealed to me more than anything else — besides, I lived right in Hollywood, and so it was only natural that I should turn to the movies. I'd been an extra in one or two films, like practically everyone else there, so I didn't find "breaking in" as difficult as some girls might. All the same, I should never advise any girl to embark on a screen career unless she has enough money to live on for at least a year. We get so many girls coming to Hollywood with just enough money to pay their train fare and a week's board. They expect to jump right into regular work, and it's pitiful, really, to see some of them getting their eyes opened, as they hang around the studios. " What was your first big parr, though," I asked, drawing her gently back to the subject in hand. The trouble with Marjorie is that you never can keep her talking about herself, though several films for him. Don't I Marry, Th» River's End, Dinty, Bob Hampton of Plactr, and Ptnroa were BRlOngSl these.." • \mi then— T " A,u' tncn Myron Selznick ifked me ^^ to come to England and work in some films for him. I accepted right away because, apart from everything else, it was such a wonderful opportunity to travel. I'd never been out of America before and now I've been to London and Paris, and hope to go to Algiers for this new film." Her eyes lit up with enthusiasm at the prospect. " Gee, I do hope we can go there. Just imagine what the journey would be like — all through the Mediterranean." I envied her — and said so. And then came the inevitable question. " What do you think of London?" Marjorie laughed. " Well, I just love what I've seen of it, but I'm afraid my experience has been rather limited. You see, I haven't been at all well since I left Hollywood — I think perhaps the change of climate after almost continual sunshine disagrees with me. So part of the time has been spent in bed and the other part either at the studio or in a taxi going to and from my hotel. But I mean to have a good look round just as soon as I'm feeling better. I did go out the other day, but I had to spend the whole time buying frocks for the new film. "Tn the first one, The Passionate Adventurer I wore rags most of the time and didn't have to worry about clothes, but in this picture I have to have twenty-two separate outfits — and they only gave me two days to buy themi You can imagine I had a dreadful rush. " We took a flying visit over to Paris the other week-end, to choose locations for the film, and the air there agreed with me awfully well. I loved it, and I'm looking forward to going back later when we take the French scenes. (Continued on page 62). Right : With Wes Barry and a group cf Marshall Neilan's studio officials. Below : A scene from " The Passionate Adventure." The man with his arm around Marjorie is Clive Brook.