Weekly Reader: The Girls in the Picture by Melanie Benjamin; Memorable Historical Fiction About Two Women Who Led The Silent Film Era

 Weekly Reader: The Girls in the Picture by Melanie Benjamin; Memorable Historical Fiction About Two Women Who Led The Silent Film Era

By Julie Sara Porter

Bookworm Reviews

Spoilers: In the days of Hollywood Silent Films, no female star shone brighter than Mary Pickford (1892-1979). Pickford was known as "America's Sweetheart" and was often recognized for her long golden Victorian curls, her diminutive size, and innocent expressions which led to her playing little girl roles well into her twenties and thirties. She starred in various movies like Rebecca of Sunnybrook Farm, Pollyanna, Little Annie Rooney, and Poor Little Rich Girl. While on screen she played the forever young ingenue, off screen she was a force to be reckoned with. She was able to control the production of her own films and in 1919, with Charlie Chaplin, D.W. Griffith, Tom Mix, and Douglas Fairbanks, she created United Artists, the first production company run by actors, directors, and other performers (leading to the famous one liner provided by producer, Richard A. Rowland, "The lunatics have taken over the asylum").

The public was fascinated with Pickford's romance with and marriage to Douglas Fairbanks. Their ornate home, Pickfair, was seen as the symbol of Hollywood Royalty with its residents seen as the King and Queen. 

It's a little known fact that Pickford made a slight transition to sound, achieving enough success with Coquette that she won the second Academy Award for Best Actress in 1930. (Fun fact: The first was Janet Gaynor for the films 7th Heaven, Street Angel, and Sunrise: The Song of Two Heavens). After a series of failed and aborted projects and her divorce from Fairbanks, Pickford retired from acting to produce films. Eventually, she became a recluse until her death in 1979.

Another important female figure in Hollywood who was not as public but still left a huge impact was Frances Marion (1888-1973). Originally, she was hired as a writing assistant to director/screenwriter Lois Duncan. Eventually, Pickford hired Marion as her scenarist for her various films. Marion's writing for films like Rags, Rebecca, and Pollyanna helped cement Pickford's on screen character. Marion worked her way upward to becoming the highest paid screenwriter in Hollywood and head of the writing department at World Films. She was praised alongside other female screenwriters at the time like Anita Loos and June Mathis. During World War I, Marion became a combat correspondent and documented women's efforts on the Front. She directed the films, The Love Light and Just Around the Corner (the former starring Pickford). She won two Academy Awards for Writing for The Big House in 1931 and The Champ in 1932.

In total, Marion was credited with writing over 300 films and producing over 130.

Melanie Benjamin's historical fiction novel, The Girls in the Picture, tells of the deep friendship between Pickford and Marion recounting their first meeting in 1914 during the early rushed experimental days of this brand new entertainment venue. It takes them through Hollywood's expansion, the rise and fall of both women's careers, their stormy romances and marriages, their achievements of wealth and power, the stress of World War I, the founding of UA, the overwhelming publicity of the Fairbanks-Pickford marriage, the advent of sound, and their eventual estrangement. Benjamin depicts how both women used their talents and strengths to make their mark in a male dominated industry and helped develop it into a legitimate art form and the giant source of entertainment that it is today.

Benjamin neatly contrasts her deuteragonists starting with their backgrounds which helped propel them to join this burgeoning industry. Marion is leaving behind two failed marriages and wants her life to mean something significant that doesn't require her just to be someone's wife or mother. For her, the motion picture industry gives her a career and a chance for freedom.

For Pickford, real name Gladys Smith, entertainment is already in her blood. She has already been a stage actress to support her mother, Charlotte and her younger siblings, Jack and Lottie. She decides to become a film actress to obtain a wider interest and get more money for her family.

