Douglas Fairbanks 9780520256675

Table of contents :
Frontmatter
Prologue (page 1)
A Bad Case of St. Vitus' Dance (page 9)
The Machine for Escape (page 25)
Doug: Hero and Popular Philosopher (page 41)
Pickfair (page 59)
United Artists (page 71)
Making His Mark: The Mark of Zorro (1920) (page 93)
The Great Leap: The Three Musketeers (1921) (page 105)
Sealing the Heights: Douglas Fairbanks in Robin Hood (1922) (page 125)
Apogee: The Thief of Bagdad (1924) (page 153)
The Son Also Rises: Don Q Son of Zorro (1925) and Douglas Fairbanks Jr. (page 183)
Derring-Do: The Black Pirate (1926) (page 203)
Darkness Falls: Douglas Fairbanks as The Gaucho (1927) (page 227)
Hail and Farewell: The Iron Mask (1929) (page 249)
Sound and Fury: Taming of the Shrew (1929) and Marital Strife (page 269)
Sliding Downhill (page 283)
Notes (page 309)
Douglas Fairbanks Filmography (page 323)
Douglas Fairbanks's Broadway Appearances, 1902-1915 (page 337)
Bibliography (page 341)
Acknowledgments (page 355)
Index (page 357)

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sometimes occurred at Pickfair’s California rival to the north, William

Randolph Hearst’s “ranch” at San Simeon. At Pickfair, dinner was at eight, and the host and hostess were in bed by 10:30 P.M. If one wanted a nightcap, one only had to ring, and a member of the staff of fifteen would provide a warm cup of milk. As for the hosts, despite this glittering array of visitors, they only truly reveled in the reflective glow of one another. They often referred to each other by their pet names: Hipper, for her, and Duber, for him. Fairbanks’s need to be close to her bordered on the obsessive; at dinner, whether it be at Pickfair or elsewhere, he insisted he always be seated next to her. In addition, he requested that she let him know her planned destination whenever she left the house, and he forbade her to dance with any other man. Pickford was dazzled by the energy with which Fairbanks tackled life, often sitting silently by his side at the dinner table as he expounded, in his peculiarly percussive speech pattern, on whatever subject had caught his momentary interest. For his part, Fairbanks was never happier; he was as much in love with another person as his personality allowed him to be. Just as Beth Sully had been to him earlier, Mary was an anchor of stability—keeping him safely grounded during particularly precarious flights of fancy; she was Wendy to his Peter Pan. But more than that, Pickford represented true success for him. Though he had been a hugely popular star before their nuptials, his marriage to Pickford catapulted him to heights he never would have attained without her. Having her as his wite satiated the aching hunger within him

) to believe that he was worthy. If the biggest star in the world could love him, then, he reasoned, he must indeed be more than worthy. She was the ultimate trophy wife. On some level, he knew this, and he made up for it by cherishing her in the most loving and generous way possible. As the influence of the most famous couple in the world grew, so did the community around them. In 1919, when Fairbanks acquired the property, construction in the city of Beverly Hills totaled $300,000. The following year, the figure reached almost $2 million." As the “first” citizens of Beverly Hills, Pickford and Fairbanks took their civic responsibilities seriously, participating in all the large community events

Doug and Mary at Pickfair, 1920. “Mary and Doug were treated like royalty and in fact behaved in the same sort of dignified way that royalty did,” Lord Mountbatten remembered. “They also filled the role of running the very loose sort of society there would have been in Hollywood in those days. They were a great unifying force’ Doug and Mary enjoy the canoe run at Pickfair, 1920.

PICKFAIR | 67

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actor; he saw himself as a unique cinema personality, athlete, and dancer with a flawless sense of screen rhythm, grace, and movement. Cognizant of his own limitations, he began to employ individuals who had claims to artistry. The Mark of Zorro opened the door to opportunity, and Fairbanks leaped at the chance. By 1921, Fairbanks had been making movies for six years, and his restlessness could no longer be contained. Film critic and historian Richard Schickel observed: It seems that he wanted to exert himself as what would later be

termed, somewhat derogatorily, a “creative producer” in order to compensate for the narrowness of his range.... He appears to have loved the process of mounting his increasingly elaborate films, absorbing himself in the million-and-one details of the work. It was man’s work—business—in the age when business was

said to be the business of America, and it appears to have greatly pleased him to set hundreds of craftsmen to work on projects that would, ultimately, employ similar numbers of players.’

