WEBVTT 1 00:00:08.960 --> 00:00:13.760 Ladies and gentlemen, the following motion picture is about filmmaking, one of the most 2 00:00:13.760 --> 00:00:19.200 exciting chapters of the very earliest years, before Hollywood became the motion picture 3 00:00:19.200 --> 00:00:20.860 film capital of the United States. 4 00:00:21.380 --> 00:00:26.360 This is the story of a beautiful woman, Miss Beverly Bane, one of the very first of all 5 00:00:26.360 --> 00:00:31.880 the film stars and the young actors and actresses who worked at the same film studio with her, 6 00:00:32.100 --> 00:00:36.920 Charles Chaplin, Rod LaRocque, Francis X. Bushman, Wallace Beery, and many others. 7 00:00:37.440 --> 00:00:41.940 This film is about filmmaking before the 20s, long before talking pictures. 8 00:00:42.540 --> 00:00:49.860 By 1915, Beverly Bane had appeared in 400 films for the S&A film manufacturing company. 9 00:00:50.340 --> 00:00:54.220 She was a star when Gloria Swanson was a film extra at the same studio. 10 00:00:54.860 --> 00:00:58.500 Her films were seen in the United States, in fact they were seen all over the world, 11 00:00:58.940 --> 00:01:01.800 in France, Germany, Spain, and in Italy. 12 00:01:02.520 --> 00:01:07.760 In the early teens of this century, she and Francis X. Bushman were voted the most popular 13 00:01:07.760 --> 00:01:13.220 screen couple by the people who really count and are always counted, the fans. 14 00:01:14.500 --> 00:01:17.580 Beverly Bane, the beautiful lady. 15 00:01:52.740 --> 00:01:54.140 Annabelleamous 16 00:01:54.140 --> 00:01:56.600 and I'd love to be flattered. 17 00:01:57.460 --> 00:02:01.480 The applause, you know very well it's music to an actress' ears. 18 00:02:02.020 --> 00:02:05.480 But you know, in the beginning, I didn't hear the applause. 19 00:02:06.040 --> 00:02:07.940 I was in silent films. 20 00:02:08.820 --> 00:02:10.880 We'd never know what people thought about us 21 00:02:10.880 --> 00:02:12.620 until after the film was released. 22 00:02:13.840 --> 00:02:15.820 There were no stars when I started. 23 00:02:16.240 --> 00:02:19.380 The star system, the big buildup hadn't been invented. 24 00:02:20.120 --> 00:02:22.920 Why, our names wouldn't even be on the film. 25 00:02:23.720 --> 00:02:25.980 There was really no credit list. 26 00:02:26.180 --> 00:02:28.900 That didn't come about until people asked, 27 00:02:29.260 --> 00:02:32.680 why, why who is that little lady with the dark brown eyes? 28 00:02:33.140 --> 00:02:38.380 The one who appears in photo plays with that man with the handsome profile. 29 00:02:39.040 --> 00:02:42.920 The fans would write to the studios, refer to a photo play, 30 00:02:43.440 --> 00:02:46.140 a favorite one, a reporter would snoop about, 31 00:02:46.200 --> 00:02:50.560 and finally our names were revealed by a reluctant studio. 32 00:02:51.580 --> 00:02:57.860 My name, Beverly Bane, and I appeared in 400 films, 33 00:02:58.340 --> 00:03:00.320 long, long before there was a Hollywood. 34 00:03:01.340 --> 00:03:03.580 In the early teens of this century, 35 00:03:04.280 --> 00:03:08.640 Frances X. Bushman and I were voted the most popular romantic team in pictures. 36 00:03:09.300 --> 00:03:12.220 I was just 16 years old when I started, 37 00:03:12.580 --> 00:03:16.140 and I worked in one of the first film centers of the world, 38 00:03:16.680 --> 00:03:18.320 Chicago, Illinois. 39 00:03:18.920 --> 00:03:20.520 At the S&A studio. 40 00:03:21.420 --> 00:03:24.360 It was one of the most exciting periods in films. 41 00:03:25.060 --> 00:03:26.380 The beginning, really. 42 00:03:48.320 --> 00:03:48.320 43 00:03:51.640 --> 00:03:52.360 I was a little boy. 44 00:03:52.360 --> 00:03:55.280 I was a little boy. 45 00:03:55.560 --> 00:03:57.440 I was a little boy. 46 00:03:57.640 --> 00:04:01.420 I was a little boy. 47 00:04:01.420 --> 00:04:03.660 I was a little boy. 48 00:04:04.380 --> 00:04:04.620 I was a little boy. 49 00:04:04.620 --> 00:04:06.620 I was a little boy. 50 00:04:06.620 --> 00:04:06.820 I was a little boy. 51 00:04:07.020 --> 00:04:07.120 I was a little boy. 52 00:04:11.720 --> 00:04:12.440 I was a little boy. 53 00:04:12.660 --> 00:04:13.440 I was a little boy. 54 00:04:13.440 --> 00:04:15.120 I was a little boy. 55 00:04:15.780 --> 00:04:18.100 I was a little boy. 56 00:04:32.460 --> 00:04:33.600 assumed I've been out 57 00:04:33.600 --> 00:04:34.860 of the limelight, darlings, 58 00:04:35.220 --> 00:04:38.160 a few years and 59 00:04:38.160 --> 00:04:42.340 and I always really avoided it. 60 00:04:43.240 --> 00:04:43.960 IIt flourished. 61 00:04:43.960 --> 00:04:46.100 I never felt that I needed to build up publicity. 62 00:04:46.100 --> 00:04:52.800 I was a star because it just happened not because someone told me how to act 63 00:04:52.800 --> 00:04:57.800 told me how to wear a certain kind of hairdo a certain kind of dress and walk 64 00:04:57.800 --> 00:05:04.900 with my toes at a certain angle or have a certain kind of mannerism 65 00:05:07.620 --> 00:05:11.480 Francis X Bushman and I were stars simply because the people who saw us 66 00:05:11.480 --> 00:05:18.360 liked us. I guess you could say we were really among the very first luminaries in the motion picture heaven 67 00:05:23.140 --> 00:05:31.000 I was a film star just a few years after motion pictures began to be popular began to compete 68 00:05:31.000 --> 00:05:37.800 with the legitimate theater. Oh we could do everything the theater could do and and do it 69 00:05:38.920 --> 00:05:46.440 we just couldn't be heard and we had to communicate in different ways different techniques 70 00:05:48.900 --> 00:05:50.120 gestures 71 00:05:59.480 --> 00:06:01.080 our eyes were important 72 00:06:03.970 --> 00:06:11.630 it wasn't until the last few years of the 19th century that films escaped