Picture Play Magazine (Mar-Jul 1929)

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The Regal Courts of Filmdom 17 water-color artist whose work hangs in art galleries on the other side of the Atlantic, and on this side, too. Recognized as a) finei painter and an authority on early seventeenth-century manners and modes, he would add swagger to any aesthetic convocation. He can tell, with hair's-breadth precision, the proper adjustment of buckler and sword, and the exact angle at which a mousquetaire's mustache should be curled, or the plume worn in his hat. , He is therefore the efficient gendarme of the artistic excellences of "The Iron Mask," which Fairbanks has completed, as well as adding distinction to the luminous gatherings that may be discovered in the Fairbanks dressing room of a late afternoon. Inspirationally present of late, and distinguished also for his skill with the painter's brush, is the youthful Laurence Irving, the grandson of Sir Henry Irving, the famed British actor of a past generation. For practically every picture he has produced in the past few years, Fairbanks has acquired some notable assistants. Many of them he has engaged on his trips abroad. He seldom returns home from a European visit without one or two. He finds in' them the inspiration for each new film adventure. Amusingly enough, the Fairbanks court is generally held either in, or adjacent to, the steam room, which is part of his studio quarters. Frequently debates as to the character of settings, or the next sequence, or possibly even of some larger issue of politics or aesthetics are argued betwixt the massage and the plunge. Personages from other studios may choose to take part. Charlie Chaplin is frequently a visiting celebrity. The executive personnel, including Joseph M. Schenck, Samuel Goldwyn, John Considine, and others, may take part in the discussions. I think that the professional side of the Fairbanks realm is the most interesting. Douglas reigns virtually as the king of the United Artists studio. He has the proper gayety, the proper zest, to make a popular monarch. His wit is never failing, his ideas always stimulating. It is but natural that those associated with him in his work should cluster around him in the idle hours of light conversation. At the Fairbanks home Mary Pick ford is unquestionably dominant. The social rule is hers, and the household of which she is mistress moves with a perfected smoothness that permits ease in entertaining royalty — and actual royalty, at that. Sometimes I have felt that the many dukes, lords, and earls that visit the Fairbankses in Hollywood might well be called part of their entourage. They seem to flock there so consistently, and in such numbers. Actually, however, this is a pleasant social interchange between elite of filmland and the princes of the blood, that doubtlessly spreads much international good will. Personally, I think Doug gets a kick out of meeting notables. Mary, on the other hand, enjoys the sentiment of these associations, and seems remarkably competent to meet the social demands. The Fairbanks household is conducted with a simplicity that admirably disguises the efficiency which pervades the entire domain. Officially it is in charge of a Frenchman named Albert, who is the major-domo. He is possessed of rare understanding of the social arts. At the same When a star's in-laws or old enemies turn up, discreet producers provide a bodyguard to ward off disfigurement. time he is so sel f -effacing that one is always only agreeably conscious of his presence. He is utterly unlike other major-domos of filmland, who inevitably embarrass the guests by their obtrusive stiffness. Of one of them, I was once told that a certain rather hardboiled lady said within his hearing, "I wish that man would sit down ; he gives me the willies, he looks so uncomfortable standing up." Albert of Pickfair not only superintends that inviting manse, but he also supervises,* when occasion arises, the social events at the Pickford studio bungalow. This, by the way, is an establishment of itself. A portion of the staff on duty there is, I believe, separate from the house. This is for the daily routine of work. Mary naturally requires the services of a personal maid there, make-up artists, and hairdressers while she is busy on a picture, and besides, luncheon, and sometimes dinner, must be prepared and served. When notables are greeted at tea, some of the staff from the house are transferred temporarily, so that matters may proceed with more splendor. Although they have one of the most pretentious menages in the entire film colony, the entertainment of Mr. Fairbanks and Miss Pickford is free from any sugges-tion of display. Mary and Doug really exert charming simplicity in everything that they do, when you know and understand them. It is perhaps because their activities are inclined to be reserved, that they are so often misunderstood concerning this side of their lives. Often it is laughingly told of the Fairbankses that they have a special retainer, who is engaged to put to bed a macaw that is one of Mary's prized possessions. The bird, brilliantly plumaged, and with, it is said, a gift for talking, is ensconced in a cage adjacent to the studio bungalow. Above hour every the open part of his commodinight. ous habitat there is a portion inclosed, built of wood. Every night, it seems, there is a special delegate who makes it his duty to see that the bird retires properly to the upper story of his abode. The duty is regularly done, with all due ceremony, at a certain hour. You will not find the macaw Continued on page 96