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Mary Pickford (1893-1979)

  1. Mae Marsh, Man's Genesis, 1912.     Known variously as Little Mary and The Glad Girl, the Canadian-born Pickford was incensed when (horror of   horrors!) a non-stage-trained girl took her place. And all because Little Mary refused to wear a little grass skirt.
  2. Mae Marsh, The Sands of Dee, 1912.     When Mae replaced her again, The Girl With The Curls showed her claws and quit Biograph in fury and returned to Broadway.   Mae remained among silent movie director DW Griffith's favourite actresses - starring in The Birth of a Nation and Intolerance, 1915-1916
  3.  Lotte Pickford, The Diamond in the Sky, 1915.    Back in movies at Adolph Zukor's Famous Players, Pickford's salary rose from $500 to $2,000 a week when the American Film Company offered her double for this serial.   It went to her sister (at less money) as Zucker increased Mary to $10,000 a week!   She always eyed Chaplin's income.   "There's no doubt," said Zukor, "about the cash register nature of a segment of her brain."   To keep her happy - and him - he formed The Mary Pickford Studio, guaranteeing her $1,040,000 for two years plus extra perks. So, now they called her... Goldilocks!   And not just because she was still playing teenagers - at age 23.
  4. Mary Miles Minter, Anne of Green Gables, 1919.      Pickford was forming, United Artists, with Chaplin and her husband Douglas Fairbanks. Adolphe Zukor introduced MMM to William Desmond Taylor... and a scandal of sex, drugs,   and murder was born.   Pickford retired in 1934, having made an astonishing 248 films in 25 years!
  5. Charlotte Henry, Alice In Wonderland, 1933.       Colour tests were made when Mary offered to finance Disney and star (in a live-action and animation production). Paramount beat them to the rights and announced a version for Gary Cooper, Cary Grant and WC Fields.. Mary was then... 41. From the usual “more than 7,000 applicants” (yeah, sure), the short-listed few were Henry, Marge Champion, Paulette Goddard, Betty Grable, Ida Lupino, Anne Shirley. And Sue Kellog, who became Henry’s stand-in - her one and only movie credit.
  6. Judy Garland, The Wizard of Oz, 1938.
  7. Dolores Costello, The Magnificent Ambersons, 1941.     Realising Pickford was not right, Orson Welles coaxed Dolores, The Goddess of the Silent Screen, out of retirement.   Once wed to John Barrymore (making her Drew Barrymore’s grandmother), Costello made one more film and quit - her skin suffering   from   harsh studio make up.
  8. Irene Dunne, Life With Father, 1946.  Who knew Pickford, said the Warner suits. OK, she won the rights to the Broadway hit, even agreed to test but, hell,  she hadn’t made a movie for 13 years!  Yet they weren’t alarmed about William Powell, as her manipulated husband, when he’d been off-screen for the nine years since  the tragically early death of his lover, Jean Harlow. Director Michael Curtiz agreed that Dunne had more box-office pull (in her only colour film), although he really wanted Bette Davis.
  9. Gloria Swanson, Sunset Blvd, 1949.     After Mae West, Pola Negri refused, Director Billy Wilder and his co-writer, Charles Brackett, went shopping - at Pickfair, the famous abode of Pickford and Douglas Fairbanks Snr. Halfway through their pitch,   she looked as if she were saying: "Are they mad? I am to play a woman who seduced a young writer 20 years younger and gives him presents." They halted: "Miss Pickford, we are in grave error. Forgive us." And they backed out of her presence, her house, her life. Another version of the legend has her loving it - if she had full control of the production as per the old days. In short, Mary, who had retired after a trio of "costly and disheartening" flops in 1933, was still big.   Only the pictures had got small.
  10. Bette Davis, Storm Center, 1956.    America’s Sweethedart spent time honing The Library for another her comeback venture. Then, it passed to Barbara Stanwyck as Circle of Fire. Until Bette Davis' eyes fell on the librarian brandished a Commie   for not banning a particular book.
  11. Rita Hayworth, Miss Sadie Thompson, 1953.    America’s Sweetheart  wanted to be America’s ex-hooker. No one  else did. She still clung to her rights to the W Somerset Maugham story for eons… although she had made her 251st and last film in 1932.

 





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