The New Movie Magazine (Jan-Sep 1935)

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"When did you become an actor?" "I believe," he thoughtfully considered, "it was at the ripe age of one, possibly two years. It seems I stood up in my high-hair and delivered a stirring declamation, perhaps inspired by a pin in my nervous center. Then and there it was decided I was to be not an actor but a lawyer. The question was, what is Willie going to be? Not why is Willie going to be it? High school found me going in strongly for public speaking and knowing as much about law as I did about pearl fishing in the South Seas. Then in a school play, 'The Rivals,' I had the part of Captain Absolute. That settled it. I was seized by a burning, even seething, desire to be an actor. But my ambition needed financing, so I went to work as a clerk in the Kansas City telephone office. There, sitting with my back to the chief auditor, I developed marked ability as a left-handed eater. My boss could see what my right hand was doing — writing — but I didn't let him know what my left hand was up to. It was, from time to time, up to my mouth from a partly opened drawer with bits of a sandwich and streamline delicatessen. _ In short, I managed to eat .my lunch in office hours so that I would have the whole noon hour in which to go to a movie. "I'd planned," he explained, "to earn enough to pay my way through the Sargent dramatic school, but I had a devil of a time getting the necessary money to take me to New York. After working from September to December for fifty dollars a month I owed my father thirty-five dollars. Something more productive had to be done, so I wrote my great-aunt that unless she sent me seven hundred dollars she would be depriving the world of a great dramatic genius. The money arrived and with it my great moment. I did what every man-Jack of us probably has wanted to do at one time or another — walked up to my boss and proudly announced, 'I'm quitting!' My aunt, bless her — but wait a minute," he broke off, jumping up, "I've something upstairs that may amuse you." Back with a scrapbook, Mr. Powell read me a vaguely familiar "notice" of the opening New York performance of "Spanish Love" which gave him first place among the actors and thoroughly approved of his dramatic behavior. "I sent that review to my aunt," he added, then handed me the book with a whimsical smile and the suggestion, "The writer's name may interest you." "Then it pays to be an actor — that is, a good actor?" "Well," he granted, "it pays to be a successful actor — I don't know that the two are synonymous. There's no question about motion picture acting being a highly paid profession, but it's not so highly paid as the public is led to believe. For example, Constance Bennett is said to get thirty thousand dollars a week. People reading that report jump to the conclusion that if she stayed on the screen for twenty years she would make over thirty millions. Of course, that's ridiculous. The ac tual fact is that Miss Bennett had a contract to do two pictures of five weeks each at thirty thousand a week. But sixty, anyway forty, per cent of that goes to the government. Then there are her personal expenses. That's the way it is with all of us. By the time a year rolls around those huge salaries you hear about aren't nearly so big as they seem. For one thing, there's the upkeep of the star's position. Now I could live in a hall bedroom. I could live as a miser, but if I did it wouldn't help me. People would say I was stingy, and that would hurt me professionally. If you don't live like a success and look like a success the whispering public soon has word going round that you're the kind of tightfisted star who'd choke a nickel to death. All the world comes to Hollywood, it comes to our door, and so it is necessary to have a place to receive that world. I'm compelled to have a decent sort of house where I can decently receive people. This isn't swank, it's business. I have to keep up a front because of various things connected with my business. What's more, a picture star has to live up to the figure he becomes in the public eye." In my mind's eye I saw one of the very few American screen figures that can look at home in a top-hat and at the same time keep under it a lot of good, sound common sense. "You know," gravely reflected Mr. Powell, "an actor's life is no sinecure. In fact, it's rather pitiful. This is particularly true of the stage actor, continually facing uncertainty and realizing that only the rare few can become financially independent stars. I often used to think about it when I was sitting around the Lambs Club. Once I got over being stage-struck there were other things more important to me — comforts and the ability to take care of myself. I saw what happened to actors and began casting about for something that would give me more security, to wit, motion pictures. And inasmuch as they've been pretty kind to me I feel kindly toward them." Out of them he had just built a fine house in the higher and more spacious reaches of Beverly Hills. Somehow, I imagined it to be a bride-trap. "No," he smiled, "just another investment, and this time, I hope, a good one. And I'm looking for returns. If there's any place in the world to which retired wealth will come — granting there's any retired wealth left — it's Hollywood. But if I don't sell it, I'll live in the house myself." "Alone?" "Well," he admitted, "I've no violent objection to beautiful women. If one should happen along I won't, of course, hang out the 'forbidden' sign." We drank to her, the unknown beauty, and let the real estate go dry. "Meanwhile," he added, "I'm going to keep on working as hard as I can." "Going to do another 'Thin Man'?" "They're writing one now. Of course, we're sticking our chins out. You never can tell about a sequel. But the first was delightful and easy to do — it just rolled out in forty days. The second may not be so easy, and the only thing I can be sure about is that it is an individual vehicle." "Carrying personality?" "Let's hope so," begged Mr. Powell. "As I said, I don't know what personality is, but I do know what it does — it makes all the difference between a feature player and a star." As definitions go, that's telling it! The Neiv Movie Magazine, April, 1935