Marion Davies!
Hearst loved seeing her in expensive costume pictures, but she also appeared in contemporary comedies like Tillie the Toiler, The Fair Co-Ed (both 1927), and especially three directed by King Vidor, Not So Dumb (1930), The Patsy and the backstage-in-Hollywood saga Show People (both 1928). The Patsy contains her imitations, that she usually did for friends, of silent stars Lillian Gish, Mae Murray and Pola Negri. King Vidor saw Marion as a comedic actor instead of the dramatic actor Hearst wanted her to be. He noticed she was the life of parties and incorporated that into his films.
After seeing photographs of St Donat's Castle in Country Life magazine, the Welsh Vale of Glamorgan property was bought and revitalised by Hearst in 1925 as a gift to Davies.[9] Hearst and Davies spent much of their time entertaining, holding lavish parties with guests at their Beverly Hills estate. Frequent guests included, among others, Charlie Chaplin, Douglas Fairbanks, and a young John F. Kennedy. Upon visiting St Donat's, George Bernard Shaw was quoted as saying: "This is what God would have built if he had had the money."
The coming of sound made Davies nervous because she had never completely overcome a childhood stutter.
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Hideko Takamine!
Takamine was born in Hakodate, Hokkaidō in 1924. Her first role was in the Shochiku studio's 1929 film Mother (Haha), which brought her tremendous popularity as a child actor. Soon she was billed as Japan's Shirley Temple. After moving to the Toho studio in 1937, her dramatic roles in Kajirō Yamamoto's Tsuzurikata kyōshitsu and Uma brought her added fame as a girl star.[1] Some of her film appearances from the 1930s and 1940s were lost during the Second World War when Japan's film archives were damaged by bombing and fires.
In 1950, she made what was considered a very daring move by breaking with the Japanese studio system, leaving the Shin Toho Studio and becoming a much sought-after freelance actress.[citation needed] Her films with directors Keisuke Kinoshita and Mikio Naruse during the 1950s and early 1960s made her Japan's top star. Her performance as a dedicated small town teacher observing her students' lives over several decades in Kinoshita's The Twenty-four Eyes (1954) is credited with that film's tremendous success and enduring popularity in Japan. Another powerful performance was as a tenant farmer's daughter who is raped and forced to marry the cruel landlord's crippled son in Immortal Love (1961).