If you are a fan of the early days of filmmaking, then this book is a treat. It is detailed in describing how those early movies in the early 1900-1910's were quickly and cheaply made with everyone playing many roles: actors, writers, directors, editors, custodians whatever was needed. Scripts weren't written so much as they wanted to capture a brief couple of scenes. Props and costumes weren't exactly plentiful so everyone just relied on what they had. Stunts, particularly horse riding, had no protection so sometimes accidents happened and on occasion were captured on film. (I would describe them as "Mickey Mouse productions" but Mickey wasn't created until 1928.) It wasn't until the mid-1910's that filmmaking gained prestige, the productions became slicker, costlier, and more polished, and the public recognized the artistry involved in the movies's creation.

Originally, the moguls were so uncertain about how the public would react to the performances that actors weren't dubbed with their names but under titles like "The Biograph Girl," "The Vitagraph Boy," and so on. While Florence Lawrence was the first to be casted under her own name, Pickford was also similarly recognized. This moment in the book foreshadows Pickford's eventual influence within the industry.

Both Pickford and Marion are given multiple chances throughout the book to show their independence and courage to become recognized amongst the men that surround them. Pickford recognizes her persona so is very careful about accepting roles and being involved in the production of films that capture her "America's Sweetheart" character. She is also financially savvy having been poor, so she watches every penny and accounts for her growing wealth. 

When she is one of the founders of UA, Pickford is similar to Charlie Chaplin, hard workers who recognize the art form of filmmaking and want to shoot the movies until they are right.

Marion's contribution to making her mark in a man's world is in her writing and becoming one of the highest paid writers, male or female. Her scenarios emphasize Pickford's character's spunk, courage, and survival instincts, as well as her playfulness and childlike innocence. 

Marion's independence is especially evident during WWI. Many soldiers dismiss her because of her gender. Some are baffled and openly hostile that a woman is covering the front lines of war. Marion is determined to get the story, even walking through muddy and violent roads and crossing the Rhine. This experience matures her as she sees the truth of war that Hollywood can only imagine and how important movies are to people put in bad situations and long for escape.

Marion recognizes her and Pickford's contributions years later when she sees photographs where she or Pickford were the only women who were surrounded by men. 

Like many friendships, Benjamin reveals the differences between the two women. While both are strong and independent, they also differ in many ways. Marion is a quiet well read intellectual; Pickford is a bold street smart commanding presence. Marion takes pride in her unconventionality from surviving two divorces and not wanting to get remarried until she is established in her career; Mary is so protective of her image that she refuses to divorce an abusive husband and hides her affair with Douglas at first. Marion has simple tastes and just wants a nice house near Pickford of course, plenty of freedom to work, and a supportive husband; Once Pickford starts making money, she wants to live like a star, in an ornate grand mansion hence Pickfair, have a wide circle of influential friends, and become the center of attention. 

Their differences are balanced in their friendship with each other. Marion is able to bring Pickford down to Earth and isn't afraid to tell her the truth no matter how bad it is. Pickford gives Marion a touch of glamor and excitement in her life and encourages her to develop her talent.

As with many friendships, Pickford and Marion grow apart for various reasons. After WWI, Marion wants to write bolder, better scripts to reflect a more advanced worldview but Pickford still needs her professionally, so she continues with the standard Pickford vehicle. While Pickford originally loves the little girl character because it gave her the childhood that she never had, she begins to resent it the older that she gets and wants to play adult roles, much to Marion's chagrin. (Supposedly, when Pickford cut her hair from the long Victorian curls into a short trendy bob, it was such a scandal that it made headlines). Both women want to advance but feel tied to their friendship to end it until a fight emerges forcing their hands.

Their marriages  added to their conflicts. Marion likes the flashy and charismatic Douglas, but once he enters the scene she sees Pickford becoming a more glamorous star and affected snob. They are remote and standoffish so Marion has trouble relating to them. 

Marion's third husband, Fred Thomson is a religious leader turned actor who is clearly uncomfortable in this fame driven lifestyle but likes working in Western. His early death caused by an injury leaves Marion eaten up with remorse that Pickford reveals in a fit of anger.

