VIII
“INTOLERANCE”
The Griffith lot was at 4500 Sunset Boulevard, on the edge of Hollywood, then a residential suburb, named for one of the earliest homes there. Hollywood residents observed with curiosity, but with no special alarm, the interesting picture-making plants that were appearing here and there in their neighborhood. California has a taste for publicity:
“Ladies and gentlemen, since there seems to be nothing further to be said for the Dear Departed, I should be glad to make a few remarks about California.”
That Griffith, on the very edge of Hollywood, had made the great picture then sweeping the country, was something on which to “make a few remarks,” though it is unlikely that even the most sanguine residents guessed that within a comparatively brief time, their little suburb would become the center of one of the world’s richest industries; a collection of amazing architectural construction; a strange, irrational region, in and about whose environs frail cities and quaint villages, fair palaces and weird ships and oceans, would appear and vanish, beyond the dreams of all the fairylands of time and change; that with these things would assemble an exhibit of feminine loveliness and masculine perfection, of human freaks and human vanities, such as probably no other planet could show.
The change began quickly enough, now. There was money to be made in Hollywood—not only by producers, but by actors. On Broadway, men and women with lean parts, or no parts at all, turned their eyes westward. The exodus set in. The word “Hollywood” began to be passed about like some magic bauble, a talisman. Once more, California held out to men and women a lure of gold.
The little group of players on Sunset Boulevard hardly knew what to make of the first incursion of “real actors” that swept in upon them. They had two ideas about it: they wondered if they would be able to keep their jobs, and if so, would they learn how to act. They realized, presently, that it made very little difference to them. They did keep their jobs, and they did not learn how to act—not in the stage way. It was the newcomers who had to learn—if they stayed.
Most of them did stay—adapted themselves. Producers with new, big undertakings, were all about. Griffith himself, returning from first showings of the “Birth,” began on what promised to be a still more important, more expensive, picture.
It started as rather a small venture, with Mae Marsh and Bobby Harron in the leading parts. It was to be called “The Mother and the Law,” based upon a famous murder case, wherein an innocent man, through intolerance—man’s inhumanity to man—was brought to the foot of the scaffold.
Lillian was not to have a part in this new play. For one thing, she was working in another picture—as Annie, in “Enoch Arden”—one of the best of her early films—and in Richard Harding Davis’ story of “Captain Macklin.” And then, Griffith perhaps did not think it wise to push her forward too fast.
But one night, after a day of hard rehearsal, he picked up a copy of Walt Whitman’s “Leaves of Grass,” and his eye caught:
… endlessly rocks the cradle,
Uniter of Here and Hereafter.
He saw a picture: a girl—Lillian—endlessly rocking the cradle of humanity, binding the ages together—ages of human intolerance.
Feverishly, he mapped out a new scenario, far-reaching, comprehensive, covering the great episodes of intolerance: back through the religious wars, with the Massacre of St. Bartholomew, through the Crucifixion, back to the days of Belshazzar, tyrant of Babylon. Beginning with the modern story, he would lead it through episodes of tyranny and bloodshed, down to the blind cruelty and intolerance of today. And always, between, that young mother, endlessly rocking the cradle of the child who, in every age, must pay the price.
The preparations for “Intolerance,” as the new production was now called, were architecturally far more pretentious and costly than those for “The Birth of a Nation,” or for any spectacle play up to that time. Gigantic plaster elephants rose a hundred feet above the street level; the towering buildings of Babylon stretched, a profile of ancient Asia, across the sky. Nubian lions roared; a motley assemblage of Persians, Egyptians, Babylonians, priests, dancing-girls, charioteers, and fifty-seven other varieties, gathered for rehearsal. Says Griffith’s biographer:
The luncheon hour “on location” composed one of the most picturesque sights ever witnessed by human eyes. At times there were as many as fifteen thousand men, women and children scattered about the various lots during the noon hour. Thousands of horses and sheep grazed along the green enclosures, their shaking heads mingling with the flashing swords and helmets of the fighting-men.
