WEBVTT 1 00:00:10.920 --> 00:00:14.360 Beverly, the first question is how were films made? 2 00:00:14.440 --> 00:00:17.500 Your directors and the line on the floor and so on. 3 00:00:17.600 --> 00:00:18.700 The directors came where? 4 00:00:18.740 --> 00:00:19.540 From out of the theater? 5 00:00:19.680 --> 00:00:20.620 You know, that type of thing. 6 00:00:21.760 --> 00:00:26.640 Well, of course, in the early days, everything was very primitive. 7 00:00:26.640 --> 00:00:36.140 It was an untried medium and new techniques had to be sought out. 8 00:00:37.220 --> 00:00:44.900 And directors usually came from the legitimate theater or stock companies or some sort of 9 00:00:44.900 --> 00:00:46.760 training school for actors. 10 00:00:47.360 --> 00:00:57.440 But for instance, you put the camera tripod on the floor and from that floor, the cameraman 11 00:00:57.440 --> 00:01:05.120 would stretch a white line on either side of the camera and it usually, 18 feet was 12 00:01:05.120 --> 00:01:09.680 the extent it could be widened back of us. 13 00:01:10.480 --> 00:01:17.120 And we had to perform within that area and always be sure that we never stepped over 14 00:01:17.120 --> 00:01:26.180 the line because Mr. Spoor was very careful that his actors were always available, always 15 00:01:26.880 --> 00:01:28.580 being able to be seen. 16 00:01:29.300 --> 00:01:38.960 And another thing that was very curious about that time, you were not the director and the 17 00:01:38.960 --> 00:01:46.060 showed on an actor's face or his body or on the floor, the scene had to be redone. 18 00:01:46.160 --> 00:01:51.980 They would not allow a shadow to be shown anywhere. 19 00:01:53.380 --> 00:01:59.060 And every day after the shooting, they would go to the projection room downstairs and see 20 00:01:59.060 --> 00:02:02.680 whether there were retakes to be taken the next day. 21 00:02:03.420 --> 00:02:06.460 And of course, there were some very good directors. 22 00:02:06.460 --> 00:02:14.180 The head director was Henry McRae Webster. 23 00:02:14.240 --> 00:02:15.520 I couldn't think for the moment. 24 00:02:48.680 --> 00:02:50.480 Talk about the directors now. 25 00:02:52.060 --> 00:02:55.900 Of course, Harry McRae Webster was one of our head directors. 26 00:02:56.080 --> 00:03:01.740 It was Joseph Towton and several others that all contributed something to the eventual 27 00:03:01.740 --> 00:03:03.140 technique of movies. 28 00:03:04.520 --> 00:03:10.580 As I said earlier, we were fumbling in the dark in one sense. 29 00:03:11.740 --> 00:03:14.760 The camera stayed mostly in one position. 30 00:03:15.480 --> 00:03:18.020 Of course, we had to have a close-up. 31 00:03:18.060 --> 00:03:25.200 He would move the camera in and take that in a certain area, but always within the confines 32 00:03:25.200 --> 00:03:27.020 of these two white lines. 33 00:03:27.020 --> 00:03:33.940 And it at moments was a little difficult to do. 34 00:03:34.800 --> 00:03:34.800 35 00:03:35.840 --> 00:03:36.860 Wallace Beery. 36 00:03:37.880 --> 00:03:40.280 Well, Wally Beery was quite a character. 37 00:03:40.920 --> 00:03:46.080 He was big and bumptious and well, jolly. 38 00:03:47.140 --> 00:03:51.900 And he played in a comedy series called Swede. 39 00:03:52.140 --> 00:03:54.660 S-W-E-D-E-E. 40 00:03:54.660 --> 00:04:03.840 He played a Norwegian cook with a gingham dress, an apron and blonde wig. 41 00:04:05.460 --> 00:04:07.000 Excuse me, let's go to Wallace Beery. 42 00:04:07.840 --> 00:04:09.740 Well, Wally Beery was quite a character. 43 00:04:10.440 --> 00:04:14.680 He came there to do a series called Swede. 44 00:04:15.920 --> 00:04:21.940 He dressed as a woman, played this part of a maid, 45 00:04:21.940 --> 00:04:30.220 and he wore great floppy shoes like they did in Carnivals as a clown. 