The book also implies that sound was a huge stumbling block in their friendship's end. While Pickford did win an Oscar for Coquette, she can't adjust to this new normal and most of her films flop (including a version of Taming of the Shrew with Douglas). Plus, her marriage to Douglas flounders. She is such a relic of the old silent films that when the movies enter a different era, she would rather drop out of life rather than adjust to it.

Marion however effortlessly sails into the sound era. In fact many of her scripts like The Champ are well known to this day. She is able to find her own voice, pun not intended, without being bound to Pickford's. Benjamin implies that Pickford is envious of Marion's adjustment to the modern days while she sticks to the past. 

Marion and Pickford's friendship ends during a film production when they call each other to task for old conflicts and reopen old wounds. (According to Benjamin's notes, in real life, their friendship's end was a lot less explosive and was more gradual, coolly phasing each other out). The two don't reunite until 1969 when Marion visits the now reclusive Pickford in Pickfair.

The Girls in the Picture is a wonderful time capsule of the early days of Hollywood. Most importantly, it is an excellent and in depth character study of two women who changed it and each other forever.

New Book Alert: L’Agent Double: Spies and Martyrs in the Great War (Women Spies Book 3) by Kit Sergeant; Suspenseful Character Driven Historical Novel About Real-Life WWI Female Spies By Julie Sara Porter Bookworm Reviews

New Book Alert: L’Agent Double: Spies and Martyrs in the Great War (Women Spies Book 3) by Kit Sergeant; Suspenseful Character Driven Historical Novel About Real-Life WWI Female Spies

By Julie Sara Porter

Bookworm Reviews

Spoilers: Spies are some of the most interesting colorful figures in history, literature, and popular culture. They have to be on the inside of one place, giving information to another, . By definition, they have to be charismatic and charming, so they can be trusted with secrets. They always have to carry on a duplicitous nature that is capable of deceit and subterfuge, even more so when they are a double agent and work both sides. They also have to be resourceful, sharp, and always have to watch their backs because they could be caught and their lives could end at any time.

Kit Sergeant has written a series of novels about spies in different points in history. 355: The Women of Washington's Spy Ring was about female spies in the Revolutionary War and Underground: Traitors and Spies During Lincoln's War covers the Civil War. Her latest, L’Agent Double tells an intense brilliant story about three real-life women thrust into the WWI spy game.

The three women are: Alouette Richer, a French aviator who is recruited after her husband's death, Marthe Cnockeart, a Belgian nurse who is also a courier against the occupying Germans, and Margaretha Zelle-MacLeod known by her famous stage name, Mata Hari, a Dutch dancer who uses her noted charms to seduce secrets out of her lovers.

These women are brilliantly characterized as individuals who have different stories about their recruitments, their spy processes, and their personalities. They are all three memorable protagonist who are caught up in tense situations and use everything at their disposal from wit, to charm, to loyal connections to find their way out. The stories don't intersect much except for a few scattered incidents abs hearing about the occasional news report. This approach gives the three women chances to stand out on their own as key players on the larger stage of World War I.

Mata Hari, called M’greet throughout the book, is certainly the most famous of the trio if not the most famous female spy of all time. In Sergeant's book, she is a vain cunning woman who is well aware of her um talents and attributes and uses them to get material possessions. She spies not out of any patriotism or loyalty to the countries but for the financial gain that she receives from her handlers.

 M’greet passes information from her various lovers to the governments using the code name, H-21. Since it's pointless to use a pseudonym because of her fame, she cleverly uses it as passage into the homes of various lovers. She is invited to swank parties where she observes plans and notes, or listens to gossip and conversations

and reports to superiors. Sometimes, she passes useless information to confuse them. 

