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of^cience 367
with the Edison Company, and recently with the Famous Players' organization, though successful on the speaking stage, became famous almost from the day she entered the film studio. Miss Sawyer's portrayals for the screen were usually of that character requiring something more than mere stage experience, and in one production, "The Daughter of the Hills," she gave an interpretation of a difficult role with consummate artistry and fine discernment in that Miss Sawyer's effects were accomplished without resort to stagecraft — in fact, here was silent acting and repression combining to simulate "the actuality." This is the one effect that the famous stage players invarably fail to achieve in the film studio.
How many seasoned playgoers have ever heard of Ford Sterling up to very recently? Probably not one per cent, of New York's theatregoers know Sterling by name even to-day, yet here we have a screen star who would not change places with John Drew or Willie Collier, nor would he care to risk an exchange of pay envelopes on salary day with either. Will the wonders of filmdom never cease? As recently as a year ago. Sterling was quietly entrenched in the Keystone organization. His name may have been known to those who read the "trade issues," but surely he was not extensively advertised. Now Ford Sterling heads one of the Universal Company's newer brands of film and is extensively advertised as the funniest man in the moving picture field — a claim that few of us will wish to question. Can any one doubt that conditions are different in the two modes of entertainment when a recently struggling actor becomes a screen celebrity almost over night, and finds his weekly salary increased one thousand per cent and not undeservedly?