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CLASSIC
later blaze of glory. Days of determination. Days of achievement. Days of unremitting effort and incessant work. No haphazard “extraing” mars the stepping-stones of Richard. Solid, consistent, conscious and definite building go to make up the background from which stepped Cheng Yuen and his honorable successors.
Serious stepping-stones. For Richard takes himself and his work and the whole of the Film Industry seriously indeed. He thinks and plans and worries and strives over the merest details. He is at once the artizan and the artist. He has been from the beginning and he will be unto the end.
Everyone in Fanland knows Barthelmess, biographically — but many have forgotten the pre-Griffith days and all the work that went into them, and what the critics said, ensueth :
“War Brides” came first; aside, of course, from the various stock companies he played in during his summer vacations. He went to the studio with the intention of extraing. Madame Nazimova saw him, and selected him for the role of Arno, her younger brother, and when the papers came forth, the young name of Barthelmess was heralded with Madame’s.
With Dorothy Gish in “I’ll Get Him Yet,” a Paramount picture
“Just a Song at Twilight,” with Evelyn Greeley. “Conscientious work,” said the critics.
“The Eternal Sin,” with Florence Reed.
“Honors should be awarded,” said the owls, owlishlv.
“The Moral Code,” with Anna Q. Nilsson. “Impressive presentment,” paped the papers.
“The Valentine Girl,” with Marguerite Clark.
“Unusual and attractive type,” bromed the bromides.
“Streets of Illusion,” as Gladys Hulette’s leading man. “Gives evidence of unusual ability as a juvenile.
( Continued on page 84) ‘
Above, with Madge Kennedy in “Nearly Married,” a Goldwyn picture. Left, with his mother, Mrs. Caroline Barthelmess, in “For Valor,” one of his stock company performances
, (Nineteen)