However, Seargent doesn't write M’greet as a completely hard hearted woman or a stereotypical femme fatale. She is still hurting from a messy divorce and separation from her beloved daughter. Late in the book, she has a genuine romance with a younger soldier and considers renouncing her fame, notoriety, and lavish lifestyle for love. Unfortunately, the relationship ends and she is left alone once again. 

Alouette Richer is a different person from M’greet. She was happily married, while M’greet was miserably married and divorced. 

She was also brasher and feistier than the at times showy and materialistic M’greet. She becomes a spy, partly out of revenge for her husband's death but there are hints that she wants to live a life of excitement and significance. It is implied that she settled into a comfortable wealthy marriage to escape her former life as a courtesan.

 During her marriage, she flies airplanes something, rarely done by women in her day. She loves her husband, but wants to do something for herself. After his death, she actually writes a letter to the French government for her services in any way possible.

It is almost a series of errors and missteps in Alouette’s first spying assignment in Switzerland. She uses the cover story that she is looking for her fiance and drops the name of a former acquaintance without checking to see if he had married. She makes a friend with a German tourist but then learns, oops, that she is a spy and imprisons her. Luckily, Alouette's feistiness and impetuous nature which gets her in trouble also allows her to escape from her anatgonists. (Ironically, Gerda the spy, who almost captured Alouette, becomes M’greet’s spy trainer later.)

Alouette has better luck in Spain where she becomes more patient and self-assured than in her last assignment. Unlike M’greet who hopped from lover to lover, Alouette finds one specific German official to find information from, Baron Hans Von Krohn. She uses her former training as a courtesan to become Von Krohn's lover and to pass information using codes and invisible ink.

Alouette becomes an expert at concealing her real feelings. She whispers all the right romantic phrases while fully aware that she is in the home of an enemy. She plays the Spy Game so well that it's almost refreshing when she reveals her real emotions. While spying on Von Krohn, Alouette has a playful flirtation with Zozo, a fellow aviator and spy that develops into a potential real romance. When her assignment comes to an end, she calls out Von Krohn in a great moment of self-awareness. She also calls out her former handler when she learns that he was involved in betraying both her and M’greet.

Marthe Cnockeart doesn't have the seductive nature of M’greet or the forceful determination of Alouette, but she is no less dedicated to her work. She starts out as a nurse and a sweet naive girl with a family that loves but shelters her. When the German Army occupies her Belgian village, Marthe is filled with rage and despair and wants to do something. Her aunt provides her with a key to help the Belgians.

While she is treating patients, Marthe works as a courier. She listens to information from medical supervisors and wounded soldiers about upcoming battles and air raids and passes it along in notes to fellow spies. She is also monitored and advised by a secret group called “The Safety-Pin Men” (so-called because they were diagnal pins on their lapels) who tell her of important information that could affect her spying.

Of the three stories, Marthe's is probably the most emotional. She has to reconcile her spying with her medical career and the guilt she feels sending young men that she once healed to their deaths. She also has a sweet romance with a wounded soldier that does not end well.

There are plenty of suspenseful moments in this novel. Characters who the women trust prove to be traitors. Both M’greet and Alouette receive offers to become double agents further muddying their already tangled allegiances. One of Marthe's contacts is shot right in front of her and another is in a building when a bomb hits. All three women are at the point of near death, having their covers blown, and face possible arrest or execution several times. When M’greet is finally arrested and eventually executed, the shock waves of her fate are felt by Alouette and Marthe, causing both to question their loyalties and careers. 

Mata Hari 's maxim (said to be her final words) was “Life is an illusion,” meaning life is what you tell people and what you make them believe. All three women lived their lives in that way by carrying on subterfuge and revealing important information in war. They had to play specific roles in front of their enemies so others can go about their business. It was a tense and dangerous life, but never boring. It was always exciting and so is the book about them.

Kit Sergeant is writing a book about female spies in the Second World War. If it is anything like its predecessors it should be suspenseful, filled with strong leads, and completely unforgettable.