46 00:04:30.900 --> 00:04:36.740 After all, that's where Wally came from, Carnivals and circuses and one thing another. 47 00:04:37.100 --> 00:04:44.320 And he got this very comic technique to bring to our series at S&A. 48 00:04:44.960 --> 00:04:48.000 And he was exceptionally good in it. 49 00:04:48.000 --> 00:04:56.160 And he used to have a yellow Mercer car. 50 00:04:57.040 --> 00:04:58.560 Couldn't think of it for a minute. 51 00:04:59.780 --> 00:05:06.200 He would, oh, tear up and down Sheridan Road in Chicago with a cutout. 52 00:05:06.600 --> 00:05:11.060 And all the people in the neighborhood would say, there goes that film actor. 53 00:05:11.060 --> 00:05:18.140 And Gloria Swanson, which usually be with him, she took a great liking to him. 54 00:05:18.220 --> 00:05:22.920 And they were very friendly. 55 00:05:23.700 --> 00:05:28.860 And that was Wally in his jolly way. 56 00:05:29.220 --> 00:05:30.980 He made friends with everyone. 57 00:05:31.580 --> 00:05:38.460 And finally he left S&A, had a big contract, to go to California 58 00:05:38.460 --> 00:05:43.460 and play for Max Sennett in a series of the Keystone Cops. 59 00:05:45.440 --> 00:05:47.300 Speed, Francis X. Bushman. 60 00:05:48.060 --> 00:05:52.620 Well, Mr. Bushman, as I have said earlier, I believe, 61 00:05:53.860 --> 00:05:57.640 he was very exact in calculating all about his work. 62 00:05:58.440 --> 00:06:05.220 And when he would play with me, he always saw to it that some way I was maneuvered 63 00:06:05.220 --> 00:06:10.900 with the side of my head or the back of my head so that he could be in full view. 64 00:06:11.220 --> 00:06:14.060 And particularly, he always wanted the profile. 65 00:06:14.120 --> 00:06:16.640 And he sort of upstaged me on everything. 66 00:06:16.800 --> 00:06:21.220 And I guess he did on the other actors too, because they used to talk about it. 67 00:06:21.600 --> 00:06:34.120 But he was very precise, very meticulous, and well, oh, spoke very elegantly and precisely. 68 00:06:36.320 --> 00:06:39.020 Beverly, tell us about that wonderful new lighting system. 69 00:06:39.120 --> 00:06:41.520 The lighting system they had is one of the great studios. 70 00:06:41.940 --> 00:06:45.780 And how you felt when those hot lights, what were they? Carbon arcs and cliques and so on? 71 00:06:46.860 --> 00:06:49.960 Well, our studio was very modern. 72 00:06:50.800 --> 00:06:58.240 It had to be equipped to take care of a great many plays that would be taken indoors, 73 00:06:58.240 --> 00:07:02.100 because the weather, as you know, in Chicago is cold and vicious. 74 00:07:02.100 --> 00:07:06.480 So a lot of plays had to be geared around interiors. 75 00:07:06.780 --> 00:07:11.660 So they had very powerful lights, clique lights, they called them. 76 00:07:12.020 --> 00:07:18.600 And then they had something called a broad arc light, which was very, very hot. 77 00:07:19.100 --> 00:07:28.880 And in those days, they wouldn't allow a shadow to fall on the floor from your body as you walked or a shadow on your face. 78 00:07:28.880 --> 00:07:38.640 I presume that was due to the fact that some of the movie theaters might not have such excellent lighting or whatever. 79 00:07:38.760 --> 00:07:41.080 They were afraid that they would dim out. 80 00:07:41.780 --> 00:07:53.880 And the consequence was that they had this powerful light all around you, and particularly this arc light broadside. 81 00:07:53.880 --> 00:08:00.140 When you do a scene down by a fireplace and you had to work very closely to the light, 82 00:08:00.140 --> 00:08:04.880 you would go home at night and you would have a sunburn on your eyes. 83 00:08:06.060 --> 00:08:10.700 And all night long you would be weeping and it was very painful. 