The New Movie Magazine (Dec 1929-May 1930)

When the Stars Were Extras (Continued from page 89) Gwen Lee was doing bits five years ago. Above, in Folly" with Gloria Swanson. She is the statuesque girl at sembles Mae Murray. In fact, it was that resemblance that the cold, under a lashing artificial studio rain. Hart says, in his book on his own life, "In the story, the younger brother was a regular fire-eater, and my much maligned choice for the role was thin almost to the point of emaciation, and being fully conscious of his shaking-to-pieces condition he was frightened to death that he would lose the part. He was also actually shedding tears from the cold. It was really brutal. I went to him and said, 'Look here, laddy, we've got to go through with this, and we're going to do it. So just lock your teeth and let's go; and remember, you're making good and that no one is going to do anything to hurt you or take the part away from you.' We got our stuff, but it was bitter work. I still shiver when I think of it. The picture was a success; the young actor made a hit. His name was John Gilbert." "The Cold Deck," Hart's last picture on the Triangle program, had in it Alma Rubens and Sylvia Breamer. In a tiny bit, Mildred Harris, then a child, drew $5 a day and made her first hit. The opening of Lon Chaney's long screen career saw him as a cowboy. A bit in "Hell Morgan's Girl" gave him his first screen credit in 1913. Chaney played for some time as one of the cowboys at Universal. He got his first bit playing opposite Bill Hart in a scene where the two played rival Western gunmen. The picture was at Lasky's, and was called "Riddle Gawne." That was in 1918. Another Lasky picture in which Chaney played was "Treasure Island." He played both Merry and Pew, merry pirate bits. Shirley Mason was the star, and played the boy hero, Jim Hawkins. Chaney played with Jack Holt and Seena Owen in "Victory" in 1919. His role as a cripple in "The Miracle Man" (later in 1919) gave Chaney opportunity for the first of his weird human characterizations. Norma Shearer worked in small roles at Eastern studios. D. W. Griffith considered her for roles at that time — and turned her down. Ramon Novarro appeared in small bits in which he could exhibit his skill at dancing. As a member of the Marion Morgan troupe of dancers he worked about the studios, sometimes as an extra also. Ferdinand Pinney Earle discovered Novarro and placed him in "The Rubaiyat of Omar Khayyam," but as the picture was not released, due to litigation, till long after Novarro had won his big successes it did not help him with the public. It did bring Novarro to the attention of Rex Ingram, who used him in "The Prisoner of Zenda" as Rupert. Novarro had to grow a beard to prove to Ingram that he was old enough to play the role. JOAN CRAWFORD, although coming from the stage in musical work, did not push forward to immediate and disastrous success. Her first bit was in a Jackie Coogan picture, "Old Clothes." Her later success has certainly justified the slow rise and careful training of her days as extra and bit player. Joan says, "I do not think there is any one rule for success that will apply to everyone. I think some people are capable of a more rapid success, that will be lasting, than others. For myself, I have had reason to be glad of my hard knocks, disappointments and experience as an extra and bit worker." (Continued on page 131) "The Coast of the left who regot her the job. William Boyd was a long time getting a real chance on the screen. In 1920 he did a bit in "The City of Masks," which starred Robert Warwick. 98