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II H— H H !
Human Hobart Henley
"1T-H-H" sounds '.ike tlie Crown Prince, J~l but it is not, however topical at the date of writing. It is about Hobart Henley, who has the humanizing touch. He has it in his pictures, "The Gay Old Dog" to wit, and he has it in his personality, which is even more, because, sooner or later, the personalit)' of the man is bound to seep into the personality of his pictures, his work whatever form it may take. A man cannot give greater than he is.
I dont believe that Mr. Henley is conscious of the human touch he has in any deliberate sort of way. He is so very much and so very naturally a homey sort of person, with a rich sort of speaking voice, Kentuckian and rather slow, and a smile that gives you a comfortable glow in the cardiac regions and — he would blue-pencil this, I know, if I gave him half a chance, which I shant — romantic eyes and hair and general aspect.
He adores his mother, viich means more than the face value of the assertion. The adoration is mutual. Originally a Kentuckian, as I said, he brought his mother here to make a home for him and in that home he abides. He is a believer in the home. He gave me a sketchy idea of his idea of happiness, and it was to get up in the morning on your ovim place in the country, the country of course, he said, and jump on your horse and take a good gallop before breakfast, tlien back to steaming coflee and eggs and things, a la anglaise, as it were, then dalliance in the sunshine, browsing among your books, thinking, planning, dreaming . . .
"Of course," said Mr. Henley, "to be happy and normal there must be work, interest of
By OLGA SHAW
some constructive nature. Ever>' individual craves self-expression in one form or another. It is as essential as any other one thing, and more. But it should be work that can be done when the spirit of it moves the actiz'ities. .\n artist, and fundamentally, a director should be an artist — an artist cannot work by clock, on schedule, according to rote. Theoretically, it would be very fine if it were possible and best. But it is not possible. The creative impulse is bound to be more or less sporadic Some training can, of course, be brought to bear, but efficiency — horrible word! — will grind out inspiration if one is not careful. And it is in inspiration that the great things
of living, in so far as the
arts are concerned, are
achieved."
Speaking of art, I unearthed the hoan, question of whether he thought the film business an art, etc., etc. — you knowem. He said he thought the art of the screen certainly was an art. The business end of it — no.
{C onfiuucd on page 93)
Three glimpses of Hobart Henley adorn this page. In the center he appears with John Cumberland and, ber low, with members of his company