84 00:08:11.140 --> 00:08:14.920 And sometimes the next day you'd have to cancel out because you couldn't take the picture. 85 00:08:15.240 --> 00:08:18.320 Your eyes were so sunburned or red. 86 00:08:18.320 --> 00:08:33.480 And of course, there were after a while, they brought in lighting and tried to be more artful about shadows and use the effects of light and shadow. 87 00:08:34.020 --> 00:08:37.580 But in the beginning, it was very stark. 88 00:08:38.120 --> 00:08:40.320 It just had to be bright light and nothing else. 89 00:08:41.660 --> 00:08:43.660 George Case for Beverly Bane. 90 00:08:43.660 --> 00:08:56.260 In the 1890s, George K. Spoor, my old boss, and Edwin Hill Amit developed the Magnoscope. 91 00:08:56.820 --> 00:08:59.480 It was an early projector for movie houses. 92 00:09:01.040 --> 00:09:09.260 And then George K. developed film as Chasers in Vaudeville. 93 00:09:09.260 --> 00:09:16.260 And then he founded the Peerless Film Company in 1907. 94 00:09:18.140 --> 00:09:24.000 And Bronco Billy Anderson or G.M. Anderson joined Mr. Spoor. 95 00:09:24.800 --> 00:09:30.220 And they used the initials of their last names as a trade name. 96 00:09:30.680 --> 00:09:34.880 And they called it S&A, Film Manufacturing Company. 97 00:09:34.880 --> 00:09:40.500 And did I do Peerless? 98 00:09:40.920 --> 00:09:45.440 And one of the earliest actors was Ben Turpin. 99 00:09:46.680 --> 00:09:50.120 And the picture was called An Awful Skate. 100 00:09:50.500 --> 00:09:53.120 And it was so successful. 101 00:09:53.460 --> 00:09:57.560 From then on, Spoor and Anderson were in business. 102 00:09:58.040 --> 00:10:00.380 And a thriving one. 103 00:10:00.380 --> 00:10:06.060 Now, George K. Spoor was an excellent executive. 104 00:10:06.640 --> 00:10:15.040 And as a thriving businessman, Bronco Billy Anderson was a great promoter and very intelligent. 105 00:10:15.420 --> 00:10:19.200 And ultimately, he became an actor. 106 00:10:19.500 --> 00:10:25.860 Went to Colorado, started a company there, and then to Niles, California. 107 00:10:25.860 --> 00:10:33.640 And he did a great many Westerns and was a great success. 108 00:10:37.220 --> 00:10:44.600 Oh, of course, I remember Mr. Spoor coming in the studio long around 11 in the morning, very elegantly dressed. 109 00:10:45.040 --> 00:10:47.980 He was a dignified, wonderful-looking man. 110 00:10:48.560 --> 00:10:50.700 And he would go to his office. 111 00:10:50.700 --> 00:10:58.560 None of us would see him until suddenly he would simply sail through the studio, the various departments. 112 00:10:59.000 --> 00:11:07.880 And of course, everyone was very submissive, feeling that they wanted to be seen in the best part of their work in the studio. 113 00:11:07.900 --> 00:11:10.960 And he would stand with his great Havana cigar. 114 00:11:11.180 --> 00:11:15.900 I can see him now puffing away at it as we would work on our scenes. 115 00:11:16.320 --> 00:11:16.320 116 00:11:17.240 --> 00:11:18.700 My recollections of George Spoor. 117 00:11:18.700 --> 00:11:23.600 Well, Mr. Spoor was a very dignified and handsome man. 118 00:11:23.740 --> 00:11:25.800 Very well turned out, beautiful clothing. 119 00:11:27.000 --> 00:11:31.200 And he would come into the studio, go to his office. 120 00:11:31.280 --> 00:11:33.640 We'd all know when he went there. 121 00:11:33.940 --> 00:11:36.000 It was usually at the hour of 11. 122 00:11:36.540 --> 00:11:41.380 And then after looking over his effects and whatnot, business of the day, 123 00:11:41.380 --> 00:11:50.520 he would make a circuitous trip through the studios and all the departments and wherever a company was working. 