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Speaker 1: Hello, delicious friends, and welcome to Who Did What Now?

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Speaker 1: The history podcast that is not your history class with me,

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Speaker 1: your host, Katie Charlewood, history harlote and reader of books.

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Speaker 1: I want to apologize for my voice. It is not

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Speaker 1: fully back, which is part of the reason why there's

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Speaker 1: been a delay in getting this first episode out for

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Speaker 1: the Hollywood History Month. Is that is reason number two.

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Speaker 1: Because I lost my voice at a Murdercy Wrote festival,

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Speaker 1: because of course that's when all the wildest parties happen,

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Speaker 1: and so that that was an amazing, wonderful, fantastic thing.

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Speaker 1: It's so much fun. I am looking forward to next

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Speaker 1: year like the job with Jessica is just a core

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Speaker 1: memory in my life now I have I don't know

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Speaker 1: the last time I felt such unadulterated joy. So I

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Speaker 1: lost my voice. But also, as many of you know,

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Speaker 1: I handwrite all of my notes for my podcast episodes,

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Speaker 1: and in my haste of packing, I'm trying to be organized.

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Speaker 1: I was trying to be organized, and somehow I managed

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Speaker 1: to lose my passport three times, like the morning of

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Speaker 1: me traveling, and so I'm pulling my house apart. My

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Speaker 1: mom came to my house after I left and cleaned

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Speaker 1: it because I was. I just left everything everywhere. She

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Speaker 1: was like, like, I left the place in just such

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Speaker 1: disarray that my mom came up and was like, you know,

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Speaker 1: if you ever need help getting organized, I can help you.

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Speaker 1: And I was like, I'm grown up, mom, I can

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Speaker 1: do it. I could not do it, so I marriaged

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Speaker 1: to leave behind like my book with the podcast episode

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Speaker 1: written in it, I left it behind me. I remembered

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Speaker 1: my laptop, I remembered everything else. I did also remember

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Speaker 1: the passport, but I was. I was everywhere. My friend

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Speaker 1: Zahara and I we were in Zihr, not Zahar, because

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Speaker 1: she was like, oh, you know, like the desert, and

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Speaker 1: so obviously, in an American accent, it's Sahara, and in

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Speaker 1: my accent it's Sahara because that's how it's pronounced. And

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Speaker 1: I'm sorry, I'm sorry. So like Zihara and I, we

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Speaker 1: were up in Mendocino. We were in Santa Rosa. Really good.

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Speaker 1: Oh it was enchiladas, No was cheladas. It was burrito

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Speaker 1: moly burritos. It was really good, really good. We ate

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Speaker 1: in some amazing places. We were in Vegas. We were

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Speaker 1: and we were in goodness. I was in so many places.

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Speaker 1: There will be a video coming out of all of

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Speaker 1: my travels because I was just everywhere. But yeah, so

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Speaker 1: two reasons. One I forgot the book and I also

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Speaker 1: lost my voice, so that made a bit of it

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Speaker 1: difficulty trying to get things recorded. And every day was

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Speaker 1: so busy. Like La was amazing because we get there.

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Speaker 1: Because what happened was Sarah Hester Ross. She's usually in Vegas,

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Speaker 1: but she was on tour and I was like, Okay,

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Speaker 1: I need to go see her live because I have to.

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Speaker 1: And it turned out she was going to be performing

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Speaker 1: in LA when I was in La, and I was

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Speaker 1: like yes, so booked her. Then, as it turned out,

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Speaker 1: the Netflix as a Joke Fest was happening, and so

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Speaker 1: we had planned lots of stuff for during the day.

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Speaker 1: I went to the labraryd Tarpets. Oh, I'm so happy,

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Speaker 1: but we like all this stuff planned, and then the

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Speaker 1: evening we had no plans and so we ended up

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Speaker 1: just booking a bunch of comedy shows. We went to

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Speaker 1: Trivial Comedy. Brennan Scannell was just so funny, so funny.

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Speaker 1: I'm hoping to catch him at Fringe this year. Sarah

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Speaker 1: Hester Ross is all going to be at Fringe, so

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Speaker 1: book your damn tickets. She's amazing, okay, and if you

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Speaker 1: don't think she's amazing, you're incorrect. That's just facts, okay.

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Speaker 1: But yeah, everything was amazing, And I'm probably gonna do

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Speaker 1: a gibber jabber episode where I talk about all of

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Speaker 1: the amazing, fantabulous stuff that happened on my travels because

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Speaker 1: things are happening, because I mean, I say it was

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Speaker 1: a full holiday, but there's some things where business related

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Speaker 1: and so information will be coming out soon but I

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Speaker 1: can't talk about it. But anyway, with that, I know

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Speaker 1: what you're thinking. You're thinking, Katie, quite your jibbl jabble

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Speaker 1: in fact me and fact you. I will, but first

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Speaker 1: we've got to get our source on. Our sources are

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Speaker 1: Mary Pickford, Rediscovered by Kevin Brownlow, Sunshine and Shadow and

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Speaker 1: Autobiography by Mary Pickford, Mary Pickford, Canada's Silence, Syl America's

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Speaker 1: Sweetheart by Peggy Diamond Levy, The Genius of the System,

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Speaker 1: Hollywood Filmmaking in the Studio Era by Thomas Shatz. Screening

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Speaker 1: Out the Past, The Birth of mass culture and the

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Speaker 1: Motion Picture Industry by Larry May. The Talkies American Cinemas

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Speaker 1: Transition to Sound nineteen twenty six to nineteen thirty one

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Speaker 1: by Donald Crafton. And of course we have our old

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Speaker 1: favorites biography dot com and History dot com. iOS it

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Speaker 1: incomfortably good. Then let's begin. Mary Pickford was born Gladys

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Speaker 1: Louise Smith on the eighth of April eighteen ninety two

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Speaker 1: on two one one University Avenue, Toronto, Canada, to John

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Speaker 1: Charles Smith, the son of English immigrants, and Charlotte Hennessy,

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Speaker 1: who was an Irish immigrant. Gladys was the first of

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Speaker 1: three children born to the couple. She would have a

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Speaker 1: younger sister, Charlotte known as Lottie, and a brother, John

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Speaker 1: Charles Junior, also known as Jack. Gladys's mother, Charlotte, being

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Speaker 1: from Ireland, was unsurprisingly Catholic, but to appease her Methodist husband,

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Speaker 1: the children were baptized in the Methodist faith. This wasn't

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Speaker 1: exactly the most stable of childhood's. Say, John Charles Senior

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Speaker 1: had money troubles. His family had money that ran out

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Speaker 1: by the time it came to his generation. Basically, loads

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Speaker 1: and loads of kids, generation after generation, money just kind

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Speaker 1: of disappeared, I think disappeared it was spent. They spent

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Speaker 1: the money and they didn't earn enough back. So John

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Speaker 1: Charles Senior didn't have an occupation. He had plenty. He

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Speaker 1: bounced around from job to job, stage hand, store clerk, bartender,

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Speaker 1: and of course a couple of underhand dealings here and there.

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Speaker 1: He was also fond of a drink and tended to

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Speaker 1: spend most of his wages in the pub. So he

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Speaker 1: was in so much debt that in the middle of

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Speaker 1: the night the family would often have to abscond to

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Speaker 1: avoid the unholy trinity of bailiffs, deck collectors and landlords. Now,

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Speaker 1: with three young children, this is a tough life. Charlotte Hennessy,

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Speaker 1: now she wasn't fond of a drink. In fact, she

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Speaker 1: was a pioneer, which is basically an Irish version of

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Speaker 1: a teetotaler. So she just didn't drink, and she was

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Speaker 1: also very vocal about her disapproval of the devil drink.

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Speaker 1: So so she's looking after the kids. Well, he's out

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Speaker 1: drinking all of his wages one day, John Charles, and

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Speaker 1: you're just scarpels. He just buck us off, leaving Charlotte

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Speaker 1: to offend for herself and their three young children. So

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Speaker 1: she does what any woman in her situation would do.

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Speaker 1: She tells everyone she's a widow and starts earning money.

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Speaker 1: So here's the thing. Being a single parent in this

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Speaker 1: time is fine as long as your spouse is deceased.

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Speaker 1: So she ends up taking on sewing work and even

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Speaker 1: sends the children away to live with relatives for a while.

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Speaker 1: Will she gets everything settled. So at one point as well,

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Speaker 1: her mother, Grandma Hennessy, moves into Now I'm not sure

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Speaker 1: if this is before or after the son in law's

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Speaker 1: swift exit, but she's there and she's helping out. So

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Speaker 1: not only is she doing sewing work, by the way,

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Speaker 1: she's a seems dress, but she's also renting out the

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Speaker 1: good bedroom to single female lodgers. So she's like just

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Speaker 1: kind of the money where she can. And when she's

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Speaker 1: doing that, she's bunking in beside the kids. Now, John

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Speaker 1: Charles Senior left when the kids were young, and this

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Speaker 1: is how you know, like just how young they were,

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Speaker 1: because when Gladys is five years old, he is brought

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Speaker 1: back into their life, only to actually die. This time,

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Speaker 1: he had been working as a purser on the steamship Niagara.

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Speaker 1: When something goes wrong and he gets hitting the head

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Speaker 1: with a sort of metal pulley. It's a workplace accident,

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Speaker 1: and they send him to his last known address and

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Speaker 1: there he stays until he dies of a cerebral hemorrhage.

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Speaker 1: So he is under Charlotte's care for six months, and yeah,

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Speaker 1: then he dies. Now Charlotte doesn't actually have to pretend

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Speaker 1: to be a widow anymore. That being said, the family

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Speaker 1: had been living hand to mouth for quite a while

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Speaker 1: and now well now they had to bury him and

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Speaker 1: that isn't free. So yeah, Charlotte goes to work in

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Speaker 1: a factory and tries to send the girls to school. Unfortunately,

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Speaker 1: glad it's caught everything going diphtheria, pneumonia, consumption right, Like

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Speaker 1: that's tuberculosis by the way. And also two things I

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Speaker 1: want to say, these diseases should not be making a comeback.

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Speaker 1: But also I just want to talk about consumption chic

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Speaker 1: for a second sidebar. See, the thing about consumption is

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Speaker 1: that it makes you really thin and pale, and like

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Speaker 1: people would pretend to cough into bloody handkerchiefs because it

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Speaker 1: became very trendy to look like you were dying, which

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Speaker 1: is not dissimilar to the current trend, the current trend

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Speaker 1: of like the skin and bones, Like people are out

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Speaker 1: here looking like skeleton on a bad day. What is

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Speaker 1: that about? Sorry, I'm was my voice. I can't really

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Speaker 1: complain too loudly, but like, no, let's not have that happening.

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Speaker 1: I don't. I don't appreciate that at all. I think

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Speaker 1: we should, you know, have healthy people. And I'm not

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Speaker 1: saying that as someone who is about husky, right, I'm cuddling,

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Speaker 1: I'm soft, That's who I am. But like, no, let's

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Speaker 1: let's not. Let's not have people starve themselves because they

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Speaker 1: think that's what humans should look like. Like, you have

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Speaker 1: organs in your body, guys, it's fine to have them.

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Speaker 1: But yeah, Gladys is catching every bloody thing going again. Tuberculosis, pneumonia,

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Speaker 1: diphtheria like these are the diseases that cause a lot

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Speaker 1: of death and typically areas of poverty, like the Ward.

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Speaker 1: The area they lived was called the Ward. These were

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Speaker 1: big killers, and Gladys may have missed a lot of school,

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Speaker 1: but at least she was alive, and this lack of

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Speaker 1: a steady education, though, meant that she hadn't quite learned

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Speaker 1: to read or write. Now the family may have been struggling,

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Speaker 1: but Charlotte made sure that her eldest daughter was seen

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Speaker 1: by a doctor, probably because they were so often quarantined.

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Speaker 1: But still Grandma Catherine Hennessy was so concerned for the

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Speaker 1: kids and grabbing the opportunity, got a priest to baptize

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Speaker 1: the children just in case. Because remember how they were Methodists.

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Speaker 1: She's like, no, no, no, no, we're claiming these they're

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Speaker 1: Catholic now, like if they die, we want to make

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Speaker 1: sure they go to the right heaven and not the

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Speaker 1: pits of hell. But anyway, Irish Catholics everybody. But back

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Speaker 1: to doctors. There's this one doctor, doctor Smith relation, and

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Speaker 1: he wants to adopt Gladys. He and his wife had

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Speaker 1: no children of their own, and so they think that

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Speaker 1: this is their opportunity. And at first Charlotte refuses, but

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Speaker 1: then she thinks that this could be something for Gladys,

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Speaker 1: a healthy, wealthy home. But she doesn't want to make

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Speaker 1: the decision for her, and so she takes Gladys over

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Speaker 1: to meet doctor and missus Smith again no relation, and

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Speaker 1: they are like a bit over zealous, shall we say,

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Speaker 1: Like they already have this room done up for her.

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Speaker 1: It's like freshly painted, it's got toys, like they think

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Speaker 1: they've got this in the bag, because, of course, what

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Speaker 1: impover's child would not want to go live with this

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Speaker 1: wealthy family and have all of their needs met, especially

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Speaker 1: a child who has been living in poverty and often

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Speaker 1: went to bed hungry. They tell this seven year old

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Speaker 1: Gladys that if she becomes their daughter, she'll have her

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Speaker 1: own room, she'll get a real life pony, she'll have

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Speaker 1: meat at every meal, and she'll have pie for dessert

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Speaker 1: and even ice cream, like, she'll have a full belly

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Speaker 1: and have lots of treats. And now this is a

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Speaker 1: seven year old girl, and she's only partly taking this in,

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Speaker 1: and on the way home, she's so excited. She's telling

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Speaker 1: her mother how she'll make your grandma gets the biggest

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Speaker 1: slice of pie at dinner, and how she'll let her

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Speaker 1: brother and sister take turns on her pony, and she'll

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Speaker 1: share all her toys, and how everyone's going to have

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Speaker 1: their own room. And that's the thing, right. Charlotte has

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Speaker 1: to nip this in the bud because it's clear that

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Speaker 1: Gladys does not fully grasp the situation, and so her

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Speaker 1: mother tells her that if she agrees to be adopted

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Speaker 1: by the Smiths, then she will be their daughter and

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Speaker 1: not hers anymore, and that if she goes to live

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Speaker 1: with them, they will be her family now, not her.

