Motion Picture Magazine (Feb-Jul 1919)

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A California Scandinavian (Continued from page 31) black hat there curved a red feather fancy, thin and long, that brushed her shoulder. She was the most stared-at person in the place, but you would not have guessed the fact from her bearing. That was one of the signs by which you would have known her for an actress and a good one. But to, return to my interview. (I left it, you remember, just as we were entering Juanita Hansen's home.) The house is a model of luxury set on the top of a high hill from which you can see for miles around. It is within ten minutes of Broadway, but you get the effect of isolation. Looking directly west, the vista is one of mountains, foothills and, on clear days, the ocean twenty miles away. Here, Juanita lives with her mother and their pets : a beautiful yellow cat named "Pinky" and a bowl of goldfish. "Thanks to my mother," said Juanita, "I have been left free to work out my life as I wish, and so, I have learnt to rely upon myself — " which brings us around to the way in which Juanita happened to get back into • comedy under Mack Sennett and then out of it again. Juanita Hansen started in dramatic work without any thought of ever entering comedy at all. This was when Oliver Morosco and L. Frank Baum advertised for small girls for the Oz Moving Picture Company. Her first part was that of a page. She was a little girl then, and when she had to appear in tights she thought it was perfectly shocking. "I consoled myself by thinking that perhaps all actresses had to do such things," she said, "so I decided to wear them and be a martyr to my art." Her next director was Lois Weber. And then came a time when she was offered two contracts at once. "Everything would have gone well," she said, "if it hadn't been that a man, high in the film world, decided to give me a demonstration of his power. I decided that my career in dramatic work ended right there. The only thing left for me was comedy. I had been with Mack Sennett in a couple of pictures, and he was very good to me, but I didn't see any future in 'just standing around and looking pretty,' and so had left the company. At the time, Mr. Sennett had said that if I ever needed work I could come back, and I did need work. I called Mr. Sennett up and told him that I wanted to come home ; that studio always seemed like home to me. " 'I dont believe you want to come home,' he answered with uncanny perception; 'you'll come and stay just long enough to tide yourself over, and then you will flit.' So I gave him my word that I'd stay for a year, and he took me in. Nine months of the year was up and I had a good chance to return to dramatic work. _ Mr. Sennett was in New York. I wired him about it, and he released me from my promise rather than stand in . the way of -my splendid opportunity. You can see from this what a wonderful man he is." Now, Juanita Hansen has left comedies. Forever, she says. She has just finished a picture with Fox called "The Romance of Cow Hollow," in which Tom Mix was the star, and before that she was W. S. Hart's leading lady in "The Poppy Girl's Husband." Her next picture will be a serial made for Colonel Selig; she has made several serials, "The Secret of the Submarine" being the one that comes most readily to mind. r t v£M