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service in film history, I expressed regret to Commodore Blackton, who was quick to justify Miss Turner's ambitions to convert her fame into cash by way of vaudeville. "Besides," said Mr. Blackton, "there are other Vitagraph girls coming on."
Lillian Walker's personality is of the type that rarely fails to conjure on the stage ; yet I have the lady's word for it that she discovered quickly that she lacked that great essential for a stage career — a resonant voice — nevertheless, in my own experience in the theatre, I never knew the Lillian Walker type of actress to fail, even if a good speaking or singing voice was lacking. Therefore, it is not surprising that almost from the day of her advent in the Vitagraph studio Miss Lillian has been a prime favorite.
But Lillian Walker has scored as she has in filmdom for other reasons than her beauty. The lady takes her work very seriously, and is, after all, an artiste whose v/idely varied portrayals run practically the entire gamut of characterization. One need only inquire of Miss Walker's artistic colleagues to learn that "Dimples," as she is affectionately called, is always the lovable, ingratiating woman who rarely has a grievance, and v/ho has repeatedly appeared on the screen in minor and ungrateful roles without a protest. More than once this beautiful woman has portrayed a repulsive old hag artistically and with not an inkling of a desire to reveal her true self. This is true art, and there is so much of it at the Locust Avenue Studio that it is about time someone undertook to explain from whence the Vitagraph's artistic expansion emanates.
J. Stuart Blackton and Albert Smith brought with them to the Vitagraph organization at the outset the qualifications of the artist and the inventive genius.