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Speaker 1: And this seven year old girl is faced with the

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Speaker 1: choice of a good life, a full belly every single night,

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Speaker 1: away from the disease of the ward, but it meant

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Speaker 1: saying goodbye to her mother forever. And while she is

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Speaker 1: not having that, like many young'ins, she has a lot

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Speaker 1: of attitude, and she stomps her feet and tells her

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Speaker 1: mother that she's not going anywhere, She's going to stay

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Speaker 1: with her. Like it reminds me a little bit like

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Speaker 1: in my head of Heidi, the book Hidi. I know

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Speaker 1: I've read the book, but I don't remember reading the book.

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Speaker 1: But I know I have read it because I know

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Speaker 1: I did. But there's sidebar. There's this scene in the movie,

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Speaker 1: and I think Shirley Temple plays Hidie. I could be wrong,

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Speaker 1: but there's a scene where she's like, I don't want

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Speaker 1: to go with you, I want to stay with grandfather,

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Speaker 1: And I'm like, this is what it reminds me of.

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Speaker 1: It's just that absolutely not this little kids just going

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Speaker 1: eh I'm staying here. And like, for Charlotte, this is

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Speaker 1: a double edge blade because she loves her daughter and

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Speaker 1: she knows that she cannot give her this life. This

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Speaker 1: is a chance for her and you know, but she

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Speaker 1: wants her to have and make an informed decision about it,

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Speaker 1: and like, this is really really tough. But here's her

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Speaker 1: daughter going absolutely not, I will stay in the ward

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Speaker 1: with you, thank you very much. I love that she

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Speaker 1: just blankly refuses. She doesn't want to be adopted. She

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Speaker 1: wants to stay with her mother. Now, Charlotte, at this point,

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Speaker 1: she's definitely struggling. She's trying to make ends meet, and

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Speaker 1: she's renting out rooms as you know. Now again typically

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Speaker 1: this was to single women. But when Gladys is eight,

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Speaker 1: a room is rented out way married couple, mister and

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Speaker 1: Missus Murphy. The husband was the stage manager at the Princess,

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Speaker 1: a local theater, and there was a show, this Silver King,

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Speaker 1: and it needed a couple more kids of it. So

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Speaker 1: Gladyson Lottie eight and six respectively got to work Earnie

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Speaker 1: ed Dallas for each performance. That's over two hundred dollars

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Speaker 1: per child in today's money. So they do that and

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Speaker 1: when the show returns like because shows would go on

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Speaker 1: to her and so they would be a principal cast

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Speaker 1: that would travel round and then if they needed extras

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Speaker 1: for scenes, they would just like hire local kids because

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Speaker 1: it was easier, especially for non speaking parts. So when

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Speaker 1: it goes on tour and it comes back to Toronto,

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Speaker 1: she goes back hoping to get more work. The absolute

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Speaker 1: self confident of an eight year old, right, she says

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Speaker 1: to the company that she wants the main part now now,

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Speaker 1: And just to clarify, this is a speaking role, right,

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Speaker 1: This is where she has to learn a script, but

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Speaker 1: Gladys cannot read. She's a literate, right, she gets it.

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Speaker 1: She gets the role, and then when she's nine, she

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Speaker 1: gets the part of Little Eva in Uncle Tom's cabin.

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Speaker 1: Now she's touring. Gladys and Lottie are going around Canada

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Speaker 1: and the US, sleeping on trains, eating moldy food, and

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Speaker 1: having a chaperone who didn't actually do much chaperoning. Gladys

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Speaker 1: changes her middle name to Melbourne because she thinks it

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Speaker 1: sounds better than Louise, So she's now Gladys Melbourne Smith.

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Speaker 1: She's nine years old and she's like, I need a

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Speaker 1: better name. I'm just going to change it. So Gladys

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Speaker 1: wanted to improve as an actress, and she worked at it,

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Speaker 1: and eventually all three of the Smith children were acting.

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Speaker 1: And so they continue doing this for a while. And

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Speaker 1: when I say a while, by the time Gladys is

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Speaker 1: fifteen years old, she's in New Yuck City and she's like,

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Speaker 1: I think couch surfing at this point, and she decides

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Speaker 1: that she needs to up her game and that she

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Speaker 1: has to be on Broadway. So she tries to pitch

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Speaker 1: herself to David Belasco, the King of Broadway. He's a

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Speaker 1: writer and a producer, and she tries all this stuff,

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Speaker 1: showing up at his office, sending letters, even sending pictures

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Speaker 1: of herself like headshots with all these different expressions. Right,

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Speaker 1: she's playing yes instead of checkers. And so she finds

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Speaker 1: an actress friend of Belasco. This actress was doing a

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Speaker 1: show with a theater that Claras had worked out before.

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Speaker 1: So she gets a doorman to sneak her in backstage,

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Speaker 1: and a crew member introddress her to the actress's maid,

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Speaker 1: who gets her to provide an introduction to Belasco's assistant. Right,

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Speaker 1: so she's like, you speak to you, speak to you,

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Speaker 1: speak to you to get me in right, and it works.

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Speaker 1: So Gladys is petite, she's young, and she's pretty, and

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Speaker 1: she demands to see Bulasco like she's in the office right,

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Speaker 1: and she's screaming that she needs to see him, that

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Speaker 1: her life depends on seeing him. So again, she's teeny

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Speaker 1: tiny right in Belasco. He is so impressed by this

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Speaker 1: show of force. He agrees to meet her to her

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Speaker 1: show and they meet and they have a chat and

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Speaker 1: he goes, ah, Gladys Melbourne Smith, I don't like it,

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Speaker 1: and so he decides to change her name to Mary Pickford.

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Speaker 1: And so Mary Pickford is about to enter the scene.

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Speaker 1: Mary Pickford comes back to audition and thanks to a

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Speaker 1: combination of Neves and the wrong material, she absolutely blows it.

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Speaker 1: It's like the worst audition ever, like everything was just wrong.

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Speaker 1: But Belasco he sees something in her and he asks

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Speaker 1: her if she wants to be an actress, and Mary

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Speaker 1: Pickford is like, I am an actress. I want to

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Speaker 1: be a good actress. So she gets some training and

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Speaker 1: appears on Broadway for twenty five dollars a week. She

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Speaker 1: is frugal, right, She spends as little as she can

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Speaker 1: and sends the rest home to her mum, Charlotte. So yeah,

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Speaker 1: twenty five dollars is seven hundred dollars in today's money.

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Speaker 1: But yeah, she's like a real penny pincher. She's really

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Speaker 1: really careful when it comes to money. Like she eats

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Speaker 1: the basics, and by the basics, she's mainly eating bananas

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Speaker 1: and milk, which I mean, honey, honey, please, that's I'm

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Speaker 1: gonna say, that's too much potassium, right, you know how

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Speaker 1: said bar You're not supposed to eat like is it

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Speaker 1: thirty seven bananas in a row or you'll just die

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Speaker 1: of potassium poisoning, Like it's just too much banana. Like

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Speaker 1: I wouldn't be surprised if there was like a mass

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Speaker 1: banana milkshake murdering situation, like it's out there somewhere. But yeah,

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Speaker 1: like that's again, you need to eat more than just

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Speaker 1: bananas and milk. That's not a fully fleshed out diet.

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Speaker 1: That's not good for you anyway. She's in the Warren

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Speaker 1: of Virginia, which ran for eighteen months, which is pretty good.

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Speaker 1: But after that she needed work and her mother thought

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Speaker 1: that doing some motion pictures would help earn some cash

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Speaker 1: until the next show came around, and Mary, like a

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Speaker 1: lot of actors of the era, she was embarrassed. To

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Speaker 1: her this was a step down from being a real actress,

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Speaker 1: but it did pay five dollars a day. So while

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Speaker 1: let pride get in the way of, you know, not

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Speaker 1: being destitute. So she goes to biograph studios and ends

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Speaker 1: up in a meeting with d W. Griffith, who looks

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Speaker 1: up at her from the massive papers on his desks

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Speaker 1: and goes, are you an actress? And she's like, yeah,

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Speaker 1: on Broadway, just finished your run with Belasco himself name drop.

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Speaker 1: Next thing she knows, she's an abasement for a screen test. Now,

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Speaker 1: I want to make it clear that this is like

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Speaker 1: they're nineteen hundreds, So any aspiring actors out there, if

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Speaker 1: at any point the person making the film wants you

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Speaker 1: to go down to their basement, do not go down

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Speaker 1: to their basement. Like this is a life skill that

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Speaker 1: I am providing to you. Do not go with strangers

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Speaker 1: into the basements. I feel like this is something I

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Speaker 1: shouldn't have to share, and yet it feels like something

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Speaker 1: I definitely have to share. But yes, Mary Pickford is

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Speaker 1: in a basement filming a screen test. She's thrown into

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Speaker 1: like a pile of makeup and an old frock and

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Speaker 1: told to act. Now, old time cameras were loud, the

357
00:25:02,760 --> 00:25:06,600
Speaker 1: lights are hot as hell, and she's got no real

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Speaker 1: direction and yet again, like history is are beating itself here,

359
00:25:12,480 --> 00:25:16,560
Speaker 1: she completely tanks it. But she does get work as

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Speaker 1: an extra and she's there eight hours and Griffith, well,

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Speaker 1: he wants her back the next day, and she doesn't

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Speaker 1: want to do it, but she's young and she needed

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Speaker 1: the money. But she just goes back and she's like,

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Speaker 1: not for five bucks a day, I'll take ten. And

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Speaker 1: she wanted a twenty five dollars a week minimum, and

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Speaker 1: Griffith like this man, he just appreciates our audacity. He's like, yeah, sure.

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Speaker 1: And so she gets her first proper role as a

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Speaker 1: person who eats bad food and vomits. What is your

369
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Speaker 1: first role, puky girl? Food is in englass, like it's great,

370
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Speaker 1: staphileocloccu is ourus lady like it's it's it's definitely, it's

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Speaker 1: definitely an endeavor. So at one point she's putting a

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Speaker 1: scene for a new picture with Owen Moore to confirm

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Speaker 1: she's fifteen and it's meant to be a romance scene

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Speaker 1: and she's so awkward, which unsurprisingly, yeah, because she's fifteen,

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Speaker 1: this scene does not go well. Anyway, it's fine. She's working,

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Speaker 1: and she ends up doing fifty one movies in nineteen

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00:26:39,720 --> 00:26:42,920
Speaker 1: oh nine and another thirty five movies in nineteen ten.

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Speaker 1: But she plans to be a great actress. And she

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Speaker 1: clocks that stage acting is very different visually than screen acting.

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Speaker 1: And this is going to sound weird to anyone who's

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Speaker 1: seen a talkie. No, not a talkie, but I'm a

382
00:27:02,200 --> 00:27:05,000
Speaker 1: silent movie. Anyone who's seen a silent movie. And it's

383
00:27:05,000 --> 00:27:07,920
Speaker 1: going to sound like a strange statement, but you need

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00:27:07,960 --> 00:27:14,399
Speaker 1: to tone it down right. So basically she realized that, like,

385
00:27:14,840 --> 00:27:18,520
Speaker 1: you know, expressions, they needed to be neater, and you

386
00:27:18,560 --> 00:27:23,119
Speaker 1: need it to be expressive without being cartoonish because you

387
00:27:23,119 --> 00:27:26,919
Speaker 1: would do like beg movements on stage because you have

388
00:27:26,960 --> 00:27:29,280
Speaker 1: to be seen and heard at the back of the

389
00:27:29,560 --> 00:27:33,879
Speaker 1: you know, theater. We're for here, it was a much

390
00:27:34,080 --> 00:27:37,119
Speaker 1: smaller situation. People are getting close ups of your face,

391
00:27:37,200 --> 00:27:41,679
Speaker 1: and so your movements they need to be more precise,

392
00:27:42,119 --> 00:27:46,520
Speaker 1: more definite, and so like she's really working on this,

393
00:27:48,200 --> 00:27:53,240
Speaker 1: and also she's now courting the guy from her terrible

394
00:27:53,320 --> 00:27:58,520
Speaker 1: romantic screen test earlier, Owen Moore, And yeah, yeah he's

395
00:27:58,920 --> 00:28:05,080
Speaker 1: older than she is, and Charlotte hate him, she really

396
00:28:05,119 --> 00:28:09,320
Speaker 1: really does hate him. And so when Griffith and the

397
00:28:09,359 --> 00:28:12,879
Speaker 1: crew end up heading out west to film, well, she

398
00:28:13,040 --> 00:28:16,360
Speaker 1: is more than happy that he has left behind. So

399
00:28:16,440 --> 00:28:21,440
Speaker 1: like they end up heading out to California to film.