the Edison peep show 73 00:06:11.630 --> 00:06:19.950 the kinetoscope and were projected on a screen and even then they were considered as some sort of a magic show 74 00:06:19.950 --> 00:06:31.150 never to compete with the stage around the turn of the century they were used as chasers in 75 00:06:31.150 --> 00:06:35.370 the series of vaudeville acts and to get the audience out of the theater 76 00:06:43.870 --> 00:06:53.350 what was a woman like then what was expected of her then well she had to behave be discreet 77 00:06:53.350 --> 00:07:01.350 there were fine ladies of high society the Belmonts, Astors all very elegant and charming 78 00:07:01.990 --> 00:07:12.170 and dignified our American royalty they set a certain standard of deportment we all tried to 79 00:07:12.170 --> 00:07:20.790 emulate a man wanted the ladies to be little whimpering charming birds the males wanted to be 80 00:07:20.790 --> 00:07:31.030 strong and dominant and of course it was the lady's job to see to it that the man was king 81 00:07:32.590 --> 00:07:39.850 all that has changed our roles today are different a woman really wasn't supposed to go into 82 00:07:39.850 --> 00:07:48.050 the professions theater or anything or to compete with the males dear you'll have to understand 83 00:07:48.050 --> 00:07:52.630 that when i was a star women didn't even have the vote 84 00:07:58.290 --> 00:08:05.590 and for a woman to go into acting in the theater well she was of course suspected 85 00:08:05.590 --> 00:08:14.790 of all kinds of sins and to go into the films how daring how bold how wicked 86 00:08:18.830 --> 00:08:21.810 and yet oh so many of us were innocents 87 00:08:28.070 --> 00:08:35.670 i remember as a young girl i went to the studios on Argyle Street the S&A film studios among the 88 00:08:35.670 --> 00:08:44.110 very greatest in the world at the time on Argyle Street in Chicago can you imagine Chicago as one 89 00:08:44.110 --> 00:08:53.250 of the film capitals and as i look back at that street today all those buildings why 90 00:08:53.250 --> 00:09:01.410 there was prairie nearby where we did some of the first western films but the old studios are still 91 00:09:01.410 --> 00:09:12.590 standing if you take the wilding film studio sign down you can see underneath the Indian head 92 00:09:12.590 --> 00:09:21.070 of the S&A film manufacturing studio yes that's what it was called the S&A film manufacturing company 93 00:09:25.650 --> 00:09:29.310 and films really were manufactured there 94 00:09:40.050 --> 00:09:40.890 so 95 00:09:40.890 --> 00:09:47.310 it's quite a remarkable bit of history everybody was fumbling a little bit in the dark but 96 00:09:47.310 --> 00:09:54.150 endeavoring to do an excellent job i can remember that oh we had tremendous 97 00:09:54.150 --> 00:10:00.770 cleaved lights overhead great big things and what they called an arc light and if you worked 98 00:10:00.770 --> 00:10:08.250 anywhere near those arc lights for a half a day say you would go home at night and your eyes were 99 00:10:08.250 --> 00:10:18.590 sunburned everything had to be pure bright white light and we had from the tripod of the camera 100 00:10:18.590 --> 00:10:26.750 two white ribbons that went back to about 18 feet in distance back there and you had to do 101 00:10:26.750 --> 00:10:30.350 all the work within the confines of those lines 102 00:10:31.750 --> 00:10:46.770 S&A meant Spur and Anderson you remember Bronco Billy Anderson of course you wouldn't you're too 103 00:10:46.770 --> 00:10:55.930 do every day looking so dignified and elegant and a beautiful Havana cigar and we were very 104 00:10:55.930 --> 00:11:00.830 respectful of the big boss but he was very kind and dignified and charming 105 00:11:03.110 --> 00:11:16.750 we punched a time clock from nine until five and we put the card in its little bracket and then 106 00:11:17.390 --> 00:11:23.830 sometimes 10 films a week were made some were one reelers no more than a thousand feet 107 00:11:23.830 --> 00:11:28.030 then some were two reelers and three were reelers 108 00:11:31.330 --> 00:11:38.190 some were what you would call feature length today gross dark that we did was one of the first 109 00:11:44.070 --> 00:11:44.770 films 110 00:11:44.770 --> 00:11:52.010 there were a lot of interesting people they'd be beginners in the movies of pioneer days you know 111 00:11:52.010 --> 00:11:55.930 the well of parsons by the way but took care of all the scripts 112 00:11:56.730 --> 00:12:02.870 and there was richard travers and oh ben terpins started as a property man 113 00:12:08.330 --> 00:12:08.330 114 00:12:08.330 --> 00:12:24.470 well walle berry was quite a character he was big and bumptious and well jolly and he played in a 115 00:12:24.470 --> 00:12:34.650 comedy series called swede s w w e d i he dressed as a woman played this part 116 00:12:36.000 --> 00:12:47.860 of a maid and he wore great floppy shoes like they did in carnivals as a clown after all that's where 117 00:12:47.860 --> 00:12:51.700 walle came from carnivals and circuses and one thing another 118 00:13:05.040 --> 00:13:05.180 way 119 00:14:06.120 --> 00:14:10.380 He used to have a yellow Mercer car. 120 00:14:11.700 --> 00:14:16.160 He would, oh, tear up and down Sheridan Road in Chicago, 121 00:14:16.760 --> 00:14:21.220 oh, with a cut out, and all the people in the neighborhood would say, 122 00:14:21.400 --> 00:14:22.920 there goes that film actor. 123 00:14:23.460 --> 00:14:26.920 And Gloria Swanson, which usually be with him, 124 00:14:27.560 --> 00:14:29.860 she took a great liking to him. 125 00:14:29.860 --> 00:14:34.740 And they were very friendly. 126 00:14:35.540 --> 00:14:40.720 And that was Wally, in his jolly way. 127 00:14:40.980 --> 00:14:42.760 He made friends with everyone. 