However, she was increasingly excited by the cinema, which was increasingly patronised by a cross-class audience by the late 1910s. Her first Guardian contribution on film compared the "beauty of line" that she saw in Douglas Fairbanks's swashbuckling performance in The Mark of Zorro (1920) with the Ballets Russes of Sergei Diaghilev.
She became increasingly enthralled by cinema, which was becoming more popular among people from different social classes in the late 1910s. Her first article about film compared the "beauty of line" she observed in Douglas Fairbanks's swashbuckling performance in The Mark of Zorro (1920) to the Ballets Russes of Sergei Diaghilev.