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Who Stole the Picture?
The Pastime of Stealing the Picture Is Indulged In On Many Occasions. While the Star Has the Principal Role, It Is Often a Minor Player or Some Gifted Character Actor Who Makes the Most Lasting Impression and Walks Away With the Show
Drawings by George Annand
W.ilUi.e Beery almost stole
"Robin Hood" away from
Douglas Fairbanks
Vs the cameras started to grind, Moore tugged at his coat lapel and Myers tugged at his mustache. And Beranger was left the opportunity to "emote" with the broad of his hack !
But Beranger had a pair of white gloves. He clasped these hehind his back, and as the scene began to fade out he waved them up and down.
And because they were the whitest thing in the scene, they remained visible longer than anything else — after Myers1 mustache and Moore's lapel had been obliterated by the encircling darkness !
An Old Timer At It
Qne of the most brilliant attempts at picture-stealing in ^ recent years occurred in "Robin Hood.' This was a Douglas Fairbanks production from start to finish. All the other characters were supposed to he incidental.
And yet — who doesn't remember Wallace Beery as King Richard I? — Richard the Lion-Hearted, seated in his immense palace gnawing lustily on a leg of mutton, and hurling the bone to his henchmen?
It was a great performance, one that will be long remembered. And yet Beery 's footage in "Robin Hood"
was very small compared to Doug's Beer) worked
and cleverly, hut he didn't quite make the grade, largely for the reason that Doug held the final scissors on the negative when it went to the cutting-room.
"The part of King Richard was the easiest one I have ever played." Wallace told me. "It was a cinch. It simply couldn't fail. 1 have played much harder parts, put a good deal more into them, and made a great deal smaller impression when it was all over with." And yet one cannot imagine anyone but Beery in the part !
There Are Women in the Game
A mo.nc. the women, picture-stealing seems to be less frequent. Yet it does occur. For instance, Louise Dresser very nearly walk off with every picture in which she appears. Very little grass has grown under her feet of late in the picture world. < )ne recalls "The Goose Woman" especially. And her work in Victor Fleming's "The Blind Goddess" and Allan Dwan's "Padlocked" is superb. In both pictures she very nearly "wraps up the show and puts it in her pocket" — presuming that women at least have pockets for this purpose. {Continued on page 65 i
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Paul Kelly stole "The New Klondyke"
Louise Dresser stole "The Blind Goddess"
George Bancroft stole "The Pony Express"
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