400
00:28:21,560 --> 00:28:24,879
Speaker 1: This is shocking. I know what everybody left. Was it

401
00:28:24,920 --> 00:28:28,959
Speaker 1: anything to do with Thomas Edison being a duck? Maybe

402
00:28:29,000 --> 00:28:32,840
Speaker 1: it was? Maybe it absolutely fucking was. And I will

403
00:28:33,040 --> 00:28:35,880
Speaker 1: cover him at some point when I'm doing my series

404
00:28:35,920 --> 00:28:41,360
Speaker 1: on asshole men, but not to date, Like, but how

405
00:28:41,400 --> 00:28:43,200
Speaker 1: will you know how to choose Katie, I will just

406
00:28:43,280 --> 00:28:50,520
Speaker 1: pick an Era. So yeah, so Owen Moore, he does

407
00:28:50,720 --> 00:28:54,920
Speaker 1: try and join like everybody who's heading out west, Like

408
00:28:55,000 --> 00:28:58,880
Speaker 1: he shows up at the train station, but yeah, he's

409
00:28:59,080 --> 00:29:01,840
Speaker 1: left behind because he thinks right that he's going to

410
00:29:01,880 --> 00:29:05,720
Speaker 1: show up and that herself is going to just like

411
00:29:05,800 --> 00:29:08,160
Speaker 1: stop her feet and make a big scene and demand

412
00:29:08,280 --> 00:29:13,640
Speaker 1: that she'll come with him and cry. But no, that

413
00:29:13,680 --> 00:29:17,640
Speaker 1: doesn't happen, and so he's left at the train station. Well,

414
00:29:17,680 --> 00:29:23,760
Speaker 1: the rest of them go off to California to make movies. So,

415
00:29:24,120 --> 00:29:29,280
Speaker 1: like many other film companies, Biograph headed to California, to

416
00:29:29,440 --> 00:29:36,719
Speaker 1: Hollywood and basically Los Angeles. Now there was nowhere to

417
00:29:36,840 --> 00:29:40,200
Speaker 1: stay in Hollywood, so they'd filmed there during the day

418
00:29:40,720 --> 00:29:44,400
Speaker 1: and then head back down to Sunset Boulevard, which was

419
00:29:44,440 --> 00:29:49,800
Speaker 1: like a dirt road at the time. Right, what's amazing

420
00:29:50,240 --> 00:29:54,840
Speaker 1: is like I finally saw Sunset Bulevard, like in real

421
00:29:54,880 --> 00:30:00,200
Speaker 1: life Sigber, I finally saw it, and it's I'm it

422
00:30:00,240 --> 00:30:02,520
Speaker 1: is what it is. But it's like imagining that that

423
00:30:02,680 --> 00:30:07,360
Speaker 1: was just one single dirt road where people stayed, and

424
00:30:07,400 --> 00:30:11,600
Speaker 1: now you've got like the Chateau Mament and just like

425
00:30:11,840 --> 00:30:15,720
Speaker 1: all of the things the Lave Factory on the Lave

426
00:30:15,840 --> 00:30:21,920
Speaker 1: Factory and other places that I definitely remember and wasn't

427
00:30:22,000 --> 00:30:26,640
Speaker 1: overwhelmed by the entire situation. But yeah, it was originally

428
00:30:26,680 --> 00:30:33,880
Speaker 1: just this one road. But anyway, by now, I'm sure

429
00:30:33,880 --> 00:30:37,160
Speaker 1: you'll be aware that Mary can now read and write

430
00:30:37,160 --> 00:30:41,000
Speaker 1: like she worked so hard to be able to do this,

431
00:30:41,160 --> 00:30:47,440
Speaker 1: and as an adult when you've lived years being functionally illiterate,

432
00:30:47,920 --> 00:30:50,960
Speaker 1: the fact that she can do this is fucking amazing.

433
00:30:51,640 --> 00:30:53,840
Speaker 1: And the fact that she was able to do this,

434
00:30:53,960 --> 00:30:56,200
Speaker 1: and she worked to be able to do this is

435
00:30:58,200 --> 00:31:01,960
Speaker 1: very impressive and we should be in awe of her because,

436
00:31:02,600 --> 00:31:05,000
Speaker 1: like the odds are not in her favor, but she

437
00:31:05,400 --> 00:31:08,680
Speaker 1: just keeps gaining at Loudy, like she just goes for

438
00:31:08,760 --> 00:31:14,080
Speaker 1: it all the time, and I love that for her. Yeah,

439
00:31:14,200 --> 00:31:16,320
Speaker 1: so she's like she sees a gap and she's like,

440
00:31:16,360 --> 00:31:20,560
Speaker 1: I need to also make more money. And so while

441
00:31:20,600 --> 00:31:25,480
Speaker 1: she's acting, she's also pumping out screenplays for fifteen that

442
00:31:25,680 --> 00:31:29,880
Speaker 1: was fifteen. That was fifteen dollars a pop, right, So

443
00:31:30,000 --> 00:31:34,479
Speaker 1: she's earning for every screenplay. So she's it's basically writing

444
00:31:34,560 --> 00:31:37,959
Speaker 1: directions more than anything else because obviously there's not dialogue.

445
00:31:38,520 --> 00:31:41,360
Speaker 1: There's the intertitles, which is that sort of black card

446
00:31:41,400 --> 00:31:45,400
Speaker 1: with the white writing. There's that sometimes, though depending on

447
00:31:45,440 --> 00:31:49,000
Speaker 1: the movie, there would be a narrator who would narrate

448
00:31:49,080 --> 00:31:53,120
Speaker 1: the story, so it all depends on how they're doing that.

449
00:31:53,400 --> 00:31:55,880
Speaker 1: But a lot of the time she's just writing the story.

450
00:31:56,640 --> 00:32:00,040
Speaker 1: And yeah, she's selling it and people are buying it,

451
00:32:00,080 --> 00:32:04,360
Speaker 1: so good for her. Now, remember how earlier I said

452
00:32:04,400 --> 00:32:10,240
Speaker 1: that Mary Pickford was frugal, Well, she is. She saves

453
00:32:10,280 --> 00:32:14,560
Speaker 1: her money and she comes back from California with twelve

454
00:32:14,720 --> 00:32:19,920
Speaker 1: hundred dollars and like, this is a lot of money.

455
00:32:20,000 --> 00:32:22,240
Speaker 1: It's a lot of money for the time. I mean,

456
00:32:22,240 --> 00:32:25,440
Speaker 1: she's I'd be happy if I'd save twelve hundred dollars now.

457
00:32:26,200 --> 00:32:30,920
Speaker 1: But basically, her mum, Charlotte has to be convinced that

458
00:32:30,960 --> 00:32:33,520
Speaker 1: the money wasn't from the prop room. She's like, what,

459
00:32:33,800 --> 00:32:37,840
Speaker 1: because it's such a huge amount of money, you know.

460
00:32:39,080 --> 00:32:44,560
Speaker 1: And Mary, she starts getting recognition, and by that I

461
00:32:44,640 --> 00:32:48,800
Speaker 1: mean people knew her face but not her name. She

462
00:32:49,000 --> 00:32:52,520
Speaker 1: was known as the Biograph girl or the girl with

463
00:32:52,600 --> 00:32:58,760
Speaker 1: the curls, and she is raking in the dough and

464
00:32:58,920 --> 00:33:03,440
Speaker 1: ohen mooa that asshole. He's mad about being left behind

465
00:33:03,480 --> 00:33:09,200
Speaker 1: by Biograph, so he moves to independent Mulsion Picture Company,

466
00:33:10,120 --> 00:33:14,760
Speaker 1: and well, he wanted to be close to the star, right.

467
00:33:16,840 --> 00:33:21,400
Speaker 1: The company poached Mary from Biograph, offering to not only

468
00:33:21,520 --> 00:33:25,840
Speaker 1: double her salary, but hire both her siblings, Lottie and Jack,

469
00:33:26,480 --> 00:33:32,680
Speaker 1: and have Moore as her own screen romance. She agrees

470
00:33:32,760 --> 00:33:37,160
Speaker 1: and then marries Owen Moore in secret in nineteen eleven.

471
00:33:38,920 --> 00:33:41,160
Speaker 1: She's like, seventeen, you know what I mean, Like, it's

472
00:33:41,200 --> 00:33:45,400
Speaker 1: not okay now, this whole thing was a bad move.

473
00:33:45,440 --> 00:33:47,360
Speaker 1: And I mean all of it. Like I'm not even

474
00:33:47,360 --> 00:33:48,960
Speaker 1: talking about like a little bit. I mean the whole

475
00:33:49,080 --> 00:33:53,960
Speaker 1: damn thing. The company was outside the movie. Trust and

476
00:33:54,240 --> 00:33:59,920
Speaker 1: safety was not great between dodgy stunts and you know,

477
00:34:02,240 --> 00:34:06,520
Speaker 1: things starting to break. Shit was not good, right, Oh

478
00:34:06,600 --> 00:34:10,719
Speaker 1: oh yeah, that's right. It gets worse. Owen, for all

479
00:34:10,760 --> 00:34:15,320
Speaker 1: of his charm and swagger, was a violent alcoholic, almost

480
00:34:15,360 --> 00:34:19,600
Speaker 1: as if Charlotte could sniff that shit out. So things

481
00:34:19,600 --> 00:34:24,359
Speaker 1: were bad, and after thirty five films, Mary wants to leave.

482
00:34:25,239 --> 00:34:29,600
Speaker 1: She takes them to court to escape her contract and

483
00:34:29,800 --> 00:34:32,920
Speaker 1: give and goes to make five films with her shitty

484
00:34:33,000 --> 00:34:38,799
Speaker 1: husband for Majestic. She ends up separating from him and

485
00:34:39,040 --> 00:34:43,200
Speaker 1: ended up back on Broadway. But at this point she

486
00:34:43,520 --> 00:34:49,759
Speaker 1: misses the movies, right, and she's recognized. People recognize her

487
00:34:49,760 --> 00:34:52,920
Speaker 1: in the street, and it's She's one of the first

488
00:34:53,200 --> 00:34:59,920
Speaker 1: sort of really big moments of Paris social relationships. You know,

489
00:35:00,760 --> 00:35:06,400
Speaker 1: it's that really big cultural connection where people connect with

490
00:35:06,520 --> 00:35:09,040
Speaker 1: a famous person, where you start learning about them and

491
00:35:09,080 --> 00:35:10,680
Speaker 1: you see them in all these things, and you think

492
00:35:10,719 --> 00:35:15,360
Speaker 1: you know them and you feel that you have a

493
00:35:15,400 --> 00:35:17,920
Speaker 1: relationship with them. It's like it's a one sided relationship,

494
00:35:18,040 --> 00:35:25,000
Speaker 1: parasocial relationships, and this is that sort of start of it,

495
00:35:25,040 --> 00:35:27,120
Speaker 1: that's the boom. And she is one of the first

496
00:35:28,320 --> 00:35:34,759
Speaker 1: people like because she was so careful in public her

497
00:35:34,800 --> 00:35:41,360
Speaker 1: persona that of the ingenu. She projected that and she

498
00:35:41,719 --> 00:35:48,280
Speaker 1: protected that image like in public she didn't smoke, drink

499
00:35:48,480 --> 00:35:51,840
Speaker 1: or even dance like. She wanted to protect this image

500
00:35:51,880 --> 00:35:57,440
Speaker 1: so much. And so after the plays run and her

501
00:35:57,480 --> 00:36:03,279
Speaker 1: return to Broadway and her and Griffith were at loggerheads,

502
00:36:04,280 --> 00:36:10,400
Speaker 1: and so she ends up signing with Famous Plays. Moving

503
00:36:10,440 --> 00:36:14,400
Speaker 1: pictures at the time were like short. Initially they were

504
00:36:14,480 --> 00:36:19,920
Speaker 1: much shorter, but now they were feature length. And Mary,

505
00:36:20,640 --> 00:36:26,640
Speaker 1: she's America's sweetheart, the ingenue, so innocent and young, and

506
00:36:26,760 --> 00:36:31,680
Speaker 1: they really really lent into that in Famous Players designing

507
00:36:31,760 --> 00:36:36,600
Speaker 1: sets to make her appear smaller. They had big chills

508
00:36:36,640 --> 00:36:42,360
Speaker 1: and perspectives sidebar. Again, if you've ever watched The Lord

509
00:36:42,400 --> 00:36:44,759
Speaker 1: of the Rings, I don't know if they have it

510
00:36:44,760 --> 00:36:47,719
Speaker 1: in the regular one, but in the extended edition they

511
00:36:47,800 --> 00:36:53,000
Speaker 1: have this documentary called Bigo Chills and Miniatures, and it

512
00:36:53,040 --> 00:36:56,120
Speaker 1: shows you how they use force perspective to make people

513
00:36:56,160 --> 00:36:58,040
Speaker 1: seem smaller if they have them in the same scene

514
00:36:58,560 --> 00:37:04,000
Speaker 1: or how they have like smaller scenes like designed for

515
00:37:04,160 --> 00:37:06,799
Speaker 1: one character to look larger, and how they have like

516
00:37:07,000 --> 00:37:11,359
Speaker 1: larger sets for a character to seem smaller. And they

517
00:37:11,400 --> 00:37:15,800
Speaker 1: did this back then. It was all part of forced perspective.

518
00:37:15,840 --> 00:37:21,320
Speaker 1: It's really really interesting. Is someone who's watched probably hundreds

519
00:37:21,320 --> 00:37:23,800
Speaker 1: of hours of DAVD features from Lord of the Rings.

520
00:37:24,600 --> 00:37:26,759
Speaker 1: It's really good. It's really good, and perspective is a

521
00:37:26,840 --> 00:37:31,040
Speaker 1: very interesting thing for me personally. But she is making money,

522
00:37:31,080 --> 00:37:34,400
Speaker 1: like she is making money, and she goes from making

523
00:37:34,840 --> 00:37:38,759
Speaker 1: one thousand dollars a week to two thousand dollars a week.

524
00:37:39,680 --> 00:37:42,239
Speaker 1: And at this point she's moved Charlotte out to live

525
00:37:42,280 --> 00:37:45,840
Speaker 1: with her, right, she lives with Charlotte, and she brings

526
00:37:45,880 --> 00:37:49,480
Speaker 1: her out in public, right, so she's seen in public,

527
00:37:50,320 --> 00:37:53,439
Speaker 1: not with her husband Owen, right, not with him, She's

528
00:37:53,440 --> 00:37:56,360
Speaker 1: seen with her mother, and that really sort of cements

529
00:37:56,400 --> 00:38:01,080
Speaker 1: and solidifies this public persona of hers, of this ongeneue.

530
00:38:03,040 --> 00:38:08,960
Speaker 1: But she's shrewd right and always paying attention, and she

531
00:38:09,160 --> 00:38:13,239
Speaker 1: is very aware that the studios are making big bucks,

532
00:38:13,239 --> 00:38:18,440
Speaker 1: not the actress. And Mary is a massive star making

533
00:38:18,480 --> 00:38:23,080
Speaker 1: good money and her contract is almost up. She's offered

534
00:38:23,120 --> 00:38:29,480
Speaker 1: a million dollars, but she wants control. She demands either

535
00:38:29,520 --> 00:38:34,840
Speaker 1: half a million a year or have the profits on

536
00:38:35,080 --> 00:38:42,800
Speaker 1: all Mary Pickford movies. She gets her name above the title,

537
00:38:43,239 --> 00:38:47,440
Speaker 1: she gets to choose her roles witch, director and finalcy

538
00:38:47,480 --> 00:38:50,320
Speaker 1: on the cast, and she wants to be a producer.