124 00:11:51.060 --> 00:12:00.960 And he would stand there with a great Havana cigar in his mouth and watch the action, whatever was going on. 125 00:12:01.600 --> 00:12:04.120 We never really talked to him much. 126 00:12:04.280 --> 00:12:05.760 We were very respectful. 127 00:12:05.760 --> 00:12:11.200 But he was always very kind and friendly. 128 00:12:12.720 --> 00:12:29.660 And I think he actually at one time, I believe it was in the 50s, was given an Oscar for having one of the finest movie establishments in the business. 129 00:12:32.180 --> 00:12:33.120 Spoor's Oscar. 130 00:12:33.120 --> 00:12:43.100 Well, I believe in the 50s, Mr. Spoor was given an Oscar because he was one of the early pioneers in the business 131 00:12:43.100 --> 00:12:48.120 and one of the top men in films from the very beginning. 132 00:12:50.380 --> 00:12:53.540 Charles Chaplin comes to SNA in 1915. 133 00:12:53.540 --> 00:13:08.220 Well, when Mr. Charles Chaplin came to us in, I guess it was 1915, he was very meticulous in all his direction. 134 00:13:08.420 --> 00:13:11.720 He demanded a great deal of time for every scene. 135 00:13:12.200 --> 00:13:20.440 And of course, the rest of us who had in our early stages had made one movie a day. 136 00:13:20.440 --> 00:13:28.280 We were suddenly confronted with a man who took hours and hours to just rehearse one scene. 137 00:13:28.700 --> 00:13:32.180 It might go all day long and into the next day. 138 00:13:32.540 --> 00:13:42.980 This one scene of him going out a door and another actor coming in and getting in his way as he turned around with a ladder or an old dirty mop or something 139 00:13:42.980 --> 00:13:49.280 and hit the other actor in the face and the reactions, which were usually very funny. 140 00:13:49.280 --> 00:13:52.240 He would take a day and a half to do that one scene. 141 00:13:52.280 --> 00:13:54.160 Well, we were all appalled. 142 00:13:54.880 --> 00:14:03.040 The legitimate, traumatic actors that had to work so fast, we couldn't believe this was possible. 143 00:14:03.840 --> 00:14:14.360 Now, another thing that he did, he would put screens up around. 144 00:14:14.960 --> 00:14:16.560 No one was allowed to see him. 145 00:14:16.560 --> 00:14:26.860 He kept to himself and was not antisocial, but none of us really had any conversation with him at all, other than, good morning and how do you do? 146 00:14:27.620 --> 00:14:30.600 But there was a great deal of mystery about it. 147 00:14:30.600 --> 00:14:41.900 But the outcome was that the other directors eventually caught on to the time element that Chaplin had established. 148 00:14:41.900 --> 00:14:55.000 And they began to take a little more leisure with their work and found that the results were so good that the front office accepted this change to the great delight of the cast and the directors. 149 00:14:56.360 --> 00:14:56.360 150 00:14:57.160 --> 00:14:57.440 Go ahead. 151 00:14:57.440 --> 00:15:03.040 Chaplin only did one film in Chicago with us at S&A. 152 00:15:03.680 --> 00:15:20.180 And the weather being so frightfully cold and frigid, he joined the S&A company in Niles, California, where he did 13 shows, I believe, plays, whatever you want to call them, for S&A. 153 00:15:20.760 --> 00:15:24.360 What did you think of the comedies, the slapstick at the time? 154 00:15:24.360 --> 00:15:28.820 Did you look down on Chaplin and the other comics, you know, who did this kind of thing? 155 00:15:29.340 --> 00:15:29.340 156 00:15:29.480 --> 00:15:34.420 All right. What was your feeling though about comedy and the comics and so on? 157 00:15:34.560 --> 00:15:35.360 Were you a... 158 00:15:35.360 --> 00:15:51.380 Well, actually, being a dramatic actress, all my attention and thought and inclination was toward drama and romantic drama and that sort of thing. 