Motion Picture Classic (Jan-Dec 1916)

MOTION PICTURE CLASSIC his ability as a photoplay actor is concerned. It was Griffith who had the foresight to know he had a great actor, and it was he who brought out the genius of Walthall thru the medium of the genius of his own dii'ection. Between them there has always been friendship and respect — that kind which makes them both preface each other’s name by the courtesy of “Mr.” It was not the and dignified rebuke to a man in his dressing-room. This man asked Walthall to relate some act of charity he had done ; he wished it for publication in an article in a Motion Picture publication. Walthall told the applicant of the request that such an act would surely be spoiled by recounting it — especially for publication ! I write Henry Walthall down as a man without sham, without silly pre MR. WALTHALL IN SCENES TAKEN FROM NOTABLE PHOTOPLAYS would never get much of the tragedy which he injects into his characters. The acme of the art of Walthall is that we can see his thoughts on the screen. With all the artists I can recall, I know of but one or two who can actually do this. Florence Turner is one; Charlotte Walker, in “Kindling,” did it. Several artists have succeeded in this remarkable achievement in certain pictures, but Walthall manages it in nearly every photoplay he appears in. His great performance was, to my mind, in “The Avenging Conscience” — a marvel of character-drawing and of the dragging forth of the inner kind of friendship which bred contempt. Henry Walthall is naturally of a sympathetic and emotional character. The blood of the South runs in his veins, and it is not such a hard matter to bring the tears to his eyes. A wounded dog or a suffering child will suffice, and his purse has ever been ready to help the needy. Walthall does not talk of these things; he will, not even like mention of it here. I was present when he uttered a quiet tense and totally without conceit. He has a quiet contempt for successful people who 'suffer from exaggerated ego. He is a Southerner and slow to anger, but I have seen him angry. I saw him angered at a man over some mean piece of business, and his mobile mouth almost disappeared, his eyes grew hard and his whole aspect changed. Yes; Walthall has a temper, thank goodness — otherwise he most emotions. In this Walthall was almost uncanny, and every movement of the man — the twitch of the lips, the eloquent changes of the eyes, the hands, even the feet — was caught by the audiences with painful reality. He was helped in this play by marvelous direction. He will do other great things ; it is inevitable. All his work is interesting; and when I last saw him it was when he paid a flying visit to Los Angeles. He was well, full of quiet enthusiasm and happy. He likes his surroundings at the Essanay studio, his director and company, and under such conditions we all look forward to a further fulfilment of his art, thru which the Motion Picture and the great world of photoplay-lovers have been the gainers. (Fifty -six)