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-THE MOVING PICTURE WEEKLY
Frank Tokonaga as
Mora.
John
Francis MacDonald as Williams, Secretary of Arabin.
-25
[ ™ GRAY GHOST
i^nstructions to his henchmen.
■ )RIE HOWARD
ire divided into two classes, ay be called the cigar and ette types. The first accom13 dastardly ends by the com
0 orce of his character and his
1 ?ht arm, and his sign and sym
■ the fat cigar, without which
at he is hardly ever seen, tell by the gyrations of his apparatus how his mind is , if you understand its. sigu will find that they are a 1 code to the )3lack brutality thoughts. Any actor who make a success of this type 0 make a complete and inudy of the symbolism of the arter, of course, has not neglis important part of his it, and his cigar-smoking in is eloquent. His physical listics fit him for the part, ii IS a tremendous fellow, well feet tall and weighing close undred pounds, is a Kentuckian, almost a ; of Cyartersville. He was a t ide, good-natured kid when he e is first stage appearance in c pany of the famous Mojeska, f : had marked him for a black
career even then. She had given him a very good baritone voice, and a baritone must be a villain, otherwise tradition is overthrown. Carter was very musical and he took time to have his voice trained. The result of his study was the position of leading baritone with De Wolff Hopper in Sousa's "El Capitan." Not long after the run started, something happened to Hopper and Carter was given the name part, which he played steadily for forty weeks. After this success he no longer found it necessary to warm the benches at the managers' offices. He played a long summer engagement in Boston, with such things as "The Belle of New York" when that perennial beauty was younger than she is now; and all the other roles which the composer and librettist had marked out for a baritone, and they were generally pretty maliftcent characters. That was the beginning of his study of the ways and the wiles of villains. He has been stage manager for the Shuberts, and acted in that capacity, besides creating the part of "Prince Orlofsky" in their version of "Fledermaus" which was performed at the Casino in New York, under the title of "The Merry Countess."
In 1913 he made his first screen appearance in the Rex-Universal Company, and he has been playing for Universal ever since. One of the first things he did was the villain in the serial "The Master Key," so that he knows the strenuous work demanded of a serial actor. Since then he has had a marvelous career of almost unbroken malevolence.