159 00:15:52.320 --> 00:15:54.440 That comedy didn't interest me so much. 160 00:15:54.520 --> 00:16:01.640 I had a great regard for it because it is a distinct gift to be a good comic. 161 00:16:01.640 --> 00:16:16.080 But I'm more of a serious person and therefore dramas pleased me more than comedies, although I had great regard for some of the Chaplin and other comic movies. 162 00:16:19.260 --> 00:16:24.180 Curiously enough, I'm a very serious minded person. 163 00:16:24.980 --> 00:16:32.460 I'm greatly concerned about causes and things that are going on in our... 164 00:16:32.460 --> 00:16:33.140 I'd stop, I can't... 165 00:16:33.140 --> 00:16:34.580 All right. Speed. Go. 166 00:16:36.120 --> 00:16:41.380 I don't know. Most of my friends know that I'm sort of a crusader. 167 00:16:41.380 --> 00:16:48.860 I'm always sponsoring causes and I'm very interested in patriotic things. 168 00:16:49.520 --> 00:17:11.360 And I'm constantly writing to our senators and congressmen and where I feel that we should all be concerned so that we can give them something of our thought and of our concern for matters that are going on in our country. 169 00:17:12.640 --> 00:17:22.400 And as I laughingly say to my friends, I wake up sometimes two o'clock in the morning and I write the most magnificent letters. 170 00:17:23.180 --> 00:17:25.020 Everything comes to me brilliantly. 171 00:17:25.240 --> 00:17:29.380 And then I think, oh, I must put that in a letter tomorrow. 172 00:17:29.800 --> 00:17:39.220 And I usually do, but I don't know as I approximate the great triumph that I do in this two to four in the morning. 173 00:17:41.520 --> 00:17:46.640 Well, all my friends out here know that I'm a crusader. 174 00:17:47.560 --> 00:17:57.120 I'm a serious minded person and I'm very interested in lots of causes, particularly anything that has to do with my country. 175 00:17:58.900 --> 00:18:15.700 I have wakeful moments at times at night and along about two o'clock in the morning, I can contrive and write the most magnificent letters, at least in my thought, to my congressmen and senators, etc. 176 00:18:16.320 --> 00:18:22.820 And I get up in the morning and then my friends tell me, well, that's pretty good. 177 00:18:22.820 --> 00:18:26.200 I like it or some words to that effect. 178 00:18:26.280 --> 00:18:29.180 And that gives me the courage to send these things off. 179 00:18:30.060 --> 00:18:36.220 I don't know whether it is like by my congressman or not that they have to open them and read them. 180 00:18:36.480 --> 00:18:40.560 But for most part, I get wonderful replies from all of them. 181 00:18:41.940 --> 00:18:47.840 My son and I came to Arizona about 13 years ago. 182 00:18:48.860 --> 00:18:50.320 We both fell in love with it. 183 00:18:50.320 --> 00:19:02.440 We were going to visit a friend in Beverly Hills in California and on our way back home to Westchester in New York, we almost bought a house. 184 00:19:03.480 --> 00:19:09.440 But motherly caution, I said, let's go back and sell our home and then we'll return to Arizona. 185 00:19:10.120 --> 00:19:17.320 Well, we sold our beautiful house on acreage and wonderful dog root, a dog, but I guess. 186 00:19:17.610 --> 00:19:29.090 Oh, we sold our home in Westchester, a beautiful house with ancient dog root trees that everybody loved. 187 00:19:29.250 --> 00:19:31.710 And of course, it was the house was sold in one day. 188 00:19:32.890 --> 00:19:40.090 So 13. Oh, I guess 15 days after we were back. 189 00:19:40.090 --> 00:19:50.290 We were on our way with the moving van in just ahead of us on our way to Arizona, having no house in mind at that particular point. 