Picture Play Magazine (Mar-Jul 1929)

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CAMERA FREE BOOK explains opporGIVEN t unities an Motion Picture Camera Man , Portrait, Commei rial or Mews Photographer or m :'c ur twn busifesB. Learn at home or in our great New Yoik Studios. Wiito lor Fret Book and Job Chart. _ N Y. INSTITUTE OF PHOTOGRAPHY 10 WEST 33rd STREET. NEW YORK, Dept. 3 Unxvept and Unsung Continued from page 59 "Recently I made a two-reel talking picture, directed by Lionel Barrymore. I wasn't suited to the role, but I was so anxious to work with Barrymore that I accepted the part, and did my very best to make my work convincing. From what I had heard and read of Barrymore, I expected him to be a sour, unsociable person, but he turned out to be just the opposite. He rehearsed us carefully and thoroughly before we even attempted to film the picture. The night we started shooting I was ill, but I didn't tell any one. We worked all night, and until ten o'clock the next morning. By that time my fever was pretty high, and I was so tired I later had no recollection of making the last scene. When the picture was previewed, the audience laughed at two incidents, so we went over it and made some changes. " 'Classified,' you know, was my first picture. At the time I made it I was playing on the stage in 'White Collars' and reporting on The Times. Although I had had lots of experience in school theatricals, and a year on the stage, I was so nervous before the camera I could hear my heart pounding against my ribs. I liked that part, but in a way it was bad for me, for it identified me with a type that I have seldom been able to break away from since." I gathered that Carroll is very anxious to retain his individuality, and not become stamped with the ear marks of the typical Thespian. Still I am compelled to say that he has more of the traits of his profession than any actor I have ever met. Mr. Nye will not enjoy reading this, but it is true. In the midst of his assertions that he detests "actor/' behavior, he indulges in graphic demonstrations that leave no doubt of his vocation. Vigorous, gesticulative, and very earnest, his demeanor and personality are far more piquant than one would expect from viewing his prosaic film characterizations. Mr. Nye is thoroughly American, and intensely proud of it. His ancestry is traceable to the picturesque days long before the Revolution. On the family fireplace lie two silver spoons which were made by Paul Revere. Carroll also cherishes a footstool which George Washington carried to church us a support for his soldierly feet. A brother is a graduate of West Point, and Carroll proudly numbers General Isaac Putnam among his ancestors. Mr. Nye was born in Ohio and came to California at the age of six months. After finishing his education at the University of Southern California, he set about the serious business of becoming an actor. A couple of years ago, unattended by a word of publicity, if we except the marriage-license notice in the paper, he married Helen Lynch, who is also overlooked by those who publicize the stars. Carefree Charlie Continued from page 20 tically nothing to live on. He explained that he had a chance — only a chance — for a role in a Madge Bellamy picture. If he left Hollywood he might lose it. He stayed and got it. Most of our romantic juveniles possess, or better still acquire, a complex or two. Such things are supposed to distinguish them. Charlie is free of all complexes. In this he almost stands alone. We have heard of his supposed engagement to Janet Gaynor. He was reputed to be in love with her and she with him. Then Greta Nissen was mentioned, because she played with him in "Fazil." Lately Virginia Valli is the lady. The two first rumors I know to be false. His success in "Old Ironsides," "The Rough Riders," "Seventh Heaven," and "Street Angel" is now history. His acting opposite Janet Gaynor proved the sensation of last year. "Fazil" is a poor role for him. It needs a John Gilbert, not a carefree Mr. Farrell. "The Red Dance," in which Charlie plays the role of a Russian prince, hardly shows him as a convincing Muscovite. Idealistic characters fall best into the category of his capabilities. He needs simple, unsophisticated roles — ones requiring carefree youth, ambling through life without any complexes. He plays such a role in "The River," with Mary Duncan — that girl with that way with her ! Right now he is under the guidance of Murnau, in "Our Daily Bread." In this we will see a different Charles Farrell. But the best thing about Charlie — even greater than his rise to the heights — is the fact that he has not lost himself in the clouds. To those who really know him well, he is just the same now as he was when he was an extra and his cornet was his inseparable companion.