Motion Picture Magazine (Mar-Jul 1918)

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She feels that she has been instrumental in bringing her stanch friend, Garson, to his death, and her husband to public shame. The soul of Mary Turner, crystallized with hatred for the law, is sensitized, quivering with new life. It is the poignant moment — the great denouement— when every hope of life is being swept out, leaving not a trifle of wreckage to cling to. "During my first rehearsal of this episode I was inclined to give way to the frenzy of hysteria. Then I realized that a girl who had suffered disgrace, privation and terror and who had set about the reconstruction of her life and the defeat of the law that persecuted her was dominated by mind, not emotion. She might have died from the repression of her grief perhaps, but she never would have succumbed to hysteria. "Furthermore, violent, ungoverned action does not convey the reality of suffering on the screen as does a calm that seems to come from numbed power with just the reflection of inner torture thru the eyes and tremulous lips. Some one said that 'with a proper background a woman can accomplish anything.' I know this to be true. I know that the difficult scene I have described was more easily enacted because of the convincing powers of Harry Morey's 'Garson.' Had either of us been less in earnest, the big moment might have been lost. "In my short career as a Motion Picture actor," says Charles Ray, "I have had many difficult scenes. However, I have in mind a scene in 'The Family Skeleton' which, for various reasons, was exceedingly hard to depict. It is a heredity story, and the boy has succumbed to whiskey as did his father before him. He goes to the slums of the city to get away from his friends so he may fight his battle out alone without an audience of critics. "One night, on a slumming party, the girl of the story finds the boy in a state of stupid intoxication. She speaks his name, and what follows is what I call a hard scene, because it is all mental, and mental acting is very difficult, thanks to the man who invented the close-up. Otherwise we would still have to resort to the physical, or action solely, to get a scene over. "As he hears his name spoken the boy raises his head from the table. It seems to waken him from his stupor. The voice seems to come out of the air — from nowhere in particular. It slightly frightens him. He looks from right to left and behind him, then back, and straight across the table in front of him is the form of his sweetheart. "It startles him, as he is sure it wasn't there a moment before. It must be the drink. Yes, the drink has taken hold on him— it is the last stage. The D. T.'s will be next in all their forms and agonies. His hand goes to his eyes to try and blot out the sight, and then he peeks thru his fingers to see if he isn't mistaken. At least the form is still there. It couldn't be Helen; she could never have found him. He told her he was going to the mountains. He stretches his hand across the table to make sure — slowly — because he is half afraid she will vanish, and he would like her company. His hand touches her soft fur coat, then her slender arm, and he knows it is not a vision. She is real ! She sees his awful condition. What must she think of him? He had promised to drink no more ; he has lied to her. He withdraws his hand, covers his face and sinks to the table in weakness, dejection and shame. "Do you see the picture? At least I hope that when you see it upon the screen you will realize the meaning, the throes of emotion thru which I was (seemingly) passing, in trying to depict the fear that my vision was true — then my fear that it wasn't true — and my final abasement as I realized the depths of degradation to which I had fallen and the realization that my sweetheart was a witness of it." Valentine Grant says that of all the difficult scenes she has had to enact before the camera the hardest of all to put across was a scene in "The Belgian": "It was the scene where Victor leaves me, a little Belgian maid, after vowing eternal love, and goes to Paris to become a great sculptor. After months of labor, Victor is acclaimed by fashionable France and is looked upon with special favor by a beautiful countess, who promptly deserts him when he joins his regiment and is temporarily blinded. "He returns to the little fishing village and asks me to be friends with him. The little Belgian whom I interpreted had enough French in her to enable her to do some quick thinking, and enough of the stoic Belgian in her to make her suffer in loving patience. So I had to express the deep grief in my heart at the wrong he had done me, and at the same time remain the stoic Belgian who could repulse the man she loved and let him go away. It was a great moment, because there were two emotions to express at the same time, and the only way to do it was to throw myself into the character and live every emotion." Movie Rhapsodies The woman on the left of me is impolite. She insists that Julian Eltinge's ankles do not mate. Gracious, how dared she look? Find me the director who knows how to smile when a couple hundred feet of perfectly good film goes to blank because the leading-lady sneezed just as the hero kist her, and I'll show you a liberalminded man! God pity the girl who thinks the star's life a bed of roses. It seldom is, and when it is, she never gets a chance to sleep in it because there is too much work to be done standing up, and there are only twenty-four hours in a day. There is one thing about a movie kiss that can be recorded in its favor : the participants seldom spread germs. The Raps by KARL W. KESSLER average intensity of a kiss before the camera is nil. Many a sweet young thing decks herself in the finest and spends her last dollar for a ticket to Movie City, where she hopes to win fame and fortune. About as many return to the old homestead, foot-sore and body-sore, completely disillusioned and nursing bruises they received while "extraing" in Scene Twelve of "The Department Store Angel," in which five thousand women clash at the bargain counter on Monday morning. The old saying, "Give a woman the chance and she will hang herself," if made applicable to the movie world, would read, "Give an actress the chance and she will hog the scene !" Now shoot! LA££.