128 00:15:16.000 --> 00:15:20.000 16 years after the first public showings of motion pictures, 129 00:15:20.260 --> 00:15:23.420 when films were just beginning to compete with a legitimate theater, 130 00:15:24.020 --> 00:15:27.920 Beverly Bane was the star of a thriving entertainment film industry. 131 00:15:28.400 --> 00:15:29.840 Her studio, the SNA Film Master, was the first to have a film theater. 132 00:15:29.840 --> 00:15:29.840 133 00:15:29.840 --> 00:15:29.840 134 00:15:30.800 --> 00:15:34.720 And there was another internationally famous studio in Chicago, 135 00:15:35.060 --> 00:15:36.800 the Selig Polyscope Company, 136 00:15:37.300 --> 00:15:40.480 producer of such early films as The Landing of Columbus, 137 00:15:40.960 --> 00:15:42.900 Made Right on the Banks of Lake Michigan, 138 00:15:43.400 --> 00:15:46.920 and The Spoilers, starring William Farnham and Tom Sanchi, 139 00:15:47.020 --> 00:15:50.280 and one of the longest fight scenes ever recorded on film. 140 00:15:51.020 --> 00:15:54.280 Selig Polyscope was also the home of the cliffhanging serials, 141 00:15:54.560 --> 00:15:57.380 The Adventures of Kathleen, starring Kathleen Williams. 142 00:15:57.380 --> 00:16:00.340 Both of these studios had western companies. 143 00:16:00.740 --> 00:16:02.760 Selig was one of the first in the Hollywood area, 144 00:16:03.120 --> 00:16:05.540 and SNA had Niles Canyon in California. 145 00:16:06.140 --> 00:16:11.380 In Chicago, the new film industry excited the imagination of many young hopefuls. 146 00:16:12.420 --> 00:16:15.600 Beverly Bane tells how she first got into motion pictures. 147 00:16:17.900 --> 00:16:22.060 Originally, I came from Minneapolis, Minnesota, was born there. 148 00:16:22.060 --> 00:16:27.360 And my mother and stepfather moved to Chicago, 149 00:16:27.960 --> 00:16:29.880 and I went to a little grammar school. 150 00:16:30.360 --> 00:16:34.780 I was only three weeks in my freshman term 151 00:16:34.780 --> 00:16:38.540 when I went up to the SNA to see how movies were taken. 152 00:16:39.200 --> 00:16:43.680 And I went with this neighbor, and she was a chum of mine. 153 00:16:44.100 --> 00:16:47.420 Her family knew the head director, Harry McRae Webster. 154 00:16:47.420 --> 00:16:52.960 And so we went up on a Wednesday, the following Tuesday afternoon, 155 00:16:53.220 --> 00:16:55.680 after having gone all through the studio and everything. 156 00:16:57.800 --> 00:17:00.740 The phone rang about four o'clock in the afternoon, 157 00:17:02.360 --> 00:17:06.380 and Mr. McRae Webster's secretary was there. 158 00:17:06.660 --> 00:17:11.820 And she said, Mr. Webster wants you to report tomorrow morning at ten o'clock. 159 00:17:12.160 --> 00:17:15.560 And we went up, and Mr. Webster came in about, 160 00:17:15.560 --> 00:17:19.580 as we were sitting in the green room, and he threw a script down in my lap, 161 00:17:19.580 --> 00:17:21.060 and he said, here, read this. 162 00:17:21.300 --> 00:17:26.340 He said, go and have your lunch, and come back, and I'll take you through a scene. 163 00:17:27.700 --> 00:17:31.060 So that's just what we did, and I did the scene. 164 00:17:31.280 --> 00:17:34.300 And he sat out front, you know, and they could talk in those days, 165 00:17:34.340 --> 00:17:37.560 because he could say, now turn your head a little more to the right. 166 00:17:37.680 --> 00:17:40.520 Now look up. Now go and wave out the door. 167 00:17:40.540 --> 00:17:44.940 And you do it, you see. And you coordinated your action as he talked to you. 168 00:17:44.940 --> 00:17:50.280 And we said our own words. We knew the sense of the script. 169 00:17:50.700 --> 00:17:55.920 And then we would try to follow the same words throughout the whole scene. 170 00:17:56.980 --> 00:18:00.660 And he looked at me, and I was all through, and he said, now little lady, 171 00:18:01.280 --> 00:18:03.540 what would you consider your service's worth? 172 00:18:04.200 --> 00:18:07.320 You know, you have to be here from nine until five every day on Saturday, 173 00:18:07.720 --> 00:18:09.840 from nine until one. 174 00:18:11.280 --> 00:18:14.240 Well, I didn't know what to do. I stumbled and stuttered. 175 00:18:14.240 --> 00:18:16.880 Now he says, I'm not going to give it to you. You just say anything. 176 00:18:17.300 --> 00:18:20.960 Well, I had an allowance of 25 cents a week, 177 00:18:20.960 --> 00:18:23.720 and I knew actors got an awful lot of money. 178 00:18:24.460 --> 00:18:32.300 So I said, 30, 35, or 25 dollars a week. 179 00:18:33.160 --> 00:18:37.100 I started to hide, came down. I didn't want to miss my first opportunity. 180 00:18:38.640 --> 00:18:43.480 We even had animators at our studio, and the animation was little dolls. 181 00:18:43.480 --> 00:18:48.800 One of the animators, a Mr. Moss, did a number of films at S&A, 182 00:18:48.960 --> 00:18:51.040 and I remember one in particular. 183 00:18:52.220 --> 00:18:58.620 It was called Cracked Ice, and it featured a little country bumpkin. 184 00:19:05.860 --> 00:19:09.860 Moss made hundreds of dolls, each with a different face, 185 00:19:09.860 --> 00:19:12.000 for a different expression. 186 00:19:12.640 --> 00:19:17.380 Then the dolls were shot a frame at a time. 187 00:20:10.360 --> 00:20:14.820 And those wonderful old George A. Fables. 188 00:20:15.400 --> 00:20:18.840 Oh, they were written in Chicago slang, 189 00:20:19.500 --> 00:20:23.860 and the subtitles were as marvelous as the morals the pictures depicted. 190 00:20:25.220 --> 00:20:29.120 There was always some sort of a hilarious lesson to be learned. 191 00:20:29.720 --> 00:20:33.300 How to avoid the grasp of a two-timing lady, 192 00:20:33.880 --> 00:20:37.220 the evil of a city slicker, who sold gold bricks 193 00:20:37.220 --> 00:20:41.040 to unsuspecting country bumpkins. 