Two events beside the love affair bulk large in the intermediary chapters. There is a definite plot on the part of Bradogue, Cecilia's father, to get Stahr out of the company. He has even actually and factually considered having him murdered. Bradogue is the monopolist at his worst--Stahr, in spite of the inevitable conservatism of the self-made man, is a paternalistic employer. Success came to him young, at twenty-three, and left certain idealisms of his youth unscarred. Moreover, he is a worker. Figuratively he takes off his coat and pitches in, while Bradogue is not interested in the making of pictures save as it will benefit his bank account.
The second incident is how young Cecilia herself, in her desperate love for Stahr, throws herself at his head. In her reaction at his indifference, she gives herself to a man whom she does not love. This episode is not absolutely necessary to the serial. It could be tempered, but it might be best to eliminate it altogether.
Back to the main theme: Stahr cannot bring himself to marry Thalia. It simply doesn't seem part of his life. He doesn't realize that she has become necessary to him. Previously his name has been associated with this or that well-known actress or society personality, and Thalia is poor, unfortunate, and tagged with a middle-class exterior which doesn't fit in with the grandeur Stahr demands of life. When she realizes this she leaves him temporarily, leaves him not because he has no legal intentions toward her but because of the hurt of it, the remainder of a vanity from which she had considered herself free.
Stahr is now plunged directly into the fight to keep control of the company. His health breaks down very suddenly while he is on a trip to New York to see the stockholders. He almost dies in New York and comes back to find that Bradogue has seized upon his absence to take steps which Stahr considers unthinkable. He plunges back into work again to straighten things out.
Now, realizing how much he needs Thalia, things are patched up between them. For a day or two they are ideally happy. They are going to marry, but he must make one more trip East to clinch the victory which he has conciliated in the affairs of the company.
Now occurs the final episode which should give the novel its quality--and its unusualness. Do you remember about 1933 when a transport plane was wrecked on a mountain-side in the Southwest, and a Senator was killed? The thing that struck me about it was that the country people rifled the bodies of the dead. That is just what happens to this plane which is bearing Stahr from Hollywood. The angle is that of three children who, on a Sunday picnic, are the first to discover the wreckage. Among those killed in the accident besides Stahr are two other characters we have met. (I have not been able to go into the minor characters in this short summary.) Of the three children, two boys and a girl, who find the bodies, one boy rifles Stahr's possessions; another, the body of a ruined ex-producer; and the girl, those of a moving picture actress. The possessions which the children find, symbolically determine their attitude toward their act of theft. The possessions of the moving picture actress tend the young girl to a selfish possessiveness; those of the unsuccessful producer sway one of the boys toward an irresolute attitude; while the boy who finds Stahr's briefcase is the one who, after a week, saves and redeems all three by going to a local judge and making full confession.
The story swings once more back to Hollywood for its finale. During the story Thalia has never once been inside a studio. After Stahr's death as the stands in front of the great plant which he created, she realizes now that she never will. She knows only that he loved her and that he was a great man and that he died for what he believed in....
There's nothing that worries me in the novel, nothing that seems uncertain. Unlike Tender is the Night, it is not the story of deterioration--it is not depressing and not morbid in spite of the tragic ending. If one book could ever be "like" another, I should say it is more "like" The Great Gatsby than any other of my books. But I hope it will be entirely different--I hope it will be something new, arouse new emotions, perhaps even a new way of looking at certain phenomena. I have set it safely in a period of five years ago to obtain detachment, but now that Europe is tumbling about our ears this also seems to be for the best. It is an escape into a lavish, romantic past that perhaps will not come again into our time.
Cecilia
The first of the following fragments was originally written to stand as an introduction to the story; but Fitzgerald decided to discard it because he was afraid it would make the opening too depressing. The picture of Cecilia in the tuberculosis sanitarium was, however, to appear at the end of the book.
We two men were fascinated by that young face. A few months ago, we had made a short trip to the canyons of the Colorado as if for a last gape at life; now back at the hospital this girl's face in the sunset, and with the fever, seemed to share some of the primordial rose tints of that "natural wonder."
"Go on tell us," we said. "We don't know about such things."
She started to cough, changed her mind--as one can.
"I don't mind telling you. But why should our friends, the asthmas, have to hear?"
"They're going," we assured her.
We three waited, our heads leant back on our chairs, while a nurse marshalled a flustered little group that must have heard the remark--and edged them toward the sanitarium. The nurse cast a reproachful glance back at Cecilia as if she wanted to return and slap her--but the glance changed its mind and the nurse hurried in after her flock.
"They're gone. Now tell us."
Cecilia stared up at the brilliant Arizona sky. She regarded it--the blue air, which to us had once stood for hope in the morning--not with regret but rather with the cocksure confusion of those the depression caught in mid-adolescence. Now she was twenty-five.
"Anything you want to know," she promised. "I don't owe them any loyalty. Oh, they fly over and see me sometimes, but what do I care--I'm ruined."
