The former superstar in silent movies knew it was time to give it up when Douglas Fairbanks shot his last scene in December 1934's "The Private Life of Don Juan." The film's final images of the flickering candle that he puts out with his hand symbolizes one of cinema's greatest performers fading away on the screen like the last lingering smoke from the extinguished candle.
Fairbanks may have not wanted to end his twenty-year film career with the Alexander Korda-directed motion picture. But surprisingly for what the star felt was still his massive public appeal, "The Private Life of Don Juan" failed miserably at the box office. Fairbanks connection with movie audiences had long lost its luster when talkies arrived on the scene in the late 1920s. His supposed swan song, 1929's ""The Iron Mask," a mostly-silent film, concluded with his on-screen death along with his other compatriots, The Three Musketeers, showing the quartet literally prancing upwards towards the pearly gates of heaven. But the ever persistent actor played in another three talkies, one with his wife Mary Pickford, before embarking on the Korda-inspired adaptation of the Henry Bataille 1920 play "L'homme a la Rose.' Its plot almost parallels the fantasy life Fairbanks portrayed on the big screen, reflecting on his past reputation of an aging lothario whose pop no longer exists. As Don Juan, he discovers an imitation of himself in Seville, only to see the fake cut down and killed by a jealous husband. He, the authentic Don Juan, secretly goes into hiding, but then finds out a book and a play has been produced that parodies his real life. Unable to take the humiliation of his past anymore, Don Juan barges onto the stage during the play's live performance in hopes of convincing the audience he's the real deal. During the middle of the audience heckling him, Don Juan realizes his life was only worthwhile by the love from his wife, Dona Dolores (Benita Hume), who still longs for his return.
As one insightful commentator wrote, "when it comes to love, lasting triumph lies not in conquest but in surrender, particularly the surrender of posturing, pretenses, and even dignity, the happiest kind of surrender, without which real love, meaning and purpose is impossible." At 51, Fairbanks probably had time to reflect on his actress wife, Mary Pickford, as the filming progressed. As one film historian noted, "It is fair to say Fairbanks was a bit of a Don Juan himself, his marriage to Mary Pickford began as an affair and ended with one as well!"
While in London for the production, Fairbanks fell for actress Sylvia Ashley, 30, who was going through a divorce from her first husband Lord Anthony Ashley-Cooper. Their love affair became public, causing quite the stir. Pickford and Fairbanks were already separated, but the newspaper headlines confirmed Hollywood's royal couple were headed for an official split, which happened in 1936. Mary ended up keeping the pair's palatial homestead, Pickfair. Fairbanks and Lady Ashley exchanged wedding vows in March 1936, and remained married until his death three years later. Sylvia crossed the alter five times in her life. Her fourth husband was actor Clark Gable in 1949, a marriage which lasted less than three years.
"The Private Life of Don Juan," a play on words by Korda's previously wildly successful film starring Charles Laughton in 1933's "The Private Life of Henry VIII," has lately gained a more favorable reputation. Director Jim Jarmusch's 2005 "Broken Flowers" plays homage to Fairbanks' last movie, with his former 'Don Juan' actor Bill Murray duplicating the story of revisiting his youthful days. Film historian Sparrow Morgan called Fairbanks' movie "the perfect final film for a great Hollywood swashbuckler."
After "The Private Life of Don Juan" Fairbanks was still involved in his partnership with United Artists. Other than that, his declining health steered him away from actively participating in the film industry, spending most of his time traveling and recuperating at his luxury 1922-built home on 705 Palisade Beach Road in Santa Monica, California, which is still standing. On December 12. 1939, Fairbanks suffered a fatal heart attack, dying at age 56. His last words were "I never felt better."
Fairbanks may have not wanted to end his twenty-year film career with the Alexander Korda-directed motion picture. But surprisingly for what the star felt was still his massive public appeal, "The Private Life of Don Juan" failed miserably at the box office. Fairbanks connection with movie audiences had long lost its luster when talkies arrived on the scene in the late 1920s. His supposed swan song, 1929's ""The Iron Mask," a mostly-silent film, concluded with his on-screen death along with his other compatriots, The Three Musketeers, showing the quartet literally prancing upwards towards the pearly gates of heaven. But the ever persistent actor played in another three talkies, one with his wife Mary Pickford, before embarking on the Korda-inspired adaptation of the Henry Bataille 1920 play "L'homme a la Rose.' Its plot almost parallels the fantasy life Fairbanks portrayed on the big screen, reflecting on his past reputation of an aging lothario whose pop no longer exists. As Don Juan, he discovers an imitation of himself in Seville, only to see the fake cut down and killed by a jealous husband. He, the authentic Don Juan, secretly goes into hiding, but then finds out a book and a play has been produced that parodies his real life. Unable to take the humiliation of his past anymore, Don Juan barges onto the stage during the play's live performance in hopes of convincing the audience he's the real deal. During the middle of the audience heckling him, Don Juan realizes his life was only worthwhile by the love from his wife, Dona Dolores (Benita Hume), who still longs for his return.
As one insightful commentator wrote, "when it comes to love, lasting triumph lies not in conquest but in surrender, particularly the surrender of posturing, pretenses, and even dignity, the happiest kind of surrender, without which real love, meaning and purpose is impossible." At 51, Fairbanks probably had time to reflect on his actress wife, Mary Pickford, as the filming progressed. As one film historian noted, "It is fair to say Fairbanks was a bit of a Don Juan himself, his marriage to Mary Pickford began as an affair and ended with one as well!"
While in London for the production, Fairbanks fell for actress Sylvia Ashley, 30, who was going through a divorce from her first husband Lord Anthony Ashley-Cooper. Their love affair became public, causing quite the stir. Pickford and Fairbanks were already separated, but the newspaper headlines confirmed Hollywood's royal couple were headed for an official split, which happened in 1936. Mary ended up keeping the pair's palatial homestead, Pickfair. Fairbanks and Lady Ashley exchanged wedding vows in March 1936, and remained married until his death three years later. Sylvia crossed the alter five times in her life. Her fourth husband was actor Clark Gable in 1949, a marriage which lasted less than three years.
"The Private Life of Don Juan," a play on words by Korda's previously wildly successful film starring Charles Laughton in 1933's "The Private Life of Henry VIII," has lately gained a more favorable reputation. Director Jim Jarmusch's 2005 "Broken Flowers" plays homage to Fairbanks' last movie, with his former 'Don Juan' actor Bill Murray duplicating the story of revisiting his youthful days. Film historian Sparrow Morgan called Fairbanks' movie "the perfect final film for a great Hollywood swashbuckler."
After "The Private Life of Don Juan" Fairbanks was still involved in his partnership with United Artists. Other than that, his declining health steered him away from actively participating in the film industry, spending most of his time traveling and recuperating at his luxury 1922-built home on 705 Palisade Beach Road in Santa Monica, California, which is still standing. On December 12. 1939, Fairbanks suffered a fatal heart attack, dying at age 56. His last words were "I never felt better."