"There was another girl who wrote me daily letters over a long period of time -- years.  In each envelope there would be two letters. One was from her to me. The other purported to be from me to her. She wrote, in my name, ideas, dreams, plans, thoughts. She endeavored to prove to me thus that she understood me as well if not better than I understood myself. It rather worried me, that strange dual correspondence. Because, though definitely pathological, it was also intelligent and sensitive. One day the letters ceased and never came again. Yes, I have wondered. . . .
    "I met one of the fans occasionally for tea or for a cocktail. The meetings never developed into anything -- not even friendship. The fan interest, you see, is predicated on curiosity. It masquerades under many names -- love, passion, friendship -- but it is essentially curiosity, rootless and transitory.
    "The actor should never become the man.
    "And so I speak the simple truth when I stress the lack of any real romance in my life during those busy years.
    "Well, then, to resume -- I returned to Paris after the tour to find that talkies had come to motion pictures.  I was asked to make a picture in Germany for Ufa. I hesitated.  I felt that I photographed badly. I loved the stage too well to take the cinema seriously. I did not believe that I ever would like it.  However, here was something new.  I felt that with the advent of talkies something tremendously significant had occurred in the world of entertainment. Something that might well be mortally wounding to the theatre. Once must grow, though the pains be severe. I made the picture for Ufa.
    "Shortly after the Ufa picture, M-G-M asked me to come to Hollywood to make French versions for them. There followed, then, a period in my life I would like to forget. A period given over to signing contracts and in asking to be released from them. A time when Luck seemed to have deserted one of her favorite sons. I was very unhappy and it was my first experience with unhappiness. I felt at the fork of the road I had taken the wrong turning.
"I came to Hollywood. I did not like it. The one bright spot in my life here at that time was my friendship with Maurice Chevalier.  I had met Maurice in Paris several years before, at an evening party. We had admired one another. But it was not until we were in Hollywood, two Frenchman alone, that we really became friends.


Any day he's not at the studio,
you can find Charles in his study,
where he finds great relaxation in
both writing and reading.

We played golf together. We dined and talked and were homesick together. I miss Maurice now.  I do not know whether he will ever come back to Hollywood or not.  He loves the life of Paris. He loves his villa at Cannes. He is having such great success over there. Perhaps in a year or two. He should come back, for there is no one to take his place. That cannot be said for everybody. He is unique and without a counterpart in the world of entertainers."  Both of our glances wandered to the large framed photograph of Chevalier which, with a portrait of Charles' mother, one of Pat Paterson Boyer and one of Charles himself, are the only photographs in the library.
    "I made the French version of  'The Big House,'" Boyer went on, "and the French version of  'The Trial of Mary Dugan.'  I had also made several talkies in France by that time, of which 'Liliom' was the only one to be released in this country. Shortly, it became obvious to producers that French versions were costing too much money, that they could take care of their French market by means of sub-titles.  So they decided to abandon the French versions. They had me under contract. I could not speak a word of English. What to do with me? I was not used to having people wonder what to do with me. I was miserable. My friends all urged me to learn the language. Especially Ruth Chatterton, who assured me that I would succeed enormously if I could but talk. I didn't think so. But here I was.  I did not know how to handle failure, what to do with the thing.  I learned a little English. And I was cast in 'The Magnificent Lie' with Ruth Chatterton, in 'The Man from Yesterday,' and in 'Red-Headed Woman.' All very small parts, and

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