194 00:20:46.440 --> 00:20:50.260 In a way, these George A. Fables were a comment, 195 00:20:50.980 --> 00:20:53.460 a social comment on the times. 196 00:21:04.840 --> 00:21:12.280 All our projectors today run the silence at 24 frames each second, 197 00:21:13.160 --> 00:21:16.100 a much too rapid rate. 198 00:21:21.940 --> 00:21:23.440 If you were to see a movie, 199 00:21:23.440 --> 00:21:23.440 200 00:21:23.440 --> 00:21:23.440 201 00:21:23.440 --> 00:21:26.700 if you were to play the films at about 16 frames per second, 202 00:21:27.060 --> 00:21:28.520 you'd see smoother action. 203 00:21:29.100 --> 00:21:34.640 You see that we were not all little wound-up dolls 204 00:21:34.640 --> 00:21:36.420 huffing and puffing around. 205 00:21:41.220 --> 00:21:45.780 Of course, when films became popular in the early part of this century, 206 00:21:46.300 --> 00:21:50.240 there were some of those filmmakers who tried to be risque, 207 00:21:50.240 --> 00:21:54.700 to flaunt sex a bit, even though it was just a murmur 208 00:21:54.700 --> 00:21:56.400 compared with today's outburst. 209 00:21:57.140 --> 00:22:02.960 The producers learned that the wholesome films for the whole family 210 00:22:02.960 --> 00:22:05.340 gave them their largest audience, 211 00:22:06.920 --> 00:22:12.260 and they were very concerned not to offend anyone. 212 00:23:06.700 --> 00:23:12.000 In fact, our films were advertised as family fare. 213 00:23:17.360 --> 00:23:20.220 Today, with the new classifications for the family fair, 214 00:23:20.220 --> 00:23:20.220 215 00:23:20.220 --> 00:23:20.220 216 00:23:20.220 --> 00:23:25.400 that big X on a film can really draw. 217 00:23:25.820 --> 00:23:29.960 You'll pardon the expression. It can really draw pay dirt. 218 00:23:31.460 --> 00:23:33.780 For instance, right here in Arizona, 219 00:23:35.360 --> 00:23:37.760 Russ Meyer's Vixen is playing. 220 00:23:38.460 --> 00:23:41.920 I've been told that it prattles endlessly on 221 00:23:41.920 --> 00:23:46.120 about the dubious aspects of sex. 222 00:23:47.580 --> 00:23:49.180 Russ Meyer is a millionaire 223 00:23:49.180 --> 00:23:53.460 because of such films for boy years. 224 00:23:53.640 --> 00:23:57.380 Those kinds of films feed our editorial mills, 225 00:23:57.620 --> 00:23:59.500 and everyone has an opinion. 226 00:24:00.440 --> 00:24:06.020 More recently, Arthur Godfrey, whom I admired very much in his work, 227 00:24:06.420 --> 00:24:10.380 so my friends report that he said 228 00:24:11.180 --> 00:24:14.120 that nakedness on the screen was nothing new, 229 00:24:14.120 --> 00:24:20.680 that Beverly Bane, she was the first to appear in a nude scene. 230 00:24:21.940 --> 00:24:24.540 I began to get telephone calls from my friends, 231 00:24:24.880 --> 00:24:28.060 why, Beverly, Arthur Godfrey has just claimed 232 00:24:28.060 --> 00:24:30.320 that you were one of the early nudes. 233 00:24:30.960 --> 00:24:34.640 So I shot off a letter, and very shortly, 234 00:24:35.060 --> 00:24:36.920 he gave a very fine apology. 235 00:24:37.460 --> 00:24:41.800 He's a fine person, and publicly stated he was at fault. 236 00:24:41.800 --> 00:24:45.620 Oh, my character remains unsullied. 237 00:24:45.920 --> 00:24:47.920 I'm glad to report to you. 238 00:24:48.220 --> 00:24:50.060 That's the extent of it, darlings. 239 00:24:50.600 --> 00:24:52.860 See all the things I miss. 240 00:24:54.000 --> 00:24:55.120 Oh dear. 241 00:25:00.400 --> 00:25:05.500 When I think back, in those early days, 242 00:25:07.820 --> 00:25:15.960 we had the minimum of means to get a maximum effect in our movies, 243 00:25:17.420 --> 00:25:19.980 and many times achieve greatness. 244 00:25:21.300 --> 00:25:23.380 But there are very few left. 245 00:25:24.180 --> 00:25:29.600 All I have left are memories, and they're lovely memories. 246 00:25:50.880 --> 00:25:51.560 Time. 247 00:25:52.520 --> 00:25:55.560 Time always requires a summing up. 248 00:25:56.780 --> 00:25:59.200 We sum up our lives when we're teenagers, 249 00:25:59.760 --> 00:26:02.500 all the hurts, the agony of life, 250 00:26:03.320 --> 00:26:05.480 all our little happinesses. 251 00:26:05.480 --> 00:26:05.480 252 00:26:05.480 --> 00:26:05.480 253 00:26:05.480 --> 00:26:05.480 254 00:26:06.180 --> 00:26:09.040 We, at that age, are entitled to dream, 255 00:26:09.900 --> 00:26:11.900 to large hopes, to idealism, 256 00:26:12.620 --> 00:26:16.200 to condemn or condone on very short notice. 257 00:26:17.740 --> 00:26:24.600 At that age, we're brought down to, so often, to disappointments. 258 00:26:25.780 --> 00:26:29.500 We need the comfort of others to tell us that life 259 00:26:29.500 --> 00:26:31.200 need never be cruel. 260 00:26:32.040 --> 00:26:35.640 That's a summing up that helps us reach our first plateau. 261 00:26:36.460 --> 00:26:39.700 Our little survey of the world is insufficient, 262 00:26:40.480 --> 00:26:42.880 but it is all we have at the time. 263 00:26:44.200 --> 00:26:48.020 In my teens, I was a star of moving pictures. 264 00:26:48.500 --> 00:26:51.360 People wrote me the most complimentary letters, 265 00:26:52.060 --> 00:26:55.860 told me things about myself, and if I'd ever believed them, 266 00:26:56.520 --> 00:26:58.200 I would have been confused forevermore. 267 00:26:59.500 --> 00:27:02.920 Beverly, I admire you so. 268 00:27:03.880 --> 00:27:06.280 Beverly, your life is so glamorous. 269 00:27:08.560 --> 00:27:12.040 Beverly, you're the queen of my dreams. 270 00:27:13.340 --> 00:27:14.260 Oh dear. 271 00:27:14.740 --> 00:27:17.500 Beverly, please send me your picture and your autograph. 272 00:27:17.840 --> 00:27:19.660 We all love you. 273 00:27:20.860 --> 00:27:23.660 The words of love arrived in a torrent. 274 00:27:24.280 --> 00:27:26.680 As a teenager, I was swept up by them. 275 00:27:26.680 --> 00:27:29.580 Sometimes I believed that I was truly glamorous. 