Picture Play Magazine (Sep 1920 - Feb 1921)

; p A Creator of Characters As the fiery, impetuous Rafael, with Clara Kimball Young. THERE are a good many character actors who are always chosen to represent a certain type ; or, for whom, if they have the good fortune to be stars, certain stories are especially written just to fit their peculiar personalities. But there are not so many actors who are noted for unusual versatility in a wide range of character parts. You can think offhand of a few among the older actors, such as Tully Marshall, George Fawcett, Theodore Roberts — and even they usually manage to make their own personalities crop out through their whisker-and-wig disguises. But how many versatile young men of real distinction can you name? Bert Lytell? Yes, I thought of him, and so did Bertram Grassby, when I went to talk to him on how the thing is done. For Grassby is one of the remarkable character actors of real versatility, as the following incident will indicate. The author of "The Soul of Rafael" brought a famous writer to Clara Kimball Young's set one day, advising him to engage Grassby for the production of one of his novels. This gentleman said most emphatically, "Oh, I couldn't use him ; he's a pure Latin type." Some weeks later, the two writers appeared on a set in which Mr. Grassby was playing a Scandinavian role, and Mrs. Ryan's friend exclaimed impulsively, "I must beg your pardon ! I shall never yield to snap judgment again — A totally differ Mr. Grassby is really Nor ent type was wegian!" As a matter of ^li,arr^r,Jn c ° , , • -it '"'J Fighting tact, he was born in Eng Chance:' land. i Photo by W. R. Scott Grassby was very frank and very much to the point in talking to me about his work the day on which I called on him. Also he was very enthusiastic. For this grave, thoughtful young man, with the intense black eyes and quiet manner, can be impulsive and vivacious. It all depends on his moods. When perfectly at ease he is very lively company. He talks rapidly and gesticulates freely. On this particular day he was in a lively mood. "I really don't like to play the ordinary, well-dressed young heavy," he began. "I don't care about just sauntering through society dramas. Personally, all that really interests me is to attempt a finely drawn characterization. By the way, it seems to me that characterization is more interesting even than the plot, when one sees a picture. "Take the case of your personal friends — what interests you the most about them? Isn't it the combination of the many little things that mold them into what they are ? Think back over your favorite books. Don't the great characters of fiction stand out in your mind as of really more interest than the plots which the novelists wove around them? "They do to me. That's why I want to create screen characters. That's wiry I don't mind if people can't remember how I — Bert Grassby — look, even if that isn't the best thing from the point of view of personal ambition. I want the casting directors to employ me. not because I represent a certain type, but because I can create many different types." "And the secret of doing that — is there one?" I inquired. "I think so," he answered. "I have worked it out for myself somewhat as follows. You can represent a distinctive character only if you have a concrete mental, visual image of that character. Make-up and costumes may help, but the principal thing lies here."