To mount the first of these lavish productions, Fairbanks looked no further than his United Artists partner D. W. Griffith for a model. Griffith was renowned for establishing the period and characters of his films through delicately interwoven subplots that converged in a spectacular climax. Fairbanks wanted to emulate him by creating a sim-

, ilarly majestic structure for the Dumas classic. The first film version of the novel, I tre moschettieri (agog), was produced in Italy and received international distribution. There were several other versions in the silent era, most notably Thomas H. Ince’s American production, __ D’Artagnan (1916) (rereleased in 1921 under the title The Three Musketeers in order to capitalize on the success of Fairbanks’s film), and Henri Diamant-Berger’s French version, Les trois mousquetaires (1921).

However, Fairbanks had an emotional connection to the character that , these filmmakers had not. D’Artagnan was his touchstone; he looked to the exuberant Gascon youth as his ideal screen self. The character Fairbanks so closely identified with his creative fantasies was based on Charles de Batz-Castlemore. Born in Gascony in 1623, he traveled to Paris as a youth, adopted the name of Sieur d'Artagnan, and served in the king’s elite Mousquetaires de la Garde (Musketeers of the Guard) until his death at the siege of Maastricht in 1673. Memorialized by the French novelist Gatien de Courtilz de Sandras in Mémoires de M. dArtagnan (1700), he found immortality with the French novelist and dramatist Alexandre Dumas pére, who wove d’Artagnan into his historical romances Les trois mousquetaires (The Three Musketeers)

THE THREE MUSKETEERS 107

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D’Artagnan was a role Fairbanks was born to play. Audiences had already had a tantalizing glimpse of his d'‘Artagnan in A Modern Musketeer; now, like the character he was about to immortalize, he was poised to take the leap wholly and without compromise. To ensure that this leap would be a successful one, he set about employing gifted collaborators who aspired to artistry. He once again turned to Fred Niblo, who had directed The Mark of Zorro, to helm the production. Perhaps his most significant choice for The Three Musketeers was to enlist the services of his old friend Edward Knoblock, the American-born British playwright, scenarist, and novelist best known for his play Kismet (1911),

THE THREE MUSKETEERS 108

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who happened to be an authority on French history and the culture of the reign of Louis XIV. (In addition to preparing the screen adaptation from Dumas’s novel with Fairbanks, Knoblock supervised the scenery and costumes.) The screenplay ultimately used was greatly simplified and confined itself to the episode involving the queen’s diamond brooch. Another significant alteration was d'‘Artagnan’s love interest, Constance Bonacieux, who becomes the niece, rather than the wife, of M. Bonacieux in order to avoid problems with film censors. Furthermore, Constance is spared the death she suffers in the novel in order to provide the film its requisite happy ending. In the film, she is reunited with d’Artagnan by Cardinal Richelieu, who serves as the deus ex machina and facilitates d’Artagnan’s reunion not only with Constance but with his beloved three musketeers. Lotta Woods was the scenario editor, sifting through the nearly 1,500 volumes Knoblock and Fairbanks reportedly collected for the production. Arthur Edeson was employed as cinematographer. Previously, he had been chief cinematographer for the actress Clara Kimball Young. Fairbanks had been impressed by Edeson’s work on Young's film For the Soul of Rafael (1920) and signed him to a contract. Edeson was the cinematographer for three of Fairbanks’s biggest films (The Three Musketeers, Douglas Fairbanks in Robin Hood, and The Thief of Bagdad), and his credits include such classic or important early films as Stella Dallas (1925), The Lost World (1925), The Big Trail (1930), Frankenstein (1931), The Invisible Man (1933), Mutiny on the Bounty (1935), The Maltese Falcon