539
00:38:51,200 --> 00:38:54,600
Speaker 1: She wants a private studio for her own division, Pickford

540
00:38:54,719 --> 00:39:02,759
Speaker 1: Film Corporation, and they say yes, right. I think she

541
00:39:02,840 --> 00:39:05,000
Speaker 1: may be the first actress to have her name above

542
00:39:05,719 --> 00:39:11,160
Speaker 1: like the title. And Charlie Chaplin, Charlie motherfucking Chaplain. He

543
00:39:11,280 --> 00:39:13,760
Speaker 1: was again also going to be a topic at some point,

544
00:39:13,800 --> 00:39:19,640
Speaker 1: but his studio was negotiating with her, offering her a

545
00:39:19,719 --> 00:39:23,400
Speaker 1: million when he was earning three hundred and fifty thousand,

546
00:39:24,840 --> 00:39:28,480
Speaker 1: and she turned it down and still made more money

547
00:39:28,480 --> 00:39:33,040
Speaker 1: than him, and he is pessed. He is so angry.

548
00:39:33,080 --> 00:39:36,200
Speaker 1: He fucking hates her so much, like the two of

549
00:39:36,239 --> 00:39:41,319
Speaker 1: them did not go on. And she's like, Oh, you

550
00:39:41,440 --> 00:39:46,719
Speaker 1: think I'm being unfeminine by negotiating for my future, Well,

551
00:39:46,760 --> 00:39:51,680
Speaker 1: that's a wee shame, that's the wise shame. She is

552
00:39:51,719 --> 00:39:55,800
Speaker 1: well aware of the acting for her will not last forever,

553
00:39:56,400 --> 00:39:59,560
Speaker 1: and so she's being safe and secure. And she's still

554
00:40:00,120 --> 00:40:04,440
Speaker 1: quite young, and in her early twenties. And this is

555
00:40:04,440 --> 00:40:11,000
Speaker 1: when she meets actor Douglas Fairbanks when she's twenty three

556
00:40:11,520 --> 00:40:15,600
Speaker 1: and he's married in nine years her senior. I mean

557
00:40:15,719 --> 00:40:22,759
Speaker 1: she's also married, separated but yeah, still legally married, and

558
00:40:22,840 --> 00:40:27,160
Speaker 1: her estranged husband Owen, is seen stalking the streets of

559
00:40:27,200 --> 00:40:34,319
Speaker 1: Los Angeles with a gun looking for Douglas Fairbanks. I mean,

560
00:40:35,600 --> 00:40:41,480
Speaker 1: I mean, that's not the wisest option. And so Douglas Fairbanks,

561
00:40:41,640 --> 00:40:44,319
Speaker 1: who is really good friends with the Charlie Chaplain and

562
00:40:44,360 --> 00:40:47,640
Speaker 1: Mary Pickford als start hanging out together. They're seen together

563
00:40:47,680 --> 00:40:50,080
Speaker 1: in all these places, and everyone's like, oh, what a

564
00:40:50,120 --> 00:40:54,040
Speaker 1: fun little trio. Oh great, they're seeing each other. And

565
00:40:54,360 --> 00:41:02,520
Speaker 1: the thing is Douglas and Mary seeing each other. Those

566
00:41:02,520 --> 00:41:06,400
Speaker 1: two were together, and Charlie was there as a foil,

567
00:41:06,640 --> 00:41:10,200
Speaker 1: just gonna be like, look, we're just good buds, the

568
00:41:10,239 --> 00:41:13,879
Speaker 1: best of friends, just hanging out, which I'm sure he

569
00:41:14,040 --> 00:41:20,719
Speaker 1: was delighted by. But of course they are doing this,

570
00:41:21,040 --> 00:41:24,799
Speaker 1: and you know, it probably would have been a bigger deal,

571
00:41:25,160 --> 00:41:36,240
Speaker 1: but then World War One happened. See the thing about

572
00:41:36,280 --> 00:41:38,560
Speaker 1: war sometimes is that it can be a very good

573
00:41:38,600 --> 00:41:45,040
Speaker 1: income maker. So Mary is not only making propaganda movies

574
00:41:45,080 --> 00:41:50,480
Speaker 1: I mean, sorry patriotic movie shorts. But she's also selling

575
00:41:50,560 --> 00:41:54,839
Speaker 1: war bonds, and she even auctions off one of her

576
00:41:54,880 --> 00:41:59,080
Speaker 1: famous curls for the war effort. So she's again she

577
00:41:59,200 --> 00:42:02,000
Speaker 1: was known for years the girl with the curls. But

578
00:42:02,080 --> 00:42:06,640
Speaker 1: like a lot of those curls wear wigs. Do you

579
00:42:06,800 --> 00:42:12,400
Speaker 1: there vegs? Will you the vex? And she is very vegs.

580
00:42:12,880 --> 00:42:15,799
Speaker 1: So yeah, she has varying vegs, and she has hair

581
00:42:15,840 --> 00:42:18,040
Speaker 1: pieces and all this kind of stuff. But she ends

582
00:42:18,120 --> 00:42:20,640
Speaker 1: up auctioning off one of her curls, whether or not

583
00:42:21,120 --> 00:42:23,120
Speaker 1: it was like a real curl from her head or

584
00:42:23,120 --> 00:42:26,520
Speaker 1: one of her wig curls hymns to say, but the

585
00:42:26,719 --> 00:42:30,560
Speaker 1: proceeds of that auction goes towards the war effort for

586
00:42:30,640 --> 00:42:40,960
Speaker 1: the Allies. Now, after the war, she divorces Owen and Fairbanks.

587
00:42:40,960 --> 00:42:43,439
Speaker 1: He gets divorced because his wife is like, I'm sick

588
00:42:43,480 --> 00:42:46,000
Speaker 1: of this shit. I'm not gonna deal with this anymore.

589
00:42:46,040 --> 00:42:50,759
Speaker 1: You're clearly in a relationship with this woman. I'm divorcing you.

590
00:42:51,600 --> 00:42:57,440
Speaker 1: So two big Hollywood divorces. Right, one would assume that

591
00:42:57,520 --> 00:43:01,480
Speaker 1: this would not end well for either party. However, America

592
00:43:01,560 --> 00:43:05,640
Speaker 1: is just like, oh it's America's boyfriend and America's sweetheart.

593
00:43:05,840 --> 00:43:11,959
Speaker 1: Oh wow, they've found each other, yeah, for love. Surprisingly,

594
00:43:12,400 --> 00:43:16,680
Speaker 1: both of them come out of this unscathed. Like when

595
00:43:16,680 --> 00:43:22,719
Speaker 1: she divorces Owen, he demands one hundred thousand dollars for

596
00:43:22,760 --> 00:43:27,600
Speaker 1: a settlement, which is like, like that's over one and

597
00:43:27,600 --> 00:43:30,279
Speaker 1: a half million dollars today, and she's like, find just

598
00:43:30,320 --> 00:43:35,120
Speaker 1: take it and go. Now, the two of them they

599
00:43:35,120 --> 00:43:39,919
Speaker 1: get married literally days after her divorce is finalized, right,

600
00:43:39,920 --> 00:43:42,640
Speaker 1: and that's what nineteen twenty And it's like days between

601
00:43:42,680 --> 00:43:48,160
Speaker 1: her divorce and him like like, oh my goodness. They

602
00:43:48,320 --> 00:43:51,240
Speaker 1: end up being referred to as the King and Queen

603
00:43:51,360 --> 00:43:54,680
Speaker 1: of Hollywood, and they end up like traveling to Europe

604
00:43:54,719 --> 00:43:59,640
Speaker 1: for their honeymoon and so like they get absolutely just

605
00:44:00,960 --> 00:44:05,839
Speaker 1: absolutely rioted by fans in like Paris and London, and

606
00:44:07,200 --> 00:44:11,440
Speaker 1: when they do like return to Hollywood, it's just like

607
00:44:11,600 --> 00:44:17,640
Speaker 1: everyone's just like so excited. Now here's the thing. During

608
00:44:17,680 --> 00:44:20,000
Speaker 1: the First World War, there was a flu going about

609
00:44:20,640 --> 00:44:25,040
Speaker 1: and Mary ends up catching it, because of course she does,

610
00:44:25,040 --> 00:44:27,600
Speaker 1: and obviously she survived, but like just felt like I

611
00:44:27,680 --> 00:44:29,839
Speaker 1: throw that in there for you. And here's the thing

612
00:44:29,840 --> 00:44:32,600
Speaker 1: as well, is that it wasn't just like the fans

613
00:44:32,640 --> 00:44:35,359
Speaker 1: who loved her, like she was really loved by like

614
00:44:36,440 --> 00:44:41,279
Speaker 1: crew members. So the thing about the crew members is

615
00:44:41,360 --> 00:44:45,040
Speaker 1: that like she was really nice to like the cameramen

616
00:44:45,160 --> 00:44:47,400
Speaker 1: and the stage hands and all these other people because

617
00:44:47,400 --> 00:44:50,759
Speaker 1: she was like, you know, they're the ones that are

618
00:44:50,800 --> 00:44:52,480
Speaker 1: gonna direct me. They're gonna let me know of like

619
00:44:52,640 --> 00:44:54,879
Speaker 1: the lighting guy's gonna be like there's a shadow, don't

620
00:44:54,920 --> 00:44:57,239
Speaker 1: go over there, because remember, like there's no sound, so

621
00:44:57,239 --> 00:44:59,080
Speaker 1: people can just like shout shit at her as well.

622
00:44:59,640 --> 00:45:02,839
Speaker 1: And so she's doing all this and she's like genuinely

623
00:45:03,280 --> 00:45:06,680
Speaker 1: beloved by like all of these people. So the big

624
00:45:06,719 --> 00:45:09,239
Speaker 1: studio heads like they were meeting up because they were

625
00:45:09,239 --> 00:45:11,320
Speaker 1: trying to deal with and this is a direct quote

626
00:45:12,200 --> 00:45:17,040
Speaker 1: on the excessive pride and cast of actors. Basically, performers

627
00:45:17,040 --> 00:45:19,479
Speaker 1: were making so much money and the guys who around

628
00:45:19,520 --> 00:45:21,799
Speaker 1: the studios were like, we want more of it now,

629
00:45:22,880 --> 00:45:28,239
Speaker 1: and so they basically wanted to create effectively think of

630
00:45:28,280 --> 00:45:32,040
Speaker 1: it as an olegopoly, but for actors' wages. So what

631
00:45:32,040 --> 00:45:36,440
Speaker 1: they wanted to do was to keep actors sort of

632
00:45:36,760 --> 00:45:41,560
Speaker 1: fame and salaries low because they thought that with them

633
00:45:41,600 --> 00:45:43,239
Speaker 1: being so famous and so rich, it kind of gave

634
00:45:43,280 --> 00:45:47,680
Speaker 1: them too much pillar. And it got to the point

635
00:45:48,040 --> 00:45:53,360
Speaker 1: that because this stuff was happening that Mary Pickford would

636
00:45:53,440 --> 00:45:58,520
Speaker 1: bring a donation bucket on set, and so she would

637
00:45:58,560 --> 00:46:01,319
Speaker 1: be like, hey, we need this to help actors and

638
00:46:01,360 --> 00:46:05,680
Speaker 1: actresses and people who needed, you know, extra money because

639
00:46:05,719 --> 00:46:07,759
Speaker 1: their wages are being held down and their parts are

640
00:46:07,800 --> 00:46:11,120
Speaker 1: being reduced. And she would like pay attention to who

641
00:46:11,160 --> 00:46:13,160
Speaker 1: donated and who didn't. So because she was in on

642
00:46:13,200 --> 00:46:14,960
Speaker 1: loads of money, she was like, she would donate and

643
00:46:15,160 --> 00:46:18,319
Speaker 1: other people would donate and be like a thing. Now

644
00:46:18,360 --> 00:46:22,960
Speaker 1: this was a very like informal thing, but eventually, like

645
00:46:24,080 --> 00:46:28,240
Speaker 1: she would end up establishing a formal fund to help actors,

646
00:46:28,239 --> 00:46:32,319
Speaker 1: but not only actors. You're talking like unemployed members of

647
00:46:32,440 --> 00:46:36,960
Speaker 1: like the whole movie system, right, so camera men, lighting men,

648
00:46:37,320 --> 00:46:41,240
Speaker 1: prop guys, like the whole shebang, you know, not only

649
00:46:41,280 --> 00:46:44,040
Speaker 1: those who couldn't find work, like stunt men, even who

650
00:46:44,040 --> 00:46:47,279
Speaker 1: had been injured, you know, and all of this, all

651
00:46:47,320 --> 00:46:53,880
Speaker 1: of this started like from like this donation bucket, and

652
00:46:53,960 --> 00:46:57,279
Speaker 1: afterwards it would become like this official fund where people

653
00:46:57,280 --> 00:47:00,120
Speaker 1: would have to donate parts of their wages, of their salary,

654
00:47:00,960 --> 00:47:03,239
Speaker 1: and like, at this point, she's still thinking of the

655
00:47:03,239 --> 00:47:07,399
Speaker 1: welfare of everyone around her and not just herself, and

656
00:47:07,960 --> 00:47:11,400
Speaker 1: she's working hard to protect everything as much as possible.