190 00:19:50.770 --> 00:19:55.650 But we found a very lovely place, two and a half acres out in Paradise Valley. 191 00:19:56.050 --> 00:19:59.290 And by the way, oh, it is so beautiful. 192 00:19:59.510 --> 00:20:03.970 Any view, my view from my living room window, simply gorgeous. 193 00:20:03.970 --> 00:20:15.930 Looked at the superstitions and the Bradshaw's and all the wonderful mountains and the all the homes had to be on two or two and a half acres. 194 00:20:16.430 --> 00:20:19.470 And you had such a sense of spaciousness. 195 00:20:19.490 --> 00:20:23.330 You were allowed to have horses and dogs and real country living. 196 00:20:23.950 --> 00:20:33.950 And everybody that would visit in the fall would ride up to Carefree, which is a marvelous community about 20 miles north of us. 197 00:20:33.950 --> 00:20:51.410 With the gorgeous mansions and beautifully planned village, which is just, as I said, 20 miles away, makes a marvelous drive for everybody who visits here. 198 00:20:51.470 --> 00:21:01.670 And you see them riding along in their cars leisurely all the way up Scottsdale Road to Carefree and the lovely relaxed look on their faces. 199 00:21:01.670 --> 00:21:09.650 Nothing like in California or back east in New York, the aggressive traffic and all the rest of it. 200 00:21:09.810 --> 00:21:17.670 Well, of course, to me, this is the most beautiful place and it's where I hope to live the rest of my life. 201 00:21:18.770 --> 00:21:24.850 Scottsdale, in its village-like atmosphere, offers so much to everybody who lives here. 202 00:21:24.850 --> 00:21:27.510 And all of Arizona is so exquisite. 203 00:21:27.950 --> 00:21:36.690 The gorgeous swallows, all the cacti, the little animals, the road runners that are hardly anyplace else in the world, I guess. 204 00:21:37.390 --> 00:21:48.510 And it is just where I feel that God has directed me to spend my remaining days. 205 00:21:48.550 --> 00:21:50.530 I love it in Arizona. 206 00:21:51.530 --> 00:21:54.490 All right, dolls, about Beverly Bain doll. 207 00:21:54.850 --> 00:22:00.790 There was a wonderful publisher in New York, Daniel Bloom. 208 00:22:01.910 --> 00:22:04.230 We all affectionately called him Danny. 209 00:22:05.010 --> 00:22:15.810 And he started as a very young boy collecting autographs of the great motion picture actors and also the greats of the legitimate state. 210 00:22:17.250 --> 00:22:25.810 And finally, he met a little woman that made dolls. 211 00:22:26.610 --> 00:22:30.930 And she designed them after the exact characters and costumes. 212 00:22:31.730 --> 00:22:34.710 They're about 14 inches high, I would say. 213 00:22:34.710 --> 00:22:49.110 And Danny had his whole apartment lined with glass shelves with electric lights in them with these dolls as a beautiful ornament. 214 00:22:51.370 --> 00:22:54.470 How did you come to the possession of these marvelous dolls, Beverly? 215 00:22:54.470 --> 00:23:12.810 Well, about three years ago, Mr. Daniel Bloom, who was a great Broadway publisher of the pictures of the silent movie actors and also the greats of the legitimate stage, 216 00:23:13.530 --> 00:23:20.350 he published several books, one of the silent screens and one of the stars of Broadway in a certain number of years, etc. 217 00:23:20.350 --> 00:23:29.870 And he, I knew him very well, used to go to parties at his home down on West 9th Street. 