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up yet", she said, "and let's not be the ones to start. Let's stick it out until the panic blows over."
That evening they planned the great business venture which they confidently hoped might tide them over. Mrs. Borden, back in Virginia, had been famous for her skill at candy-making. They rented a little shop, and Olive presided behind the counter, while her mother reigned in the liny kitchen behind the scenes.
It was a good idea, and at home, with friends to rally round and lend their patronage, it might have succeeded. But Hollywood Boulevard has seen many candy shops come and go and has remained as indifferent to them as to the heartaches of its evershifting populace.
The candy shop failed — and still Olive didn't cry.
To make it worse, Mrs. Borden fell ill, and the last of their savings went to pay a doctor.
Then their luck changed. It began when Olive was hired for four days work at the Lasky Studio at five dollars a day. Then came a chance in comedies.
A long while afterward, when she was making "3 Bad Men ", the Fox director, Jack Ford, told her that he had seen her way back in those comedy days and predicted that she would some day become a great actress.
"I wish you'd told me so then," she said, "but perhaps it's just as well you didn't at that, for if anyone, except Mother had given me any encouragement at that time, I probably wouldn't have survived the shock."
The turning point of Olive's career came when Emmett Flynn chose her to play opposite Tom Mix in "The Tan\ee Senor". Her work in that led to a long term contract with Fox.
But even that "break" hinged on her inability to cry. It seems that she had a manager, a confident young man in whose possession was a screen test which she felt was a very bad one. She had requested him to destroy it, but disregarding her wish, he submitted it to Mr. Flynn, instead of arranging to have a new one taken. The result was just what she expected. The director said "She won't do."
As she learned the verdict, she turned on her manager, registering, in all sincerity, all the pent-up anger and disappointment she felt at another much needed opportunity thrown away. Yet she spoke softly, with restraint — and there were no tears in her eyes. She didn't cry! As she turned away, Mr. Flynn called her back. "I think you'll do after all," he said. And she did do — very well indeed.
Since then, she has been featured in nine productions and it is believed by those who have watched her work, that her screen future is well assured.
People feel in her a spiritual force — a thrilling kind of unhappiness scarcely to be distinguished from esctasy — that is strangely incongruous with her dark, childish face and alert reckless figure. She combines the beauty of youth with an instinctive understanding which is usually acquired only with the years.
Directors have found her remarkably versatile, which also is unusual in one so young. In the gorgeous, glittering gowns of "Fig Leaves", she achieved a mature dignity and poise; in "3 Bad Men" she was an irresponsible gypsy; in "Yellow Fingers" she was sensuous, alluring, and in "The Monkey Tal\s" winsome and gay.
Only in one point does she fail, and in that she fails completely, as Allan Dwan discovered in "The Joy Girl". Olive Borden can do anything at all but cry.