When the great mob scenes were being photographed, it seemed as though the entire population of Los Angeles had come out to Griffith’s place, to take part in the various pageants and mighty rushing armies. Actors from other studios—many of them prominent stars—joined in the scenes.
The writer assures us that in spite of the fierce conflicts waged on the parapets and walls and towers, only sixty-seven players were injured, and these but slightly; also that a modern field hospital, with surgeons, nurses and ambulances, was maintained.
Actors whose names were well known, or have since become so, first appeared on the screen in “Intolerance”: Count Erich von Stroheim, Frank Bennett, Tully Marshall, Constance Talmadge. Constance was an extra, used at first for rehearsal, but presently—in the “Mountain Girl who worshipped Belshazzar from afar”—Griffith could see only Constance, so gave her the part.
Griffith had money to work with, now, and spent it like Belshazzar himself. “Intolerance” required a year and a half to make, and an expenditure of nearly two million dollars.
Some of the items are impressive: A jeweled costume for the “Princess Beloved” cost seven thousand dollars; the dancing-girls at the feast of Belshazzar, twenty-thousand—a good deal more than they ever cost that early Belshazzar, even in his palmiest days, but of course these were war prices.
“Intolerance” was shown for the first time at the Liberty Theatre, New York, September 6, 1916. Its magnificence impressed the public. What wouldn’t Griffith do next? On the night of April 6, 1917, Griffith personally presented “Intolerance,” at the Drury Lane Theatre, London.
On that day, the United States entered the World War.
IX
THERE WERE NO LOVE AFFAIRS
Lillian did not consider that she was really in the new picture. To Nell she wrote: “I am not in it in person, but my heart runs all through it—and it seems more to belong to me than all my other work together.” As of course it did—the mother who, through the ages, rocked humanity’s cradle.
She had made a number of smaller pictures, meantime—very good pictures, if we consult the notices, which even sometimes forgot to remember that she was the “most beautiful blonde in the world.” How tired she had become of that phrase! “If they want an angel on a wire, they send for me,” she told one reporter, who managed to omit Belasco, though he did call her “a young goddess” and a “daffodil.” You couldn’t stop them.
The pictures she made at this time were important only as they were steps of development—program pictures, little remembered today. “Diane of the Follies,” in which she played a kind of vamp and wore remarkable costumes, was more memorable.
“But Diane was very easy to play,” she said afterwards. “Anybody can play a character of that sort—it plays itself. It is the part of a good woman, whose colorless life has to be made interesting, that is hard.”
Her own life could hardly be said to be exciting. There were no love affairs. Plenty of opportunities, but she was always too busy for such things, or for the social life, of which there was now a good deal. “I was not gay enough for the parties; Dorothy was sought, for those. They didn’t care much about me.” And once she wrote:
“When Dorothy goes to a party, the party becomes a party: When I go to a party, I’m afraid it very often stops being a party.... She, as I once heard a girl described in a play, is like a bright flag flying in the breeze.
“All music, even the worst, seems so beautiful to her. All people amuse her.... I have fun, too, but it is only the fun I get out of apparently never-ending work.”
It was true, though: Work was her “fun”—work and study—always a book under her arm: often a French one.
And being kind to those about her—that was fun, too. She never failed to acknowledge the smallest service—from the electricians, the stage-hands, the humblest property-boy. A friend of those days writes me:
“It was not only that Lillian was courteous to the electricians and the rest; many actors are that … she was just another workman. She happened to be before the camera, that was all.”
The little Gish family had never lived in a house, always in an apartment: in the Brentwood Apartments, and in the La Belle. But in the autumn of 1915, they leased Denishawn, home of the dancer, Ruth St. Denis, fitted for a school, plainly furnished, with dancing-floor, horizontal bar and other equipment, all of which strongly appealed to Lillian, who had been studying with Miss St. Denis, and could continue her work there.
