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A NEW PROFESSION FOB WOMEN 87 ity of its productions and the appre- ciation with which they have met all over the country." "We must not lose sight of another brilliant graduate of Beta Breuil's "scenario class" in the Vitagraph's little yard cottage. She is Mrs. Catherine Carr, and her career in photoplaydom is a meteoric one. From writing her first script a year and a half ago to the dual editor- ship of the North American Films and the Anglo- American Film Corporation i s her dizzy climb. Her plots are suggested by types she en- counters in life, and she breathes them into living pictures. '' Life Portrayals" spells "Vita- graph,'' and Catherine Carr's knack of person- ifying Courtney F o o t e , Jimmy Morrison and others made hack- writers sit up and take notice. A leading dramatic critic wrote of her: " C ath erine Carr has created a new standard in the writing of photoplays. This charming little Texan, whose life is shared between her two frolicsome boys and her editor's desk, is driving home to us an insight into the humanity of every- day life." Picture-lovers all know Kinema- color, but perhaps are not on speaking terms with the personalities back of the colorful pictures. BernardineRisse Leist is a scenario editor, playwright, critic, space-writer, teacher of elocu- MRS. tion, and, for good measure, an actress of Broadway caliber. She ran the gamut of 'most every- thing, she says, before she settled upon photoplay and the Kinemacolor Com- pany. Seasoned playgoers will, no doubt, remember her as Crystal in her metropolitan support of Hearn in '' Hearts of Oak.'' Then in quick suc- cession with Ada Rehan in Shake- sperian roles, and in the "Goddess of Reason," with Julia Marlowe. Mrs. Risse is a Vetera n—if I may so call a lithesome, young- looking woman— of the craft of photoplay. She spent several years under that poetic dean of the director's pro- fession, D. W. Griffin, of the Biograph Com- pany ; had an im- portant staff posi- tion with the Edison Studio, where she adapted many familiar classics, and for the past two years has been in charge of the Kinemacolor editor's desk. Just at present she is bringing her experience to bear by directing fashion pictures— something new. And, in the near future, she promises a revelation in the type of screen stories for chil- dren. To the amateur struggling with the strangeness—perhaps the bigness—of his first scenario, Bernar- dine Leist is approachable, friendly, I might say almost motherly were she not so decidedly girlish in her manner and looks. "I know a lassie, a bonnie, blithe- MARION BRANDON