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AVARICE AMONG THE AVOCADOS 83 written probably half of his seventy pictures alone or in col- laboration, Jeanie looked upon DeMiUe's blunt and cold atti- tude as an armor for "an extremely sensitive nature." She said he wanted to make friends but didn't quite know how to go about it. "Actors didn't like him, and I have seen them tremble before his sarcasm and often cry with humiliation. But they unfailingly blamed themselves. He would forgive anyone any- thing if a person would only admit his error. But try to tell him that the other fellow was to blame, or insinuate another department was responsible for your blunder, and you were in serious trouble with him," She died on the eve of her thirty-first year with DeMille, during the filming of Unconquered in 1946. He had kept her on part time salary through the later years, allowing her to sit with writers occasionally during the early conferences on a story. The industry had surged beyond her era, production was complex, and it was no longer possible or economic for a director and a single writer to team up on a series of pictures. There is reason to believe tastes of film patrons have ma- terially changed since Jeanie MacPherson's era. The stories of the 1900's reaped undeniably handsome rewards, but no doubt would send present-day audiences fleeing from the theater. Don t Change Your Husband, made in 1918 and praised by the critics for its "finished workmanship," was a story of marital dis- content enlivened by Elliott Dexter, Gloria Swanson, Lew Cody, Theodore Roberts and Sylvia Ashton. This $17,000 epic, written by DeMille and Jeane Macpherson, grossed more than $200,000. Its plot is typical of the type that shaped careers and seeded huge fortunes in that era: Leila is married to James Porter, a glue king. James has lost his waistline. He flips ashes on the rugs, eats onions and