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question. She was, all this time, Wanda Pettit; and she acted with considerable grace opposite Stuart Holmes in '"The DereLict," with William Farnum in "The Doctor" and with villain Holmes in another Fox-film, "The Broadway Sport." Then the company sent her west; photographed her for the magazines on the lawn of her California bungalow and for the screen, opposite Tom Mix, in several westerns. At Fox's west-coast studios she was George Walsh's leading jemme, also.
Wanda Pettit became Wanda Hawley in the identical manner in which an every-day girl changes her name. Her husband is J. Burton Hawley, of Los Angeles, a young merchant of the coast city. Soon after she became Mrs. Hawley she became also a Lasky light, winning lasting recognition under Cecil DeMille's direction, in "We Can't Have Everything," as the saucy little salamander. This started her on the Paramount path, which, has always led upward, and onward, for Wanda. Between Lasky pictures she found time to make a picture with Constance Talmadge, "A Pair of Silk Stockings." Lately, Wanda has been Bill Hart's leading woman in "The Border Wireless." Now she is acting opposite Bryant Washburn; she has played with him in two pictures, "The Gypsy Trail," enacting here the role created, in the stage success, by Elsie Mackaye; and "The Way of a Man with a Maid."
Photoplay Magazine
Ann Pennington finds refuge in the reflections of Thomas Carlyle. Don't be surprised when I tell you that, when I went to see Wanda Hawley. at the Lasky studios, I found her curled up in a big chair with her director's tortoise-shell-rimmed glasses astride her pretty little nose — which was also buried deep in a copy of Omar Khayyam's "The Rubaiyat."
Wanda, the little bit of fluff, specializing in sprightly salamanders, was reading:
"Omar,'' she said quite seriously, "it's my philosophy. It is more than that; it is my religion!"
"Good heavens!" we ejaculated. "Old Omar, eh? And why:--''
"Well, because — "
"A woman's reason.'
"I hadn't finished. Because I can find something in Omar to fit even mood and phase of my life's activities. Take the profession of pictures: why. Omar had it when he wrote: 'We are no other than a moving row of magic shadow shapes that come and go.' Still, I believe that a player through study and observation should establish a precedent for most moods and manners. I know how to act the salamander in 'We Can't Have,' etc., because I'd read enough and seen enough of life to form some ideas about her. Mr. DeMille did the rest."
Directing a Photoplay by V ibraf ions'
HELEX KELLER, who understands perhaps bettor (Kan anyone else the eloquence of silence, is to appear in a photoplay. Deaf, dumb ana blind, (his remarkable woman is now at "work on a melodrama that shows her triumphant struggle through darkness and silence. The director, George Poster Piatt, instructs his blind and deaf actress by tapping his tool on tin tloor, the code reaching Miss Keller by vibrations. Mrs. Anno Sullivan Macy, the woman who has helped Miss Keller in ber life-long studios, assists the director. In the picture abo\ o are: the cameraman, the director. Miss Keller and Mrs. Macy. The oval at left is a scene from the photoplay showing Miss Keller cheering a blinded soldier.
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