276 00:27:29.880 --> 00:27:34.520 The only thing that kept my life in perspective was the fact of work. 277 00:27:35.540 --> 00:27:39.920 I had to punch that time clock at the studio every morning at nine. 278 00:27:40.820 --> 00:27:45.300 A moat under the hot lights looked glamorous when I didn't feel like it, 279 00:27:45.420 --> 00:27:48.840 and run about when I was really too tired to run about. 280 00:27:49.440 --> 00:27:52.420 Making believe, my dears, is hard work, 281 00:27:52.740 --> 00:27:55.480 how it isolates you from others your own age. 282 00:27:55.480 --> 00:28:00.820 And yet, all the loneliness vanished when the lights went on, 283 00:28:00.820 --> 00:28:04.080 and then I was someone else. 284 00:28:35.100 --> 00:28:39.080 Not long after Beverly Bane arrived at the S&A Film Studios, 285 00:28:39.500 --> 00:28:41.980 she was teamed with Francis X. Bushman. 286 00:28:42.220 --> 00:28:43.620 He was enormously popular. 287 00:28:44.200 --> 00:28:46.520 He was married and had five children. 288 00:28:47.060 --> 00:28:50.480 The studio concealed this fact from ardent fans who used to gather 289 00:28:50.480 --> 00:28:54.160 at the end of the day to catch a glimpse of his famous profile. 290 00:28:55.080 --> 00:28:55.460 Beverly Bane was a very famous actress. 291 00:28:55.460 --> 00:28:55.460 292 00:28:55.460 --> 00:28:57.120 Beverly Bane made many films with Bushman, 293 00:28:57.260 --> 00:29:01.060 and they were voted the most popular screen couple year after year. 294 00:29:01.780 --> 00:29:03.560 Although most of their films no longer exist, 295 00:29:03.680 --> 00:29:08.740 we do have excerpts from a 1914 release, Under Royal Patronage. 296 00:29:19.220 --> 00:29:22.100 What did people need at that time? 297 00:29:23.080 --> 00:29:27.800 Kings and queens, royalty, elegance, 298 00:29:28.460 --> 00:29:32.100 and an escape from the hard world of work, from epidemics. 299 00:29:33.460 --> 00:29:36.140 There was no remedy really for whooping cough, 300 00:29:36.360 --> 00:29:39.220 diphtheria, scarlet fever, influenza. 301 00:29:46.780 --> 00:29:53.420 Our film showed men as too often cruel and brutal, 302 00:29:53.500 --> 00:29:57.780 but courage triumphed. 303 00:29:57.900 --> 00:29:59.140 Good went out. 304 00:29:59.600 --> 00:30:02.100 In the end, happiness prevailed. 305 00:30:03.120 --> 00:30:07.620 And in our world of shadows, the flickering shadows of the screen, 306 00:30:07.840 --> 00:30:09.200 we were creating fairies, fairies of the world, 307 00:30:09.200 --> 00:30:09.200 308 00:30:09.200 --> 00:30:11.260 fairytales for an age. 309 00:30:29.200 --> 00:30:33.880 Well, Mr. Bushman was very exact in calculating all about his work. 310 00:30:33.880 --> 00:30:37.700 And when he would play with me, 311 00:30:38.420 --> 00:30:43.120 he always saw to it that some way I was maneuvered with the side of my head 312 00:30:43.120 --> 00:30:47.040 or the back of my head so that he could be in full view. 313 00:30:47.320 --> 00:30:50.160 And particularly, he always wanted the profile, 314 00:30:50.240 --> 00:30:52.700 and he sort of upstaged me on everything. 315 00:30:52.900 --> 00:30:55.120 And I guess he did on the other actors too, 316 00:30:55.420 --> 00:30:57.100 because they used to talk about it. 317 00:30:58.160 --> 00:31:01.800 But he was very precise, very meticulous, 318 00:31:01.800 --> 00:31:10.300 and well, oh, spoke very elegantly and precisely. 319 00:31:13.180 --> 00:31:16.240 Bushy started out in the East as an artist model. 320 00:31:17.140 --> 00:31:20.080 He was a beautiful man, beautiful in appearance, 321 00:31:20.800 --> 00:31:23.200 and he played in stock companies. 322 00:31:23.260 --> 00:31:25.100 That's really where he got his training. 323 00:31:25.720 --> 00:31:30.320 And when his director went to work for S&A in Chicago, 324 00:31:30.320 --> 00:31:37.280 a Mr. Baker, he wrote to Bushy to come and join this new industry 325 00:31:37.280 --> 00:31:38.740 which was flourishing. 326 00:31:40.340 --> 00:31:42.700 Life with Bushy was terribly hectic. 327 00:31:43.760 --> 00:31:48.000 He was often jealous and unpleasantly temperamental and demanding. 328 00:31:49.200 --> 00:31:51.860 And he was always concerned about his career, 329 00:31:52.600 --> 00:31:55.480 a career he calculated all the way. 330 00:31:55.480 --> 00:32:00.560 He wanted and sought publicity to enhance his worth, 331 00:32:01.220 --> 00:32:03.040 his longevity in films. 332 00:32:03.900 --> 00:32:07.580 And that kind of life wasn't really by cup of tea. 333 00:32:14.340 --> 00:32:18.560 He was a true, may I say it, heavy, 334 00:32:19.640 --> 00:32:23.620 wishing to dominate in all matters, including money. 335 00:32:24.480 --> 00:32:28.280 And although we made a bit in films, 336 00:32:29.020 --> 00:32:31.400 it seemed to evaporate in his hands. 337 00:32:32.000 --> 00:32:35.340 He would rent lavish apartments and homes, 338 00:32:35.820 --> 00:32:38.960 even when he didn't know where his next paycheck was coming from. 339 00:32:41.080 --> 00:32:43.860 I, um, I was his second wife. 340 00:32:44.620 --> 00:32:47.520 We married after our Romeo and Juliet for Metro. 341 00:32:48.680 --> 00:32:51.520 He had five children by his first marriage, 342 00:32:51.520 --> 00:32:56.820 and at that time the studios didn't want the world to know 343 00:32:56.820 --> 00:32:58.400 that their leading men were married, 344 00:32:58.660 --> 00:33:00.740 so this news was kept from the public. 345 00:33:01.660 --> 00:33:05.940 And after I married him, I remember sending money to them, 346 00:33:06.440 --> 00:33:10.320 simply because he forgot or did not send it to them. 347 00:33:31.980 --> 00:33:36.920 He was irresponsible, but he was terribly handsome. 