Photoplay (Jul - Dec 1921)

THROUGH A FRENCHMAN'S EYES Translations of critical impressions of our film stars by Louis Delluc, the famous Parisian critic, novelist and playwright. P EARL WHITE. A eroirie so appetizing that she makes the .icissitudes and sufferings of the serials in which she plays seem desirable and even seductive. SESSUE HAYAKAYYA. The most brilliant and unquestionably the most artistic of the cinema's interpreters, possessing both subtlety and power. MARY PICKFORD. Intellectual, child-like, ingenuous, exhiliarating. DOUGLAS FAIRBANKS. Acrobatics, grace of manner, tenderness, emotion— he manages them all with equal ease. At once the most dazzling and the most resourceful of the screen's comedians. ROSCOE ARBUCKLE. So simple and yet so comical. FANNIE WARD. A great actress, with passion and, above all, breeding. BESSIE BARRISCALE. A comedienne in whom intelligence, taste and authority — whether in tense emotion or the broadest of farce combines with a truly exceptional technique. Jt?S / « / / /ff 1 ^s^iaJn^ ?h /l JR"mrr* — r?" / In A /If //./>//*"*? / 1 f ' ■ Ifl /> \, < / f 1 Impression of Charlie Chaplin in ""A Dog s Life, « by the famous Frenc h caricaturist, Petitjean. LOUISE GLAUM. A forceful tragedian, and a tragic force. DOROTHY PHILLIPS. A clever artist, with a capacity for throwing herself into any role — and also for feeling the part. WILLIAM RUSSELL. Good-lookingonly when nude. CLARA KIMBALL YOUNG. Habitually sincere — honestly beautiful — comfortably emotional. NORMA TALMADGE. And a mute countenance which speakseloquently when necessary. LILLIAN GISH. She has that subtle, mesmeric quality which makes it imperative that one see her again and again. MABEL NORM AND. For a long time merely the partner of "Fatty" and "Charlie." Now she has become "Mabel," an expert at all the little shades and subtleties of the screen. MARIE DORO. Mary Garden in "Pelleas." Seeing her, I cannot help thinking of the limpid pages of Claude Debussy. ALICE BRADY and there you are! Sometimes worse, sometimes better JEWEL CARMEN, go at that. Call her a pretty blonde, and let it CHARLES RAY'. The triumph of simplicity. A sincere comedian with infinite tact. MOLLIE KING. A substitute Pearl White. MARY MILES MINTER. A trifle clumsy, a trifle broad, a trifle vulgar. But she can smile, she is young, and she pleases. WILLIAM HART. A most human tragedian, with a modernism of art which neither Guitry nor Mounet-Sully have ever approached. J. WARREN KERRIGAN. He is good-looking— and the fact is not entirely disagreeable to him! DUSTIN FAR. NUM. And what a smile! HELEN HOLMES. The feminine Douglas Fairbanks of the films — minus the smile. MARY MACLAREN. If her mouth were just the least bit larger, her smile would be truly alluring. JULIA DEAN. A sincerity almost severe, like our own Suzanne Despres. And a seductiveness which is Latin — with a northern forehead. FLORENCE REED. She has arms more beautiful than she is; and, at the same time, she is nearly as beautiful as her arms. MRS. VERNON CASTLE. An excellent dancer turned excellent mime — with taste, esprit, originality of gesture, and all the accessories of histrionic harmony. CHARLES CHAPLIN. A very great artist — an exquisite comedian, humorist and clown. BESSIE LOVE. A primitive — who can be both pathetic and modern. I WINIFRED KINGSTON. Well, she's pretty and slender. . . CREIGHTON HALE. The American Brule— and it is flattering to Brule. MAE MURRAY. Her features are beautiful, paradoxical, touching — and charming. "BABY" MARY OSBORNE. Now that she has talent and is conscious of it, she has the manner of a "Baby" of the music halls. 46