Hands of Hollywood (1929)

Hands of Hollywood Then if, as they say in Hollywood, "he gets the breaks," and gives a splendid performance in his new role, reports start pouring in from all over the country. Exhibitors write "My patrons liked Jimmy O'Neil — let's have more of him." Soon he is featured and, if the fans show by their offerings at the box-office that they want more and more of Jimmy CTNeil, he is made a star. Personality is sixty per cent of a star's drawing power. Beauty in a woman and handsome features in a man come next. No matter how attractive-looking players may be, they will not succeed unless their faces possess photographic sensitiveness. Talent comes next. If this rating seems disproportionate, recall the success of Valentino and Wallace Reid (may they have found great happiness) and consider how many gifted actors have failed to receive even half as much public acclaim as they have earned. These actors were not Sir Henry Irvings nor Herbert Beerbohm Trees, but they had personality. However, this does not mean that screen stars possess a great amount of personality and only a small degree of talent. Janet Gaynor, for example, has more genuine dramatic ability than fifty so-called stage celebrities; little Frankie Darro could teach many of the trained actors; Mary Pickford has forgotten more than some of the legitimate stage artists ever knew. A great star usually possesses that wonderful box-office trinity — personality, beauty, talent. The salaries of stars vary. Some of them have received as much as $15,000.00 per week. Why? Because the public liked them, wanted them, demanded them. Very popular stars do not have to ask for increases in salary at the end of their contracts. The producers bid against each other for their services merely because they know that the public will pay much money to see these stars. [74]