"Of course not! She only plays mothers, and you know what that means in moving pictures. Ever see a moving-picture mother that had a chance to be happy for more than the first ten feet of film? You certainly got to cry to hold down that job. Ain't she always jolted quick in the first reel by the husband getting all ruined up in Wall Street, or the child getting stole, or the daughter that's just budding into womanhood running off with a polished shoe-drummer with city ways, or the only son robbing a bank, or husband taking up with a lady adventuress that lives across the hall in the same flat and outdresses mother?
"Then it's one jolt after another for her till the last ten feet of the last reel, when everything comes right somewhere on a ranch out in the great clean West where husband or son has got to be a man again by mingling with the honest-hearted drunken cowboys in their barroom frolics, or where daughter has won back her womanhood and made a name for herself by dancing the Nature dance in the Red Eye Saloon for rough but tender-hearted miners that shower their gold on her when stewed. Only, in this glad time of the last ten feet she still has to cry a-plenty because the clouds have passed and she's Oh, so happy at last! Yes, sir; they get mother going and coming. And when she ain't weeping she has to be scared or mad or something that keeps her face busy. Here—I got some programmes of new pieces Vida just sent me. You can see she's a great actress; look at that one: 'Why Did You Make My Mamma Cry?' And these other two."
I looked and believed. The dramas were variously and pithily described as The Picture with the Punch Powerful—The Smashing Five-Reel Masterpiece—A Play of Peculiar Problems and Tense Situations—Six Gripping Reels, 7,000 Feet and Every Foot a Punch! Vida Sommers, in the scenes reproduced from these plays, had indeed a busy face. In the picture captioned "Why Did You Make My Mamma Cry?" the tiny golden-haired girl is reproaching her father in evening dress. I read the opening lines of the synopsis: "A young business man, who has been made successful through his wife's money, is led to neglect her through pressure of affairs, falls into the toils of a dancer in a public place and becomes a victim of her habit, that of drinking perfume in her tea—"
But I had not the heart to follow this tragedy. In another, "The Woman Pays—Powerful and Picturesque, a Virile Masterpiece of Red-Blooded Hearts," Vida Sommers is powerfully hating her husband whom she has confronted in the den of a sneering and superbly gowned adventuress who declares that the husband must choose between them. Of course there can be no doubt about the husband's choice. No sane movie actor would hesitate a second. The caption says of Vida Sommers: "Her Love Has Turned to Hate." It may be good acting, but it would never get her chosen by the male of her species—the adventuress being what is known in some circles as a pippin.
I studied still another of these documents—"Hearts Asunder." Vida Sommers has sent her beautiful daughter to the spring for a pail of water, though everyone in the audience must know that Gordon Balch, the detestable villain, is lurking outside for precisely this to occur. The synopsis beautiful says: "The mother now goes in search of her darling, only to find her struggling in the grasp of Gordon Balch, who is trying to force his attentions on her." This is where Vida Sommers has to look frightened, though in a later picture one sees that her fright changed to "A Mother's Honest Rage." The result is that Gordon Balch gets his, and gets it good. The line under his last appearance is "The End of a Misspent Life." Vida Sommers here registers pity. As Ma Pettengill had said, her face seemed never to have a moment's rest.
While I studied these exhibits my hostess had not been silent upon the merits of her little actress friend. Slowly she made me curious as to the origin and inner life of this valued member of an exalted profession.
"Yes, sir; there she is at the top, drawing down big money, with a nice vine-clad home in this film town, furnished from a page in a woman's magazine, with a big black limousine like a hearse—all but the plumes—and a husband that she worships the ground he walks on. Everything the heart can desire, even to being mother to some of the very saddest persons ever seen on a screen. It shows what genius will do for a woman when she finds out what kind of genius she's got and is further goaded by the necessity of supporting a husband in the style to which he has been accustomed by a doting father. She's some person now, let me tell you.
"She spent a week with me in Red Gap last fall, and you'd ought to seen how certain parties kowtowed to me so they'd get to meet her. I found that about every woman under fifty in our town is sure she was born for this here picture work, from Henrietta Templeton Price to Beryl Mae Macomber, who's expecting any day to be snapped up by some shrewd manager that her type is bound to appeal to, she being a fair young thing with big eyes and lots of teeth, like all film actresses. Metta Bigler, that teaches oil painting and burnt wood, give Vida a reception in her Bohemian studio in Red Gap's Latin Quarter—the studio having a chain of Chianti bottles on the wall and an ash tray with five burnt cigarette ends on a taboret to make it look Bohemian—and that was sure the biggest thrill our town has had since the Gus Levy All Star Shamrock Vaudeville Company stranded there five years ago. It just shows how important my little actress friend is—and look what she come up from!"
I said I wouldn't mind looking what she come up from if she had started low enough to make it exciting.
Ma Pettengill said she had that! She had come up from the gutter. She said that Vida Sommers, the idol of thousands, had been "a mere daughter of the people." Her eyes crinkled as she uttered this phrase. So I chose a chair in the shadow while she built a second cigarette.
Ten years ago I'm taking a vacation down in New York City. Along comes a letter from Aunt Esther Colborn, of Fredonia, who is a kind of a third cousin of mine about twice removed. Says her niece, Vida, has had a good city job as cashier of a dairy lunch in Boston, which is across the river from some college, but has thrown this job to the winds to marry the only college son of a rich New York magnate or Wall Street crook who has cast the boy off for contracting this low alliance with a daughter of the people. Aunt Esther is now afraid Vida isn't right happy and wants I should look her up and find out. It didn't sound too good, but I obliged.
I go to the address in Sixty-seventh Street on the West Side and find that Vida is keeping a boarding house. But I was ready to cheer Aunt Esther with a telegram one second after she opened the door on me—in a big blue apron and a dustcap on her hair. She was the happiest young woman I ever did see—shining it out every which way. A very attractive girl about twenty-five, with a slim figure and one of these faces that ain't exactly of howling beauty in any one feature, but that sure get you when they're sunned up with joy like this one was.
She was pleased to death when I told her my name, and of course I must come in and stay for dinner so I could see all her boarders that was like one big family and, above all, meet her darling husband Clyde when he got home from business. The cheeriest thing she was, and I adore to meet people that are cheery, so I said nothing would please me better. She took me up to her little bedroom to lay my things off and then down to the parlour where she said I must rest and excuse her because she still had a few little things to supervise. She did have too. In the next hour and a half she run up and down two flights of stairs at least ten times. I could hear her sweeping overhead and jamming things round on the stove when she raced down to the kitchen. Yes, she had several little things to supervise and one girl to help her. I peeked into the kitchen once while I was wandering through the lower rooms, and she seemed to be showing this girl how to boil potatoes. I wondered if she never run down and if her happy look was really chronic or mebbe put on for my benefit. Still, I could hear her singing to herself and she moved like a happy person.
In looking round the parlour I was greeted on every wall by pictures of a charming youth I guessed was darling Clyde. A fine young face he had, and looked as happy as Vida herself. There was pictures of him with a tennis racket and on a sailboat and with a mandolin and standing up with his college glee club and setting on a high-powered horse and so forth, all showing he must be a great social favourite and one born to have a good time. I wondered how he'd come to confer himself on the cashier of a quick-lunch place. I thought it must be one of these romances. Then—I'm always remembering the foolishest things—I recalled a funny little absent look in Vida's eyes when she spoke of her darling coming home from business. I thought now it must of been pride; that he was performing some low job in a factory or store while she run the boarding house, and she didn't want me to know it. I thought he must