THE THREE MUSKETEERS 109

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(1941), and Casablanca (1942). Reflecting upon his association with Fairbanks, Edeson later remarked, “To anyone who worked with him, moviemaking today seems prosaic and cramped by comparison.” Fairbanks gathered a fine cast; the assemblage appears more impressive in retrospect, because several of the actors went on to achieve greater fame, their career opportunities greatly expanded by their association with Fairbanks. The principals included Marguerite de la Motte as Constance Bonacieux, Léon Bary as Athos, George Siegmann as Porthos, Eugene Pallette as Aramis, Mary MacLaren as Anne of Austria, Barbara La Marr as Milady de Winter, Nigel de Brulier as Cardinal Richelieu, and Adolphe Menjou as Louis XIII. And then, of course, there was Fairbanks himself, who with convic-

tion and absolute sincerity believed himself to be the ideal d’Artagnan. Fairbanks had remembered the character of d’Artagnan from an idealized perspective of youth. When he was confronted with the reality of the Dumas character, however, he was a bit taken aback. Fairbanks , recalled: You know if you get right down to cases, that fellow [d’Artagnan] was a brute and a bully. He went around picking quarrels with ev-

erybody and killing folks who hadn't done anything to get killed

for....It was hard to make a picture out of him. It sounded all right in the book, but when you showed it in the picture you had to show men being run thru with swords and dying . . . that could have been a horrible thing. We steered away from the idea that he was killing people and that the people were dying by always giving his fights a comic finish.*

The bullyboy d’Artagnan was thus softened to make the character more palatable to audiences—and more palatable to the actor. More to the point, d'Artagnan was made to fit the personality and idealized characteristics of Douglas Fairbanks rather than the other way around. Instead of delving into the more unpleasant aspects of d’Artagnan, the fourth musketeer, Fairbanks eliminated these qualities and replaced them with the familiar “Doug” characteristics that audiences had come to expect. In this respect, d‘Artagnan emerges as a sort of “French Cowboy, as one reviewer described him, rather than the unrepentant Gascon upstart of Dumas’s novel.’ No doubt this assessment pleased Fairbanks at the time, given his penchant for all things western. However, it was such compromises that made Fairbanks dissatisfied with the film just a few years later, which partly provided the impetus to revisit the character in The Iron Mask.°

THE THREE MUSKETEERS 111

Whereas The Mark of Zorro had been produced with caution and conservative production values, The Three Musketeers had lavish sets, a large

cast, and magnificent costumes. Edward M. Langley, the art director, went to great pains to make certain the settings, from d'Artagnan’s rustic Gascony home to Louis XIII’s ornate rooms, were reproduced as faithfully as possible, using etchings from historic books brought from all parts of the world to ensure authenticity.’ The Scottish sculptor William Hopkins was engaged to do the modeling for The Three Musketeers under the direction of Langley. An imitation bronze statue of Britain’s King Charles I standing five and half feet tall in the chambers of the Duke of Buckingham, a small detail justified as integral to the success of the film, was a source of pride among the artists of the production. Hopkins explained his methodology thus: “Much has been written about the attention paid to details in motion pictures but to my mind no reason has ever been given for it. Most properties play an inconspicuous part anyway and details may be slighted. However, in The Three Musketeers the properties stand forth so boldly that they must be absolutely historically correct, or their imperfections would be imme-

diately apparent.”® ,

The plot of the film presents high adventure against a fairly accurate historical background. In 1625, the royal court of France is the center of an elaborate game between the jealous and malleable King

Louis XIII and the devious and iron-willed Cardinal Richelieu. D’Artagnan, a young Gascon, arrives in Paris determined to fulfill his ambition of joining the musketeers, the king’s elite regiment of guards. He presents himself to de Tréville, captain of the musketeers, and is told he must first serve an apprenticeship elsewhere. He immediately involves himself in duels with the three best French swordsmen of the

day: Athos, Porthos, and Aramis. Skillfully defending himself in battle, he earns the friendship of the three musketeers and is immediately welcomed into their company. With equal speed, d’Artagnan wins the heart of the queen's pretty young seamstress, Constance. Cardinal Richelieu conspires to maneuver Anne of Austria, the queen, into a scandal with her paramour, the Duke of Buckingham, when he requests a token of remembrance since she will no longer permit him to see her. She gives him a diamond brooch that had been a gift from her husband, and he returns with it to England. Richelieu, seizing a golden opportunity to undermine the queens authority, suggests to the suspicious king that the queen wear the treasured jewel to an upcoming court ball. The queen enlists the king’s three musketeers—plus one—to embark on the treacherous journey across France to England to retrieve the trea-

THE THREE MUSKETEERS 112

roe thesruwen’s cue (Barbara Laff. Marr). [ot 0 06h, UU CSrr Seag se.chrmhlUcrcerrrhUrers~—~—~r—“(COC..dssi re oe Racer Fo eeeettcCi ici“ — rss—i‘C(‘COéOCHCCC—t—“‘“‘OCsCOSSS a

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sured brooch from Buckingham and save her honor. Richelieu, aware of her plan, assigns his guards, along with his spy, Milady de Winter, to thwart the musketeers in their mission. One by one, the musketeers are bested and, in the end, it is d'‘Artagnan alone who remains to secure the precious jewel and return it to his queen. D’Artagnan’s accomplishment of what was thought to be an impossible mission earns him the gratitude of the queen, the love of Constance, the lifelong animosity of the cardinal, and a commission into the ranks of the king’s musketeers. At the film’s conclusion, d’Artagnan is presented to Louis XIII before the whole court, his three loyal friends accompanying him. The motto of the bonshommes remained always, “One for All—All for One.”

When the seventeen-week production began in the spring of 1921, most—if not all—of Fairbanks’s team knew what lay in store. The Three

Musketeers utilized not one but two motion picture studios in Hollywood. The Douglas Fairbanks Studios was utilized for the small sets, while the adjacent Robert Brunton Studios (Paramount Pictures in the twenty-first century) was used for the elaborate interior scenes. All tallied, there were 116 actors, not counting extras, on the lots at any given time. Fairbanks was the dominant force, and although he treated his director well, he was the final arbiter. He needed someone to play off of, a sounding board, and, if need be, a scapegoat. As Douglas Fairbanks Jr. explained, his father’s directors were basically “Super-assistants. They were day-to-day, hour-to-hour coordinators and executives on the

THE THREE MUSKETEERS 113

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for the first time. He opened his eyes very wide and exclaimed, “My gosh! It’s astounding . . . it’s fantastic!”"

The towering castle set stood ninety feet high. When Fairbanks inspected the sets with his associates, what he saw did not seem conducive to intimacy or personality. Indeed, Fairbanks was appalled when he first saw the sheer size of his castle set; he initially believed he would be overwhelmed. “I can’t compete with that,” he told Dwan. “My work is intimate. People know me as an intimate actor. I can't work in a great vast thing like that. What could I do in there?” According to Dwan, Fairbanks threatened to abandon the production, but the director induced him to return to the studio one morning: I took him onto the set. About forty feet up, there was a balcony. I'd hung a big drape from the ceiling, sweeping down across that balcony to the ground. “Now,” I said, “you get into a sword fight with the knights, and they chase you up the stairs, battling all the way. You fight like mad, and you succeed in getting away, but as you run out onto the balcony, some more knights rush out of the door at the end and you're caught between them. You haven't a chance. So you jump on the balustrade, and you're fighting them—" And then I stopped talking. He said, “Yeah, then what do Ido?” I showed him. I climbed onto the balustrade and jumped into this drape. | had a slide, a kid’s slide, hidden inside it and I slid right down that curtain to the ground, with a gesture like he used to make, and I ran out through the arch to freedom. He bought it like that. “I'll do it!” he shouted. He immediately sent out for some people, ran up to the balcony, explained it to them, jumped in the drape and slid down. He did it a thousand times—like a kid.“

~The castle set was the creation of the supervising art director, Wilfred Buckland, who first worked for Fairbanks at Artcraft. Buckland came to film after working as David Belasco’s set designer on Broadway and later worked on pictures with Cecil B. DeMille and Mary Pickford. Irvin J. Martin and Edward M. Langley provided invaluable support as associate art directors. Mitchell Leisen, an expert on sartorial research, who, like Buckland, had been associated with Cecil B. DeMille, was the

costume designer. (Leisen later became a top Hollywood director.) Arthur Edeson was again cinematographer, with Charles Richardson operating the second camera. The services of Henry J. Uyttenhove were

DOUGLAS FAIRBANKS IN ROBIN HOOD 134,

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