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February, 192 1
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Flagg, C. Warde Traver, A. C. Anderson and Howard Chandler Christy. In fact, she served as the model for all the posters that the lastnamed artist painted in behalf of the Liberty Loans, as well as numerous drives that were conducted during those strenuous times. "The ideal Christy girl" was the verdict this artist publicly gave over Miss Lee's beauty and that is how she was known before she came to work in pictures.
To "arrive" on the screen is no longer the easy, miraculous possibility of even four or five years back; the prejudice formerly held by stage folk against film work has long since vanished and the woods are full of good actors who do picture work exclusively. So, unless you are one of "the blessed damozels" who come out of the air as full fledged stars with their own companies, you must begin at the botcom. The lowest rung of the studio ladder is the "extra," and that is where Virginia Lee made her start; and with her characteristic, engaging frankness, she is the first to tell you of her humble beginnings.
After many weary months of chasing about from studio to studio, with the occasional bare reward of a day's "extra" work now and then, she finally came to the next higher rung and was engaged for "bits." With this encouragement, Miss Lee gave up the posing which she had continued to do sporadically — even an "extra" must eat — and decided to devote herself exclusively to pictures.
Virginia Lee is not the first girl who won fame as an artist's model and then repeated her success on the screen ; Olive Thomas, Justine Johnstone, Edith Stockton, Martha Mansfield and Kay Laurell are some of the names that come to mind in this connection. But each of these others passed through some transitional period of stage experience, even if it was only in a Ziegfeld roof show ; Miss Lee came right into picture work. And her breeding and early environment had inculcated the dramatic instinct in her to such a point that she bridged the gap with signal success.
Her first real part was with Emmett Dalton, the sole survivor of the notorious Dalton band ; they were co-starred in a photoplay called "Beyond the Law," which was based on the experiences of these bandits. After this picture came two engagements with Louis Bennison: "Oh Johnny" and "Sandy Burke," both Western stories, for which she had been selected by her rough-riding performances in the Dalton production. Then came an important role in "The Whirlpool," Alice Brady's first Realart vehicle; followed, in turn, by an incursion into the comedy field as leading woman to George Walsh in "Luck and Pluck." Marjorie Rambeau was the next star in whose support Virginia Lee figured, as the ingenue in "The Fortune Teller," picturized from this same star's famous stage play. Miss Lee also appeared opposite William Collier in "The Servant Question" and with Norma Talmadge in "A Daughter of Two Worlds ;" then came a starring role in "Love or Money," the Burton King adaptation of "The Road to Arcady." These pictures firmly established her as one of the convincing emotional actresses of the films. HEB
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