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And he was Dorothy Gish s dad in "The Hope Chest.
As Bobby Harron « tather in "A Romance oi Happy Valley,
George Fawcett, champion movie magnate, film father, and Griffith's right-hand acting-man, is now a director.
By
SYDNEY VALENTINE
Here he ia — directing Corinne Griffith at the Vitagraph Studio in "Deadline at Eleven.
of faithful dramatic service, during which he played every part the director gave him to play, in Griffith's own productions and in everybody's else. Then he went to Vitagraph and directed Corinne Griffith in one picture. In this, "Deadline at Eleven," he showed up all the other directors who have been given newspaper stories to handle: he maiie a film newspaper office seem almost reasonable.
Later. Dorothy Gish was left without a director. Elmer Clifton had gone south with Mr. Griffith and Lillian Gish had piloted her comedienne-sister through an intervening picture. But Lillian is an actress, not a directress, however competent she may be in the latter line; so the younger Gish's company
was left up in the air. Fawcett was sent for. When he left the studio to seek fresh fields he had remarked. "I'll miss Dorothy Gish." He came back as Dorothy's director.
He is guiding the star through "Her Majesty. " a tale of a little princess of a bolshevist-ridden and fictitious kingdom. It goes without saying that his direction will reflect the Griffith training. Fawcett believes in realism, but not when it is carried loo far. That is, he believes that the bare transcrip^^^M tion of life, lacking that imagina
^ ^^^^H tion which gifted minds give to it, is
^^^^^H uninteresting and dull. He finds.
^m^^^^^^M he s^ys ^^^^ screen acting a
JI^^^^^^I player is only too prone to fall into
a lazy mode of expression, which comes from not thinking and having someone always there to prompt and direct. The results of such methods are invariably branded by the audiences as "typical movie stuff." That, says Fawcett. is the great fault of many screen-bred actors. The stage actor who is at all posed or theatrical is shown up ver> quickly when he steps before the camera : and that is why it is good for any legitimate player to go in for pictures, if only temporarily.
Fawcett knows what he is talking about; he was a legitimate actor for many years, in most of the wellknown producing companies, both in this countrj' and in Encland. He remembers the old-time stage, when reality and realism were practically frowned down, and when acting was almost terrifically theatrical. I' had to be. Nowadays, the older technic we sometimes call "swashbuckling" seems ludicrous.
(Conthiiu d on page gst
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