Modern Screen (Dec 1931 - Nov 1932 (assorted issues))

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Photograph by Eugene Robert Richee KEEP YOUR EYE ON Photograph by Freulich DOROTHY WILSON T HERE'S a new Cinderella in Hollywood. She's Dorothy Wilson, brown haired, blue-eyed Minneapolis girl with the body of a Polynesian and the mind of a Boston school teacher — and we're not kidding, either. Fate, with the golden slipper of fame in his hand, found the foot of Dorothy Wilson parked beneath a stenographer's desk at the RKO studio. One week she was typing the script of "Fraternity House." The next she had been given the lead in the college story. Dorothy herself has accepted her stroke of good fortune rather calmly. She wasn't over-eager when they offered her a test. She wasn't unduly excited when she was given a lead. She's not over confident she'll be the success Radio Pictures executives prophesy. She hopes her added income will last, however. She wants to save up enough money to go to Tahiti. She's always wanted to travel. She's the sort of girl who would never pull up her stockings in public. She has a quiet dignity that attracts older men. All her beaus have been older men, and she knows how to pronounce the word platonic. She likes Somerset Maugham . . . Percy Crosby's cartoons and thousand island dressing. She hates carrots, painted fingernails and overshoes. She'd miss a date to listen to "Myrt and Marge" on the radio and thinks watching Katherine Cornell's hands more exciting than an airplane ride. She favors Anatole France's novels . . . sport clothes and Victor Herbert waltzes. She's afraid of surf bathing and crowds and her greatest ambition is to own a black pearl ring. She's five feet one and a half inches tall, weighs 103 pounds and has such beautiful teeth her school teacher used to have her show them off to a classroom full of boys and girls. 46 RUSSELL y^|USSELL'S family was so convinced that they! HOPTON couldn't have produced an actor, that they had him buffaloed into their way of thinking for a good number of good years. If he wasn't meant to be an actor, he thought he'd try farming. He did. Or be a sailor. He was. Unsatisfied, he turned to the selling of motion picture films. He failed in that and took a hand at arguing newlyweds into the purchase of ghastly velour parlour sets for their love nests. Still that yen for the movies. To appease it, he got himself a job as property man at United Artists Studio. Then he was promoted to assistant director. In this capacity he worked under D. W. Griffith on three pictures. Still he wasn't content. Throwing family bugaboos to j the four winds, he did what he had wanted to do for years. He went on the stage. Instantly, he knew he had found his forte. He was offered a chance at movies. The idea amused him. That was in the days when the stage sneered, kindly but definitely, at Hollywood and pictures. But it was acting . . . and that was all that mattered. It became known around that Hopton was a "scene stealer" to be wary of. By way of illustration, as the home-wrecker in "Street Scene," he did a masterful piece of "grand larceny." The same with his gangster roles. His first chance at a sympathetic role came in "Radio Patrol." He was delighted with his part in this, because it took him out of the "heavy" type class. As a result, directors and critics, consider him a very versatile young actor indeed. Between pictures, he goes on fishing trips, with a couple of men friends. His charming wife seldom visits a studio and has no cinematic or stage aspirations. And that's how it should be. thinks Russell. They have a home in one of Hollvwood's wooded canvons.