Screen Guilds Magazine (June 1936)

Is A Screen Test Necessary? I T has been conservatively estimated that each of the major producing companies could finance a complete fea¬ ture length film for what it costs an¬ nually to make tests of players. That alone should put the producer on the anti-test side of the fence in the peren¬ nial controversy with artists over the challenged necessity, or desirability, of this factor in production. Strangely, however, it is usually the artist, and not the producer, who voices the complaints. It must be granted, at the outset, that all tests are not necessarily important, and that some money, not to mention the players’ time, is unquestionably wasted by the studios in this expensive process. But on the whole, I believe that film tests are a necessary function of production, and I would not condemn the test system as practiced by the in¬ dustry, because of wastes here and there, no more than I would condemn the pol¬ icy of buying story material before it has been adapted for the screen. Many novels and stage plays, as well as origi¬ nals, are purchased for their potentiali¬ ties as screen plays, and after thorough treatment and study, are found un¬ adaptable for successful film produc¬ tions. A certain amount of gambling is necessary in this industry, and the re¬ sults usually compensate for the oc¬ casional errors in judgment, or the ex¬ perimentation—if you would call it that. In other words, if one outstanding screen personality is uncovered by vir¬ tue of a test, or if one “typed” player of prominence is given an opportunity to exhibit his versatility through the test system, the results are obviously in¬ valuable, to producer and player alike. I CONFIDENTLY believe that the most successful of our character ar¬ tists, and our biggest stars, were helped to their positions through the med¬ ium of tests. A straight romantic leading man, or leading woman, might have reasonable cause to object to tests, assuming he or she has no desire, or is unfitted, to play character versions of sheer romantic roles. On the other hand, the talking screen has demon¬ strated, beyond any doubt whatsoever, that the artist of versatility, whether he is a romantic juvenile type, or an out and out character performer, will rise further in popularity if he develops his ability to lend variation to his interpre¬ tations, rather than just playing him¬ self, as so many did in the days of silent films. The same holds true for our romantic leading ladies. And the ambi¬ tious player will make use of the test system to advance himself. Many a big star of today lifted him¬ self from the lower ranks to the higher brackets by submitting to an important screen test, and making good in a single outstanding characterization. A classic example was Warner Baxter in “In Old Arizona”. The test he made, under direction of Irving Cummings, for the role of “The Cisco Kid”, won him the part and started him on the road to im¬ mense popularity. Of course, many parts are made to order for certain players, such as By Jesse JLusliy ... A pioneer of the motion picture in¬ dustry explains the need for screen tests. Francis Lederer’s starring role in “One Rainy Afternoon”. It was known when this story property was purchased that it was an ideal vehicle for Lederer. On the other hand, before we closed for the story, “The Gay Desperado”, we made numerous tests of a singing player to make certain he would fit this unusual characterization—a radical de¬ parture from the roles ordinarily given singing stars. You might say these tests were unnecessary, and the money wasted; but think of the enormous waste which would have resulted had we failed to determine in advance that we had a perfectly tailored role for the star without tests, it is not always pos¬ sible to determine in advance if a play¬ er is suited to an unusual role. In this same picture Leo Carrillo will have the role of a gay Mexican bad man. It is known from Carrillo’s past screen characterizations that he is undoubtedly the No. 1 choice for that part. In fact, the writer of the original story, on which the picture will be based, had Carrillo in mind when he wrote it. For this role, it would have been a waste of money to make a test of Carrillo. M Y recommendations to ambitious and rising players would be to avail themselves, at all times, of the test system as practiced by the major com¬ panies. Overlook no opportunity, I would say, to be tested for new roles, particularly new types of characteriza¬ tions. The worst danger to any artist’s future is being indefinitely stamped as incapable of deviating from a stereo¬ typed form of impersonation. Through the interchange of tests be¬ tween the studios, it is possible for a player to keep himself under constant consideration for new and important roles. This advice is not necessary for sea¬ soned stars who are constantly desiring better characterizations to portray. They recognize the test system as a logical part of this fast growing industry, and as an opportunity to advance themselves in popular esteem, and attain a greater measure of that self-gratification which always comes to a trouper whose per¬ formance is acclaimed well done. The Screen Guilds’ Magazine ' My recommendations to ambitious and rising players would be to avail them¬ selves, at all times, of the test system as practiced by the major companies. Over¬ look no opportunity, I would say, to be tested for new roles, particularly new types of characterizations. ^ • 8