"We're all ruined," I said mildly.
She sat up, the Aztec figures of her dress emerging from the Navajo pattern of her blanket. The dress was thin--gone native for the sun country--and I remembered the round shining knobs of another girl's shoulders at another time and place, but here we must all stay in the shadow.
"You shouldn't talk like that," she assured me. "I'm ruined, but you're just two good guys who happened to get a bug."
"You don't grant us any history," we objected with senescent irony. "Nobody over forty is allowed a history."
"I didn't mean that. I mean you'll get well."
"In case we don't, tell us the story. You still hear this stuff about him. What was he: Christ in Industry? I know boys who worked on the Coast and hated his guts. Were you crazy about him? Loosen up, Cecilia. Something for a jaded palate! Think of the hospital dinner we'll face in half an hour."
Cecilia's glance suspected, then rejected our existence--not our right to live, but our right to any important feeling of loss or passion or hope or high excitement. She started to talk, waited for a tickle to subside in her throat.
"He never looked at me," she said indignantly, "and I won't talk about him when you're in this mood."
She threw off the blanket and stood up, her center-parted hair falling from her wan temples, ripples from a brown dam. She was high-breasted and emaciated, still perfectly the young woman of her time. Superiority was implicit in her heel taps as she walked through the open door into the corridor of the building--our only road to wonderland. Apparently Cecilia believed in nothing at present, but it seemed she had once known another road, passed by it a long time ago.
We were sure, nevertheless, that some time she would tell us about it--and so she did. What follows is our imperfect version of her story.
This is Cecilia taking up the story. I should probably explain why I spent so much of the summer hanging around the studio. Well, for one thing, I was too big to keep out now and I knew how to do it without bothering people. Secondly, I had had a difference with Wylie White about who had the say about my body, so there was a man named X whom I didn't intend to marry who was pla
ying the man who al most got the girl in three pictures at once and had to be on the lot. And thirdly, most important, I had nothing else to do. (Fourth, with description of Hollywood boys.)
[Cecilia and Kathleen]
She wore a little summer number from Saks, about $18.98, and a pink and blue hat that had been stepped on on one side. Her nails were pale pink, almost natural, and her hair you couldn't be absolutely sure of. She was polite and rather overwhelmed. X spent some time trying to convey who I was, but kept bumping against the flat fact that Kathleen Moore had never heard of my father.
"I've been looking for a job," she said.
"What kind of a job?"
"I've been going through the advertisements. What is a swami?"
X explained--it was very interesting.
"He was the most encouraging," Kathleen said. "But I'm afraid it wouldn't do--that filthy towel about his head."
Father used to have great scraps with the Jews over Jewish and Irish tricks. The Jews claimed he always oversold his points. Father thought he was just right. For instance, [his] weeping trick.
Stahr
Stahr's day would begin often enough right in the studio. Since his wife's death, he frequently slept there; his suite contained a bath and dressing-room, and his divan made a bed. With the immense distances of Los Angeles County--three hours a day in an automobile is not exceptional--this was a great saving of time.
Never wanted his name on pictures--"I don't want my name on the screen because credit is something that should be given to others. If you are in a position to give credit to yourself, then you do not need it."
I want to tell also of his great failing of surrounding himself with men who were very far below him. However, this may have been because of a sureness about his health, because he felt in his 20's that he himself was able to keep a direct eye on everything, and, therefore, would have been hindered rather than helped by men who were positive-minded supervisors. His relation with directors, his importance in that he brought interference with their work to a minimum, and while he made enemies--and this is important--up to his arrival the director had been King Pin in pictures since Griffith made The Birth of a Nation. Now, therefore, some of the directors resented the fact that he reduced their position from one of complete king to being simply one element in a combine. His interest in the lot itself is important, his utter democracy, his popularity with the rank and file of the studio.
However, this is not really thinking out Stahr from the beginning. I must go back into his childhood and remember that remark of his mother: "We always knew that Monroe would be all right." ...Remember also that he was a fighter even though he was a small man--certainly not more than 5' 61/2'', weighing very little (which is one reason he always liked to see people sitting down), and remember when the man tried to get fresh with his wife at Venice how he lost his temper and got into a fight.... He must have been a scrapper from early boyhood, probably a neighborhood scrapper. Remember also how popular he was with men from the beginning in a free and easy way, that is to say, as a man that liked to sit around with his feet up and smoke and "be one of the boys." He was essentially more of a man's man than a ladies' man.
There was never anything priggish or superior in his casual conversation that makes men uneasy in the company of other men. He used to run sometimes with a rather fast crowd of directors--many of them heavy drinkers, though he wasn't one himself. And they accepted him as one of themselves in a "hale fellow, well met" spirit--that is: in spite of the growing austerity which overwork forced on him in later years, Stahr never had any touch of the prig or the siss about him, and I think this was real and not an overlay. To that extent he was Napoleonic and actually liked combat--which leads me back to the supposition that probably he was a scrapper as a boy and had always been that way. If, after he came into full power, he sometimes resorted to subterfuge to have his way, that was the result of his position rather than anything in his nature. I think, by nature, he was very direct, frank, challenging. Try to analyze what his probable boyhood was from the above.
