Close Up (Oct 1920 - Aug 1923)

BEHIND ‘CLOSE-UP’ Under tine BY THE MAN GUY BATES POST (By Emm.EIl.) It is almost with blushing diffidence that I essay the task of writing something regarding Guy Bates Post, the actor and man. There have been so many diatribes, effusions and complacent articles written in the past regarding his ability as one of America’s foremost representatives of dramatic art, that one must indeed possess a high courage to attempt to go further into the analysis of a man so foremost in our revelations of Dramady. About ten years ago it was my privilege to witness a splendid performance given by this great actor. At that time, I had an idea that I belonged in the same profession as the man I am writing about, but after witnessing his histrionic ability I became convinced that I would take up the art of literature. Occasionally during the years that followed, I would read with interest and enjoyment criticisms and descriptions of Mr. Post’s ability in various plays. All this time, mark you, I had never had the pleasure of meeting him in person, but even an occasion of this kind transpires for, one day in my daily mail, I received a letter from his friend, Mr. George Landy, inviting me to attend a sort of get-together luncheon at the United Studios. I couldn’t resist the temptation, and on the day specified, I arrived. On that occasion, for some particular reason, a Mr. Geibler, manager of the Moving Picture World, who happened to be the Doyen of the gathering — in a newspaper sense — transferred his task of responding to a speech of invitation made by Guy Bates Post, and with some little trepidation and increased nervousness I arose and started to make a few eloquent and prefatory remarks. In the midst of my dignified oration, the entire gathering of journalistic hounds (and houndesses) burst forth into rippling laughter, the reason being, as I afterwards discovered, that I had transposed, or merged, two individuals, such as Richard Walton Tully into Guy Bates Post; but, if on that occasion, I erred from dramatic eloquence into the role of comedy, it will be forgiven me when it is understood that on that day — spiritually speaking, I was present, both in spirit and in person, in which the host represented two of my greatest ideals in dramady and literature! I will not attempt to tell you what I think of the art of Guy Bates Post, as an actor. That is something that is such a recognized factor today that when we discuss Art and Acting, we invariably associate the name of Guy Bates Post, but I should like to give you my impression of the man. The first thing that struck me was the simplified dignity which appeared to be a natural mantle to the man. As you began speaking to him, you suddenly became convinced that you were also addressing a scholar. You also noticed that his choice of English was correct, without stultification or poly-syllables. A certain reserve prevented you from becoming quite too familiar with the man— but, yet, when you had this impression, you felt that here was a man who was quite capable of letting down the bars of reserve and entering with you into real humorous phases, which produce a form of geniality appreciated by all men. His home life (from hearsay) must be an ideal one. He is a great lover of various manly forms of sport and, yet, through his intimate knowledge of various forms of art, might also be termed a critic of Oriental and Asiatic lore. Mr. Guy Bates Post is a worthy member of humanity; he is ideally helpful to the world, or people in serious circumstances; his is not that of empty, verbal sympathy. He is a practical doer. Strange as it may sound, and this is not an isolated case, Guy ACROSS THE TABLE A recent canvass of the movie ranks in Hollywood and New York has uncovered the fact that there are many happy couples who are facing each other every morning over the breakfast food. All movie husbands are not deceived, says the report, and most of these wives are good cooks. In this roster of fame are found Leah Baird and her husband Arthur F. Beck, Alice Terry and Rex Ingram, Mae Murray and “Bob” Leonard, Anita Loos and John Emerson, Dorothy Phillips and Allan Holubar, May Allison and Robert Ellis, Florence Vidor and King Vidor and, of course, Allah Nazimova and Charles Bryant. Gertrude Astor arises to remark. The women are smoking cigarettes. That’s how they soon grow cut of their nicoteens. We suppose that every fighter keeps his press clippings in a “scrap” book. Ethel Ransome did this little bit. * * * Hoot Gibson says that many a picked up girl has been carried by unanimous approval. Bates Post has bestowed his charity, and humanitarianism upon many without an inkling of these acts becoming reams of publicity. It is a foregone conclusion that the Silent Drama cannot hold this genius much longer in California. Although he has been tremendously successful in his characterization in “The Masquerader” and “Omar the Tentmaker,” and possibly another dramatic vehicle to come, his First Love will draw him back, in which he can work upon the emotions of his audiences with that wonderful voice of his, and a striking personality that reaches into the depths of the beholder; but I am thankful that he has taken a year’s vacation from the Spoken Drama to perpetuate in part some of his great talent into the Silent Drama as a slight perpetuation of his genius as an actor — and, so I take leave for the time being of his friend, Richard Walton Tully, and the man, himself, in the hope that at seme near future date, he, and Mr. Tully may come into our midst again to elevate an art which gained immensely by their presence in Hollywood.