348 00:33:43.460 --> 00:33:47.420 To do justice to his memory, he was one of the first, 349 00:33:48.500 --> 00:33:51.400 uh, really, the first stars. 350 00:33:51.500 --> 00:33:51.500 351 00:33:51.500 --> 00:33:51.500 352 00:33:54.500 --> 00:33:57.260 Oh, he had a wide following. 353 00:34:00.840 --> 00:34:06.380 Charles Chaplin came to us in, uh, I guess it was 1915. 354 00:34:07.100 --> 00:34:12.180 Uh, he was very meticulous in all his direction. 355 00:34:16.360 --> 00:34:19.880 He demanded a great deal of time for every scene, 356 00:34:19.880 --> 00:34:24.880 and of course the rest of us who had, uh, in our early stages 357 00:34:24.880 --> 00:34:28.360 had made one movie a day. 358 00:34:28.940 --> 00:34:34.140 We're suddenly confronted with a man who took hours and hours 359 00:34:34.140 --> 00:34:36.380 to just rehearse one scene. 360 00:34:37.000 --> 00:34:38.520 Well, we were all appalled. 361 00:34:39.120 --> 00:34:45.400 The, uh, legitimate, dramatic actors that had, had to work so fast, 362 00:34:45.660 --> 00:34:47.620 we couldn't believe this was possible. 363 00:34:49.220 --> 00:34:54.340 Another thing that he did, he, um, would, uh, put screens up around. 364 00:34:54.920 --> 00:34:56.760 No one was allowed to see him. 365 00:34:59.380 --> 00:35:03.560 He kept to himself and, uh, was not antisocial, 366 00:35:03.580 --> 00:35:07.720 but none of us, uh, really had any conversation with him at all, 367 00:35:07.960 --> 00:35:09.760 other than good morning and how do you do. 368 00:35:10.580 --> 00:35:13.540 But, uh, there was a great deal of mystery about it. 369 00:35:13.600 --> 00:35:16.320 The outcome was that the other directors, 370 00:35:17.320 --> 00:35:21.580 eventually caught on to the, uh, time element 371 00:35:21.580 --> 00:35:24.020 that, uh, Chaplin had established, 372 00:35:24.060 --> 00:35:28.240 and they began to, uh, take a little more leisure with their work 373 00:35:28.240 --> 00:35:30.420 and found that the results were so good 374 00:35:30.420 --> 00:35:33.100 that the front office accepted this change 375 00:35:33.100 --> 00:35:36.980 to the great delight of the cast and the directors. 376 00:35:51.000 --> 00:35:57.320 My son and I came to, uh, Arizona about 13 years ago. 377 00:35:59.000 --> 00:36:00.440 We both fell in love with it. 378 00:36:00.480 --> 00:36:04.420 We were going to visit a friend in Beverly Hills in California, 379 00:36:04.420 --> 00:36:08.920 and on our way back home to Westchester in New York, 380 00:36:09.120 --> 00:36:10.660 we almost bought a house. 381 00:36:12.260 --> 00:36:15.880 But motherly caution, I said, let's go back and sell our home. 382 00:36:16.180 --> 00:36:16.300 We were so happy to have a house. 383 00:36:16.300 --> 00:36:18.600 And then we'll return to Arizona. 384 00:36:19.820 --> 00:36:22.360 And of course, it was, the house was sold in one day. 385 00:36:23.560 --> 00:36:26.180 So, uh, we found a very lovely place, 386 00:36:26.220 --> 00:36:29.080 two and a half acres out in Paradise Valley. 387 00:36:29.600 --> 00:36:32.540 The view from my living room window was simply gorgeous. 388 00:36:34.720 --> 00:36:36.320 All the wonderful mountains. 389 00:36:36.780 --> 00:36:39.840 And you had such a sense of spaciousness. 390 00:36:46.300 --> 00:36:48.160 The gorgeous swarrows. 391 00:36:48.860 --> 00:36:50.080 All the cacti. 392 00:36:51.160 --> 00:36:53.460 The little animals, the road runners 393 00:36:53.460 --> 00:36:56.140 that are hardly anyplace else in the world, I guess. 394 00:37:17.880 --> 00:37:25.280 And, uh, it is just where I feel 395 00:37:25.280 --> 00:37:29.960 that God has directed me to spend my remaining days. 396 00:37:49.960 --> 00:37:52.760 My son loved Arizona. 397 00:37:53.340 --> 00:37:56.340 Everything about the casual life here. 398 00:37:57.600 --> 00:38:00.020 He'd had a great deal of the pressure of New York, 399 00:38:00.720 --> 00:38:03.960 and everything about Arizona pleased him. 400 00:38:05.480 --> 00:38:09.580 And he was a delightful, wonderful person. 401 00:38:11.340 --> 00:38:16.200 And I have sadly regretted 402 00:38:16.200 --> 00:38:19.420 that two years ago he passed away, 403 00:38:20.140 --> 00:38:23.620 which left me with a great void in my life. 404 00:38:28.260 --> 00:38:30.520 He, he was handsome. 405 00:38:32.060 --> 00:38:32.980 Very good looking. 406 00:38:34.800 --> 00:38:37.940 Five feet, 11 tall, muscular, 407 00:38:39.080 --> 00:38:41.380 and the most ingratiating smile. 408 00:38:41.820 --> 00:38:43.180 Lovely dark brown eyes. 409 00:38:45.200 --> 00:38:49.540 He was invited to every party practically in the valley. 410 00:38:49.780 --> 00:38:51.900 All hostesses loved to have him come 411 00:38:51.900 --> 00:38:54.540 because he could tell stories so delightfully. 412 00:38:54.560 --> 00:38:56.060 And he had many of them. 413 00:38:56.220 --> 00:38:59.140 But they were all the kind that wouldn't offend anyone, 414 00:38:59.180 --> 00:39:00.460 but were great fun. 415 00:39:01.280 --> 00:39:03.860 And he always was most amusing. 416 00:39:03.980 --> 00:39:05.340 He could sing beautifully. 417 00:39:06.060 --> 00:39:11.800 And he, he was rather nice, if I do say it. 418 00:39:11.800 --> 00:39:14.800 Now, after he passed away, 419 00:39:15.760 --> 00:39:18.960 I had to have certain documents. 420 00:39:20.960 --> 00:39:23.700 And I was going through one, 421 00:39:24.520 --> 00:39:26.840 and this is what I found in his Bible. 422 00:39:29.740 --> 00:39:33.900 I shall pass through this world but once. 423 00:39:34.920 --> 00:39:38.040 Any good thing therefore that I can do, 424 00:39:38.040 --> 00:39:42.220 or any kindness that I can show any human being, 425 00:39:43.140 --> 00:39:44.780 let me do it now. 426 00:39:46.260 --> 00:39:49.040 But let me not defer or neglect it, 427 00:39:50.540 --> 00:39:53.940 for I shall not pass this way. 428 00:40:35.860 --> 00:40:38.020 In 1915, Francis X. Smith, 429 00:40:38.020 --> 00:40:38.020 430 00:40:38.020 --> 00:40:38.020 431 00:40:38.020 --> 00:40:38.020 432 00:40:38.020 --> 00:40:38.020 433 00:40:38.020 --> 00:40:38.020 434 00:40:38.020 --> 00:40:39.400 and then Francis X. Bushman joined Metro. 