Only, that fairy princess in the rose garden—on a terrace under the stars, or leaning from a balcony to her Prince, was not quite farce material. And the ending helped: the Prince and Princess, in a properly ordered elopement, in quite a royal car, swinging under the castle walls, out of the picture, into the night, to the notes of a marvelously musical klaxon, added a touch that brought the story back to the realm of pure romance, leaving a lovely impression.
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It was at the end of May, 1930, at the Rivoli Theatre, New York City, that Lillian was presented in her first, probably her only, talking picture. For during those months since she had finished it, something had happened—something of epochal proportions: she had _returned to the stage_! A block down Broadway, in 48th Street, at the Cort Theatre, since April 15, she had been appearing six nights and two afternoons a week, as Helena, in Chekhov’s “Uncle Vanya.”
It had all come about naturally enough. When it became known that Lillian Gish was closing her contract with the United Artists, proposals arrived plentifully. The distinguished Russian manager, director, author, Dantchenko, wrote that he had begun a story with her especially in mind; Basil Rathbone sent a manuscript and wrote: “I need not say how happy I should be to do a play with you, a privilege denied me even in my very own play, ‘The Swan.’” A cable from Germany stated that a motion picture company had been formed of those who believed in Reinhardt, and that Jannings and all the best of Germany’s artists had signed; that the first picture was to be “La Vie Parisienne,” by Offenbach—three versions to be made, French, English and German, Lillian to have the position of production manager.
But then came an opportunity such as she had hoped for: One day, George Jean Nathan spoke to her of the actress Ruth Gordon, of how much Lillian would like her.
“Couldn’t you arrange a meeting?” she asked.
He could, and did. He asked them both to tea, at the Colony Restaurant.
Lillian was not disappointed in Ruth Gordon. They had one love in common: France. They talked a great deal about that pleasant land, its beauties, its castles, its wines—especially its wines—one of which in particular, they both loved, Clos Veugeot. Ruth Gordon said: