Motion Picture Classic (Jan-Dec 1920)

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Admissions By Pearl Malverne inn else, hi^ work\ng kiidwlcdtje ol all tlie proffssioiial branches has been ucirth while. Ineach separate branch, he tells nie, he met a separate and distinct type; code of condnc't. philosophy and method, and that each has been interesting; and worth while Kenneth Harlan has played on the vaudeville stage, has appeared in legitimate drama, has toured in stock, and is now treading the celluloid boards. He prefers the vaudeville stage to any of the foregoing phases of drama. The first picture he ever did was with Constance Talmadge All iihotographs l>y Clateiice BuH KE N X I-: T H H.XRl.AN is one of the workers. 1 didn't sec him working, hut then, one seldom does on a sttidio interview. I suppose if 1 sverc of the school of Maeterlinck, I could consume a whole paragraph on a scientitUsimile ancnt the drones and their antithesis. Being handicapix;d, I shall have to say that : He has invaded vaudeville, stage and screen, stock. ct al.. and I leave it to i/ublic opinion whether or not a mere drone would, or could, be so versa tile. . . • Changes of any sort reciuire initiative and initiative re(|uircs work. He says that in experience if ill uoth \. iK Of all of them the vaudeville life appealed to him the most from the human, personal viewpoint. The first picture he ever did was with Constance Talmadtje. And he was doing one with her the day I talked with him at the studio. In the distance, also temporarily off the set, Constance like her leading man was jjinioned on the inquisitorial prongs. I asked him whether he liked doing comedy, and he said he preferred other things. "I am not the comedy type. I think." he said. He added that he believed in changing from one si)here to another, but not from one tyjie to another. ( Cont'd on pof/e 70) { Tliirly-i-itllXI