657
00:47:14,040 --> 00:47:16,319
Speaker 1: And so at this point she's like, you know what,

658
00:47:16,560 --> 00:47:18,600
Speaker 1: I'm sick of these money men. I'm sick of being

659
00:47:18,640 --> 00:47:21,400
Speaker 1: told what to do, and I'm sick of them thinking

660
00:47:21,760 --> 00:47:24,160
Speaker 1: that they can just control me. And so she says,

661
00:47:24,360 --> 00:47:28,000
Speaker 1: fuck this for a game of soldiers, and along with

662
00:47:28,680 --> 00:47:33,920
Speaker 1: Charlie Chaplin, Douglas Fairbanks and d W Griffith, who clearly

663
00:47:34,080 --> 00:47:38,240
Speaker 1: they've made up by now, they form a new studio

664
00:47:38,920 --> 00:47:44,880
Speaker 1: which becomes part of the Little Three United Artists, basically

665
00:47:44,960 --> 00:47:47,040
Speaker 1: where all the independent artists can come work. And it's

666
00:47:47,080 --> 00:47:52,280
Speaker 1: a really good studio. And so you have the highest

667
00:47:52,320 --> 00:47:56,480
Speaker 1: paid actors and the highest paid director in Hollywood, right,

668
00:47:57,120 --> 00:48:02,719
Speaker 1: and they've just made this stand. So they've decided they're

669
00:48:02,719 --> 00:48:05,560
Speaker 1: going to set up, you know, United Artists. So this

670
00:48:05,600 --> 00:48:07,200
Speaker 1: is one of the Little Three. So there's the Big

671
00:48:07,200 --> 00:48:10,879
Speaker 1: five and the Little Three. So the Big five you're

672
00:48:10,920 --> 00:48:18,880
Speaker 1: talking Paramount Pictures, Metro, Golden Maya, Warner Brothers, Twentieth Century Fox,

673
00:48:18,960 --> 00:48:23,440
Speaker 1: and then Arkaeo Radio Pictures. So then you would have

674
00:48:23,680 --> 00:48:30,040
Speaker 1: the Little three, which would be United Artists, Universal and

675
00:48:30,080 --> 00:48:33,400
Speaker 1: Columbia Pictures. Now, back in the day, a way that

676
00:48:33,440 --> 00:48:35,959
Speaker 1: a lot of actors got work was they started off

677
00:48:36,040 --> 00:48:40,440
Speaker 1: doing stunts, like I think even was it. Kurt Russell

678
00:48:41,200 --> 00:48:43,680
Speaker 1: started off doing stunts and that's how he ended up

679
00:48:43,680 --> 00:48:48,640
Speaker 1: getting like his work. I love Kurt Russell this, but

680
00:48:48,719 --> 00:48:51,440
Speaker 1: like Douglas Fairbanks, like he was known for doing his

681
00:48:51,480 --> 00:48:54,120
Speaker 1: own stunts, and he was like a swash buggler. And

682
00:48:54,280 --> 00:48:58,319
Speaker 1: he played Zorro in the Mask of Zorro and you're

683
00:48:58,360 --> 00:49:04,040
Speaker 1: thinking that's an awfully white man. Listen, Antonio Banderis is Spanish, okay,

684
00:49:04,200 --> 00:49:08,960
Speaker 1: and he's playing like Zoro two. I mean he's closer,

685
00:49:09,400 --> 00:49:15,520
Speaker 1: but like still anyway, he was like super athletic, and

686
00:49:15,600 --> 00:49:20,240
Speaker 1: he was just known for being like this very physical actor,

687
00:49:20,280 --> 00:49:24,440
Speaker 1: this swashbuckling hero, like Errol Flynn before Erol Flynn. Erol

688
00:49:24,440 --> 00:49:26,879
Speaker 1: Flynn also in Arsol, who we will talk about later,

689
00:49:27,400 --> 00:49:30,480
Speaker 1: but Charlie Chaplin as well again also when Arshol, but

690
00:49:30,760 --> 00:49:33,719
Speaker 1: very good with his physical comedy, Buster Keaton as well,

691
00:49:33,800 --> 00:49:39,799
Speaker 1: so like very very very clever now because they're so

692
00:49:40,719 --> 00:49:43,000
Speaker 1: I mean, it all depends because the way that silent

693
00:49:43,080 --> 00:49:46,319
Speaker 1: movies were shot, the frames per second, it used to

694
00:49:46,360 --> 00:49:49,840
Speaker 1: be sort of slower and when the frames per second

695
00:49:49,880 --> 00:49:54,840
Speaker 1: like increased on sort of the projectors and whatnot is

696
00:49:54,840 --> 00:49:57,799
Speaker 1: the projector you know what I mean, And that's the

697
00:49:57,920 --> 00:50:00,520
Speaker 1: name of the thing. And so spare up the actions

698
00:50:00,560 --> 00:50:02,760
Speaker 1: and it made it look more cartoonish. Now this works

699
00:50:02,760 --> 00:50:06,920
Speaker 1: for things like Charlie Chaplin and his sort of physicality.

700
00:50:07,520 --> 00:50:11,239
Speaker 1: When it came to serious actresses like Mary Pickford, she

701
00:50:11,400 --> 00:50:15,240
Speaker 1: really didn't appreciate that because it made her seem silly

702
00:50:15,280 --> 00:50:18,600
Speaker 1: and Johntay when she's you know, that's not what was

703
00:50:18,640 --> 00:50:25,880
Speaker 1: being portrayed. But AnyWho, Mary Pickford and Douglas Fairbanks, the

704
00:50:26,040 --> 00:50:33,040
Speaker 1: Queen and King of Hollywood, they they made a house.

705
00:50:33,239 --> 00:50:37,480
Speaker 1: They go to a house in Beverly Hills, like and

706
00:50:37,520 --> 00:50:41,000
Speaker 1: they called it pick fair So it's like half a

707
00:50:41,000 --> 00:50:46,440
Speaker 1: her name, half of his name. But yeah, I mean

708
00:50:48,080 --> 00:50:52,120
Speaker 1: it's so it's so interesting because like they were two

709
00:50:52,160 --> 00:50:54,640
Speaker 1: of them, like because they were like America our couple.

710
00:50:55,120 --> 00:50:59,719
Speaker 1: Is that they were so very very consistent with their

711
00:50:59,719 --> 00:51:03,360
Speaker 1: public personas, like if they went out places, if they danced,

712
00:51:03,400 --> 00:51:06,200
Speaker 1: they would only dance with each other. Like they were

713
00:51:06,320 --> 00:51:09,719
Speaker 1: very specific in the way that they acted, you know,

714
00:51:11,520 --> 00:51:14,120
Speaker 1: Like when it came to like dinners and stuff. They

715
00:51:14,120 --> 00:51:16,000
Speaker 1: would sit together, which is like, you're not supposed to

716
00:51:16,080 --> 00:51:20,200
Speaker 1: do that because etiquette dictates that, you know, certain people

717
00:51:20,239 --> 00:51:22,120
Speaker 1: sit here and you sit opposite and like it's a

718
00:51:22,120 --> 00:51:24,319
Speaker 1: whole thing. But no, no, they demandaged to sit next

719
00:51:24,360 --> 00:51:28,320
Speaker 1: to each other, which is like, not what you did,

720
00:51:28,480 --> 00:51:35,319
Speaker 1: but they did it. And so yeah, this sort of

721
00:51:35,440 --> 00:51:38,399
Speaker 1: very restrictive life for the two of them. It really

722
00:51:38,440 --> 00:51:42,600
Speaker 1: started getting to Mary. And she didn't drink in public,

723
00:51:42,800 --> 00:51:49,200
Speaker 1: but she sure did drinking secret. And she would just

724
00:51:49,360 --> 00:51:55,120
Speaker 1: like go drinking in her mother's house on the ground.

725
00:51:55,200 --> 00:51:57,080
Speaker 1: So they had this like big Beverly Hills house and

726
00:51:57,080 --> 00:52:00,279
Speaker 1: then another little house for her mum on the grind,

727
00:52:01,120 --> 00:52:06,160
Speaker 1: and so she would go down there and go drinking

728
00:52:06,680 --> 00:52:11,120
Speaker 1: and like the bottles would be labeled things like lesterine,

729
00:52:11,239 --> 00:52:15,600
Speaker 1: like mouth wash or like ointment and it would just

730
00:52:15,640 --> 00:52:23,600
Speaker 1: be like gin like and so right, she's just I think,

731
00:52:23,640 --> 00:52:27,239
Speaker 1: trying to have some control, even though what she's looking

732
00:52:27,320 --> 00:52:31,560
Speaker 1: for as control is not anymore. Now Mary would never

733
00:52:31,680 --> 00:52:36,480
Speaker 1: have any children of her own. Now there's a theory

734
00:52:36,600 --> 00:52:40,759
Speaker 1: that she had what was it, that she had a miscarriage,

735
00:52:40,800 --> 00:52:42,600
Speaker 1: and then another that she had an abortion when she

736
00:52:42,640 --> 00:52:48,120
Speaker 1: was married to Owen Moa. But here's the thing. She

737
00:52:48,280 --> 00:52:51,120
Speaker 1: could have had issues. She could have had, you know,

738
00:52:51,280 --> 00:52:53,880
Speaker 1: endometriosis or probably says to go over syndrome, and we

739
00:52:53,920 --> 00:52:56,719
Speaker 1: don't know because we don't even know about women's health nowadays.

740
00:52:57,080 --> 00:53:00,239
Speaker 1: But there's also the possibility that she had, that she

741
00:53:00,280 --> 00:53:01,920
Speaker 1: did have an abortion, and if she did, good for

742
00:53:02,000 --> 00:53:05,640
Speaker 1: fucking heart. Okay, because her life, her choice, you know.

743
00:53:06,760 --> 00:53:10,480
Speaker 1: And even though she would never have any children of

744
00:53:10,520 --> 00:53:15,359
Speaker 1: her own. And Douglas Fairbanks, she had a son from

745
00:53:15,400 --> 00:53:20,600
Speaker 1: his previous marriage to the socialite, the first Missus Fairbanks,

746
00:53:20,760 --> 00:53:28,080
Speaker 1: and they looked after Charlotte's daughter, not Charlotte's daughter, yes, Charlotte' daughter.

747
00:53:28,120 --> 00:53:34,960
Speaker 1: So Lottie Mary Pickford's sister, her daughter Gwen would basically

748
00:53:34,960 --> 00:53:38,400
Speaker 1: live with Charlotte like Grandma Charlotte, and then would also

749
00:53:38,520 --> 00:53:43,440
Speaker 1: live and pick there with Mary and Douglas. So she

750
00:53:43,520 --> 00:53:45,400
Speaker 1: lived there and then she would go to boarding school,

751
00:53:46,000 --> 00:53:50,000
Speaker 1: and so so she would look after Gwen. And that's

752
00:53:50,080 --> 00:53:53,440
Speaker 1: probably as close as maternal as she got because like Charlotte,

753
00:53:53,680 --> 00:53:57,319
Speaker 1: like Grandma Charlotte, superhands on, mom, super into it, and

754
00:53:58,120 --> 00:54:02,319
Speaker 1: Mary I think she got that far. But like she

755
00:54:02,360 --> 00:54:04,560
Speaker 1: made sure that this kid was cared for, was in

756
00:54:04,600 --> 00:54:08,240
Speaker 1: her care, you know, and she did I think her best.

757
00:54:09,320 --> 00:54:12,560
Speaker 1: And this is like she's twenty nine at this point

758
00:54:12,600 --> 00:54:17,560
Speaker 1: when she's doing all this stuff. And at this point,

759
00:54:18,040 --> 00:54:20,799
Speaker 1: I think, like more stars come on the screen Lake

760
00:54:21,719 --> 00:54:27,400
Speaker 1: Clara Bow and so like her whole thing. Like and

761
00:54:27,480 --> 00:54:30,799
Speaker 1: I said before about the reason people whin the transfer

762
00:54:30,960 --> 00:54:35,760
Speaker 1: to like, you know, silent movies to talkies was that

763
00:54:36,160 --> 00:54:38,520
Speaker 1: a lot of people couldn't do the transition for a

764
00:54:38,520 --> 00:54:41,799
Speaker 1: bunch of things, like the characters they played just fell

765
00:54:41,840 --> 00:54:47,160
Speaker 1: out of public you know, preference. And so you had

766
00:54:47,160 --> 00:54:50,719
Speaker 1: Clara Bow who's just like all moves and she's just

767
00:54:51,440 --> 00:54:53,040
Speaker 1: I'm gonna say I think it was it was just

768
00:54:53,120 --> 00:54:56,560
Speaker 1: kind of did it kicking about being a wild child

769
00:54:56,680 --> 00:54:59,640
Speaker 1: and all arms and legs. And then so this character

770
00:54:59,760 --> 00:55:03,839
Speaker 1: all the ongeneu, which was Mary's sort of wholesome thing,

771
00:55:04,600 --> 00:55:07,880
Speaker 1: and it wasn't that cool anymore. And also Mary's getting

772
00:55:07,960 --> 00:55:12,000
Speaker 1: older and so that kind of character doesn't really flow

773
00:55:12,040 --> 00:55:17,439
Speaker 1: as well with that perception. And so she'd been doing

774
00:55:17,520 --> 00:55:19,400
Speaker 1: like again, at one point, she was like thirty and

775
00:55:19,480 --> 00:55:21,600
Speaker 1: five maybees a year, like ten maybes a year whatever.

776
00:55:22,200 --> 00:55:27,439
Speaker 1: And at this point she moves down to like one

777
00:55:27,760 --> 00:55:30,760
Speaker 1: a year, so she does one like big acting project

778
00:55:30,800 --> 00:55:34,040
Speaker 1: per year, which is like enough for her. And like

779
00:55:34,239 --> 00:55:37,360
Speaker 1: each of her films they did, you know quite well.

780
00:55:38,560 --> 00:55:40,799
Speaker 1: But like she's doing all this other stuff. I mean,

781
00:55:40,840 --> 00:55:42,840
Speaker 1: she was writing scripts, she was doing these bits. She

782
00:55:42,960 --> 00:55:49,719
Speaker 1: has united artists. And also when Mary is thirty four

783
00:55:49,760 --> 00:55:52,840
Speaker 1: years old, the Chinese Theater, which is now known as

784
00:55:52,880 --> 00:55:59,279
Speaker 1: the Roman's Chinese Theater, it opened and Mary Pickford and

785
00:55:59,360 --> 00:56:03,520
Speaker 1: Douglas fair Banks were the very first people to put

786
00:56:03,560 --> 00:56:12,359
Speaker 1: their handprints and their signatures in the cement. Now, the

787
00:56:12,480 --> 00:56:17,759
Speaker 1: following year, Mary Pickford helped found the Academy of Motion

788
00:56:17,880 --> 00:56:26,200
Speaker 1: Picture Arts and Sciences as in yes, the Academy, and

789
00:56:26,480 --> 00:56:32,560
Speaker 1: Douglas Fairbanks was its first president. Now, originally in the

790
00:56:32,600 --> 00:56:37,200
Speaker 1: Academy there's only like thirty six members and only three

791
00:56:37,239 --> 00:56:39,640
Speaker 1: of them were women. So you've got Mary Pickford and

792
00:56:39,640 --> 00:56:44,600
Speaker 1: then two screenwriters. Basically, the idea was to get cross

793
00:56:44,600 --> 00:56:51,360
Speaker 1: communications like between you know, the entire system, so lighting

794
00:56:51,440 --> 00:56:56,160
Speaker 1: people and like stage hand and you know, the scriptwriters

795
00:56:56,239 --> 00:56:58,359
Speaker 1: can talk to the prop people and the acting can

796
00:56:58,360 --> 00:57:01,319
Speaker 1: talk to the drink like it was a whole Schmorga's

797
00:57:01,360 --> 00:57:11,400
Speaker 1: board of communication. And then then Harmon Douglas Fairbanks create

798
00:57:11,480 --> 00:57:14,600
Speaker 1: the first college level course on the history of filmmaking

799
00:57:15,239 --> 00:57:21,480
Speaker 1: at the University of Southern California and so and they're

800
00:57:21,560 --> 00:57:23,720
Speaker 1: just doing all this stuff and eventually she ends up

801
00:57:23,760 --> 00:57:31,520
Speaker 1: making her very last silent movie, My Best Girl, and

802
00:57:32,040 --> 00:57:39,120
Speaker 1: she mix it with Buddy Rogers. Ah, it's like, I

803
00:57:39,120 --> 00:57:42,960
Speaker 1: think it's like one of the best movies like she's made.

