Motion Picture Classic (Jan-Jun 1929)

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He was clad in a blue suit and the greasepaint which his art demands. It was the same greasepaint, I should rather guess, that he had worn that day for iiis cinematic appearcince with May McAvoy in "The Terror." In Behalf of Lois THE Nervous Wreck' is a typical Horton show. Lois Wilson will play the girl. She is so wholesome, genuine, likable, that she makes the public like the sap. I have played ' The Nervous Wreck ' many times before, but never with a girl of Lois's type." They say Eddie was offered a big contract to return to New York and play "The Nervous Wreck" on Broadway. But he refused. He likes the climate. "The audience figures that if a girl as sweet and charming as Lois can like the hypochondriac who plays the hero, that he can't be such a bad guy and maybe they'll like him a little too. When she falls in love with him, that puts him ace high with tlie audience. Tiiat takes the curse off of sap roles, when a nice girl will look at him. And the sap role, incidentally, is a typical Horton part." Eddie's made forty motion pictures and has been in Hollywood nine years. He came West to appear in stock at the Majestic Theatre, lie has been in stock in Phil adelphia, in Portland, Maine, in Brooklyn — where he was born — in Pittsburgh, in Albany, in Scranton, in Wilkes-Barre, in Portland, Oregon. '"Spread Eagle' is a bit of a departure from the usual Horton stuff. It is more serious." Upstairs a shot rang out, and another Mexican bit the dust. "It is not a sap role. The hero is sophisticated, rather bored. The reviews were not good. . In fact, they were rather bad." His Views on Reviews EDDIE looked as if he were rather glad they had been poor. His words were short-clipped, like a close-trimmed English hedge. But there was underlying humor in his tones. "I don't mind a bad review now and then. It revives interest. People get to saying 'I hear Eddie Horton's new show is punk,' And then they rush to see the next one to see if it is true." Eddie has made forty pictures. "Ruggles of Red Gap," a sappy English role, directed by James Cruze, was the first. Then a fantasy "Beggar on Horseback," which was what might be termed a flop. If it had been released now as a German importation directed by a man whose angles are all cubistic, it w'ould undoubtedly be a sensation. " You can't halt the action of your film to insert a subtitle every hundred feet to remind your audience that they are looking at fantasy, not realism." It was Theodore Dreiser who said in speaking of a certain type of comedy, "Are not these nonsensicalities but variations of that age-old formula that underlies all humor — the inordinate inflation of fancy I