The New Movie Magazine (Dec 1929-May 1930)

The New Movie Magazine Why Stage Stars Fai (Continued from page 39) a new situation and keen enough to size it up. I had just made a statement concerning the ineptitude of stage actresses before the camera and the marvelous work done by the screen stars in acquiring voice culture. Catherine Dale Owen challenged that statement without fear or favor. "It is quite true," she said, "that most of the successes in the talkies until now have been made by the old screen stars. I do not wish to take any credit away from them — nor could I. "But there is one angle to that stage star versus screen star business you mention that I would like to point out. It has apparently been overlooked in the wave of enthusiasm for home town talent which the success of the screen stars has incited. THE motion picture actress who had to become a 'talkie' or to acquire what is equivalent to the work of the speaking stage, had the way made very easy for her, if she would work. Excellent singing teachers were available and could be hired for long periods of time, for coaching on the set, for work with the voice every single day. "Some of the girls, you know, take a singing lesson every day and not only work on the part they are singing in a picture, but have their teacher present on the set when they are before the microphone." I did not interrupt her, but I remembered Colleen, Gloria, Mary, and others. Catherine Dale Owen was right, in this instance. "Also," she continued, "it was possible for these movie girls to hire trained Broadway actresses, famous for their diction, to teach them how to speak lines. A number of the movie stars who have made successful talkies worked for weeks on the speaking part of their performance with such well known stage women as Laura Hope Crews and Helen Ware. They were coached well and thoroughly. "Please understand I am not taking from them the credit due for their hard work and the intelligence they must possess to enable them to assimilate teaching. I am merely saying that the screen star, with nothing to learn except to manage her voice, had her way made easy." SHE stopped and looked at me, a challenging look which dared me to say otherwise. I had no desire to do so. Those eyes are a powerful argument, even if she had not been right in what she was saying. Seeing no sign of fight in me she continued. "On the other hand nothing even approximating such help has been available for the stage star who is suddenly heaved into motion pictures. We had our voices — but that was all. And all the things we had to learn; camera angles, the delicate art of 'timing' scenes — which does not exist in stage work — and the close-up, which is so difficult and which no stage actress has been forced to face. Yes, it is true that the stage actress could handle her voice, could speak lines, but she had to learn things, most important things, that to the experienced screen actress were so well known as to be almost second nature. "And there was no one — and is no one — to teach the stage star these movie tricks and needs. Time cannot be taken by a director during an expensive production to give lessons in these fine arts to backward stage stars. He can explain a scene to an actress and give her a certain amount of help. But he can't coach her, teach her. instruct her as these other girls have been instructed in voice work. "I would be willing to pay for lessons in the art of acting before a motion picture camera, but there are no coaches, no teachers, available. THAT is why I say that the stage actresses, too, have difficulties in adapting themselves to the talkies, just as the older screen actresses have. And those difficulties have not the same solution. The movie actress can be taught and coached; the stage actress can learn only through experience, there being no one to teach her. And the thing' she must 'earn is the more difficult of the two. You can practise your voice at any time and anywhere — -almost; but it is impossible to prai camera acting anywhere except on the set." She is a born leading lady, this Catherine Dale Owen. Has never been anything1 else. She had the lead in her first High School play, the lead in her first dramatic school play, the lead in her first stage play, and the lead in her first motion picture. Her mother, born in Louisville Kentucky, is quite as beautiful as Catherine Dale. And she is Southern, friendly, hospitable. Miss Dale, too, was born in Louisville. Homer Croy Visits Stan Laurel and Oliver Hardy in their Hollywood comedy studio and tells the story in next month's NEW MOVIE MAGAZINE SPONGE The little sponge that does the big job. Brightens the kitchenware. Lightens the housework. 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