Evening Star Newspaper, June 16, 1935, Page 85

)35 A Magazine Section - o, er ot ne lis n- in re R d JLLY n- by JIM TU e e . G4 ; » ¢ : 3 Author of * Men in the Rough,” “‘Laughter in Hell,” Eic. e ~ HE CAME to Hollywood, a shy country K girl, and became the greatest come- )y dienne on the screen. n In talking of Zasu with Marie THIS WEEK Queen of Comedy W Her High School dramatic club passed her by; it wanted only ““talented members.”’ Pitts is one Hollywood snubbed her, too — at first; but now Zasu Dressler, the mighty woman said, “She’s as natural as water — one of the finest actresses ever born - and the most human."” I have known Zasu for fourteen years. Her mother was Irish, her maiden name being Nellie Shay. As Zasu says with a pathetic smile, “one of the one-hoss Shays.” Her father, Rulandus Pitts, was a New Englander. He died when Zasu was a child. Zasu's description of him will suffice . . . ““dreams that never became real were always in his eyes.” Zasu was named after her mother's two sisters, Eliza and Susan — the last part of | one name, the first of the other. She was not beautiful as a girl. She was tall, angular, with wild, sandy hair and immense tragic eyes. Nellie Shay Pitts, the indomitable mother of the future screen star, reared and educated her four children on the monthly pension of twenty-five dollars which the government gave her after the death of her soldier hushand. Living in Santa Cruz, a beautiful California town on Monterey Bay, she augmented her slender income by renting rooms during the summer season. Like most people of genuine talent, Zasu was a sensitive girl. As a result her childhood was rather lonely. A veritable Cinderella, she shared but little in the joys of laughing boys and girls. She made an effort to become a member of ““thé€ dramatic society’” during her last year in high school, but was not chosen. The society only wanted ‘‘talented members.” Alas, poor Zasu. Over very small pebbles, the whole course of a life may run. Sobbing over her failure, she accidentally met Mr. Bond. All unknowing, he touched the edge of immortality. He was the principal of the school, and Zasu told him of her defeat. Mr. Bond had watched Zasu for four years, and had faith in the ugly duckling. And, what is much more important, he acted on his faith at once. Selecting ‘“Fanchon the Cricket” for the senior class play, he insisted that she play the lead. He designed the placards which were soon nailed to every available board in Santa Cruz. They read: FANCHON THE CRICKET Starring The INIMITABLE Miss Zasu Pitts Widely known film critics have long since igreed with Mr. Bond. Zasu'’s entrance upon the high school stage vas more than a little hour of glory. Nellie shay Pitts, her workworn but buoyant nother, was in the audience. Besides, those vho had known Zasu during all the years of ier girlhood were assembled. Never upon ny stage did a shyer heart beat faster. For a noment it swelled in her throat. She became peechless when it came time for her to go on. She glanced over the audience. In the ourth row, proud as Lucifer and patient as ternity, was her mother. Her labor-twisted 1ands were clasped as if in prayer. Her lips vere pressed tight. The line of her jaw was irm. Zasu saw — and wnderslood. She began to act. One who saw the young “alifornia Cinderella’s performance has worded us reaction well: ““T never knew Zasu when - he always was.” The play ended, the audience cheered for nany minutes. The highly overwrought girl obbed in her mother’s arms. - of the great stars of tears and laughter “l knew you couldn't fail,"” said that valiant woman. *‘But youmust be brave -— there’s big- ger stages yet in the world.” Nellie Shay Pitts saw into the vears ahead, Late that night Zasu and her mother talked of the future. It was decided that Zasu must leave for Hollywood. The next day, mother and daughter bought a small tin trunk. Within a week Zasu said farewell to her strong-willed mother and went forth to con- quer the most celluloid of worlds, with her lunch packed in a paper bag, her tin trunk in the baggage coach ahead, and her heart sky- high. Hollywood was twelve hours away. Before long the young girl was seized with an’over- powering longing for her mother. Suddenly, as though a spring had broken in her heart, the tears fell. An old lady sat opposite the voung traveler. She consoled Zasu, and then added, “You must never let anyone see you cry.” Though Zasu was later to become an emotional actress of the first rank, she never again gaveway to her feelings —in public. She watched the old lady leave the train at Bakersfield. Zasu's early experiences in Los Angeles cannot be detailed here. All those who have been young and lonely in large cities will understand. The future star of the realms of sorrow went along with it hand in hand. Her life became more real than a tax report. No evil in her heart, there was none elsewhere. Having but little money, she moved to a cheap section of the city. Frances Marion, the greatest of women scenario - writers, happened to see her in a casting office. Attracted by the girl’s tragic and beautiful vyes, sue talked to her. Naively, Zasu toid where she was living. It was in the most notorious section of the city. . Frances immediately had her moved to the Studio Club — an insti- tution organized to give shelter to such girls as Zasu. Helen Jerome Eddy, > Sara Y. Mason, Louise ; Huff, Patsy O'Neil and others who touched for a moreor less longer period at the hem of cinema glory, were living at the club when Zasu arrived. - To the credit of Patsy O'Neil, she said, ‘“We all looked at Zasu when she arrived, like you would look at a girl in a depot with a tag on her. She seemed then, as always, like she was getting ready to cry. And none of us ever thought she was the one great actress among us."” Women, like men, can be big at times. Frances Marion secured her a small comedy role. She was fired as ‘“not being funny enough.” The splendid Marion still had faith. She got her a better- part in “The Little Princess.” Many have since claimed the honor of dis- covering Zasu. To Frances Marion goes the credit of holding the stirrup while the future express of tragedy and humor vaulted into the saddle. She was next given work with Charlie Chaplin, at one of his usual salaries of fifty Zasu Pitts — ““She’s natural as water,” said Marie Dressler. Left: In a role giving play to her tragic, beautiful eyes dollars a week. She remained for six months and appeared on the set with him once — for ten minutes. The part she might have played beyond comparison was given by Chaplin to a forgotten and untalented girl. Too shy to mingle with other members of the cinema troupe; Zasu brought her lunch in a paper bag and ate alone. Chaplin did not renew her contract. She became an extra, and later played 2 small role with Douglas Fairbanks, Within a year she was again called to she Chaplin studios. The comedian was even more conservative this time, and much less wise. He gave her a contract for three months at * fifty dollars a week. So little impression did the potentially great actress make on Chaplin that when her contract expired, and she met him on Holly- wood Boulevard, he did not know her. Heartbreaking months followed. Always the letters of encouragement came from her mother. Erich von Stroheim, in search of a girl to play the part of Trina in Frank Norris’ “Greed,” heard of Zasu. The test made, the Austrian director was satisfied. The powers that be thought for a while that Zasu did not have enough ‘‘sex appeal”’ for the role. Von Stroheim won. The gates of fortune were partly opened for Zasu. (Continued on page 13)