Modern Screen (Dec 1931 - Nov 1932 (assorted issues))

Modern Screen so it is with anyone. It is rare indeed when a person, who is afflicted with chronic melancholia, has a voice which people like instantly." Marguerite Churchill is another example of a person who is too aloof. So much so, in fact, that she was rapidly earning for herself the sobriquet of "snooty." And then she went to Kayzer for instruction. Today Miss Churchill is gay and charming. Instead of "snooty" the film colony has dubbed her "regular." "How did he do it?" I asked. "He told me," she laughed, "that I would have to 'undergo a complete rebirth at twenty-two.' That I would have to change, not only my voice, but everything about me. He even made me change my dresses. He told me that as long as I continued to wear dark and somber clothing, that my voice and actions would be the same. As proof he asked me to wear a gay, pastel colored frock, with hat and shoes to match, and then see if I noticed any difference. Before I knew it I was enjoying myself without wondering what people were thinking, something I was not able to do before. I laughed at the idea that a person might have a 'personality to match one's gown,' but I'm not laughing now ! I'm confident that the same idea will work with any girl the same as it did with me." T7"AYZER'S answer to my query about Jean Harlow was unexpected. "Jean Harlow is destined to become one of the finest actresses on the screen. In fact, I believe she would have been before this, had she had an opportunity to prove her dramatic talent in a role suited to her. She has, to my mind, as much, or more real talent than any person whom it has been my pleasure to meet in Hollywood." Jean, herself, is fully as effusive in her admiration of Kayzer. "Do you think he has helped you ?" I inquired. She looked at me in amazement. "Helped vie!" she replied. "He's made me over completely. I'm just now beginning to learn how little I knew about acting — about the voice — about everything. "Did he tell you," she asked, "that he almost refused to give me lessons. That I had to beg him, almost on bended knee, before he would even consent to an interview." "Why ?" I asked, somewhat surprised. "Because he had me classified, before he met me, just as everyone else seems to have me classified — as a 'tough baby,' a gangster's 'moll.' He thought I wasn't sincere, that I wanted voice instructions merely as a fad, because everyone else was doing it. Finally, after several weeks, I succeeded in making an appointment with him. And today he is the finest friend and the severest teacher that I have ever had. "He taught me how to enter a room, how to acknowledge an introduction, how to express myself in walking across a room. He even made me change my style of dresses, and above all, he is helping me to remove the stigma that appearing in so many roles as a 'tough' has caused." "But what about your voice — what has he done to help that?" "It's really amazing to me," she smiled, "but my voice seems to have changed without my knowing it. Once in a while he made me read lines but usually he just talked to me." That is another example of Kayzer's "indirect methods." "To state a fault and then try and correct it, is on the same principle as a mother's telling her child not to touch a hot stove. Jean didn't have to have her voice made over. She already had the voice — she merely lacked someone to teach her how to use it without her being aware that she was being taught." THE voice, according to Kayzer, does not have to be musically beautiful to be effective. To illustrate the point he uses a cheap piano. An ordinary player could get only ordinary music out of that piano. No matter how hard one tried the result would be the same — it would still be music from a cheap piano. But let an artist, an accomplished musician, play the same instrument and the music that results is something entirely different. The tone becomes sweeter, more alive, vibrant, beautiful. Henry Irving is comparable to that same piano. Irving's voice is not beautiful. On the contrary, it is ugly. But it is his genius for expressing thought with his voice, and just as the real artist who plays the cheap piano was able to make beautiful music, so does Irving's voice became a thing of beauty when he speaks. That is true, not only of Irving, but of everyone. "What about exercises?" I asked. "Mechanics are important, yes, but secondary to one's mental attitude," he replied. "Mechanics can do no good unless one is in the proper frame of mind to receive them. Of course, in speaking, as in singing, one must know where to breathe, where to pause, or the voice becomes pinched, strangled, squeaky. I should say that exercise has one value above all others — it strengthens the muscles of the walls of the chest and in doing so gives power to the lungs and, in turn, to the voice." A T the time Anita Louise, beautiful fourteen-year-old child actress, went to Kayzer for instructions her chest was undeveloped, thin. "Not long ago," he smiled, "Anita's mother told me that she had been forced to let Anita's dresses out over the chest and take them in at the back — a very good example of what exercise can do." Ann Harding, whose beauty of voice and charming personality are known the world over, was Kayzer's pupil at the time she made her Broadway debut, and she admits that it was his teachings that helped her to succeed. Fredric March is another. Charlotte Greenwood, Helen Twelvetrees, Frances Beranger, Thomas Meighan — all are people whom Kayzer has introduced to themselves— to whom he has given a hand in their struggle for success. 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