Motion Picture Magazine (Feb-Jul 1919)

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Mary was thrown out on the curb and it almost finished her career. But now she's back at Universal City, working hard under Director Rupert Julian. When I asked her to tell me a little of her work, she replied, "Just watch, I'm doing the funniest thing, helping carry a dead man around. Really, it is a great tragedy, but it strikes me as being so funny, and Mr. Pryor looks so queer, that it is all I can do to keep from laughing in the scene. And really, I think he must weigh about a ton, for when we three women lift him, I wonder whether we can ever get him out of that door !" "All ready!" Mary MacLaren jumped back into the tiny cabin set, outside the rainmaker was pouring gallons of water against the window, the electrician was flashing lightning enough to frighten anybody, and clutching hands were thrust thru the doorway as the star of "Dearie" posed for a still. "More tragedy and fear in your eyes, Mary!" shouted Mr. Julian. Right there was the ocular demonstration of what Mary had accomplished by her direction of the subconscious. In the "twinkling of an eye" she had snipt off the laughing expression and allowed her eyes to pop in terror. Another direction, and she registered anguish. It's just like pushing a button — and Mary does the rest with her big gray eyes. She uses facial muscles very little, almos^ every emotion is expressed thru the windows of her soul. In repose, she has a placid expression, her smile is fleeting, there's sometimes a sad droop to the lip-corners, but the moment Mary begins to talk or act, those eyes tell the entire story. At home, where her mother and her sister Miriam keep house for her, Maryhas all the youngsters in the neighborhood for friends/ She likes 'era better than grown-ups. She plays the piano for them, tells fairy-tales, takes them out in her new Buick, likes to dress their dolls. They all call her, briefly, "Mary Mac." 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