Motion Picture Classic (1923, 1924, 1926)

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The Off-stage Laugh ( i 55) •'I | ■ . w u i ili.it, Mam He ,il rr.ilK i urn i i in il .ill. 'in i!. "Pi il, Kayiuund, but timed .1 . IM say. Speed it up i little Raj turned to me. ••| )ni you ti i .i laugh, neighbor?" "Su Imitted. "'I thought it was I funny." . w.i .ill between-scenes conversation, entirely out "t earshot to the rest of tintroupe luldie Sutberland, who was ih ig the picture, was discussing a mat litiun with bis cameraman. He Called for .1 retake. mother one foi Mr. Zukor," he said, "That \\.i> fine, folks, but let's speed the tempo m> a little tln> time." And so and .1 Ml Frances nudged me. "Papa will give me a bouquet for that one," she laughed. "How long has this thing been going I asked her. M0h, years ami years," she said. d she told me the story. How in the old trouping days her off-stage laugh de nstructive criticism that has carried on with the years, which have brought lame to her husband. "At first there was no motivation behind my off stage applause beyond the natural admiration of a girl for her sweetheart," said. "His antics were always tunny tO me and I'd laugh whether anyone else laughed or not. iradually as we traveled over the country, hungry half the time and wearing diamonds and eating filet mignon the other half, the realization came to me that Raymond was depending on my moral support from off stage. If 1 was depressed, as I often was in those hectic days, and failed to respond to his act, his humor seemed leaden and his audience would freeze right up on him. "Then I got it. He was playing to me, off stage, instead of to the crowd out in front. In other words, he was trying to make me laugh and was cheating the people who were paying to see the show. 1 resolved to hold out my support until he actually made me laugh, as he had when we had tirst started trouping together. This attitude toward his work I still hold. Now when 1 laugh, he doesn't feel flattered at all. Hut my laughter gives him confidence in himself, for he knows that I'm not laughing just to cheer him. hut because I am convulsed with the humor of the thing." Ray once wanted to quit the .Uage and go to work on a farm. "You're a good actor, Ray, but you'd terrible farmer." Frances told him. "From now on you do the family acting and 1*11 do the off-stage shouting. And if you dont learn your lines I'll quit you cold. Then you'll starve. What do you think of that?" "I knew she was right, so 1 learned my lines and she stuck with me," said Ray. "I could never have made the grade without her." She has never taken any active part in the direction of his screen work. Her part is all sub-rosa — off stage. But as a favor to him, Ray asks that she he permitted to see the daily "rushes" of the scenes in which he plays. At home they talk it over. And Ray respects her judgment to the last chuckle. "Frances is a big-hearted gal," Ray has often told me. "But her sense of humor has had quite a strain. And believe me, neighbor, when she laughs at me I'm a riot." The Telephone at the Qentennial One hundred years after the signing of the Declaration of Independence, the infant telephone was first exhibited at the Philadelphia Exposition. Since the dawn of civilization, mankind had sought some means of communicating over distances which unaided human speech could not bridge. Drums, signal fires, runners, the pony express, and finally the electric telegraph were means to get the message through. It remained for the telephone to convey a speaker's words and tones over thousands of miles. "My God, it talks!" exclaimed the Emperor of Brazil before a group of scientists at the Philadelphia Exposition, as he recognized the voice of Alexander Graham Bell, demonstrating the new invention. 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