Meanwhile I feel sorry for the women today who want to marry and cannot. Their mothers were the gunpowder women of yesterday, bursting out of their kitchens, and here are their daughters trying to get in again. I sat one evening in our living room and listened to a fine young woman, a little too tall and a little too old for the average marriage market — the girls grow up so quickly nowadays that a child of twelve or thirteen is already beginning to be competition to the woman of eighteen and twenty, and she in turn to the chances of the woman of thirty and this one was thirty-five. She talked and I listened, and she told me of the plan upon which she and two of her friends were working. They had made a list of the marriageable men they knew, and had divided the men between them in terms, first of preference, and then of possibility. A certain number they gave up as impossible. One was too attached to his mother, another was a confirmed bachelor, the result of being more handsome than needful for a man, another was stingy, another had tantrums, and so on. A year later I received a wedding announcement from her. She had married number four, the last of her list of preferences. I could have wept for her. But I hope, oh, I do hope, that she has lovely children!
Green Hills Farm
Yes, I remember the American years in scenes, unconnected. For example, when the war stopped, we were at New Bedford, in a hotel with all our children for the night, and expecting to get to the island of Martha’s Vineyard in the morning. And that very night the news came that the war was over and everybody in the town went crazy and took a holiday, and even the steamer’s crew was drunk next day. But we had to leave the hotel because our rooms were engaged by other people and so we were quite without a shelter over our heads, while men and women went mad and got drunk and fell into fights, all because of joy. At last we were able to persuade a fisherman in Woods Hole to take us across the Sound in his motorboat and so we arrived, starved and tired and dazed with all we had seen and heard.
And I remember the day I spent with the children on a set in Hollywood. It was my only visit there, and I went because my novel Dragon Seed was being made into a picture with Katharine Hepburn in the leading role and I was secretly distressed because she wore a man’s Chinese jacket instead of a woman’s, and when I inquired of someone in command why this was allowed, I was told that she liked the lines of the man’s jacket better than the woman’s. Just as she would not cut off her bangs, although anyone who knew China would know that a farmer’s wife would not wear bangs. They are plucked out the night before her wedding, as a sign that she is no longer to be a virgin. And the bridge they had on the set was all wrong. It was the sort of bridge they used in South China but not in Nanking. And, worst of all, the terraces should never have been on the mountains. The rounded hills outside Los Angeles are very much like the hills outside Nanking, but for Dragon Seed they were terraced with bulldozers, whereas there is no terracing on the Nanking hills, and what confounded me most was that some of the terraces ran perpendicularly like great ditches up and down, impossible to imagine except in Hollywood, for terracing prevents erosion and the ditch provides it. When I inquired why the ditches, I was told that they made a contrast to the terraces running horizontally, and this only confounded me further.
Yet why dwell upon such matters now? Pictures improve, I daresay, and later in that same day the people on the set had their chance to laugh at me, too, when they produced the water buffalo which had been an important character in the filming of The Good Earth and now had become a sort of pet. I suppose they thought I would fall affectionately upon the beast’s neck but I did not. I remembered that water buffaloes in China have a deep prejudice against white persons and will always attack if they can. It was as much as I could do to put my hand on this one’s horn for a photograph. We eyed each other with mutual distrust, I because he was a water buffalo, and he eyed me because he smelled my fear, and was stirred by ancestral antagonisms. Meanwhile the Americans watching us laughed heartily and I let them laugh. And this brief and single visit to Hollywood brings to my memory the strange story of the filming of The Good Earth. I have always disliked mystery stories in which the villain is an Oriental of unknown and sinister character, just as in my childhood I used to dislike the crude Chinese plays where the villain was always a Western man with blue eyes, a big nose and red hair, yet — well, here is the story, and in time it properly begins in that last winter which I spent in the old city of Nanking.
When the stage version of The Good Earth, prepared in 1932 by Owen Davis, was sold by the Theater Guild to Metro-Goldwyn-Mayer, I wished very much that the chief characters in the motion picture could be played by Chinese actors, for the stage play had convinced me that it was impossible for Americans to portray the parts of Chinese with any reality. Nazimova, who took the part of O-lan, was a brilliant exception, but she had some background in Eastern Europe which gave her an almost Asian grace of movement and pose. I was told, however, that our American audiences demand American stars and so I yielded the point, as indeed I had to, for I had no control over the matter.
As soon as I reached Shanghai, the representative there of Metro-Goldwyn-Mayer came to see me in a state of despair. He had been sent to take preliminary photographs of scenes and people and he had found himself frustrated at every attempt. Finally his studio was burned down by unknown persons and he was giving up and returning to the United States. There are “forces,” he said, who did not want the picture made at all.
“Forces?” I inquired, unbelieving.
He nodded and went away without explaining. Later, I heard that he had committed suicide before reaching the United States, although not, I believe, from artistic frustration but from some private and domestic tragedy of his own.
I discovered, as the months passed, that the “forces” were familiar enough, for they were simply the prickly inverted patriotism of some members in the new government who did not want an authentic film made of Chinese villages and peasants lest it might provide unflattering views of China to foreign audiences abroad. I had a certain amount of sympathy with this, and so I declined at once any association with the making of the film, for friendly relations were more important to me than its success. Nevertheless, during the winter I heard a great deal about the making of that film, and I read of it, too, in Chinese newspapers. For a company was sent from Metro-Goldwyn-Mayer complete with cameras and technical equipment, and the story of their travail was relayed to me regularly by my friend the American Consul, who was compelled in the course of duty to be the mediator between the American motion picture group and the Chinese authorities, who objected at every step, and even after mediation, unwillingly acceded to, insisted upon dressing up the villages before pictures were allowed. Every woman, I heard, had to appear in clean clothes, and wear a flower in her hair, the rugged streets had to be cleaned and the houses decorated. The authorities even tried to substitute a modern American tractor, a machine that few Chinese had ever seen, for the redoubtable water buffalo who was an essential character in my story. If I heard the American side of the troubles from the Consul, I had the other side from editorials in the Chinese papers, which ran something like this: