Category: 1920s

Source: Molly Picon, So Laugh a Little (New York: Julian Messner, 1962), pp. 136-142

Text: If someone were to write a history of the movies from the fan’s point of view, he would have to include my grandmother. From the day she walked in to see her first nickelodeon, she was completely captivated by Hollywood. She might not have gone to the nickelodeon if my grandfather hadn’t used every argument he could muster to get her there – what did she need it for, she cried, the first time the subject came up, she had a million things to to around the house, she didn’t feel like getting all dressed up, if he wanted to go, she wouldn’t stand in his way. My grandfather patiently outwaited all her cogent reasons for not leaving the house and eventually bore her off triumphantly to witness the marvel of moving pictures. Afterwards he used to complain that a man didn’t know when he was well off, why hadn’t he left well enough alone, if he had known how she would react he would have had his head examined before he talked her into it. My grandmother would smile and wave her hand at him and tell him not to get excited, at least she wasn’t a gambler or a drinker. My grandmother didn’t need alcoholic stimulation; she was intoxicated by the silver screen. Although she loved the theatre, she never responded to it the way she did to the movies. I have often thought that the plays she saw on the Yiddish stage hit too close to home; the situations were exaggerated, perhaps, but always contained nuggets of reality; the people were too easily identified with. They were, after all, her own people. But up there on the screen, magnified out of all contact with her world, scenes would unfold before her that would transport her into a never-never land. Even when she didn’t understand what was happening – and this occurred more often than not – she still loved every minute of it.

When I would ask her what she had seen, she would shrug her shoulders and say, “Do I know? They were hitting and fighting, and the girl didn’t like the good-looking one, and then she did like him, and then she changed her mind again. I don’t know what’s the matter with the girls today. In my time nobody asked you. You got married and that finished it.”

“Then you didn’t care for the picture?” I asked.

“Didn’t care for it?” she repeated incredulously. “With all that fighting and hitting and that poor boy up there eating his heart out for her? Why didn’t I like it?”

She became such an avid movie fan that Helen and I had to sit and read every little bit of gossip we could find in the papers to her, up to and including the blurbs of coming attractions. To my grandmother this wasn’t gossip, but gospel. She never for a moment doubted that every word was true. After all, it was printed, right there, in black and white. In those days, we lost my grandmother regularly once a week. For this was the era of the weekly serial, and Pearl White was its human sacrifice in fifteen installments. In spite of my grandmother’s shrieking warnings, Pearl White always managed to get herself into utterly hopeless situations. She would be huddling in some dank cellar while up above the villain would be peering down at her through a convenient hole in the floor, threatening to flood the cellar and drown poor Pearl unless she immediately and forthwith yielded what my grandmother always called her “good name.” Both Pearl White and my grandmother rejected these advances haughtily, no matter what the consequences. And the villain, of course, would then promptly turn on the waterworks.

All week long, my grandmother would worry and fret and strain for the days to pass so she could see how Pearl was doing. Pearl would escape from drowning only to wind up, at the end of that particular installment, in an even more precarious position, maybe tied to the railroad tracks, or about to be evenly distributed in a sawmill, or hanging by her fingertips from a cliff whilst the villain carefully and painstakingly lifted her fingers, one by one. I remember one time my grandmother was ill and unable to attend the next showing. She went into an absolute frenzy. I couldn’t go, because I was involved in a rehearsal. Helen was out of town. My mother had to stay home and take care of my grandmother. That left only my grandfather, who regarded the whole thing as bordering on simple insanity. “I should spend a beautiful day in the dark to watch a girl make a fool of herself,” he scoffed. “This week she’ll hang by the neck, and next week she’ll hang by the toes, and after the fifteen weeks is up, she’ll only start all in again with the foolishness. You would think with all the trouble she gets into that she would learn something.”

“Aaron, I beg you,” my grandmother pleaded. “I left her last week the house was burning down, and she was choking … such choking she was purple in the face. Like this she was, Aaron …” And my grandmother went into a graphic illustration that almost purpled her own face, but my grandfather remained unmoved.

“So what are you so worried?” he replied indifferently. “You think they’ll let anything happen to her? And for her I should miss my checkers?”

Even my grandmother couldn’t expect my grandfather to give up a checker game for Pearl White. All week she brooded. A whole episode missed and gone forever. When she would return to the theatre, Pearl would be facing a completely new peril. It was too much for flesh and blood to stand, my grandmother complained. As soon as she was well, she hurried off to the theatre and cornered the manager.

“Mr. Brody,” she panted. “From you I can have an answer. Tell me what happened last week. One foot I don’t put outside this office till I hear what happened.”

“God love you, Mrs. Ostrow,” said Mr. Brody, who had come to know my grandmother very well, in weekly installments, “how would I be knowing that? I’ve more adventures of my own keeping an eye on the little devils that come to watch her than she’ll ever be having.”

My grandmother couldn’t believe it. She herself would sit through both showings of the serial, just in the hope that it might come out differently at the end the second time, and here was Mr. Brody, with such a golden opportunity, who didn’t even care!