This chapter must not develop into merely a piece of character analysis. Each statement that I make about him must contain at the end of every few hundred words some pointed anecdote or story to keep it alive. I do not want it to have the ring of an analysis. I want it to have as much drama throughout as the story of old Laemmle himself on the telephone.
Stahr knew he had a working knowledge of technics, but because he had been head man for so long and so many apprentices had grown up during his sway, more knowledge was attributed to him than he possessed. He accepted this as the easiest way and was an adept though cautious bluffer. In the dubbing-room, which was for sound what the cutting-room was for sight, he worked by ear alone and was often lost amid the chorus of ever newer terms and slang. So on the stops. He watched the new processes of faking animated backgrounds, moving pictures taken against the background of other moving pictures, with a secret child's approval. He could have understood easily enough--often he preferred not to, to preserve a sensual acceptance when he saw the scene unfold in the rushes. There were smart young men about--Reinmund was one--who phrased their remarks to convey the impression that they understood everything about pictures. Not Stahr. When he interfered, it was always from his own point of view, not from theirs. Thus his function was different from that of Griffith in the early days, who had been all things to every finished frame of film.
It is doubtful if any of these head men read through a single work of the imagination in a year. And Stahr, who had no time whatever to read and must depend on synopses, began to doubt that any of his supervisors read more than what was ordered; he doubted that his casting people (note for a character here) covered the range he would have wanted them to. A show played a year and a half in San Francisco--the specialty in it was discovered only after it reached Los Angeles, where young teats drew a tired sabled audience, and the specialty was in a boom market within a week. And had to be paid for against important budgets where alertness would have bought it for nothing.
In order to forgive Stahr for what he did that afternoon, it should be remembered that he came out of the old Hollywood that was rough and tough and where the wildest bluffs hold. He had manufactured gloss and polish and control of the new Hollywood, but occasionally he liked to tear it apart just to see if it was there.
But now as he stood there and the orchestra began to play and the dancers stood up, a sentence spoke in his mind that surprised him: "I am bored beyond measure," it said.
Even the words did not sound like him. "Beyond measure" was theatrical, he wondered if he had read it recently. He did not go out often enough to be bored or to think of it like that. He knew how to elude bores, and he had grown to accept deference and admiration as something to wear with humility and grace; and he almost always had a good time.
Some men came up to him, and he talked to them with his hands in his pockets. One was an agent who hated him and always referred to him, so Stahr was told, as "The Vine Street Jesus," "The Walking Oscar," or "The Back-to-Use Napoleon."
At some point after censorship, Monroe revolts against childishness.
Show Stahr hiding in retreat or avoiding people without hurting them.
Like many men, he did not like flowers except a few weedy ones--they were too highly evolved and self-conscious. But he liked leaves and peeled twigs, horse chestnuts and even acorns, unripe, ripe and wormy fruit.
Stahr is miserable and embittered toward the end.
Before death, thoughts from Crack-Up.
Do I look like death? (in mirror at 6 P.M.)
Men who have been endowed with unusual powers for work or analysis or ingredients that go to make big personal successes, seem to forget as soon as they are rich that such abilities are not evenly distributed among the men of their kind. So when the suggestion of a Union springs out of this act of Bradogue's [Brady's], Stahr seems to reverse his form, join the other side and almost to ally himself with Bradogue. No
te also in the epilogue that I want to show that Stahr left certain harm behind him just as he left good behind him. That some of his reactionary creations such as the Screen Playwrights existed long after his death just as so much of his valuable creative work survived him. However, remember this is to play a small part in this chapter and must be written epigrammatically, cleverly and perhaps placed in the mouth of one whom we may see leaving Hollywood in this chapter [the final departure of Stahr in the plane]. In any case, it must not be allowed to interfere with the mood of this short chapter, which would, whether treated in a close-up or remotely, belong to Thalia [Kathleen] and leave Thalia to linger in the reader's mind.
Kathleen
The realization came to her that the tracks of life would never lead anywhere and were like tracks of the airplane; that no one knew of their place, since there was no Daniel Boone to hack trees; that the world had to go on and that it wasn't going to be inside her and there still had to be those tracks. It was an awful lonesome journey.
She thought of electric fans in little restaurants with lobsters on ice in the windows, and of pearly signs glittering and revolving against the obscure, urban sky, the hot, dark sky. And pervading everything, a terribly strange, brooding mystery of roof tops and empty apartments, of white dresses in the paths of parks, and fingers for stars and faces instead of moons, and people with strange people scarcely knowing one another's names.
Bright unused beauty still plagued her in the mirror.
The Love of the Last Tycoon Page 16
