Talking Screen (Sep-Oct 1930)

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"Because . . , ?" "Because, probably, I feel I have something to give the screen." "And yet, contracted to Fox, you haven't made a picture since February. You haven't done a thing since High Society Blues. Is that consistent?" THE answer is that I have something to protect." "You talk in riddles." "Fd rather talk of Hawaii and broccoli and prime ministers and things." "You ran to Hawaii, Gaynor," I persisted, "when you finished High Society Blues. Explain that. Liliom was awaiting you, a. tremendous emotional role; as good as Diane in Seventh Heaven. Why did you run out?" "I couldn't do Liliom after I saw the other picture. I didn't have the heart. I can't sing. I don't dance expertly. I thought I was terrible. It would have been all right to have made that picture in the beginning. I had no Seventh Heaven to live up to. But as Diane I fitted myself into a particular niche. I could do a certain sort of characterization skillfully, and it didn't embody singing and dancing. I liked Sunny Side Up. But to do another musical thing immediately . . . no, [Continued on page 92 } Janet Gaynor's ambition is to do the sort of thing that Barry writes. The Little Minister, for example, is a story she'd like to help act out on the screen. Lovely Janet lies dreaming of the beautiful Hawaiian Islands, where she and Lydell spent their honeymoon. She describes the places beautifully, thus: "Everything is soft, air and brt-ezcs, and the high mountains "^conM Uruptly to the sea." Janet Gaynor feels that she can hold her stardom better by playing in dramatic roles than in musical ones.