Motion Picture Magazine (Feb-Jul 1921)

CM iOTlON PICTURI The Marsh Flower {Continued from page 55) iarly her own, which never fails to grip and hold her audiences. Not only does this little actress possess the great art of successfully expressing her emotions in her sensitive face but in her entire body as well. Who of us will ever forget those small hands twisting in her lap as they plainly told the heart-rending agony, shaking The Girl, in the famous court room scene in "Intolerance," while her eyes smiled bravely to comfort The Boy, in his crucial trial? I believe this was one of the most subtle bits of acting that has yet reached the screen. It was Bobbie Harron who played the role of The Boy, and when we spoke of his recent tragic death, Mae's grey eyes filled with tears and she told me he was the sweetest boy she had ever known and that it was still impossible for her to realize that he was really gone. Miss Marsh's girlishness has been deeply touched with a new womanly dignity and softness and she is embued with the quiet contentment that bespeaks a happy heart. She feels that the love element is absolutely necessary in all film stories. "All the world has loved, is loving or hopes to love," she went on, seriously, "so this naturally becomes the universal theme. It is the fundamental of life so it must be of motion pictures which endeavor to depict life as it is. Can you imagine a world without romance, without loving or being loved?" and the soft voice expressed the tragedy of the mere thought. "Simplicity and sincerity are what count before the camera and they bring success to the picture," she continued. "The tear — the smile — with the intermediate shadings, should be faithfully studied. For my own I become so attached to my screen characters, watching them develop and become real beings, that I am always filled with regret when I have to bid them farewell in the final scene." Regarding careers, Miss Marsh believes that, as a woman has many sides to her nature, she needs the stimulation of work, a visible outlet for her energies, this being the surest remedy for routing the great feminine foe — restlessness. "I tagged my way into motion pictures," Mae grew reminiscent. "I used to follow my sister Marguerite to the old Biograph studio and then, one great day, Mr. Griffith noticed me, put me in a picture and I had my chance. I love my work and tho new and very wonderful interests have entered my life, I still love it and couldn't think of giving it up." "And the future?" I ventured. "I want to go on and do better things in motion pictures. Some day, I hope to go on the stage. I believe all our experiences combine to make us better actors. We may not need to actually live thru everything we act but at least, we must have gained a comprehension of the mental attitude attending each experience and this comes only by touching life at many points. I have always idolized Maude Adams, Julia Marlowe and Mrs. Fiske — they have been my inspiration. All three have lived— struggled— achieved." "Should Mary develop a talent for acting"— I began. "I shall give her every chance to fulfil her destiny," promptly replied the little mother, "I dream of great things for her but most of all I want her to be blessed with the gift of Happiness. Nothing else really counts — the trouble comes in finding out just what constitutes happiness," which remark goes to show that the new Mae Marsh is becoming philosophic. I'll Teach You Piano In Quarter Usual Time To persons who have not previously heard of my method, this may seem a pretty bold statement. But I will gladly convince you of its accuracy by referring you to any number of my graduates in any part of the world. There isn't a State in the Union that doesn't contain a score or more skilled players of the piano or organ who obtained their entire training from me by mail. 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