Pictures and the Picturegoer (Jan-Dec 1924)

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30 Picture s and Picture puer JANUARY 1924 What is the secret of each screen player's magnetism? With what traits of character does he or she command attention, hold the public, win affection? Vincent de Sola will answer questions such as these by a scientific physiog nomical analysis of the features of each player as he or she actually is, as we would find them to be through long acquaintance, close study and intimate contact. Character Reading: This face shows great kindliness and modesty. Strength of character, pride, and courage are present, and a freedom from sham and affectation. There is swiftness, sensitiveness, and sentiment indicated, some pugnacity and alertness. In spite of the array of definitely masculine traits of character, an unusual degree of intuition is revealed. De So A There is something large and genial in the features of William S. Hart, something irresistibly magnetic abot.t him. I have heard his acting criticised as " the mere holding of a grim stare," but I have never heard his personality attacked. Now, in reading his face, I can understand why. The lips arc full of a kindly humour, and show modesty and an almost universal spirit of sympathy and understanding. The face is strong-willed and is of the protective type. The heavy upper lip pre-supposcs not only force and determination but also some oratorical ability, the ability to sway audiences with a personal contact. But in spite of the largeness of the mouth, it is not a garrulous face, but rather a reserved and even taciturn one. Most remarkable of all, 1 think, are the eyes. Every feature bears out the masculine qualities of character in Hart, his force, vigour, courage, simplicity. It is rare that we find in a face so completely masculine as this the trait of intuition, rarer that we find it developed to such a degree Hart is equipped to make an almost perfect judgment of human beings in a swift glance. That glance would not perhaps grope for the subleties of character, but it would at least be able to place, in a definite category, and with a few important classifications, nearly anyone with whom he came into contact. The mouth is highly optimistic, and the nose displays a fair share of personal pride. His humour is pervasive and deep. It has all the traces of kindliness and is completely lacking in satire, or bitterness or malice. And as nearly all humour has some trace of those three, Mr. Hart's is of a rare order indeed. I have said before that his character was the protective type, it is also paternal in attitude. The face shows great love of children, its owner inclined always to sponsor the weak or those in difficulty, rather than those who are strong and powerful. There is much sentiment there, and signs which lead me to conclude that its possessor has the domestic instinct. There is every indication of honesty, and reliability present. He appreciates character and enjrys with quiet humour all that is odd or whimsical in human nature. But he does not stand an aloof spectator, rather associating himself with whatever appeals to him. There is not a little commercial acumen in his face, and he is highly sensitive, easily wounded by attacks or slurs foreign to his own understanding. He is able to succeed in many diverse ways, and his character is so unlike that of the conventional theatrical type, that I am forced to conclude that chance more than choice played a part in his selection of an acting career. Modesty is certainly present, a quality not frequently distributed with a lavish hand among actors. ' He is slightly pugnacious, but never seeks contest for the sake of contest itself. He is certainly far removed from the unchanging pugnacity of his roles. He requires little analysis at my hands. The public has already tested and approved him. And the large kindliness of his character, his protective spirit and rich humour will always win him an army of affectionate followers.