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Kisses
Beginning at the top: Lane Chandler and Clara Bow; George Bancroft and Evelyn Brent; and William Powell and Mary Brian
Richard Dix bad a slightly different angle.
"You can't leave it all up to the man," he declared, crashing back and forth across his dressing-room in the manner which is Richard's own.
"Sometimes an actress is unresponsive. An amateur, perhaps, and camera-shy. When I'm working with such a girl, it's hard to lose myself in my part. Gee ! In the middle of a clinch she may get her elbow in my eye, which is enough to take all the sentiment out of a love scene, real or on the screen.
"But if she is responsive, and a trained actress, I never think of the cameras nor the staring visitors from Yap Corner, Iowa. I'm making love just to her.
"An actor is called upon to portray different kinds of |Jove, though. One characterization may demand snappy, up-to-date love-making. At such times I think only of the girl I'm working with. Another characterization requires a spiritual love. Then I think only of my mother all through the scenes. Don't even see the girl. But I can't remember a time when I thought of camera angles, footage and so forth, when I went into a love scene. Not Rich!"
"The Flaming Flapper" a Surprise
V/"ou'd expect something hot from Clara Bow, the Flam
A ing Flapper, wouldn't you ? When Clara goes after
her man, she burns up the celluloid. Yet Clara fools us.
Sitting on the steps of her dressing-room in the pale sunshine of a spring day, Clara shook her head gravely and declared that she never thinks of her screen lovers in. a personal way.
"I never know they're there," is the way she put it. "Screen love-making doesn't mean a thing to me. I am the character I portray, and that's all there is to it.' I never know whether my leading man has gray, blue or brown eyes, and I'm never the least bit in love with him, no matter how intense our love scenes may appear on the screen."
Nor does the handsome screen leading man mean a thing to Corinne Griffith. While such a statement from Clara may surprise us, one rather expects it of the lovely, remote Corinne, and she fulfils our expectations when she says that she plays only for characterization. Victor Varconi, who is appearing opposite her in "The Divine Lady," wasn't on the set when we talked with Corinne, or we would have drawn him into the discussion. A mere outsider would assume that it might be quite {Continued on page 90)
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