Motion Picture Classic (Jul-Dec 1928)

Qjoudal and \elez Fight to Draw All of Jetta s Generalship To Withstand Tearing Needed Lupes Attack BY MARGARET REID Mo. OLLY wooD is inured to warfare and unimpressed by current battles. But even its nonchalance was badly shaken by the recent volcano at the United Artists' Studio. Jetta Goudal and Lupe Velez, appearing in Griffith's "The Love Song," portrayed characters that provided drama by their mutual antagonism. That is, before the camera. Behind the camera, they portrayed Jetta Goudal and Lupe Velez, whose antagonism stopped just a fraction this side of fisticuffs. Exactly how violence was averted remains a mystery; and a cruel disappointment to all, probably including the participants. It was a swell fight and will always have a warm place in the hearts of local boulevardiers. Bets on the possible outcome and victor were laid in every office of the studio itself, big money being won and lost. Already the incident has an historical quality; recollections are dated "It was along in the fall of '28, just after the Jetta-Lupe hostilities." Here are statistics: Jetta Goudal is temperamental as only a shrewd, experienced woman can be. Lupe Velez is elemental as only an untrained, hot-tempered child can be. In character, they are as divergent as the poles, each so positive an element as to be a lighted match to the other. Jetta is essentially a mental person, living from her head, every other function under the cool domination of her mind. Lupe is emotional, living from her impulses, which are fiery and intense. Jetta does not feel. She thinks. Lupe does not think. She feels. Lupe Fires First SROM the commencement of work on "The Love Song," friction was inevitable. Each was mistrustful he alien quality in the other: Goudal the suave and ilent, Lupe the tempestuous and candid. The two of 58 them wellmatched. Could their antagonism have been translated into active weapons, not a stage would be standing on the United Artists' lot today and two little graves would probably be the sole remaining vestige of Lupe and Jetta. The first open shot is accredited to Lupe, albeit her fault may have been unwitting. During the first week of production, she gave an impromptu burlesque of Jetta, in the presence of all the troupe, including Jetta. That, in itself, signified little. Lupe mimics everyone, out of spontaneous impishness, rather than malicious intent. It is possible that there was no hint of spite in her mimicry of Goudal. It is also possible that there was. At any rate, Jetta's customary hauteur increased after this episode. She was at pains to s'peak of Lupe as a charming child. This barb, accurate as are all of Jetta's, found its mark in Lupe's pride. Such an attitude doomed her to gaucherie whenever Jetta was about. It infuriated Lupe that she should be made aware of her crude youth by this self-possessed woman. On the set, the difficulty became more acute. Lupe, while possessing a wealth of pliable emotion and feeling, is still untutored in the finesse of timing, spacing and the rest of technique. Griffith found it necessary to rehearse her, frequently and painstakingly, before each shot. This, in itself, inspired Lupe to nervousness. Added to this, was the presence of Jetta, sitting behind the camera. Sitting still and silent, and following Lupe's every gesture with enigmatic eyes and a. faint smile on her mouth. The almost imperceptible smile may not have been contemptuous. If it was not, then Lupe misconstrued. "I will not have her," Lupe exploded, "to sit there looking at me like a cat. She cannot laugh at me. I no work." {Continued on page 78)