Picture Play Magazine (1938)

12 Soft and Sharp Focus perfection a matter of make-up. He is amazingly like portraits of the emperor, but it is the actors subconsciousness that is expressed in his portrayal. Hollywood cosmeticians can do anything, but they can counterfeit no more than outward character. Mr. Boyer's acting comes straight from his mind and soul. I doubt if he studied the character in the way of actors who pick up a catalogue of mannerisms from biographies. To say that he dims the glory of Garbo is as far-fetched as to say that she overshadows him. He is Bonaparte and Bonaparte only, but hers is a larger and more difficult role. She takes a character that is no more than a name, a comma on history's parchment, and breathes such magic upon it that the atom becomes a beautiful woman. And presently her beauty grows until we are face to face with every woman in love. That is I he marvel of Garbo in "Conquest." THE Duke ol \\ indsor and Paul Muni recently "made" the newspapers the same day on the same topic. It was a plea for privacy. His Royal Highness reminded the American public, while in the midst of crowds in Germany, that he would come to this ci unit t \ as a private individual. His plea was that he be treated as one. You know by now whether or not he was ignored and permitted to go his way unobserved! Mr. Muni belongs to the royalt) of the acting profession, so our concern is with him just now. Like other royalties, he is not above making himself silly and being kidded for it. The newspaper head was this: "Paul Muni Seeks Privacy, So He Comes to New York. Threatens To Go Home If He Is Noticed Here." He said to a reporter. "This was to have been my first real vacation in thirty years of acting." (How about that trip to Russia a fewyears ago, Mr. Muni? ) "I want to rest," he went on, "but it's difficult to avoid a certain amount of ballyhoo and parade. People expect you to do a lot of things you're not interested in doing. I like popularity and appreciation, of course, but I have worked hard and want my rest," he said. Paul Muni I IKE most artists. Mr. Muni dreams of Utopia and overlooks certain realities. He sees himself the grand actor he is, enjoying the popularity and appreciation he admits he likes, and turning it on and off at will. He would like, it seems, to study his roles in seclusion, lose himself in the joy of living the character of the moment before the camera, receive material returns for his time and talent in the form of large sums of money, widespread publicity and strict adherence to the terms of his shrewdly dictated contract — and then forget all about it! The public must be content with value received in return for what it pays to see him — and then forget all about him until they have the privilege of seeing him in his next picture. An ideal state of affairs for the tired artist, but it won't work, Mr. Muni, it won't work! The public being what it is — human — it will continue to ask for autographs and it will keep on asking "inane questions" when it corners you aboard ship. It won't keep its distance. \ol the American public. It never has. Not only is it inquisitive, but it argues that it made its favorites what they are to-day. It doesn't respect genius to the extent of turning its eyes the other way, and it can't understand why celebrities should shun notice when the) appear in public and crave it when they appear on the screen. Picture-goers make no distinction. Once a celebrity, always a celebrity — until that dread day of forgetfulness when the star i no longer a star and his past glory counts foi nothing with a new public that never saw it. Hollywood has its forgotten stars, New York its great ones of the stage anil opera who used to stop traffic, and who now might query a thousand passers-b) without finding one who remembered their name. You can't have your cake. Mr. Muni, and eat it too. You admit you like popularity and appreciation. Unbend. He tolerant ol those who in their annoying way are paying tribute to a great actor and a winning gentleman. TIM'S j, the Christmas number of Picture Play, in a manner of speaking, although you will find -eareelv a reminder of the .Yuletide season in the magazine. Lack of Christmas hokum docs not imply suppression of the true feeling associated with the season. We are lairlv bursting with good will toward all: toward the stars who have entertained us, especially those who have thrilled us anew with greater talent in fine pictures, and toward our readers who have remained loyal to Picture Play through thick and thin. Not alone our good will but our gratitude is yours for preferring Picl mm I'll \ to all oil ie i s. You are to have tangible proof of this in the near future, too. Our program of expansion in 1938 is definite and costly, the most positive we have ever planned. Picture Play's twenty-third year will bring more to you. A Merry Christmas and a Happj New Year to von all!