Motion Picture Magazine (Feb-Jul 1919)

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No one wants to believe that death is the end of everything, with death all around him. Oliver Lodge says that his son, Raymond, is as much a part of the family circle as ever." She told of an interesting piece of evidence described by Lodge in his book, "Raymond." It seems that a few days after Raymond's death Lady Lodge had an anonymous sitting with a strange medium. A communication purporting to be from Raymond was received in which he said that there Were in existence several photographs of him, one of them taken with a group of officers on which especial emphasis was placed. No member of Raymond's family had possession of, or knew of, any group picture in which he appeared. He said that in this picture some one had tried to lean on him, but he did not remember whether the man was leaning on him at the time the picture was taken or not. He added, "You see my walking-stick." A month later Lady Lodge received a letter from a woman unknown to her, the mother of an officer in the regiment to which Raymond at the time of his death belonged. She said that her son had just sent her a group picture in which Raymond Lodge appeared. Evidence was that the picture had not even been printed at the time the communication was received. It was exactly as described. He was the only man in the picture on whom some one was leaning, and his walkingstick was conspicuously placed across his feet. "I have never had any experience of the supernatural kind myself," Dorothy Phillips went on, "but everywhere people are looking toward this hope, the hope that personality continues to exist, and so there should be moving pictures which express it sincerely." The working title of her new picture is "Till We Meet Again." _ She has a beautiful voice, has Dorothy Phillips. _ "That is the only reason I regret the stage," she said, in answer to a question ; "I like to use my voice. I find myself throwing careful shades of expression into everything I say on the set sometimes. It's funny and useless, too, but I like to hear myelf doing it, even tho it helps tire me out. "When I was a little girl," she went on, reminiscently, "I used to go off quite alone and listen to myself talk!" She laughed heartily at the recollection. "I loved it. I used to take one line and say it in just as many different ways as possible." Her first professional engagement was playing "kid" parts at Albaugh's in Baltimore while she was still going to school. She was with Henry E. Dixey in "Mary Jane's Pa," and, speaking of versatility, played Modesty in "Everywoman" and created the role of "Pilot's Daughter" in the play of that name. Her first moving picture was a one-reel "drammar" called "The Rosary." "My favorite picture is The Talk of the Town' (terrible title, tho," she said in parentheses). "Perhaps one reason I liked playing it so much is that in the first part I had to be a little girl." She was quietly poking fun at herself. "Of course, no one said anything, but I know that at the studio they didn't think I could play a little girl ! Most of my work is so emotional." Every part she plays is a perfect character drawing. "Do you know," she went on, "that 'happen' is often the word for a moving picture success? It is, or anyway, it seems to be. Take 'Hell Morgan's Girl,' for instance. That picture did not seem at all unusual to me when we were making it, but < I can see now that everything fitted ; it was psychologically right. The cast, the direction and the story were all perfectly balanced." When she studies a part, she likes to imagine that she is drawing it as one would sketch with a pen, putting in certain little touches and bits of shading where they seem necessary. She believes that feminine intuition is only a higher form of the power to reason. "If we are sensitive to impressions our sub-conscious mind retains them even while we seem to forget, and we are able to put two and two together without being aware of the process. So women, being more impressionable than men, are likely to 'jump' to right conclusions and 'reason' to wrong ones." She is more interested in people than events. For instance, her reading is practically all of the personal narrative kind, particularly her reading about the war. "Even tho I've never seen a ghost," she said, in conclusion, "I'm being haunted. And what do you think my haunt is? 'Hell Morgan's Girl!' "A really big success in one certain picture is a terrible thing," she went on, with exaggerated earnestness. "It wont die a natural death and you cant live it down. I've made twenty-two pictures in the last two years, but still the first thing any one says to me is that they enjoyed 'Hell Morgan's Girl.' "It makes me mad ! I'm getting so I lose my temper every time any one says 'Hell.' " Well, no wonder! "The Talk of the Town," "A Doll's House" and "The Rescue" certainly deserve some mention, to say nothing of the remaining nineteen. Anyway, there is not the slightest personal resemblance between "Hell Morgan's Girl" and Dorothy Phillips, and that helps some, doesn't it? WHO SAID THE CALM, BLUE SEA? A portion of the public began clamoring for Bill Hart to change his characterization from the "Western roles and do something new. And, just because Bill wants to please the folks who go to see his pictures, he chose a picture m which he was a rugged sea captain . -.'; the opening of the story. The sea was something entirely new to Bill, and when he got off into the Pacific on an Alaska-bound vessel to take the scenes, he discovered that a ship can buck a whole lot more than a bronco. E. H. Allen, his manager, found him looking very dejected on the deck the first afternoon out, and asked him what was the trouble. "I cant do this stuff," Bill answered, hopelessly. "It's not in my line." "Dont worry, old man," consoled Allen. "You'll get onto it. You cant keep a good man down, you know." "It's not a go'od man I'm worrying about," retorted -Bill. "It's a good dinner."