“Do you have any idea what the little monsters do here of an afternoon?” Mr. Brody warmed up to his subject as one who had had much practice. “I won’t mention the condition of the floors, with the boxes and papers and bags filled with banana peels and apple cores,” he said, waving an angry finger under my grandmother’s nose. “Nor do I care to mention the state of the bathrooms in front of a lady. But do you have any idea what happens to the seats?” He clutched his head. “The black plague on him that invented chewing gum!”

“I ask him about last week and he gives me chewing gum. Mr. Brody. A whole week I’m dying …”

“It’s the back of my hand to the next whippersnapper I see with a mouthful of the stuff.” Mr. Brody, my grandmother could understand, was too full of his own woes to be concerned with hers. She left his office, muttering to herself angrily. Fortunately she ran into an usher who was as much enraptured with Pearl White as my grandmother.

“Ya dint see ut?” he whispered, aghast.

“I was sick. Please. I’m dying. How did she get out of the fire?”

“It was the cat’s pajamas,” the usher said. “Ya know how she dint see no way outa there, an thuh fire gettin’ closer alla time, and she was kinda chokin’ up from the smoke …?”

“Yeh, yeh, I know the fire and the smoke … what did she do?”

“Well, just when it looked like she was a goner, she noticed a little door she never seen before and …”

And turned the knob and escaped into the clean, outside world to start running from the villain in Chapter Ten, to be seen at this theatre next week, don’t miss this exciting episode.

When talking pictures came in, my grandmother became an even more ardent fan. She would come home beaming and repeat the story to us whether we wanted to hear it or not. Since the plot suffered considerably in the retelling, it was like trying to solve a puzzle with half the pieces missing. For some reason or other, my grandmother would identify the actor or actress with the role he was playing, so that if John Gilbert’s name in the story was Henry, he would remain Henry to her.

I’ll never forget the day she saw Al Jolson in The Jazz Singer. She sobbed so hard through this performance that even after the curtain swished across the screen and the house fights were put on, she sat in her seat and cried vigorously. She came home with a bagful of sodden handkerchiefs, convinced that Al Jolson had sustained a terrible loss. In the picture, he sang a tearjerker called Sonny Boy to an angelic-faced child who subsequently died. Nothing could persuade my grandmother that this boy was not Al Jolson’s child. For weeks she would walk around the house, heaving racking sighs and wiping tears from her eyes.

“Bubba. For heaven’s sake,” I said, annoyed. “It was only a picture! That boy will be in a dozen new pictures before the year is over.”

“What do you know how a father’s heart can break? Wait. When you’re a mother, you’ll understand what it is to have love for a child.”

“But, Bubba. That child did not die. It was just a story.”

“Malkele,” she replied sorrowfully. “I know you mean well and you’re trying to make me feel better. But you’re young yet. You don’t know what real suffering is.”

From that time on, she became especially interested in Al Jolson’s career. If she heard gossip that was good, she felt considerably cheered. If she heard comments that were unfavorable, she would shake her head gravely and say, “That poor man hasn’t been the same since he lost his little boy.”

As she became older, she preferred stories with modern settings. When we took her to see a picture depicting early days in man’s history, she would turn to me or to Yonkel and say disapprovingly, “Why do you take me to see a picture made in olden days?”

“Bubba,” I would answer. “The picture wasn’t made in those days. The movies are practically brand new. That is a picture that just came out this year from Hollywood.”

“Go on,” she denied unbelievingly, “don’t I see with my own eyes what they’re wearing and how they are living?”

We discovered, after a while, that my grandmother would go to the movies for still another reason than to see what was playing. It was so dark and cozy and relaxing, my grandmother found it ideal for sleeping. The music would crash through the theatre; sirens would wail; heroines would shriek. My grandmother would doze blissfully through it all, awaken refreshed, and remark that she didn’t remember when she had enjoyed a picture more.

Finally my grandmother took to going to see foreign films. This was somewhat of a puzzle to me, since she had rough going with American films. One day I spoke to her as she was busily preparing to go to a Spanish movie.

“Bubba,” I protested. “A Spanish movie you want to see? Do you understand Spanish?”

She looked at me, and her eyes crinkled with amusement as she answered, “And who understands English?”

My grandmother was constantly amazed at the new innovations in the motion picture field, but I think there was never a time to equal, for her, the Pearl White days. Once, when I took her to see some mystery film, remembering how she loved the suspense in the old-time serials, she turned to me and said, “You think she is suffering?” – pointing scornfully to the quaking heroine on the screen – “you should have seen little Pearlie White. She was a real wreck.”

Comments: Molly Picon (1898-1992) was a renowned American star of Yiddish theatre and film. The above is a chapter from her memoir (‘as told Eth Clifford Rosenberg’) of her family and upbringing. Her Ostrovsky (later Ostrow) grandparents came from Rizshishtchov in Russia, where Picon’s mother was born. Molly Picon herself was born in New York. Al Jolson’s song ‘Sonny Boy’ comes from the film The Singing Fool (USA 1928), not The Jazz Singer (USA 1927). Pearl White starred in the serial The Perils of Pauline (USA 1914).

Links: Copy at Hathi Trust