The owner had left the beginnings of a menagerie, which they completed. At Christmas time that year, most of Lillian’s friends gave her live things. A partial census shows an owl—one-eyed, gray—eight Japanese finches, two parakeets, love-birds, two or three canaries, one little poll-parrot; another, “John” (who, in 1932, still survives); also, squirrels, a pair of golden pheasants, and a pair of peacocks that Miss St. Denis had left.
They did not remain in Denishawn; the next paragraph explains why. Lillian to Nell:
We have moved from that huge house I told you about. We were there eight months, and during the last four, we had four burglars. One was so bold as to come in through the dining-room window, all the way upstairs into Mother’s room, at the improper hour of 2:30 in the morning.
Being an old house with many squeaks, Mother knew all about him before he made his appearance, and greeted him with two bullets, the first of which hit the ceiling (she would have been terrified if she had hit him), and the second went through the railing in the hall. However, the man ran away, and the police never did catch him. All this time I was out on the sleeping-porch, petrified—could not utter a sound or move an inch. Oh, I am very brave. Imagine, Nell, being awakened from a sound sleep by your Mother tearing through the house, shooting a gun.
So they went back to apartments, permanently, as they believed.
Mrs. Gish was not very well, and wanted only to have peace. She was something of a financier; her business experience partly accounted for that, though she was a natural economist.
“Your salaries,” she told Lillian and Dorothy, “are not income, but merely an exchange in money for your natural capital of youth and health. Salaries are capital, and all above actual needs should be invested as such. The returns you get from investment are income.”
LILLIAN AS ELSIE STONEMAN, IN “THE BIRTH OF A NATION”
Lillian and Dorothy were making very good salaries. The day of spectacular earnings had not yet arrived, but two hundred and fifty or three hundred dollars a week left a margin for banking. The little troupers who had received ten to fifteen dollars a week, and lived on less than half of it, began to feel themselves capitalists. This friend and that suggested wonderful “buys,” and exhibited dividend slips. Then the “olive grove” epidemic broke out. Everybody was investing in olive groves, certain that every ten dollar share of stock would be worth hundreds within a few years. Lillian considered this prospect, with prayer and palpitations. The beautiful gray-green olive groves were certainly very nice. She had a balance of three hundred dollars, and one day hesitantly subscribed for that amount of stock. The palpitations grew worse. Olive groves! Why, it would take ages, and there would be so many olives, nobody would buy them. Besides, Lillian found she needed the money. She went to the office of the olive growers, and stated her case. A stout, good-natured man there listened quietly, regarded her thoughtfully, and returned her investment. What an escape—the others did not get their money back, and to date, dividends are shy.
By and by, when the three hundred had grown to as many thousand, another epidemic was in the air. Oil! Everybody caught it, including Bobby Harron, who was terribly in love with Dorothy and anxious to make the whole Gish family rich. Mrs. Gish shook her head. There was a tract of land which she thought promising. Lillian took a look at it, and was unfavorably impressed. It was just dirt—unbeautiful with weeds, and depressing tin cans. Bobby’s oil stock looked valuable, and had an attractive name, something patriotic, like “Uncle Sam,” or “Union Jack.” There is a superstition that any such name is a hoodoo, but Lillian and Bobby did not know this—not then. When Bobby pulled out his next dividend, Lillian fell.
That was about all: dividends hesitated after that, finally forgot to arrive. The stock that she had bought around 60, was quoted around 3. Bobby said it would “stage a grand come-back,” but to date it has not done so. Bobby was a sweet soul, and they thought none the less of him. “John,” the Gish parrot, to whom they had vainly tried to teach some proper things to say, acquired for himself the disconsolate wail: “Oh, dear! Oh, dear! Oh, dear!”
“Why do you suppose he does that?” Lillian asked Harry Carr, a Los Angeles newspaper man, of whom we are likely to hear again.
“That’s easy,” said Carr, “he is discussing oil stock.”
And the land? The dirt? Well, a lot of foolish people began to buy it and to cover up the weeds and things with houses, which made a lot of other foolish people want it, until its price increased ten, twenty, an-hundred-fold!
X
THE NIGHTMARE OF WAR
Griffith, in England, wrote that he had wanted to enlist, but was being urged by English officials, Lloyd George and others, to do a war picture as propaganda. He might send for Lillian, soon.
“Intolerance” had made a stir in London, and the war situation had made a stir in Griffith. Like his ancestors, he wanted to carry a gun—to go into the trenches and pull a trigger. Lord Beaverbrook said to him:
“That is nonsense. You can do a thousand times more for the cause by making a picture that will show the need of American intervention on the largest possible scale.”
Griffith already had a story in mind—one he had planned on a night when he had been reading of the German desolation of Belgium and the French frontier.
“We will help you,” Lloyd George and other high officials told him. “We will give you the use of our soldiers and training camps; we will put you on the front lines in France.”
Griffith was ever a wary person. Never one to close a door behind him … to make an irrevocable decision, to fire until charged and primed. He wrote Lillian that he was looking for a location in Paris, guardedly adding that he would not begin work until the war ended. On the strength of which, Lillian, by this time in New York, paid a brief, happy visit to Nell, then living on the “Blue Dog Houseboat,” at Miami.
Two weeks later, with her mother, she was on her way across the Atlantic. In eight days they were in Liverpool where they sat down to wait for Dorothy. It was not decided when they sailed that Dorothy was to have a part in the new picture.
Dorothy sailed May 28. With her was Bobby Harron; also, Griffith’s faithful camera man, Gottlieb Wilhelm Bitzer, a terrible name to carry into England and France. The ship was the Baltic—General Pershing and staff aboard.
“Tell me,” Pershing said to Dorothy, “how one can learn to face calmly a moving-picture camera.” Everyone is afraid of something.
The Baltic zigzagged across the ocean in thirteen days. Lillian and her mother became frantic, waiting. Dorothy, arriving, was shocked at her mother’s appearance. Her face was haggard with anxiety. Then, presently, they were on their way to London.
It was the first time any of them had been abroad. England in June: the tiny fields, the trim hedges, the stately trees, the thatched villages—picture-book land. At London they went directly to the Savoy Hotel, and were given a room on the Embankment, overlooking the Thames. Little did they guess what they were to see from those windows. All seemed quiet enough. They did some sight-seeing.
A few days later, they had a call from a post-office official, concerning a package from America. A courteous man, they asked him about the raids, on London. There would be no more, he said. The Zeppelins had proved easy targets, the Germans would not send them again. And he added: “Don’t mind if you should hear gun-fire at eleven o’clock; that will be our anti-aircraft gun practice.”
MRS. GISH AND “HER GIRLS” Mary Pickford, Mildred Harris, Mrs. Gish, Dorothy and Lillian
Barely were the words out of his mouth, when there came a far-off boom from the eastward. He looked at his watch. “Very extr’ord’nary,” he said, “they are beginning the practice half-an-hour ahead of time.” A moment later, he was gone.
The firing kept up. Lillian and Dorothy ran down the corridor, to a balcony. A waiter, passing, told them that the East End was being raided. He let them look through his binoculars. High in the air, to the eastward, one could make out a small, black speck—eighteen thousand feet up, he said.
They hurried down and got into a taxi, to see the raid. On the way to Whitechapel, they came to a post-office which had been struck. A corner of it was blown off—a number of persons killed. A great crowd had collected. They were told that much greater damage had been done in Whitechapel. They found there a schoolhouse, where ninety-six children had been killed. Crazed mothers swarmed about, looking for fragments of their dead.
Other bombs had fallen in the neighborhood. People were insane from grief. A schoolmaster carried out his own child. A woman standing near had just discovered that her boy was among the victims. Her face was distorted—it was as if someone had pulled it out of shape.
