Movie Pictorial (May 1915)

MOVIE PICTORIAL of people to the motion picture theaters who never thought of attending before. At the same time I do not believe that the fad will last long; indeed, the time is close at hand when the public will still call for the adaptation of well known plays and novels, but will want them interpreted by well known and accomplished photoplay artists who are better fitted in every way to successfully portray the parts they are given, than the stars from the legitimate stage. There are a few of the stage stars who are fitted for this work, and I include Elsie Janis and the Farnums; but, as a general rule the artists are either too old to defy the cruel camera or else they do not understand the newer art, and the result is that they are jerky and unnatural in their actions and cannot shake off their stage mannerisms.” “Photoplay acting requires considerable expe- rience,” said Mr. Smalley; “it takes time and hard work to get used to screen work. We have both had considerable stage experience and know what we are talking about. I shudder even now when I think of our first pictures. There is another thing, a man may be a good actor on the legitimate stage and yet not have what is termed a good screen appearance and many a good actor shows up badly when photographed. One can never truly ascertain until he has seen himself on the screen and that is why many a reasonably good actor or actress has been a failure at this particular pro- fession.” In answer to my query as to what length a photoplay should go, Miss Weber said: “I think that four or five reels are enough. The brain will not permit of viewing more than this number of reels, for I really believe the watching of the film has an hypnotic effect. Really, I do not think that any stated length should be given for a particular subject, it should go just the length that the subject requires and I think that this improvement is coming, too.” They are not pedantic, this gifted pair, and there is never a doubt that they are intensely in earnest and intend to carry out their ideas and ideals. They are entitled to express their opinions too, and these opinions are worth due reflection, for they have arrived at conclusions after much study and much work and varied experience. Miss Weber was well known on the boards and on the concert platform. Mr. Smalley is a graduate of Oxford University and was both an actor and manager and it was while he was managing the “Why Girls Leave Home” company in which Miss A “Butterfly” “Married? No—Not for me! I’ve got a cat, a parrot and a pewter teapot I inherited from a greataunt. Yes, I have determined to he an old maid.” Grace Darmond. C OULDN’T sleep much last night! You see I’m so excited waiting to see my photo- proofs from Moffett I can hardly wait,” was the excited remark of Grace Darmond, the slim princess who is the leading lady at Selig’s, the center of an admiring group in the spacious green room of that wonderful establishment. One could hardly credit that a girl who had been photographed every day that the sun permitted for a year past, in moving pictures would be so curious concerning a photograph taken in another atelier — but that is one of the vagaries of the artistic temperament. It is said that the railway engineer, the highest type of mechanician, could only get satisfaction out of his vacation by riding with a member of a brotherhood on another loco- tive, fairly overcome by the fascination of making mileage —• so the novdlty of having a portrait de luxe, instead of making animated footage on the film, excited the youngest leading lady in the business, perceptibly. A studied close-up of Grace Darmond reveals a tall sweet young woman of graceful figure with reddish hair and sparkling brown eyes, one whose natural grace has been accentuated but not affected by theatrical training. Still in her ’teens, she has already had years of experience on the stage, com- mencing as the child in “Edith's Burglar.” Follow- ing this, she joined a stock company and grew from short dresses to long skirts and trains, as she advanced from the juvenile roles to those of the heroine and adventuress —• running the gamut en- forced by the varying demands of the stock com- pany — thus gaining a liberal education in the drama. In remarking this busy period of her life, Miss Darmond, who was garbed in a full fluffy silken gown, curled up in a big chair, said: “Yes, I have had ten years of experience since I made my debut in my nightie in ‘Edith’s Burglar,’ and the lessons of those strenuous years have been very valuable to me during my two years’ service under the skylights. For two seasons I played every variety of part that the changing weeks of the stock repertoire could furnish; from the wrinkled hags and toothless witches (she made a wry face at the memory, showing bewitchingly perfect teeth) down through the kingdom of female roles to the slimpsy maiden in the checked dress and the sunbonnet, with her golden hair a’hanging down her back. “Yes indeed, my experience in stock was invalu- able. It was a constant change and a spur to originality and good hard work. It would be hard to name any school nowadays more exacting than that of the stock company, where there is a change of bill every week. I have heard many actresses complain of the strain involved in the memorizing of roles under stock conditions, but confess that this was always stimulating to me.” Miss Darmond played a season in a sketch by George M. Cohan and was for two years associated with J. M. Bannister’s “Auld Lang Syne” company. She delights in motion picture work and says she finds ideal artistic conditions with the Selig forces, where they are like a big family. There, Miss Darmond has appeared in important roles in the support of Tyrone Power in “A Texas Steer,” “The Servant in the House,” and assumed leading feminine roles in “The Quarry,” “Whom the Gods Would Destroy,” and other Selig spectacu- lar specials soon to be released. “Well am I being merely viewed, or interviewed?” inquired the fascinating young subject, as a swarm of other actresses just down from the studio filled the green room chattering like magpies, indicating that the recess periods of the silent drama are very valuable. They “dissolved” so to speak and went on their way down the long passage to their dressing rooms. “Well the sex are so curious,” remarked this wise little maid as her elders passed out of hearing. “Sh! but don’t quote me, or the Indians may return for bloody reprisal as we used to say it in the old melodrama.” Again the Darmond smile filled an eloquent silence. “Ambitions? Yes, I have some. What is this, a confession of faith or just an interview?” The little head cocked on one side bird-like. “In vaudeville we used to be so afraid to tell, the other pirates would steal our business in a minute! Oh! Yes, ambitions! Well I should like to have a lot of new dresses. I could just spend a week in Field’s, but can never get down town when the sun is shining. Seriously, I should like to make good in every part that the Selig company are generous enough to give me. I believe thor- oughly in the dignity of my work, and I do my best. The atmosphere here is so clear, and we are really a very happy community out here by ourselves. Mr. Selig looks in every once in a while, and we do not run and hide, as I am told they do in some studios where the appearance of the ‘Boss means Storm.’ So you may know he is popular with his people. I have a strong weakness for automobiles, but I have never been allowed to tackle a racing car—-I have really grown to love the dignified pace of a conservative electric, that is guaranteed not to exceed the speed limit. “Married? Nope — not for me! I’ve got a cat,, a parrot and a pewter teapot that I inherited from a greataunt. Yes, 1 have determined to be an old maid.” With this she deftly and almost uncon- sciously turned a ring on the third finger of her left hand, which she quickly explained was a “prop” used in the play in which she was taking part. 9 Weber was playing, that they decided their com- mon interests would be materially cemented by matrimony. They have been sympathetic co- workers and during the time they have been acting in and making pictures, they have done much to help improve the art, and have ever striven to give the public worthy photoplays with an uplift. This talented couple have acted together in pictures ever since they decided to “try out” the then new “fad.” They first acted~and directed with the Gaumont company for two years and were with the Universal for many months (to which com- pany they have just returned) before joining the Bosworth Incorporated company, and at both of the last concerns they have made and acted in some very notable productions, most of which have been written by Lois Weber. As I left, Phillips Smalley called out after me: “You need not say I am the handsomest actor in the world, and for goodness sake don’t call Miss Weber a striking brunette. Beyond that, do your worst and call again some time.” As they stood in the doorway of their cheery home with the subdued lights behind them, I could not but admire the handsome couple, they are such mighty good pals and there are none too many such. Grace Photograph by Moffett. Chicago