435 00:40:40.120 --> 00:40:42.780 And it wasn't long after that that the Metro studio executives 436 00:40:42.780 --> 00:40:44.260 called on Beverly Bane. 437 00:40:44.780 --> 00:40:47.160 At Metro, Bushman's films with another leading lady 438 00:40:47.160 --> 00:40:49.540 were not quite as successful as the S&A 439 00:40:49.540 --> 00:40:51.380 Bane-Bushman motion pictures. 440 00:40:52.100 --> 00:40:55.540 Beverly Bane joined Metro, married Bushman a little bit later, 441 00:40:55.560 --> 00:40:58.320 and together they made several films on the West Coast. 442 00:40:58.940 --> 00:41:02.540 And then they went to New York to star in Metro's 443 00:41:02.540 --> 00:41:05.860 famous production of Shakespeare's Romeo and Juliet. 444 00:41:05.860 --> 00:41:09.600 People look at a silent movie today, 445 00:41:10.100 --> 00:41:12.740 and they see all of these big gestures and everything, 446 00:41:12.980 --> 00:41:16.340 they think, oh, what hammy kind of acting that is, you know. 447 00:41:16.760 --> 00:41:20.400 But we only had gestures, you see, to tell a story. 448 00:41:21.040 --> 00:41:25.000 And as a matter of fact, when we did Romeo and Juliet, 449 00:41:25.820 --> 00:41:28.820 we said every line of Shakespeare's script, 450 00:41:29.620 --> 00:41:33.720 and it was considered a great, great feat 451 00:41:33.720 --> 00:41:39.800 to have told the story in gestures of the beautiful language of Shakespeare. 452 00:41:40.160 --> 00:41:42.720 We took three months to do this, 453 00:41:42.980 --> 00:41:46.180 and that was quite a good deal in those days. 454 00:41:46.580 --> 00:41:50.500 And we employed all the finest Shakespearean actors. 455 00:41:50.840 --> 00:41:53.580 There was old Bob Cummings, 456 00:41:54.400 --> 00:41:56.020 a member of the Lambs Club in New York, 457 00:41:56.120 --> 00:41:59.500 and there was Fritz Leiber, who played his own part, 458 00:42:00.660 --> 00:42:04.500 and Sir Lawson Butt, who played Tybalt. 459 00:42:05.180 --> 00:42:08.800 And of course everybody else had been connected in some capacity 460 00:42:08.800 --> 00:42:10.780 with Shakespearean plays. 461 00:42:11.840 --> 00:42:15.700 And we said every line of Shakespeare's script. 462 00:42:16.420 --> 00:42:19.620 And after the production was presented, 463 00:42:20.660 --> 00:42:23.440 all the deaf schools and people who were deaf 464 00:42:23.440 --> 00:42:26.520 went to our production and were enchanted 465 00:42:26.520 --> 00:42:28.440 because they could read our lips 466 00:42:28.440 --> 00:42:31.380 and get the full text of Shakespeare. 467 00:42:33.620 --> 00:42:40.260 Oh, Romeo, Romeo, wherefore art thou Romeo? 468 00:42:41.020 --> 00:42:44.300 Oh, deny thy father and refuse thy name, 469 00:42:44.540 --> 00:42:48.680 or if thou wilt not, be but sworn my love, 470 00:42:49.060 --> 00:42:51.980 and I'll no longer be a Capulet. 471 00:42:58.440 --> 00:43:02.840 There was a wonderful publisher in New York, 472 00:43:03.700 --> 00:43:07.580 Daniel Bloom, and he started as a very young boy 473 00:43:07.580 --> 00:43:10.800 collecting autographs of the great motion picture actors 474 00:43:10.800 --> 00:43:15.900 and also the greats of the legitimate stage. 475 00:43:17.060 --> 00:43:24.620 And finally he met a little woman that made dolls, 476 00:43:24.620 --> 00:43:29.720 and she designed them after the exact characters and costumes. 477 00:43:32.440 --> 00:43:36.800 I used to go to parties at his home down on West 9th Street, 478 00:43:37.920 --> 00:43:43.700 and his entire living room was filled with glass cases 479 00:43:43.700 --> 00:43:49.020 in which as you go in you would see these exquisite dolls. 480 00:43:49.920 --> 00:43:53.780 When I came to Arizona, he said, 481 00:43:53.780 --> 00:43:57.060 Beverly, when you come to New York next time 482 00:43:57.060 --> 00:43:58.780 we're going to have a bash. 483 00:43:59.020 --> 00:44:01.260 He said, I'm going to give you a beautiful party 484 00:44:01.260 --> 00:44:02.700 and you will have your doll. 485 00:44:03.380 --> 00:44:06.060 Well, as a matter of fact, about two weeks later 486 00:44:06.060 --> 00:44:08.080 the dear man passed away. 487 00:44:09.660 --> 00:44:14.940 Very shortly I received this large box 488 00:44:14.940 --> 00:44:17.760 sent from my friends in Bedford Village 489 00:44:19.140 --> 00:44:21.600 of me as Juliet. 490 00:44:30.840 --> 00:44:33.460 Darlings, I'm a square, I guess. 491 00:44:34.340 --> 00:44:37.900 You can't really leap out of the skin of your own generation. 492 00:44:38.300 --> 00:44:39.660 You really can't. 493 00:44:39.820 --> 00:44:43.880 So many of my generation began work at the age of 13 or 14. 494 00:44:44.160 --> 00:44:45.340 We were little adults. 495 00:44:45.820 --> 00:44:48.560 A lot of us contributed to the support of our families. 496 00:44:48.560 --> 00:44:53.760 I'm terribly frightened by habits that postpone responsibility. 497 00:44:54.560 --> 00:44:57.720 The drug culture, the playing at life, 498 00:44:58.380 --> 00:45:02.460 the child of 21 or 25 who puts down his father 499 00:45:02.460 --> 00:45:05.700 because his job appears to be insignificant, 500 00:45:06.020 --> 00:45:09.360 and the child who hides behind the comfortable ivy 501 00:45:09.360 --> 00:45:11.400 of a college or a university. 502 00:45:12.240 --> 00:45:14.840 There will be many rude awakenings, won't there? 503 00:45:14.840 --> 00:45:20.840 We can't all be heroes or public figures or movie stars. 504 00:45:21.960 --> 00:45:22.560 Thank heaven. 