218 00:23:30.450 --> 00:23:49.010 And his entire living room was filled with glass cases in which, as you go in, you would see these exquisite dolls, replicas of Alfred Lunt and Lillian Fontaine, Lillian Gish, 219 00:23:50.410 --> 00:23:59.910 Geraldine Farrar, Alfred Lunt or any number of magnificent stars, Helen Hayes, all of them, Catherine Cornell, 220 00:24:00.750 --> 00:24:07.850 in the costumes that they played in their certain play that they were playing at that time. 221 00:24:07.850 --> 00:24:22.190 And when I came to Arizona, he said, Beverly, I'm going to have a doll of you as Juliet in Romeo and Juliet. 222 00:24:22.190 --> 00:24:33.690 And very shortly, I'll send it to you. Well, I came out here and I got a lovely card from him at Valentine's. 223 00:24:33.690 --> 00:24:41.930 And he said, I have your doll and when you come to New York next time, we're going to have a bash. 224 00:24:42.170 --> 00:24:45.890 He said, I'm going to give you a beautiful party and you will have your doll. 225 00:24:46.530 --> 00:24:51.290 Well, as a matter of fact, about two weeks later, the dear man passed away. 226 00:24:53.470 --> 00:24:57.450 And I wrote, oh dear. 227 00:24:57.730 --> 00:24:59.010 Good. All right. 228 00:24:59.010 --> 00:25:03.030 He told me about the big party he was going to give me. 229 00:25:03.710 --> 00:25:14.010 And so a fan told me that the auctioning of the doll collection after Mr. Bloom died was to be had. 230 00:25:14.550 --> 00:25:22.330 And I wrote to friends who live in Bedford Village, the Donald A. McElroys, and they were darlings. 231 00:25:22.350 --> 00:25:26.030 They said, don't you worry, we'll go to the auction and get your doll. 232 00:25:26.030 --> 00:25:36.370 Well, in the meantime, a little chap, a picture fan of some 20 odd years, wrote me about this auction. 233 00:25:36.810 --> 00:25:39.030 And he said, I want to get your doll. 234 00:25:39.410 --> 00:25:43.150 And I said, no, don't do that because other friends are going to. 235 00:25:43.490 --> 00:25:50.870 And you know that very shortly thereafter, the moment the auction was over, three wonderful dolls, 236 00:25:50.870 --> 00:25:57.570 perfectly precious, but they're about 14 inches high, came from this little picture fan. 237 00:25:58.950 --> 00:26:07.030 And one is Enrico Caruso in Pagliacci. 238 00:26:07.650 --> 00:26:11.090 And the other is exquisite of Lillian Gish. 239 00:26:11.270 --> 00:26:17.650 The faces are all painted. The portraiture is divine of the Lillian Gish in Camille. 240 00:26:17.650 --> 00:26:24.010 And then a lovely one of Geraldine Farrar as Tosca. 241 00:26:25.590 --> 00:26:30.750 Very shortly after I received these lovely presents from the little man, 242 00:26:33.130 --> 00:26:43.750 I received this large box sent from my friends in Bedford Village of me as Juliet. 243 00:26:43.750 --> 00:26:49.030 And if I could show you the picture of this, which I have here, 244 00:26:49.430 --> 00:26:53.910 this is an exact replica, even to the bench that I was sitting on, 245 00:26:54.210 --> 00:27:00.170 to play the first scene that I did with Romeo in the film. 246 00:27:00.750 --> 00:27:06.270 And even to the beads, long beads around the neck and the rings on the fingers, 247 00:27:06.270 --> 00:27:13.930 the exquisite design of the dress with the featured jewels just where I had mine, 248 00:27:14.290 --> 00:27:22.690 and a beautiful cap made out of antique velvet, and my curls and the portraiture of the face is ever so good. 249 00:27:22.830 --> 00:27:27.590 And I wish you could see the feet and the darling little shoes that she made. 250 00:27:27.590 --> 00:27:36.970 And these dear miniatures were made by a Miss Mary Green, a great friend of Daniel Bloom's. 251 00:27:36.970 --> 00:27:40.030 And oh, I wish I could find her and knew where she was. 252 00:27:40.050 --> 00:27:45.310 I would love to have her know that everyone has adored her creations. 253 00:27:59.290 --> 00:28:00.690 Thank you.