Broadway and Hollywood "Movies" (May - Dec 1930)

8 BROADWAY AM) by no means like Maurice Chevalier, but, never the less, one who had won, and still hopes to regain, the indefinite title of “the greatest lover of the screen.” And that was John Gilbert. Above: John Gilbert and Eleanor Boardman in an ardent love scene. At the right : Clive Brook and Patsy Ruth Miller in an affectionate pose. When Jack cast his lot with Metro Gol dwyn Mayer, he was “made.” No doubt about it — he rose to the greatest heights of stardom; his every picture scored a smashing hit, not only with the female of species, but with those of his own sex. It made no difference jvhether he played opposite Rene Adoree, the French girl; Eleanor Boardman (who, like Jeanette MacDonald, also hails from the Quaker City); Greta Garbo, the Swedish star; Norma Shearer, the Canadian; Mary Picklord, also from the land of the Maple leaf; Mae Murray, of “The Merry Widow”; Dorothy Sebastian, the shapely; and a host of others. The young man from Logan, Utah, has made ardent love to as many women as many men in that same State married, long ago, when it was in accord with their religious laws and preferences. And he has done it in a convincing way, and in a wholesome, energetic way which makes him a worthy scion of his parents— both of whom scored successes 'on the speaking stage. Their success is ever before Jack, and it fires his determination to again arrive at real fame by way of the “talkies.” As a screen lover, his success has been made with his eyes — that sincere, straightforward look in which a fire of love burns; the look we all hope to see in those we love. But not alone in his eyes do we find the great lover — but in the ardor of his kisses. The Gilbert kiss is a dynamic one — a heart-throbbing attack — a kiss that we unconsciously feel as burning — penetrating. And should Jack ever stage a good come-back with his voice, or secure someone to successfully double for it, there is no doubt but what he will be again one of the screen’s greatest lovers. Of course, John Gilbert isn’t the only one who can kiss; nor were the “duration contest” kisses of Chevalier in the queen’s bedroom necessarily the best. We have our own opinions. Kissing is, however, the real language of love, because our lips register our emotions sooner than the other parts of the face or body. The nerve ends in the lips are so sensitive that they are the first to feel the thrills of life as well as the sorrow and the sternness. Lips are the sensitive crystal of our life radio, set to feel and search for the love message that belongs to us and to us alone. Ah, how many times we try for our own perfect message! How determined we are to find the one song that satisfies our intellect, our spirit, all in one perfect love. Just how determined we are to find that love, and that love alone, is told in graphic language in the lips. The lips who cannot wait very long for their love song will tune in too soon on love’s radio, and receive someone else’s message, sweet, but partly clouded by strange sounds. These are the impulsive lips. They are usually pursed out in the center, held almost in the kissing position, whether they belong to a great lover of the screen or ordinary mortals like ourselves. The upper lip is short and full, and not very wide. They seem to be waiting for kisses, and because impulse and emotion rule the life more than deep, steady, cool thought, they take their kisses impulsively also. The upper lip that is longer, held down firmly, with the red part concealed, is not as quick to tune in for his love message. He wants it, but he wants it so deeply that he hesitates, and sometimes waits too long. His emotions cease to register, because he does not use them. He must build the world’s bridges, and do life’s stern work, without letting his desires rule his life. But Nature is the supreme goddess of love. She does not want us to be all impulsive love, neither does she want us to be all cool, hard, firm intellect. So she cleverly sets a trap, and makes a chemical affinity between the warm impulsive, pursed full lips and the thin, firm ones held down in place by determination, so that the children who follow will know what it is to both think and feel, to love better because of mental thought, and to think better because of true love. Center, in oblong: Constance Talmadge and Ronald Col man. Above: in circle: Gilbert Roland and Norma Talmadge. well known screen lovers. Cower right: Conrad Nagel and' Dolores Costello indulge in a soul-stirring kiss. All great screen lovers ; take your pick as to who is the greatest.