FILM INDUSTRY

Evening Star, Issue 19659, 12 September 1927, Page 14

FILM INDUSTRY

WOMEN AT HOLLYWOOD Many women in America Lave solved tlio modern girl’s problem of how to combine marriage and career, but none so successfully as the women working in the film industry. In some measure this is duo to their salaries, which are often as fabulous as reports make them out; but it follows also upon the fact that men and women have worked side by side at this profession since its beginning, in every branch of it,. and with complete equality. There was no prejudice to live down first, no bitter light to make pay equal. In some branches, indeed, women make up 75 per cent, of the personnel (writes Ellen A\ inter, in the * Manchester Guardian ’). Few people realise what an enormous staff of people is employed besides the actors and actresses. When t lunched at tlio Metro-Goldwyn studio recently, the place was full—about two hundred people sat there—and only two wore actresses. Directing and photography arc the only sections which women have not vet entered in largo numbers, though !n a recent German film, ‘Aftermath, much of the camera work was done by a woman. At Hollywood there has been only one outstanding woman director, Lois 'Weber, who retired some iimo ago with a nervous breakdown and two million dollars, but has recently come back. Somc_ stars have at one time or another directed their own pictures, but all gave it up after the first attempt, and there is only one other woman recently promoted to a directorship. This is Miss Dorothy Arzner, an attractive, young, darkhaired and very capable-looking girl, who is at present at work on her second film, ‘Ten Modern Commandments,’ for Famous Flayers. The first she directed was ‘ Fashions for'Women.! Miss Arzncr, after driving an ambulance in France, started seven yearn ago at Hollywood, at the bottom of the ladder, as script girl for Director James Crime. In those seven years she has done most of the work called for on a studio lot—cutting, titling, writing, editing, oven acting. As I watched her at work with her megaphone it was clear to me, why few women have taken to this job. The work is incredibly strenuous, everything and everybody has to he watched at the same time, scenes sot, costumes judged, actors directed. A set may ho prepared for an hour, rehearsed, considered, changed. The filming is done in a few seconds, hut if ono thing .is wrong—background, lighting, expressions, movement—the whole thing has to be gone over again. Often the werrk goes on far into the night, and when, tired out, tlio workers might be expected to be allowed some rest, they go into the projection room and see the “rushes” of tho last day’s work. Tlio director must judge whether it will do, can he doctored, should be cut, or will have all to he retaken the nest day. Maybe a dress has not photographed as the director hoped. In suite of previous “ tests ” of face and costume, this sometimes happens; then costumier, designer, and actress have to bo consulted and a different dress arranged for. Innumerable _ and countless are tho conscientious tasks, and, as Miss Weber herself said, only those until a man’s—and a strong man's—physique, and exceptional organising powers, can stand it. But if they can, some people are of opinion that women directors arc even bolter than men. Their appreciation of detail, their sympathy and .understanding of other women, help tho actress. It was interesting to watch Esther Balslon’s quiet coniidcneo in Miss Arzncr as she canned out her instructions. .Miss Weber has the making of several slam to her credit. It is not only tlio directors who workhard at Hollywood, however. With all tho accounts of frivolity and high living one reads, it is amazing to find these people among the hardest working of any profession. Actresses are best off because there is usually an i interval between pictures when they can rest; but scenarists, dramatists, continuity-writers, readers, designers, research-workers have to"' bo on the job practically all tho iimo. While one picture is under way they have to be preparing the next._ All studios aie always behind on their schedule. It is this hard work which makes the most longed-for and dreamed-of holiday for the movie-worker a long tranquil vacation in Europe—in some quiet spot if Italy or an old house in fcurrov. ** It’s eleven years since I Pad a holiday!” said one girl of about twenty nine, whose salary is quoted at £6O a week. Another writer, married to an editor working on the same Jot, said she was raising her prices and working longer all the time because she wanted to make enough to retire early. “ Only it’s difficult,” she said, “ because rim more yon make the more you are expected to spend.” This couple pays I £IOO a mouth rent for a. medium-sized house, £BO a month in wages to three servants, and they have to spend large sums on entertainment and clothes ami automobiles, just to “ hold down their jobs.” “f. hardly feel my house is my home,' 1 said this woman. “I am like a guest there; I have nothing to do with its management or its running.” She was looking forward tu domestic Bliss on the Italian Riviera. Some more fortunate writers can do their work at home. Frances Marion, the highest paid of all the scenariowriters, has a hahv which she does not die to’ let out of her sight, ;»nd she does much of her work in her magnificent house at the top of Beverley Hi,is. Many of the workers, mainly actresses, have several houses, a ranch, and one or two beach palaces, as well ns the one in town. Tho beach house lately built for Marion Davies contains thirty-sepen room'. Most of the Hollywood: houses are beautifully designed, and |xue exquisite gardens. H it: they aie riot ea.red lightly.