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She played the
Violin
She played for the
6ame
and then
RA
C[ Eleanor Maynard, as one of the musicians at the De Mille studio, delighted the eyes of the great director.
MONO the thousands of aspirants for future film honors to be "found in the big crowds of players in a production of the magnitude of "The King of Kings," Eleanor Shelton Maynard was one of the most attractive and popular as she was certainly the most versatile.
She led the attack of the arpeggios and crescendos with her first violin directly back of Rudolph Berliner, the leader of the studio musicians. When Cecil B. De Mille installed a great pipe organ to accompany the mighty action of the climax, and Crane the organ master thus acquired the duties of the orchestra, the girl, undaunted, went on the set as a Galilean maiden, and acted through these ensemble sequences. She also understudied one of the principals, and was always ready to act or to play, whichever the occasion demanded!
Born in St. Louis, her mother was a concert pianist, and she studied at Madame Pless's school at Seattle and the Bush Conservatory of Music, Chicago. Thence she came out to Hollywood where her skill with the violin won her a place in
And so Eleanor Maynard in her first century costume was given a small -part in "The King of Kings".
William M. De Mille's studio orchestra when that director was making "Spring Magic."
The Thespian career attracted her even more than the musicianly. She got her chance, played rather good roles in James Cruze's "The Garden of Weeds" and Herbert Brenon's "The Little French Girl." William M. De Milk's brother Cecil engaged her for a succession of "bits" in "The Volga Boatman."
As she wanted a steady income to keep up her studies — for Eleanor is ever learning — she went back to music and accepted the six months' job of leading the violins in Cecel B. De Mille's production of "The King of Kings."
While doing this she went to school mornings and sometimes evenings at the Kosloff School of Expression, in downtown Los Angeles. The subjects she selected were dancing, plastique, pantomime, voice, piano and composition. It necessitated getting up at 6 in the morning, working under Mme. Kosloff s tuition from 7.30 to 8.30 or 9, and then dashing in her little Dodge car to Culver City in time for the opening scene of the picture. The filming often lasted till 7 or 8 p. m., making a very brief evening.
After five months of this Eleanor Maynard was just as sparkling and alert as on her first day.
Work is her play. Play is her work. She enjoys every moment of the art activity. Almost everybody of note who visited the set asked to meet her, — her beauty, grace and speech were widely remarked upon.
Of course, the cleverest, brightest girl of twenty may — or may not — prove a "dud" at thirty. Rash predictions are not in order. But Eleanor Maynard is the type of "upward and onward" girl that generally succeeds in accomplishing what she sets cut to do.
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