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"He looks like anything but an actor. He might be one of those bankers who are supposed to come to the aid of the industry
sorry to hear Mr. Connolly has been ill," I said, "but I wanted to — "
I got no further. "He's feeling much better since hearing that you telephoned," said the charming Mrs. C. "He's right here and wants to talk to you."
The more I see of successful wives the more I know why they are a success. I made a date to go to rehearsal that same afternoon. He was in the midst of a scene when I arrived on tip-toe. He saw me as I signalled, "Pay no attention to me." He finished the scene and welcomed me gently. I still say that he seems like a nice plain business man. By plain I don't mean homely. He is distinguished looking and a much younger man in appearance than we have yet glimpsed on the screen, but there is evidently so much good acting in Connolly, the actor, that there is none left for Connolly, the man.
He led me across the footlights and out into the
darkened theater. "This is quite a mad play," he said. "I shall be glad to know what you think of it. I must get back on the stage. I'm in this scene."
He had not stopped the rehearsal. Again I was impressed. It is a star's privilege to stop and start things. He went quietly back to a chair at the side of the stage and waited for his cue. No upsetting other players by sitting out front talking with the tip-toeing stranger while they struggled to memorize their new roles.
Mr. Connolly is decidedly of the "old school" when it comes to manners, which makes it difficult for the new school to believe he could steal pictures as he does without a struggle. Vocal or physical. His schoolmates in the theater were all "who's whosers." Sothern and Marlowe. Henry Miller, Margaret Anglin, Pauline Lord, Ruth Chatterton, Helen Hayes. Some of these were his teachers no
doubt. Knowing his background I cannot blame him for being a bit doubtful about bringing his "memory box" into the film foreground where a cameraman is the most severe critic and a microphone can make or break you no matter what school you attended.
Incidentally when young Connolly stepped over family objections and into the theater he was less than twenty. He must have been a bright boy having already attended St. Xavier's College and the University of Dublin. Further proof of youthful sagacity was his walking out of a cashier's cage in a Cincinnati bank to follow "his secret heart" which was at that time a chap who has not yet made the grade in pictures, William Shakespeare. I would like to see Connolly as Shylock when, if ever, the "Merchant of Venice" is filmed, but then I would like to see Greta Garbo as Portia, so think no more about it. {Please turn to page 59)
The New Movie Magazine, March, 1935
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