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THE MOVING PICTURE WEEKLY
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JACK is still the same, modest, unassuming actor he ever was, even though the Gods have beamed on him so kindly and generously of late. Not only has he recently been awarded three distinctly interesting roles and enacted them with a keen eye to dramatic eifects, but he has played them opposite three talented young stars, girls as beautiful and capable as the screen can boast of to-day. He was an attractive foil to dark-haired Edith Roberts; he was an engaging leading man to the fairer-haired Gladys Walton and he played admirably opposite fairest-haired Eva Novak. Indeed, he seems the ideal leading man — a good actor and one capablu of adapting him
self easily and harmoniously to any type of feminine beauty and talent.
In "The Adorable Savage," Edith Roberts starring vehicle, concerning the excellencies of which the critics have not yet ceased talking. Jack played the role of Templeton, the American, who, fleeing from the law, hid himself on a South Sea Island, only to fall in love with a half caste girl, more lovely, more appealing and more innately cultured than any of the women of the society in which he had formerly moved. Tall, handsome Jack, with his engaging smile and winning personality and little Edith, with her quaint grass costume and frightened
eyes — what a pair of lovers they did make!
Jack Perrin had been a cowboy in pictures, a horseman, a societ\' man, just an everyday sort of a chap, but a minister— NEVER! Yet that is just the sort of a role that Jack undertook to portray in "Pink Tights." His friends advised him against it — "you never can carry it through successfully. Jack; you're not that type of an actor." But Jack Perrin, true artist that he is, would listen to none of their words of discouragement and went on bravely mastering his role. With what charm and appeal and dignity, he played the young preacher of Pleasantown, who learned a far great