Picture Play Magazine (1938)

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RICHARD G R I F F I T I HE really has no accent at all. In my three hours with Fernand Gravet he misplaced emphasis only on the word "comparison." Of Belgian birth, educated in England, he has seen life from Berlin to Hollywood, from Cairo to Buenos Aires. Meeting the grave, correct young man, you can guess nothing of his background, his experience, even his age. You know only that he is not an American. His speech is idiomatic but has not the flavor of Hollywood and New York. Introduced over here as an accent-and-glamour boy, he will never be typed in romantic roles. After fifteen years of stage and ^^^^^^^^^^^ screen, he is too seasoned, too sensible an actor not to demand a variety of roles. Behind the glamour and youthful good looks of his public personality, there is a maturity, a seriousness of purpose, an ironic amusement at the theater world he has known from childhood, that sets him apart from his kind. He is an international, and as such fits into Hollywood without being a real part of the scene. Comparatively unpublicized at his American debut, he won fans in "The King and the Chorus Girl" with a dynamic air and a sparkling, suggestive smile. But the smile with which he greets you when you meet him is courteous, pleasant, his manner placid and relaxed. Only his good looks betray the star. Otherwise you might place him as an athletic business man, an art critic, a soldier. We met in the studio of one of New York's ace photographers. Gravet had just returned from Europe and was having a portrait sitting before going to Hollywood to make "Food For Scandal," with Carole Lombard. He listens before he speaks, and intervenes with a remark only Fernand Gravet returns to Hollywood for "Food For Scandal." Here is the first true appraisal of him as he is off the screen. when it contributes to the conversation. The ten or fifteei writers in the room all had been summoned from the cor ners of New York to spend an afternoon ministering in then various capacities to the stellar Mr. Gravet. Yet he never foi a moment betrayed consciousness of his central importance So completely, casually, does he make himself part of i group that he seems ajmost to be daring you to wrench th< talk from social channels to the subject of Fernand Gravet his life and times. An interviewer's lot is not a happy one, st on s he assis i 01 H ai is • n ia 56