804
00:57:43,160 --> 00:57:48,960
Speaker 1: And it's this beautiful romantic comedy and it's done really

805
00:57:49,000 --> 00:57:51,240
Speaker 1: really well. If you watch it at the correct speed,

806
00:57:52,120 --> 00:57:57,680
Speaker 1: it's like fabulous, Like and if you look at the

807
00:57:57,680 --> 00:58:01,680
Speaker 1: way she moves, like just watch the actors move properly

808
00:58:01,720 --> 00:58:09,480
Speaker 1: in silent movies. It is a beautiful understanding of just

809
00:58:10,880 --> 00:58:16,720
Speaker 1: humans and the way they move and all that jazz. Now,

810
00:58:18,760 --> 00:58:23,160
Speaker 1: this year that this came out, like for everything that

811
00:58:23,200 --> 00:58:26,000
Speaker 1: happens that's good, stuff happens that's bad. And this is

812
00:58:26,040 --> 00:58:38,680
Speaker 1: when Charlotte, her mother is diagnosed with breast cancer. And yeah,

813
00:58:39,920 --> 00:58:43,600
Speaker 1: Mary ends up staying with her for months and that

814
00:58:48,280 --> 00:58:50,560
Speaker 1: one of the last things Charlotte says to her daughter

815
00:58:51,320 --> 00:58:55,919
Speaker 1: is that you must never think that you ever displeased

816
00:58:56,040 --> 00:58:58,720
Speaker 1: or upset me. You are the best daughter that any

817
00:58:58,760 --> 00:59:03,680
Speaker 1: mother has ever had. I'm sorry, I'm getting really emotional

818
00:59:03,720 --> 00:59:09,160
Speaker 1: about this, but like, like this is my person whose sidebar.

819
00:59:10,120 --> 00:59:12,480
Speaker 1: I put my daughter's clothes out for her in the morning.

820
00:59:12,520 --> 00:59:15,840
Speaker 1: She's nine, and she's mean to me usually, and it's

821
00:59:15,840 --> 00:59:19,240
Speaker 1: like I just had her clothes setting out and next

822
00:59:19,280 --> 00:59:24,120
Speaker 1: thing I heard was thank you mommy, Like what, why

823
00:59:24,160 --> 00:59:25,960
Speaker 1: are you being nice to me? Why are you thanking me?

824
00:59:26,000 --> 00:59:27,640
Speaker 1: What is this? What have you done with my daughter?

825
00:59:28,320 --> 00:59:31,080
Speaker 1: But like she was just I don't know, she's been

826
00:59:31,120 --> 00:59:37,680
Speaker 1: really polite lately, but like to have her mother turn

827
00:59:37,720 --> 00:59:40,440
Speaker 1: around and just be like, I need you to understand

828
00:59:41,320 --> 00:59:43,880
Speaker 1: that you were great and you were a wonderful daughter

829
00:59:44,120 --> 00:59:48,240
Speaker 1: and that I love you, which is amazing because when

830
00:59:48,240 --> 00:59:51,440
Speaker 1: people are suffering, when they're ill, when they're in pain,

831
00:59:53,240 --> 00:59:58,480
Speaker 1: it's far too easy for them to become painful, to

832
00:59:58,680 --> 01:00:01,680
Speaker 1: project everything that they are feeling out in the world.

833
01:00:03,160 --> 01:00:09,720
Speaker 1: And I'm so glad that she got this. And Mary

834
01:00:09,800 --> 01:00:13,160
Speaker 1: was so distraught when her mother died that her husband

835
01:00:13,640 --> 01:00:18,280
Speaker 1: has to physically hold her back from throwing herself out

836
01:00:18,280 --> 01:00:28,360
Speaker 1: a window. And Mary like she goes into like this huge,

837
01:00:28,880 --> 01:00:35,360
Speaker 1: this huge pool of grief, like she's weeping, she's suffering.

838
01:00:37,520 --> 01:00:39,520
Speaker 1: Her mother the only person who was ever there for

839
01:00:39,600 --> 01:00:43,760
Speaker 1: her whole life. The person who was always her biggest

840
01:00:43,760 --> 01:00:50,000
Speaker 1: supporter and who she loved so much, she's gone, and

841
01:00:51,280 --> 01:00:58,000
Speaker 1: this just it just shakes her to her core. And

842
01:00:58,040 --> 01:01:00,880
Speaker 1: so three months later, after all has happened, she just

843
01:01:00,920 --> 01:01:03,680
Speaker 1: goes and does what everybody does when something or every

844
01:01:03,720 --> 01:01:06,400
Speaker 1: woman does when something big happens in their life. We

845
01:01:06,520 --> 01:01:12,320
Speaker 1: cut her hair, right, and she gets and just chops

846
01:01:12,440 --> 01:01:16,720
Speaker 1: off like all her like long curls and gets a

847
01:01:16,760 --> 01:01:21,520
Speaker 1: bob right, and the public are incensed, right, They're like,

848
01:01:21,600 --> 01:01:24,960
Speaker 1: she's basically killed herself. But like what she was doing

849
01:01:25,040 --> 01:01:28,360
Speaker 1: was killing off the image of the girl with the curls,

850
01:01:28,440 --> 01:01:33,160
Speaker 1: you know that on Juno because she's bloody adult now

851
01:01:35,200 --> 01:01:40,200
Speaker 1: and so she's finally going into like roles that she

852
01:01:40,280 --> 01:01:44,240
Speaker 1: can actually play, because like she's thirty three and she's

853
01:01:44,280 --> 01:01:46,600
Speaker 1: still playing like eleven and twelve year old on the

854
01:01:46,640 --> 01:01:56,240
Speaker 1: screen and so she's like yeah, and so it's just gone.

855
01:01:56,440 --> 01:02:01,400
Speaker 1: And so people were just like, oh, no, you've just straw, Like,

856
01:02:01,440 --> 01:02:03,440
Speaker 1: I mean, she's what thirty six at this point, sot

857
01:02:03,600 --> 01:02:05,440
Speaker 1: back when she was thirty three, she was playing like

858
01:02:06,080 --> 01:02:10,640
Speaker 1: a child. And then well everything changed then because the

859
01:02:10,760 --> 01:02:14,840
Speaker 1: talkies happened now with the jazz singer. It kind of

860
01:02:14,880 --> 01:02:18,520
Speaker 1: let people know that sound could happen. But also it

861
01:02:18,560 --> 01:02:22,000
Speaker 1: took a while for the talkies to actually get going,

862
01:02:24,760 --> 01:02:28,240
Speaker 1: and so like she had gone from like the stage

863
01:02:28,280 --> 01:02:30,520
Speaker 1: to the screen and now she was going from like

864
01:02:30,840 --> 01:02:35,600
Speaker 1: movement to speaking. And so I remember how like in

865
01:02:35,640 --> 01:02:38,600
Speaker 1: the silent movie era, like the cameras were loud, kind

866
01:02:38,600 --> 01:02:42,080
Speaker 1: of like a machine gun that right, and the cranking

867
01:02:42,120 --> 01:02:45,040
Speaker 1: and whatnot, and then like people were shouting. You'd be

868
01:02:45,040 --> 01:02:47,760
Speaker 1: shout your directions. People were like loud, and then suddenly

869
01:02:47,760 --> 01:02:50,880
Speaker 1: there's microphones everywhere and you've got to be fucking quiet,

870
01:02:51,560 --> 01:02:54,200
Speaker 1: and so like it's a whole technical issue, like it

871
01:02:54,760 --> 01:02:57,880
Speaker 1: just ah, it's like my favorite thing is like in

872
01:02:57,920 --> 01:03:00,000
Speaker 1: the Singing of the Rain, this Singing of the Rain,

873
01:03:00,120 --> 01:03:04,720
Speaker 1: shut up and singing Singing in the Rain, Lina Lamon

874
01:03:04,920 --> 01:03:08,000
Speaker 1: is like she's trying to like talk, and she's moving

875
01:03:08,000 --> 01:03:11,880
Speaker 1: her body, she's moving her head, and they're like and

876
01:03:11,920 --> 01:03:15,120
Speaker 1: they've got a microphone in a in a plant and

877
01:03:15,160 --> 01:03:17,959
Speaker 1: she's and they're just like you need to move this way,

878
01:03:18,000 --> 01:03:22,560
Speaker 1: and she's like, I can't make love to a bush.

879
01:03:23,120 --> 01:03:26,320
Speaker 1: That's that's that seems like a you problem, Lena, No,

880
01:03:26,440 --> 01:03:32,320
Speaker 1: sorry that sexual joke today, and so she's just like

881
01:03:34,280 --> 01:03:37,800
Speaker 1: she just catch it. But like you have to be

882
01:03:38,000 --> 01:03:41,320
Speaker 1: like standing really still or sometimes in a sound of box.

883
01:03:41,320 --> 01:03:44,240
Speaker 1: There was just all of these issues and then you

884
01:03:44,280 --> 01:03:47,440
Speaker 1: would have to do like reshoots and retakes if somebody

885
01:03:47,560 --> 01:03:50,120
Speaker 1: like coughed or sneezed or moved their foot a little

886
01:03:50,120 --> 01:03:55,080
Speaker 1: bit in the microphone picked it up and like and

887
01:03:55,160 --> 01:04:01,600
Speaker 1: it wasn't just you know, it wasn't just like accents

888
01:04:01,680 --> 01:04:04,760
Speaker 1: and you know, not having a good voice like that

889
01:04:04,840 --> 01:04:07,400
Speaker 1: wasn't the main issue. It was all the other stuff

890
01:04:07,760 --> 01:04:11,120
Speaker 1: and how quickly you could adapt to it. And so

891
01:04:12,440 --> 01:04:14,920
Speaker 1: a lot of the old film stars they just couldn't

892
01:04:15,240 --> 01:04:19,280
Speaker 1: like do the transition because they couldn't you know, move

893
01:04:19,360 --> 01:04:26,440
Speaker 1: the same way and do this. And Mary did not

894
01:04:26,680 --> 01:04:33,000
Speaker 1: like the sound of her own voice, and she just

895
01:04:33,440 --> 01:04:35,720
Speaker 1: didn't really want to do it right. And her mother

896
01:04:35,720 --> 01:04:37,720
Speaker 1: had always said that she was too hard on herself

897
01:04:37,760 --> 01:04:43,120
Speaker 1: in like straight away she's like, I can't do this

898
01:04:43,240 --> 01:04:45,520
Speaker 1: because because she wasn't able to do it like first goal,

899
01:04:46,440 --> 01:04:51,240
Speaker 1: like she just felt like she couldn't do it. And

900
01:04:53,040 --> 01:04:56,160
Speaker 1: here's the thing, like here's the thing, here's the thing.

901
01:04:57,680 --> 01:05:00,880
Speaker 1: The first audition she did was bad, second audition she

902
01:05:00,920 --> 01:05:04,680
Speaker 1: did was bad, and yet she ended up being a start.

903
01:05:04,760 --> 01:05:08,040
Speaker 1: And if she'd just taken that same like third time

904
01:05:08,080 --> 01:05:12,680
Speaker 1: such term, she would have been fine. Right, But she's

905
01:05:12,720 --> 01:05:16,040
Speaker 1: doing her first talkie. She's thirty seven, she's in Coquette,

906
01:05:16,560 --> 01:05:24,960
Speaker 1: and like, she ends up just being so stressed that

907
01:05:25,000 --> 01:05:28,000
Speaker 1: she ends up just firing like a bunch of tech guys,

908
01:05:28,040 --> 01:05:33,040
Speaker 1: just like out of just being so stressed. And it

909
01:05:33,120 --> 01:05:36,360
Speaker 1: did well in the box office, and it did win

910
01:05:36,440 --> 01:05:43,160
Speaker 1: her quote her second EVA Academy Award for Best Actress.

911
01:05:44,760 --> 01:05:47,240
Speaker 1: Now it doesn't become the Oscars by the way till

912
01:05:47,320 --> 01:05:52,440
Speaker 1: like nineteen thirty nine, but yeah, so we're quite away

913
01:05:52,480 --> 01:05:58,560
Speaker 1: from that now. This award was more like thanks for

914
01:05:58,640 --> 01:06:03,640
Speaker 1: doing stuff. And so, yeah, first Academy Award for an

915
01:06:03,640 --> 01:06:06,080
Speaker 1: Actress in a movie with sound. So she had one

916
01:06:06,240 --> 01:06:09,360
Speaker 1: as a silent film star and now one as a

917
01:06:09,400 --> 01:06:15,840
Speaker 1: talkie film start. And so she has three more talkies

918
01:06:15,840 --> 01:06:18,560
Speaker 1: and they're kind of fine, and then she decides that

919
01:06:18,600 --> 01:06:22,040
Speaker 1: she's done. She's like Mary wanted to stop doing it

920
01:06:22,120 --> 01:06:27,600
Speaker 1: before she was like told to stop doing it. And

921
01:06:27,720 --> 01:06:31,560
Speaker 1: so one of the last movies that she ever makes

922
01:06:31,840 --> 01:06:37,560
Speaker 1: is with Douglas Fairbanks and it's the Taming of the Shrew. Now,

923
01:06:38,960 --> 01:06:42,200
Speaker 1: their marriage at this point is kind of not doing

924
01:06:42,280 --> 01:06:44,960
Speaker 1: well because he's also a piece of shit and a philanderer.

