Close Up (Oct 1920 - Sep 1923)

ro Under the Magnifying Glass BY THE MAN BEHIND ‘CLOSE-UP’ JAMES YOUNG, THE COURTLY DIRECTOR By Marshall Lorimer You cannot take away a man’s mannerisms, and — gneerally speaking, it is one’s mannerisms which eventually bespeak the real character of the man. Probably not half enough has been said regarding the tremendous importance to the screen world of that courtly director, James Young, and this same James Young is still human enough to welcome from his many friends the term “Jimmy.” An immaculate dresser, a courtly, dignified presence, yet with keen humorous merriment perpetually shooting from his gray eyes, pictures this noted director of the "Masquerader,” “Omar, the Tentmaker,” and, what I believe to be his greatest achievement, “Trilby.” There is an old saying that, “You can judge a man by his conduct toward his inferiors,” and I use the word “inferiors” only in the sense of money making power. If this is true, then the word gentlemen is a fit appelation to James Young. I have had many opportunities of speaking with the small part persons, who played under his direction in “The Wandering Daughter,” and other productions, when he was associated with Katherine MacDonald and up to the present time of writing, and invariably, it has been said to me that, "Mr. Young is the only human director I ever worked for. He seems to notice everything and, although he has had many reasons to lose his temper at certain displays of ignorance, he has been tolerant, and able to smooth away the difficulties by his natural kindliness of nature.” Could any remark be a greater tribute to a man’s character and politeness? James Young, before entering film directing, was one of the most famous legitimate actors on the American stage. It does not seem so very long ago that I sat “out in front” watching his performance of Shylock in the “Merchant of Venice,” and millions hold his memory in reverence for his splendid interpretation of “Beau Brummel” and “Hamlet;” then, many remember his “Marc Antony” and his “Candida" and numerous other characters which he helped to enhance in the hearts of great stage admirers. At this writing, one could not say that Mr. Young is anything but in the actual prime of life. His is a vigorous vitality. He has a keen sense of esthetic values. He is a great scholar, and has on many occasions lectured before most of the best learned bodies throughout the world. He is a man of ideals. His mind is a combination of sp ritualism and mental statistics. As a traveler, he has delved into the four corners of the earth; in other words, James Young represents the fullest conception of a man best fitted to hold the highest honors in the film industry. His experience, knowledge and insight of human character make him an ideal representative of the fourth greatest industry in the world. IT’S NEVER TOO LATE Some three or four issues back in this magazine, I, personally, crit cised and reviewed that tremendous Universal-Jewel Production, “Bavu.” At that time, I gave full credit, as I thought, to everyone connected with the production but, through a printer's error, the name of Harry Webb was left out. and, being a great believer in the fact that it’s never too late to correct an error, I am taking this opportunity to tell you that Harry Webb contributed in a great measure to the actual success of this production. He acted in the capacity of assistant director to Stuart Paton. At this writing, he is holding a lik" position with Harry Pollard, who is directing Reginald Denny. AN AMBITIOUS PROGRAM & Mr. Graf, supervising director of the Graf Productions for Metro, is one of the busiest forces in the motion picture industry. Mr. Graf has nearly completed the cutting of “The Fog,” produced at the San Mateo Studios, and is now engaged with Tom Hopkins in titling the film. In addition to this, he is adapting and putting into continuity his next production, David Graham Phillips’ “The Grain of Dust," with Mildred Harris featured player, shooting to commence about June 15th. This will be followed by “The Soul Thief,” an original by Mr. Graf. His production plans include two units, with three specials for each unit, for he announces that he will no longer make program pictures, but superspec'als on the same scope as “The Fog,” which ran into big expenditure with cast of all-star talent. While Mr. Graf has settled on having one unit at San Mateo, from present indications the second unit will be operated at the Metro Studios, although th’s is not definite as yet. The producer is leaving in a few days for New York where he will look over new productions and will purchase the scenario rights to enough famous books to keep his cameras busy for the next two years. WATCHING HIS SUCCESSOR During the filming of the scenes for “Penrod and Sam,” a First National attraction, produced by J. K. McDonald, Ben Alexander, w'ho plays the role of “Penrod,” stopped short in his work to peer off into the background. Director William Beaudine turned to see what had so suddenly attracted Ben’s attention. There, behind him, stood Wesley (Freckles) Barry, wdio played “Penrod” in the first Booth Tarkington kid picture, produced by Marshal Neilan, two years ago. Wesley was working on another stage at the same studio and had come over to the McDonald stage to give the new Penrod the double O. He expressed himself as being extremely well pleased with the way in which his successor was enacting the famous Tarkington character. Freckles Barry, who now sports long trousers, is no longer in the “Penrod” class. He is playing “juvenile.”