Motion Picture Classic (Jan-Dec 1920)

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Get this uniQuo and Instructive puMlcatlon at onco ojid leum If you have or have not tlie nicte,'*ary Imagination and aMUly to pnxluce Dlcture-play fwenarloa. D-Iuj may mean lost opix>rtunltle3. Send dinieor otjirni-^ t.-luy. Photoplay Institute. Dept. 2, Jackson. Mich. WHAT EVERY GIRL SHOULD KNOW SENT PREPAID FOR ONLY 50c. iiiis book IS written liy M.iryant Sanger, the crcat tjirtli control advocate, and contains inform.ation never before published. Anyone readinc this book cannot help hut be benefited. It is highly endorsed by eminent physicians. Send us your order at once. Don't delay. Tnilk Pub. Co., Depl. AC, H02 Broiihnr, N.T.C. MOTION PICTURE CLASSIC Dont Let Your Right Eye Know What Your Left Is Doing {Continued from payc 106) cant stop. If you want me to workget him out of here.' "At that time I was getting twentyfive and CliarHe was drawing twelve, fifty!" I gave a pretty good imitation of Ben's famous blank expression at this remark. Mr. Turpin settled his eyes on a couple of figures in the carpet and continued, unmoved. "Twelve hundred and fifty a week !," he said slowly. "I'd have thought that a slight prevarication if I hadn't seen a check or two. "Then one day Broncho Bullets Anderson came to me and offered a contract for two years at twenty-five per week. Nothing to worry about, he couldn't discharge me — I couldn't quit — and always a steady living for twentyfour months, hot or cold, stormy or sunshine ! "I reached for a pen with my fingers shaking. 'Where?' I said. Broncho lUillets pointed to a line near the bottom of the page, and it was all I could do to see it with my right eye. The left was olif the job looking far into the future. Just for a bluff, I swirled the penholder around like a man getting ready to write fancy cards. Then I wrote — just as firm — Bernard Turpin ! That settled me for two 3'ear.s — we worked at Niles, upper California. "Then at iast It dawned on me that I had sold myself for a mess of pottage. I began to hear of salaries. I discovered that I had made more than three million for the Essanay — actually cleared that much on my pictures . . . and I was living on a clerk's salary. We had hard work in those days — slapstick of the roughest sort." "How do you manage to look so blank when you know a piece of pie is coming at you, or that ice-cream is going down your back?" "Never anticipate anything." "How can you help anticipating when you just know it is coming?" we persisted. "Just dont — that's all. Think of nothing, keep your mind an absolute blank — or you cant look blank, of course. I didn't mind the custards or soft soap or soot and flour so much in the good old slapstick days," he said, "but cold ice-cream running down your back is something that you cannot forget in a hurry. I'm glad those days are about over. We're depending more on expression and funny situations now." "You are a scream in 'Salome vs. Shenandoah,' " we hurried to say. "I dont like it — and I dont like the public appearance I make as John the Baptist. I consider it sacrilegious — • even if it is a travesty on the Theda Bara play. I was brought up better than that," concluded Mr. Turpin, soberly and sadly, and if you ever want to know just hoiu sad he can look, go and see one of his comedies. Ben turns out a picture about eleven times a year. He is a hard worker, and even when he is not featured in a Sennett comedy, he is usually "rung in" for an extra bit. A few months ago, he lost four of his best front teeth, because a man who was to kick him in the chest "lost his bearings and aiimed too high." Ben has been in the hospital thirty times for operations or breaks, occasioned by rough comedy. Such is the life of a comedian. "When did you begin to think yourself worth more than twenty-five dollars weekly?" we asked, wishing to lead the conversation back safely to Mr. Turpin's intrinsic value. "I was playing with Charlie Chaplii in 'A Night Out,' and it was like costarring plus getting an extra's wages. When we had finished two reels, Charlii said we were going out on a location oi Monday. This was Friday. I said, Ti not going a step unless I get five hundrei dollars in cash — no checks for mine!'. There were two more reels and I made up my mind I'd quit pictures or earn what I thought I was worth. He coaxet and talked — but I said it was five hundred or nothing. He told me I must bi ready to go on Monday at eight a. m. said, 'Not on your life. I stay right here unless I get the price in cash.' "Monday he did not start. He finally offered three hundred, but I told him curfew would not ring that night. The company hung around until Tuesday, then five hundred pretty little bones were placed in my willing hands, and from that time on I considered myself a motion picture actor — and a fixture, including my eyes." Now Turpin owns his home, drives his own seven-passenger Studebaker and is a member of the Elks. "Yes, I guess I'm getting popular," admitted Mr. Turpin, without vanity. He is one of the most matter-of-fact individuals who ever faced a hard fall. Surprises mean nothing in his bright young life. "One lady fan — she's married, too — wrote and asked me for one of my most cross-eyed pictures to hang in her bedroom, for she says that when she and her husband quarrel, she feels cheered up right afterwards if she can go and laugh at my picture. That's doing good in the world, aint it ?" And, as to Ben's famous mustache, he let me into a deep-dyed secret. The first one he ever wore was cut off the end of his own toupee ! He almost had the style patented, he avers, but finally decided that while other men might imitate his "crepe hair" appendage, they never could hope to attain the eloquence of teiithousand-dollar eyes, so now a wigmaker has a steady contract to make these waterfall effects by the hundred. And, like the immortal Pope, Bernard Turpin believes that "Beauties in vain their pretty eyes may roll ; charms strike the sight — but merit wins the soul" of film fans everywhere. ^One hundred and fourteen} i