925
01:06:45,720 --> 01:06:50,320
Speaker 1: But right she's it, like not fond of this because

926
01:06:50,360 --> 01:06:52,600
Speaker 1: like the whole point is that they think this is

927
01:06:52,640 --> 01:06:54,040
Speaker 1: going to get the two of them back on track

928
01:06:54,080 --> 01:06:56,680
Speaker 1: with a marriage, but she cannot deal with his bullshit

929
01:06:57,320 --> 01:07:01,960
Speaker 1: because his work ethic is lacking, shall we say, he

930
01:07:02,000 --> 01:07:04,840
Speaker 1: didn't memorize his lines, he would come in late, and

931
01:07:04,880 --> 01:07:08,800
Speaker 1: he didn't take it as seriously as she did. And

932
01:07:08,880 --> 01:07:14,280
Speaker 1: that's the thing. Like she is super like determined when

933
01:07:14,360 --> 01:07:19,520
Speaker 1: she does things, and he's just like not doing well

934
01:07:19,520 --> 01:07:21,920
Speaker 1: with his career, and so he ends up buggering off

935
01:07:22,240 --> 01:07:28,120
Speaker 1: to like Europe, starts shagging people all over and they

936
01:07:28,240 --> 01:07:31,120
Speaker 1: end up separating. Was at the same year, I think

937
01:07:31,280 --> 01:07:39,960
Speaker 1: as Mary Pickford's last movie, sort of Secrets Now, she quietly,

938
01:07:40,800 --> 01:07:47,800
Speaker 1: very quietly divorces Douglas Fairbanks on the grounds of absenting

939
01:07:47,880 --> 01:07:50,680
Speaker 1: himself from their home and her society with a lack

940
01:07:50,720 --> 01:07:56,560
Speaker 1: of consideration for her feelings. So like she like files

941
01:07:56,600 --> 01:07:58,920
Speaker 1: for divorce and then he's like, oh no, please don't leave. Me,

942
01:07:58,960 --> 01:08:01,240
Speaker 1: and he's like groveling a big and she's like I'm done,

943
01:08:01,880 --> 01:08:10,400
Speaker 1: which is fair, and so like basically there's a year,

944
01:08:11,040 --> 01:08:13,400
Speaker 1: like it's sort of a separation is for a year,

945
01:08:13,440 --> 01:08:15,200
Speaker 1: and then at the end of that year, like the

946
01:08:15,240 --> 01:08:17,680
Speaker 1: divorce is final, and so he's begging and groveling and

947
01:08:17,680 --> 01:08:19,400
Speaker 1: he keeps coming back and asking her to like not

948
01:08:19,479 --> 01:08:22,240
Speaker 1: divorce him, and then like even the day before like

949
01:08:22,360 --> 01:08:29,280
Speaker 1: the deadline, he's like please and she's like no, and

950
01:08:29,360 --> 01:08:38,320
Speaker 1: so like, yeah, and after this, like she wasn't quite

951
01:08:38,920 --> 01:08:44,280
Speaker 1: the same after this divorce, you know, and she like

952
01:08:44,439 --> 01:08:49,720
Speaker 1: filmed her last movie and yeah, at this point as well,

953
01:08:51,200 --> 01:08:55,599
Speaker 1: Disney like was considering her to be the first live

954
01:08:55,680 --> 01:09:01,080
Speaker 1: action Alice in Wonderland and that's she's forty one, Like

955
01:09:01,120 --> 01:09:09,080
Speaker 1: that's not happening anyway. The project ends up being like scrapped,

956
01:09:09,120 --> 01:09:12,439
Speaker 1: and she just kind of doesn't. Yeah, she's kind of

957
01:09:12,439 --> 01:09:16,720
Speaker 1: embarrassed by the whole thing. And yeah, so she just

958
01:09:16,960 --> 01:09:21,719
Speaker 1: wasn't super keen on it at this point. That being said,

959
01:09:22,200 --> 01:09:27,000
Speaker 1: she was still like writing for movies and producing and

960
01:09:27,960 --> 01:09:34,040
Speaker 1: she was just kind of doing things, which is good

961
01:09:34,120 --> 01:09:40,400
Speaker 1: because Douglas Fairbanks wasn't doing anything. So she writes a

962
01:09:40,479 --> 01:09:42,880
Speaker 1: novel because she's trying other stuff, which is good. It's

963
01:09:42,880 --> 01:09:45,240
Speaker 1: good to just try things and you don't have to

964
01:09:45,280 --> 01:09:48,240
Speaker 1: be good at everything. So she writes this novel called

965
01:09:48,360 --> 01:09:52,160
Speaker 1: The Demi Window, and it's like fine. I think. She

966
01:09:52,240 --> 01:10:00,360
Speaker 1: writes textbooks for Christian science, which is okay, and so

967
01:10:00,479 --> 01:10:03,120
Speaker 1: she tries to write, or she does write, I suppose

968
01:10:03,320 --> 01:10:07,280
Speaker 1: a self help book called I Say tries to write

969
01:10:07,280 --> 01:10:09,840
Speaker 1: because it was ghost written, so it's like, why not

970
01:10:10,000 --> 01:10:16,280
Speaker 1: try God? Anyway it was it was, it's not it's

971
01:10:16,360 --> 01:10:23,240
Speaker 1: not great, and so yeah, so she just kept drinking. Actually,

972
01:10:24,600 --> 01:10:31,559
Speaker 1: she also has a radio show evenings it Picked Fair

973
01:10:32,240 --> 01:10:36,400
Speaker 1: and it was like all about like food and drink

974
01:10:36,479 --> 01:10:40,639
Speaker 1: and decorating the house and like it's the depression girl

975
01:10:40,720 --> 01:10:46,120
Speaker 1: Read the Room. Yeah, basically it lasts what thirteen episodes

976
01:10:46,160 --> 01:10:53,880
Speaker 1: before it's like hey no. So when she's forty five,

977
01:10:55,200 --> 01:11:01,439
Speaker 1: she ends up marrying none other then former co star

978
01:11:01,680 --> 01:11:07,120
Speaker 1: Buddy Rogers, right, remember from her film My Best Girl

979
01:11:07,160 --> 01:11:09,680
Speaker 1: her like her last silent movie, and so like he

980
01:11:09,800 --> 01:11:12,280
Speaker 1: was like kind of like so into her, and she

981
01:11:12,400 --> 01:11:15,000
Speaker 1: was like I married And now she's like, okay, we're

982
01:11:15,000 --> 01:11:21,920
Speaker 1: gonna do this, and so people start calling him America's boyfriend,

983
01:11:23,160 --> 01:11:27,080
Speaker 1: Like that's what happens after like the Silent movie and

984
01:11:28,600 --> 01:11:37,640
Speaker 1: basically like it's all good. You know. She just was

985
01:11:37,680 --> 01:11:40,560
Speaker 1: a bit nervous before they got married, Like she wasn't

986
01:11:41,320 --> 01:11:43,519
Speaker 1: I don't think super into getting married. I think she

987
01:11:43,600 --> 01:11:46,759
Speaker 1: kind of did it because she felt like she should.

988
01:11:50,280 --> 01:11:55,519
Speaker 1: Like he was thirty three, she's forty something. And he's like,

989
01:11:55,720 --> 01:11:58,640
Speaker 1: I really like her. I've always wanted to marry her.

990
01:11:58,680 --> 01:12:03,760
Speaker 1: And she's like that it's nice, and he adores her

991
01:12:03,840 --> 01:12:08,760
Speaker 1: and he's nice and he just like really likes her.

992
01:12:09,040 --> 01:12:12,000
Speaker 1: And like because obviously Mary Pickford is such a big deal,

993
01:12:12,120 --> 01:12:14,360
Speaker 1: like sometimes they would just call him mister Pickford and

994
01:12:14,400 --> 01:12:17,840
Speaker 1: she's like that's cool. Whereas when Owen Moore was called

995
01:12:17,880 --> 01:12:20,439
Speaker 1: mister Pickford, he was like, let me beat my wife.

996
01:12:21,160 --> 01:12:26,599
Speaker 1: And so he moved into Pickfair. And she's writing a

997
01:12:26,640 --> 01:12:31,759
Speaker 1: column for the New York Journal, right, and it's about

998
01:12:32,040 --> 01:12:40,639
Speaker 1: New York Like why her Okay, she's okay, And she's

999
01:12:41,560 --> 01:12:46,679
Speaker 1: talking about current events, you know, she's talking about crime.

1000
01:12:47,880 --> 01:12:56,040
Speaker 1: This's interviews with like you know, the Kennedy family. And yeah,

1001
01:12:56,640 --> 01:13:00,360
Speaker 1: so you would never guess who actually visit. It's her

1002
01:13:00,600 --> 01:13:06,879
Speaker 1: and Pickfair the Duke and Duchess of Windsor, right, Wallace

1003
01:13:07,080 --> 01:13:12,200
Speaker 1: Simpson and the Nazi king, and so there's just so

1004
01:13:12,439 --> 01:13:14,280
Speaker 1: much going on. I think at one point she even

1005
01:13:14,320 --> 01:13:18,160
Speaker 1: tries to like diversify and make like a makeup company.

1006
01:13:18,920 --> 01:13:23,880
Speaker 1: Take that, Kylie, and so Jenna not Minogue. We like

1007
01:13:24,040 --> 01:13:26,320
Speaker 1: Kylie Minogue. You know, you can like Killy Jenner too.

1008
01:13:26,400 --> 01:13:29,880
Speaker 1: I don't. I don't think I know enough about her

1009
01:13:30,040 --> 01:13:34,200
Speaker 1: to actually care about her. I just thought it was funny.

1010
01:13:34,240 --> 01:13:39,520
Speaker 1: And also she lied about being like a millionaire. Anyway,

1011
01:13:39,680 --> 01:13:44,880
Speaker 1: So World War two is coming, and it comes, and

1012
01:13:45,439 --> 01:13:50,840
Speaker 1: Buddy Rogers volunteers and he's a pilot in the Navy.

1013
01:13:50,880 --> 01:13:55,120
Speaker 1: And while he's out doing that, she adopts two kids. Right,

1014
01:13:56,160 --> 01:13:59,960
Speaker 1: she just goes to an orphanage, adopts a six year

1015
01:14:00,040 --> 01:14:04,120
Speaker 1: old boy, and then not even a full year, she

1016
01:14:04,200 --> 01:14:08,360
Speaker 1: then adopts this infant, this little girl and names her

1017
01:14:08,520 --> 01:14:13,400
Speaker 1: Roxy like he's on duty with the navy. And she

1018
01:14:13,439 --> 01:14:15,599
Speaker 1: didn't tell them that they had a six year old

1019
01:14:15,600 --> 01:14:19,799
Speaker 1: boy and a baby now, and so I'm not sure

1020
01:14:19,840 --> 01:14:24,880
Speaker 1: that that's that's the best idea. And they're older now,

1021
01:14:25,000 --> 01:14:32,040
Speaker 1: like she's what fifty one at that point, and yeah,

1022
01:14:32,200 --> 01:14:35,559
Speaker 1: kids need a lot more than just being in a house.

1023
01:14:37,120 --> 01:14:43,520
Speaker 1: But yeah, he's just like cool. I guess that's fine,

1024
01:14:43,640 --> 01:14:47,120
Speaker 1: and he's like really good. Out of all of her husbands,

1025
01:14:47,160 --> 01:14:50,240
Speaker 1: he's probably the best. I say, probably he was the best.

1026
01:14:50,320 --> 01:14:55,719
Speaker 1: And like she's getting mean, right, so she's drinking again,

1027
01:14:55,880 --> 01:14:58,280
Speaker 1: and sometimes she would call him Douglas. Now whether or

1028
01:14:58,360 --> 01:15:00,479
Speaker 1: not that was deliberate or whether that was because she

1029
01:15:00,560 --> 01:15:06,559
Speaker 1: wanted to upset him hymns to say, but like she

1030
01:15:06,680 --> 01:15:09,360
Speaker 1: would like straight up scream at him at parties. Like

1031
01:15:10,200 --> 01:15:13,480
Speaker 1: now she is spiraling, like she's strung as points she's

1032
01:15:13,760 --> 01:15:16,160
Speaker 1: she has a disagreement with Helen Keller because she was

1033
01:15:16,160 --> 01:15:21,880
Speaker 1: supposed to do this like fund for children deaf and

1034
01:15:21,920 --> 01:15:24,479
Speaker 1: blind children, and there was also supposed to be like

1035
01:15:25,760 --> 01:15:28,320
Speaker 1: so thing and it didn't happen, and then Helen Keller

1036
01:15:28,720 --> 01:15:32,280
Speaker 1: pick came an issue. She ends up like kicking her

1037
01:15:32,320 --> 01:15:34,320
Speaker 1: best friend out of her house, like things are just

1038
01:15:34,400 --> 01:15:39,679
Speaker 1: not going well, but like but she's still like seeing

1039
01:15:39,680 --> 01:15:41,640
Speaker 1: people and she still kept kind of doing things, like

1040
01:15:41,680 --> 01:15:48,360
Speaker 1: she meets familiar Earhart, she meets like the Eisenhower's, Like

1041
01:15:49,800 --> 01:15:56,519
Speaker 1: she just does like all this stuff, and like she

1042
01:15:56,680 --> 01:16:00,400
Speaker 1: ends up selling her last like piece of Stock and

1043
01:16:00,520 --> 01:16:05,280
Speaker 1: United Artists in nineteen fifty six. That's when she's sixty four,

1044
01:16:05,320 --> 01:16:09,080
Speaker 1: and that's like her last connection to like her and

1045
01:16:09,120 --> 01:16:12,840
Speaker 1: the movies, and so she starts focusing more on her

1046
01:16:12,920 --> 01:16:18,080
Speaker 1: charity work, right, So she ends up working like serving

1047
01:16:18,200 --> 01:16:22,400
Speaker 1: with like the Eisenhowers on the White House Conference on

1048
01:16:22,520 --> 01:16:26,240
Speaker 1: Aging and her and Mamy like they're traveling across the

1049
01:16:26,360 --> 01:16:31,759
Speaker 1: US selling saving bonds for a while. And when she's

1050
01:16:31,800 --> 01:16:34,760
Speaker 1: sixty nine, so four years after this, she gets an

1051
01:16:34,880 --> 01:16:41,200
Speaker 1: honorary Doctorate of Humanities from Middlebury College for basically all

1052
01:16:41,240 --> 01:16:44,160
Speaker 1: of her good work in her charity work, and a

1053
01:16:44,240 --> 01:16:46,799
Speaker 1: year later she gets one from Emerson College in Boston,

1054
01:16:47,800 --> 01:16:52,120
Speaker 1: and basically they're talking about all of the good shit

1055
01:16:52,280 --> 01:16:55,639
Speaker 1: she did, and so all the work she's done for

1056
01:16:55,760 --> 01:16:58,000
Speaker 1: like all of her charity work, all the done work

1057
01:16:58,040 --> 01:17:00,720
Speaker 1: she's done for agism, and all of the work she

1058
01:17:00,760 --> 01:17:12,600
Speaker 1: did in the industry. So she was just like like

1059
01:17:12,840 --> 01:17:18,080
Speaker 1: raising money for like ambulances during the World War and everything.

