Screenland (Oct 1923-Mar 1924)

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This earnest young actor has been steadily going on. His invasion of the costume drama has been an interesting one. Here is a star who turned to romantic stuff to develop himself. He felt that to stick to the field of homely Americanism, in which he is preeminent, would be to limit himself. Barthelmess, we might add, is many degrees higher in popularity than a year ago. Lillian Gish's Position real come-back in Eugene O'Neil's Anna Christie. Marion Davies' Progress L illian Gish worked nearly all year in Italy on The White Sister but the production has not been revealed publicly. Her position as our foremost emotional actress still seems to stand untouched, however. Doug Fairbanks is still plunging on spectacles. There is a limit to this sort of thing, but apparently Fairbanks hasn't reached it. yet. They say that The Street Singer will reveal a new Mary Pickford. We shall see. Just now her status is doubtful ; her revival of Tess of the Storm Country wasn't such a happy thought after all. Norma Talmadge is slowly dropping backward, while Constance Talmadge seems to have slipped almost from view. On the other hand, Gloria Swanson, plus clothes and personality, has more than held her own. Pola Negri gained nothing by invading America and is nowhere nearly as important a personage in Hollywood as she was in Berlin. Yet the next month may change all this. Pola is a person of high power potentiality. Thomas Meighan, to be honest, is getting along in life. He is reaching the difficult age of getting vehicles — and holding his followers. Jackie Coogan has not made any particular progress in the twelve months. Tzvo Sensational Comc-Backs Two sensational come-backs were staged during the year. Mae Marsh gave a brilliant performance through much of the turgid distance of Griffith's The White Rose and Charlie Ray, after a long chain of artificial screen creations, came back to his hoosier boyhood and did a smashing thing in The Girl I Love. We wouldn't be at all surprised to see Blanche Sweet do a arion Davies has made a surprising progress during the year. Longjust a pretty star, Miss Davies has suddenly developed into an actress, as well as a comedienne, of distinct possibilities. We credit Florence Vidor with the greatest personal development of the year. She is steadily advancing and, if all goes well, should soon challenge the historionic leadership of Lillian Gish. Here is an actress of charm, beauty and a rare humanness. Her Alice Adams and her Carol Kennicutt of Main Street were superb characterizations. Ramon Novarro, the Rex Ingram discovery, made a striking flash across the horizon as the pagan lover of Where the Pavement Ends and rather took us off our feet. And yet, lookirrf back at this distance, we aren't wholly | convinced about Novarro. For a moment we looked upon him as the young actor to challenge Valentino but we doubt all that now. Barbara La Marr was another strong personality to hit success during the year. From a minor role in The Prisoner of Zenda she has stepped to stardom in little over a year. A picturesque but not a sweeping personality. Nita Naldi lent picturesqueness to a role in Blood and Sand and immediately became popular. A colorful personality — but we now realize her limitations. Of more potentiality is little Mary Philbin, the heroine of Merry-GoRound. Here is a young actress who may really do something worth while. We see nothing in that much touted "discovery," Eleanor Boardman. Leatrice Joy has been striking a very good average but our chosen six as to reliability are Baby Peggy, the Prince of Wales in all his news reel appear-! ances, Farina, Mae Busch, Lois Wilson and Strongheart. Mae Murray seems to be able tq go on capitalizing affectation. An oddity of popularity this. It has been a bad year for the No. 2\ stars, such as Agnes Ayres, Bebe Daniels, Jacqueline Logan, and even worsf for wanning lights such as Mary Miles Minter and Dorothy Dalton. Other minor figures, such as Viola Dana, go along their way seemingly untouched by time. Yet Priscilla Dean isn't quite the same. The season's worst flops? Cecil de Mille's Adam's Rib and the Overlordship of Will Hayes!