Motion Picture Story Magazine (Feb-Jul 1912)

HELEN GARDNER, OF THE VITAGRAPH COMPANY When the Vitagraph's wonderful film, "Vanity Fair," was being shown at a local theater, several months ago, I sat well down in front at an afternoon performance. Near me sat a schoolgirl, accompanied by her mother. The little girl was intensely interested in the whole performance, which she followed closely, commenting on various parts of the story as it proceeded. Between the first and second reel the child suddenly turned to her mother, her eyes shining with eager delight. "Oh, mama!" she exclaimed, "isn't that lady who plays Becky Sharp wonderful? It doesn't seem as if it could be a real, truly person, does it?" "That is Miss Helen Gardner," replied the mother. "Well," declared the enthusiastic girl, "it is hard to believe that there truly is such a person in the world — just really living, like other folks. I'd rather meet her than all the kings and presidents!" I was inclined to agree with the child. Miss Gardner's masterly interpretation of that difficult and trying role made a deep impression upon me. I found my thoughts straying back to it often, and when the managing editor suddenly told me to go out to the Vitagraph Company's plant, to interview Helen Gardner, I accepted the assignment with such unusual alacrity and enthusiasm that he looked puzzled. Once inside the Vitagraph's gates, I walked across the yard, and tapped upon the door which I had been told was Miss Gardner's. I was ushered into a tiny office, where, beside a big rolltop desk, in a revolving desk chair which was many sizes too large for her, the lady herself sat. She looked up from a pile of letters as I entered, and smiled, but even the smile was what might be described as a serious one. For Miss Gardner is, above all else, serious. Steadiness of purpose and depth of feeling reveal themselves instantly to the most casual observer of her face. Expressive her face is, and mobile, but it is the mobility which accompanies real thought, not the mere surface changes which signify capriciousness or indecision. She was reading a poem which had been written to her by a little girl. "It must be very pleasant to have the little ones appreciate your art," I said. "It is," she replied, earnestly. "The children are very frank and very real critics. They follow the plays so closely; they concentrate better, and have more imagination than the grown-ups. When I go to a picture theater where some of my own plays are appearing, I always try to sit near a group of children, to hear their comments." "Then you attend the picture theaters often?" I asked. "Certainly. Whenever I can. It is there that we can learn most about how our work really affects the public. Oh, how I long for the time when we shall have really good picture houses, with decorations, music, everything in good taste and harmony ! When all these things come — and they are coming — refined people will pack the picture houses as eagerly as they flock to the opera now." The reason for Miss Gardner's great success in her work is plain as one talks with her. She believes in the Photoplay sincerely and enthusiastically. Her training for the work has been of the very best. Much of her life has been spent abroad, and she has alternated the best boarding-schools of France and of America with much travel. As a small child, she was always in demand for private theatricals ; as she grew older she studied her art in the best schools of the world. A graceful and finished dancer, she attracted the attention of the famous Maude Fulton, who took great pleasure in helping her to develop this talent. At length she began her public acting, with the Alberta players, in pantomime, and Madame Alberta unhesitatingly pronounces Helen Gardner the best in the world in pantomime. Many excellent opportunities came to her during this time to go upon the regular stage, and they continue to come, but Miss Gardner shakes her head. "Some time I may," she says, "but not yet. I have always shrunk from the public — I cant tell why ; I cant quite explain the feeling, but I like this work better. There is every chance for fine acting and improvement — the picture stage is a wonderful school — and yet one is less conspicuous. Life can be quiet and happy." It has been only a little more than a year since Miss Gardner left the Alberta players and joined the Vitagraph Company, but in that time she has acted many leading parts and created many successful plays. Her writing is not confined to 129