XI
UNDER FIRE
With the one thought of getting out of London, Mary Gish and her daughters went to Cambridge. But Cambridge, too, had been raided. At night, streets and houses were pitch dark. No anti-aircraft guns. No protection of any sort.
Two nights satisfied them. They returned to London, where for ten days it was quiet enough. Then, one morning, Mrs. Gish, Lillian and Dorothy, were awakened from sound sleep by a terrific explosion. They ran to the windows. Coming up the Thames, in perfect formation, were twenty German planes, flying in what seemed a slow and majestic manner, dropping bombs as they came. They were so low that one could distinguish the crosses on the under side of their wings. Mrs. Gish and her daughters watched them, fascinated.
Were they afraid? Undoubtedly they were: with death hovering in the air, likely to come plunging down at any moment, not many of the race—a race blessed, or cursed, with imagination—could be wholly indifferent. The rest of the party—Griffith, Bobby Harron and Gottlieb Wilhelm Bitzer—came crashing in.
They supposed the planes would drop bombs on Waterloo Station, and especially on the Hotel Cecil, headquarters of the English Flying Corps, its roof covered with anti-aircraft guns. The Cecil was near them—next door. Nothing of the kind happened. The German planes, undisturbed by the shells fired at them, circled slowly around the Houses of Parliament, without dropping a bomb; then, turning, left London. This was on Saturday, July 8, 1917. The papers next morning reported thirty-seven dead, one hundred and forty-one wounded—numbers probably minimized. The Griffith party was shaken, dazed. It seemed incredible that in a world supposedly civilized such things could happen.
There was no longer any rest. Raids came at night, and in relays. One followed another—two and three in one night. They were meant to break the English morale.
The first night raid was by glorious moonlight. Mrs. Gish, Lillian and Dorothy, sitting in their apartment about ten, heard a distant booming, then a far-off voice calling: “Take cover—take cover!” They merely sat there, while the bombing came closer and closer, with aircraft guns going. By and by it was over. Next morning, they heard that less damage had been done than before, but enough.
About two nights later, as the girls stood in front of a dressing-table, in their nightgowns—Mrs. Gish already in bed—there came from just under their windows such an explosion as could not be described in words. The electric lights in the bathroom went out—windows were shattered. They rushed into the hall. All on that floor were there, in wild confusion. They called to one another that the hotel had been struck. Then, from outside, came a man’s scream. They had never realized how terrible a man’s scream could be. Cries and groans followed. They stared their inquiry into one another’s faces.
The bomb, they learned, had struck just by Cleopatra’s Needle, a few yards distant. It had hit a tram and killed eleven persons, wounding many others. The conductor had had his legs blown off. It was he who had screamed, no doubt. Other bombs had fallen nearby. One on the little Theatre on Adelphi Terrace; another at the Piccadilly Circus; still another by Charing Cross Hospital. They had heard none of these, because of the concussion in their ears from the one that had fallen beneath their windows.
Lillian and Dorothy crept into one bed, shaking, unable to sleep. At four they got up, dressed, saw the dawn breaking over London—workmen going to their jobs. On the street, they found that many windows had been blown from shops, the glass so finely shattered that it was like snow. The girls said little, but listened to the comments of the working people—comments not pleasant to hear.
The raids now came regularly. The nights became hideous nightmares. Lillian and her mother seemed to get their nerve back. When the raids came, they would take their pillows and go into their little foyer, to try to get away from the noise. Dorothy took her pillow, too, but she did not sit on it—she hugged it. Finally, it was September. They had been there three months!
“… You cannot imagine, Nell, what terrible things those big things in the sky are, dropping death wherever they go. If this war would only end.... I am still here, and will live to see you and Tom and the babies again, in spite of it. So don’t worry.”
Lillian went out a good deal, and, as was her habit, made a study of the people … to see how they acted under the stress and agony of war. She went to the Waterloo Station, to watch them saying good-bye. Always she was watching … on the street … everywhere.