505 00:45:23.500 --> 00:45:26.140 Let's improve this wonderful country of ours 506 00:45:26.140 --> 00:45:30.860 by assuming some sort of responsibility for its troubles 507 00:45:30.860 --> 00:45:34.920 and working every day of our little lives 508 00:45:34.920 --> 00:45:37.500 for some earthly good. 509 00:45:40.860 --> 00:45:45.160 All my friends out here know that I'm a crusader. 510 00:45:46.100 --> 00:45:48.600 I'm a serious-minded person, 511 00:45:48.640 --> 00:45:52.120 and I'm very interested in lots of causes. 512 00:45:52.840 --> 00:45:56.460 I have waitful moments at times at night, 513 00:45:56.640 --> 00:45:58.860 and along about 2 o'clock in the morning, 514 00:45:59.400 --> 00:46:04.720 I can contrive and write the most magnificent letters, 515 00:46:04.720 --> 00:46:07.480 at least in my thought, to my congressman. 516 00:46:07.480 --> 00:46:15.080 I get up in the morning, and my friends tell me, 517 00:46:15.080 --> 00:46:18.100 that's pretty good. I like it. 518 00:46:18.240 --> 00:46:20.860 That gives me the courage to send these things off. 519 00:46:20.940 --> 00:46:24.800 For the most part, I get wonderful replies from all of them. 520 00:46:32.320 --> 00:46:35.560 The first salary I ever made at S&A, 521 00:46:35.960 --> 00:46:37.460 I bought 24 pairs of shoes. 522 00:46:37.460 --> 00:46:39.640 Isn't that ridiculous? 523 00:46:44.340 --> 00:46:46.700 It was the beginning, really, 524 00:46:46.880 --> 00:46:50.880 when Wallis Beery was there playing a Swedish cook, a comic. 525 00:46:54.520 --> 00:46:57.120 You see, our pictures were filmed by men 526 00:46:57.120 --> 00:46:59.840 who had hand-cranked their cameras, 527 00:46:59.840 --> 00:47:03.580 and the projectionist played them back by hand-cranking. 528 00:47:08.120 --> 00:47:11.920 Everything was very primitive. It was an untried medium, 529 00:47:12.800 --> 00:47:15.760 and directors usually came from the legitimate theater 530 00:47:15.760 --> 00:47:18.820 or some sort of training school for actors. 531 00:47:21.060 --> 00:47:25.760 If they had one scene where a shadow showed on an actor's face, 532 00:47:26.020 --> 00:47:27.920 the scene had to be redone. 533 00:47:28.140 --> 00:47:29.840 Every day after the shooting, 534 00:47:29.840 --> 00:47:32.180 they would go to the projection room downstairs 535 00:47:32.180 --> 00:47:36.240 and see whether there were retakes to be taken the next day. 536 00:47:38.880 --> 00:47:41.520 I was always being saved by someone. 537 00:47:41.920 --> 00:47:45.760 I can remember once Mr. Bushman took me off of a cow catcher 538 00:47:45.760 --> 00:47:47.480 on a train in one sequence. 539 00:47:52.120 --> 00:47:54.720 We were fumbling in the dark in one sense. 540 00:47:55.100 --> 00:47:58.000 The camera stayed mostly in one position. 541 00:47:58.640 --> 00:48:00.740 Of course, if he had to have a close-up, 542 00:48:00.820 --> 00:48:05.460 he would move the camera in and take that in a certain area. 543 00:48:05.460 --> 00:48:09.740 But always within the confines of these two white lines, 544 00:48:10.080 --> 00:48:12.380 it at moments was a little difficult to do. 545 00:48:15.260 --> 00:48:18.520 Making movies then was arduous. 546 00:48:19.020 --> 00:48:24.580 Sometimes a one-reeler a day, a complete movie in one day. 547 00:48:25.020 --> 00:48:27.680 Doing, constantly doing. 548 00:48:30.320 --> 00:48:34.180 When my time was my own, after hours, after five, 549 00:48:34.180 --> 00:48:38.680 I had my own world, my own preferences. 550 00:48:39.200 --> 00:48:40.200 Oh dear. 551 00:48:40.640 --> 00:48:43.860 Like a heavenly chocolate ice cream soda. 552 00:49:07.400 --> 00:49:11.780 Darling, what can I leave you with? 553 00:49:11.940 --> 00:49:13.500 A beautiful pink rose. 554 00:49:14.240 --> 00:49:16.460 I hear from so many old friends. 555 00:49:16.860 --> 00:49:20.820 Mary Pickford, Buddy Rogers, Ellen Bonfice, and a lot of others. 556 00:49:21.380 --> 00:49:23.280 And from a few old fans. 557 00:49:24.440 --> 00:49:27.180 And I love the letters from young people. 558 00:49:27.580 --> 00:49:28.440 My word. 559 00:49:28.900 --> 00:49:31.500 There's so much interest in the old days. 560 00:49:32.080 --> 00:49:33.880 Those wonderful old films. 561 00:49:34.880 --> 00:49:38.660 If you find a few of my old films, let me know. 562 00:49:41.400 --> 00:49:43.440 Join the world, dears. 563 00:49:44.020 --> 00:49:45.940 Make beautiful movies. 564 00:49:48.100 --> 00:49:50.740 And be as kind as you can be. 565 00:49:52.460 --> 00:49:54.500 People are fragile. 566 00:50:32.460 --> 00:50:33.860 They're fragile. 567 00:50:33.860 --> 00:50:33.860 568 00:50:33.860 --> 00:50:33.860 569 00:50:33.860 --> 00:50:33.860 570 00:50:33.860 --> 00:50:33.860 571 00:50:33.860 --> 00:50:33.860 572 00:50:33.860 --> 00:50:33.860 573 00:50:33.860 --> 00:50:33.860 574 00:50:33.860 --> 00:50:33.860 575 00:50:35.660 --> 00:50:37.780 I'm a little bit of a 576 00:50:37.780 --> 00:50:42.860 I'm a little bit of a 577 00:50:42.860 --> 00:50:44.340 I'm a little bit of a 578 00:50:44.340 --> 00:50:47.720 I'm a little bit of a 579 00:50:47.720 --> 00:50:48.440 I'm a little bit of a 580 00:50:48.440 --> 00:50:51.580 I'm a little bit of a 581 00:50:51.580 --> 00:50:52.120 I'm a little bit of a 582 00:50:52.120 --> 00:50:54.480 I'm a little bit of a 583 00:50:54.480 --> 00:50:55.080 I'm a little bit of a 584 00:50:55.080 --> 00:50:57.180 I'm a little bit of a 585 00:50:57.180 --> 00:50:57.660 I'm a little bit of a 586 00:50:57.660 --> 00:50:57.660 587 00:50:57.660 --> 00:50:59.500 I'm a little bit of a 588 00:50:59.500 --> 00:51:02.440 I'm a little bit of a 589 00:51:16.560 --> 00:51:17.960 I'm a little bit of a 590 00:51:17.960 --> 00:51:17.960 591 00:51:17.960 --> 00:51:17.960 592 00:51:17.960 --> 00:51:17.960 593 00:51:17.960 --> 00:51:17.960