1060
01:17:18,120 --> 01:17:25,200
Speaker 1: Like she's doing all this stuff, and so the artist

1061
01:17:25,320 --> 01:17:29,559
Speaker 1: really fun that she starts. You know, it's basically that

1062
01:17:29,600 --> 01:17:31,920
Speaker 1: sort of charity that she creates where people, you know,

1063
01:17:32,520 --> 01:17:34,759
Speaker 1: certain actors, they would have to donate like one percent

1064
01:17:34,840 --> 01:17:39,200
Speaker 1: of their salary to go towards like the unemployed actors,

1065
01:17:39,240 --> 01:17:43,160
Speaker 1: like your cameramen, your lighting dudes, all that shebang, and

1066
01:17:43,240 --> 01:17:47,200
Speaker 1: so like she would also do like radio benefits. And

1067
01:17:47,240 --> 01:17:55,720
Speaker 1: then right the emotion Picture Country Home. It basically you know,

1068
01:17:55,760 --> 01:17:58,640
Speaker 1: had a screening room Innute as well, and so it

1069
01:17:58,760 --> 01:18:03,320
Speaker 1: was built as a for aging actors to live, and

1070
01:18:03,400 --> 01:18:06,840
Speaker 1: it also had a hospital that was added to it.

1071
01:18:07,120 --> 01:18:13,080
Speaker 1: And Mary Pickford is the you know, the founder of

1072
01:18:13,120 --> 01:18:21,960
Speaker 1: this and she was also she also helped create a

1073
01:18:22,040 --> 01:18:27,120
Speaker 1: Jewish retirement home. And basically she admits to hers to state, well,

1074
01:18:27,200 --> 01:18:29,400
Speaker 1: to everybody, she admits that she did this, but basically

1075
01:18:29,720 --> 01:18:35,080
Speaker 1: she made some incensitive remarks towards a Jewish actress and

1076
01:18:35,840 --> 01:18:41,080
Speaker 1: basically it was, you know, she said something anti semitic

1077
01:18:41,120 --> 01:18:43,200
Speaker 1: at one point, but then she was like, I need

1078
01:18:43,240 --> 01:18:46,240
Speaker 1: to fix this shit because that wasn't cool. And so

1079
01:18:46,280 --> 01:18:50,519
Speaker 1: she invests in ensuring that these Jewish people like who

1080
01:18:50,520 --> 01:18:53,600
Speaker 1: have been in the entertainment industry, that they have the

1081
01:18:53,680 --> 01:18:57,840
Speaker 1: appropriate care that they need. And so she wanted to

1082
01:18:57,840 --> 01:19:03,439
Speaker 1: make sure that she was able to do this, and yeah,

1083
01:19:03,680 --> 01:19:06,720
Speaker 1: at least she did the fucking right thing. In the end,

1084
01:19:06,800 --> 01:19:14,320
Speaker 1: and I think that's important now. The very last time

1085
01:19:14,360 --> 01:19:19,080
Speaker 1: that she's out in public was there was a Mary

1086
01:19:19,200 --> 01:19:23,120
Speaker 1: Pickford like film retrospective and it was held in Paris,

1087
01:19:23,880 --> 01:19:29,360
Speaker 1: and the French government invited her over and she's seventy

1088
01:19:29,439 --> 01:19:33,559
Speaker 1: three at this point, and they showed fifty of her

1089
01:19:33,600 --> 01:19:37,200
Speaker 1: movies at the proper speed because like what had been

1090
01:19:37,240 --> 01:19:39,200
Speaker 1: happening is it had been shown, and that sort of

1091
01:19:39,320 --> 01:19:43,160
Speaker 1: quickened speed and it again she didn't appreciate that. And

1092
01:19:43,200 --> 01:19:47,120
Speaker 1: then she saw her acting being appreciated as it was

1093
01:19:47,200 --> 01:19:52,720
Speaker 1: meant to be shown, and nobody left. Everybody wantched her

1094
01:19:52,800 --> 01:19:58,920
Speaker 1: do this. Everybody love and appreciated and enjoyed her work,

1095
01:19:59,120 --> 01:20:02,400
Speaker 1: and that meant and so much to her more than

1096
01:20:02,439 --> 01:20:08,800
Speaker 1: anything else had. And this was an amazing thing for her.

1097
01:20:10,760 --> 01:20:14,519
Speaker 1: And after this, this is where she starts becoming withdrawn

1098
01:20:17,160 --> 01:20:21,880
Speaker 1: basically for the next I think it's fifteen years, and

1099
01:20:23,880 --> 01:20:29,040
Speaker 1: she just sort of pulls away, sort of hermits herself,

1100
01:20:29,280 --> 01:20:35,599
Speaker 1: and she went from being this huge star to being

1101
01:20:35,760 --> 01:20:38,920
Speaker 1: forgotten effectively. And that's It's kind of one of the

1102
01:20:38,960 --> 01:20:41,400
Speaker 1: reasons I wanted to do this month, because I know

1103
01:20:41,479 --> 01:20:44,280
Speaker 1: I talk about like big horrible things quite a lot

1104
01:20:44,320 --> 01:20:47,839
Speaker 1: of the time, and when it comes to women's history,

1105
01:20:47,960 --> 01:20:52,559
Speaker 1: I think it's too easy to forget people, because people

1106
01:20:52,640 --> 01:20:56,200
Speaker 1: is what makes history. And when it comes to someone

1107
01:20:56,200 --> 01:21:00,519
Speaker 1: like Mary Pickford, she did so much to create the industry.

1108
01:21:01,439 --> 01:21:03,800
Speaker 1: And I'm not creative, but like create the industry we

1109
01:21:03,840 --> 01:21:06,680
Speaker 1: know today, even in how she was instrumental in so

1110
01:21:06,760 --> 01:21:14,400
Speaker 1: much of it and it destroyed her. And I think

1111
01:21:14,400 --> 01:21:17,400
Speaker 1: we should appreciate people for their art, especially when they

1112
01:21:17,479 --> 01:21:22,479
Speaker 1: work to better themselves, and she really did with you know,

1113
01:21:22,520 --> 01:21:24,800
Speaker 1: she wanted to make sure that other people were cared for.

1114
01:21:24,920 --> 01:21:29,080
Speaker 1: And I think that's the most beautiful thing. And we

1115
01:21:29,760 --> 01:21:33,240
Speaker 1: dismiss her, and we dismiss so many people, and we

1116
01:21:33,360 --> 01:21:37,360
Speaker 1: act like art isn't important, when like, when people have

1117
01:21:37,400 --> 01:21:40,960
Speaker 1: the opportunity to create, they do and we get to

1118
01:21:40,960 --> 01:21:43,840
Speaker 1: appreciate it and love it. And I think that it's

1119
01:21:44,640 --> 01:21:53,840
Speaker 1: just gorgeous really. And over the years, you know, we

1120
01:21:53,880 --> 01:21:55,360
Speaker 1: see all this stuff in the hold, Like I remember

1121
01:21:55,520 --> 01:21:58,280
Speaker 1: I was in the Hollywood River Cemetery in Douglas, Fairbanks.

1122
01:21:58,280 --> 01:22:05,560
Speaker 1: It's this massive fucking marble. It just bothers me anyway.

1123
01:22:05,600 --> 01:22:14,519
Speaker 1: But when she's eighty four in nineteen seventy six, she

1124
01:22:14,800 --> 01:22:21,960
Speaker 1: receives an honorary Oscar for her contribution to the moving

1125
01:22:22,000 --> 01:22:28,640
Speaker 1: picture industry. And like it's interesting though, because like they

1126
01:22:28,680 --> 01:22:31,759
Speaker 1: film her in her house and she's wearing this wig

1127
01:22:32,479 --> 01:22:35,080
Speaker 1: and you can see her movements as she's still doing

1128
01:22:35,120 --> 01:22:41,719
Speaker 1: that sort of very Mary Pickford moves and her speech

1129
01:22:41,840 --> 01:22:46,960
Speaker 1: is a little sort of slurred, and it feels quite

1130
01:22:47,720 --> 01:22:50,240
Speaker 1: I don't want to say predatory, but like it feels

1131
01:22:50,320 --> 01:22:53,360
Speaker 1: very manipulative. And it caused a huge backlash because people

1132
01:22:53,400 --> 01:22:55,320
Speaker 1: were like, how dare you do this those women, because

1133
01:22:56,160 --> 01:23:01,320
Speaker 1: you know she's clearly you know, advanced in years and

1134
01:23:01,439 --> 01:23:07,760
Speaker 1: that's that's how they are, and and like they're not

1135
01:23:07,800 --> 01:23:11,040
Speaker 1: wrong because her mental health was declining so much and

1136
01:23:11,080 --> 01:23:17,439
Speaker 1: she was not always lucid, Like Douglas Fairbanks Junior would

1137
01:23:17,479 --> 01:23:20,360
Speaker 1: come visit her and she would think that she's talking

1138
01:23:20,560 --> 01:23:24,360
Speaker 1: to his dad, you know, and she'd forget and she'd

1139
01:23:24,400 --> 01:23:27,960
Speaker 1: be she'd forget she wasn't married Douglas scare Banks anymore,

1140
01:23:27,960 --> 01:23:31,839
Speaker 1: and she'd forget that she was married to Charles Buddy Rogers.

1141
01:23:31,920 --> 01:23:39,439
Speaker 1: And Buddy did his best to care for her at

1142
01:23:39,479 --> 01:23:42,320
Speaker 1: this point, like he stayed married through all this, and

1143
01:23:42,479 --> 01:23:48,440
Speaker 1: he does his best. He's got staff he's trying, and

1144
01:23:48,600 --> 01:23:54,120
Speaker 1: he cared for her until the end. But then on

1145
01:23:54,160 --> 01:23:58,799
Speaker 1: the twenty seventh of May nineteen seventy nine, she suffers

1146
01:23:58,840 --> 01:24:04,599
Speaker 1: a stroke and is rushed in hospital. Two days later.

1147
01:24:05,040 --> 01:24:10,120
Speaker 1: She passes away on the twenty ninth of May nineteen

1148
01:24:10,479 --> 01:24:15,120
Speaker 1: seventy nine as a result of complications from the stroke.

1149
01:24:20,840 --> 01:24:24,840
Speaker 1: She is interred in a locked section of Forest Lawn Cemetery.

1150
01:24:27,240 --> 01:24:30,639
Speaker 1: Her mother, Charlotte, her sister Lottie, and her brother Jack

1151
01:24:31,040 --> 01:24:35,960
Speaker 1: had been interred there previously. Now a lot of her

1152
01:24:36,720 --> 01:24:39,080
Speaker 1: like a lot of her money, a lot of everything

1153
01:24:39,080 --> 01:24:40,840
Speaker 1: that she had that she was a trust that was

1154
01:24:40,880 --> 01:24:44,000
Speaker 1: set up for her niece Gwynn's kids, So like that

1155
01:24:44,160 --> 01:24:46,280
Speaker 1: was there, and then a few things were you know,

1156
01:24:46,320 --> 01:24:49,000
Speaker 1: given to like the Smithsonian and stuff, and then a

1157
01:24:49,000 --> 01:24:51,600
Speaker 1: lot of the other stuff was just sold, you know,

1158
01:24:53,000 --> 01:24:55,560
Speaker 1: And a lot of her work has just been destroyed

1159
01:24:55,560 --> 01:25:00,040
Speaker 1: over the years, sometimes by you know, like the it

1160
01:25:00,240 --> 01:25:06,040
Speaker 1: was old film was flammable, and so stuff will just

1161
01:25:06,080 --> 01:25:09,960
Speaker 1: get destroyed by air and then sometimes by combusting. It's

1162
01:25:10,680 --> 01:25:13,000
Speaker 1: a whole thing. But if you do get to watch

1163
01:25:13,160 --> 01:25:18,040
Speaker 1: some of Mary Pickford's stuff, it's it's so good when

1164
01:25:18,080 --> 01:25:22,720
Speaker 1: you actually see how she moves. It's not pantomime, it's

1165
01:25:23,120 --> 01:25:27,720
Speaker 1: it's acting, but just without the words. But so ends

1166
01:25:27,760 --> 01:25:31,120
Speaker 1: the story of Mary Pickford, and I do hope that

1167
01:25:31,160 --> 01:25:37,439
Speaker 1: you'll get to see her stuff at some point. And yeah,

1168
01:25:37,560 --> 01:25:44,480
Speaker 1: I guess it's time for recommendations. So for watching Sparrows,

1169
01:25:44,760 --> 01:25:48,639
Speaker 1: watch the Sparrows. It's just you can. You can still

1170
01:25:48,680 --> 01:25:50,880
Speaker 1: find it. The still clips, I think, so watch that.

1171
01:25:52,080 --> 01:25:57,639
Speaker 1: For reading. For reading, okay, the Seven Husbands of Evelyn,

1172
01:25:57,720 --> 01:26:00,400
Speaker 1: you go, just I just think it's a it's a

1173
01:26:00,400 --> 01:26:03,879
Speaker 1: good little, good little trick for you. And for listening,

1174
01:26:04,080 --> 01:26:06,760
Speaker 1: you know what, I am still listening to House Tour

1175
01:26:06,840 --> 01:26:10,360
Speaker 1: by Sabrina Carpenter. I think it's a pop I don't care.

1176
01:26:11,120 --> 01:26:13,240
Speaker 1: And with that, I'm going to beg you good evening.

1177
01:26:13,760 --> 01:26:17,840
Speaker 1: Adios au Revoir of Weaz My Friends, Bye Bye,