The Photo-Play Journal (Jul 1919-Feb 1921)

July, 19 19 PHOTO-PLAY JOURNAL Monroe Salisbury as a Strong Man of the North HEN I asked Monroe Salisbury to show me how he made up for the wonderful Indian characters he has given us on the screen, I think he was secretly amused Like his Indian friends, he frequently smiles with his eyes, while he keeps the rest of his face quite straight. Just now, his eyes were undoubtedly laughing at the ignorance of some people. Haven't you always supposed that he made up especially for these characters? Well, that's what I thought! Listen folks, he DOES NOT! Ting-a-ling-a-ling ! Hel-lo ! Are you there, Fans? All right, Monroe Salisbury speaking. "Strange as it may seem, I merely use a straight make-up for an Indian character. A slightly darker color, that it all ; but my Indian make-up (so far as grease paint is concerned) is identical with the one I use as 'That Devil Bateese' and nearly all my characters. "Many are kind enough to say I am different, not only in looks but in action, in all of my pictures. It's the greatest compliment they can pay me. I want to be different in all of them. The difference they notice is not, however, in my LOOKS. It is not my face that has changed when I interpret different characters. It's my SOUL. And, for the time being, / AM the character I portray. Therefore, my features take on the moods and tones that are felt and I become the Indian, the French-Canadian or the Italian. I play entirely by FEELING the part I'm acting. "My long experience on the stage with such artists as Mrs. Fiske, John Drew, Richard Mansfield, Nance O'Neil, Kathryn Kidder and many others, taught me technique, and now. in photoplay work, that comes naturally and I do not have to think of it. "Before playing a new role, I study the character from every angle and thoroughly visualize it. Then it becomes real to me and soon I am that character, in feeling and in looks. I take on. as I have said, the expressions of the character I FEEL. "I'd hate to think that I had to use make-up to get my characters across with an audience. To me that is not art." Having settled the make-up question, the reporter dares to cut off the fans for a moment to ask Mr. Salisbury if he intends specializing in Indian and Western characters. Said reporter, unintentionally, stirs up the star on his pet subject. "Certainly NOT!" says Monroe. (Don't cut us off central, this is going to be interesting.) "I believe that it is FATAL to play one line of parts ! I am trying to show the public just how I feel about this, by appearing in a different character each time. I do not want the people, as they pass a theatre where I am playing, to say, 'Oh, Monroe Salisbury! Lets go in and see him.' (Knowing exactly WHAT they are going to see.) But, instead, 'Oh, Monroe Salisbury ! Let's go and see WHAT he will be in this picture.' "I learned what I know of characterization from the most wonderful actor of recent times, also, the most successful, Richard Mansfield. Such a great artist ! "It was while I had the honor of acting under his direction that I made up my mind to follow in his foot-steps as nearly as possible. "Some of our Picture Players are absolutely the same in all of their pictures. No matter what the story is, the part they play must conform to their personalitv instead of sinking their personality in the role they are playing. This I cannot understand. There are times when I think it may be what the motion picture public wants, for some of these stars are wonderfully successful ; but I still think and believe that they would be doubly so if they characterized the roles they play. "Take Mrs. Fiske (on the stage), her 'Tess of the D'Ubervilles' was one of the greatest performances I have ever seen. Also, her 'Becky £*k«.Tp. Yet these two roles were in such marked contrast ' :.t -m Salisbury on His Ranch at Hermit, California. Only Indians Employed as His Helpers on This Ranch Are The Same Salisbury as a Virile Westerner that it is hard to believe the same j woman was capable of such varied, j emotions. Now in each of these plays, : Mrs. Fiske LOOKED the same; BUT, \ she felt her characters and she : SEEMED different. "There are many other cases with : which to illustrate my point, but this one is sufficient. "My last two pictures will prove that I am trying very hard to give my public something new. Trying to vary my characterizations. "In March, 'The Light of Victory' appeared. In this I play a man who is his own worst enemy. He sinks lower and lower until the very end — there is, so it seems, no hope for him; but, just before he is killed, he has a very beautiful soul reformation. "In contrast, the story I have just finished is founded on 'Reincarnation.' It is a high-class satirical comedy, with odd twists and is unconventional in every way. "Another belief of mine is that every story and character presented to the public should carry a message, and, above all, a CLEAN one. So that, when the performance is over, the story that has been unfolded upon the screen, has left a memory that will be a pleasant one and WORTH remembering. "I do not believe, as many do, that some things are TOO good and go 'over the heads' of the audience. I think the trouble lies in the fact that they are not GOOD ENOUGH to reach the hearts of the public. "If a play, a book, an opera, or a motion picture fails, it is certainly not the public's fault. I find the public always hopeful and inclined to be great camblers where their entertainment is concerned. They take all kinds of chances, always hoping for the best and are, to the stars they like — wonderfully constant." Outside of loving people and having a great faith in them — Monroe Salisbury has another great love. The West ! He is not a native son, having been born on the Salisbury Homestead on Lake Erie, near Buffalo, N. Y. He