Photoplay (Jul - Dec 1916)

154 The Glory Road (Continued from payc j jj geles are strewn thick with Eastern genius wrecked on the rocks of local influence and jealousy. Furthermore, he had the air of authority, and appeared to know beyond argument what he wanted, and why. Therefore it was not long before the predictions of war were realized. Much of Marcia Trent's original popularity had sprung from the combination of her really charming beauty and certain natural mannerisms of acting. Under weaker directors these mannerisms had been allowed to harden into habits. The present play marked Marcia's advancement from light or romantic comedy to "drama," and almost from the first Briscoe had struggled with her on this subject. "I don't believe I'd do it quite like that, Miss Trent," he said one day, soothingly. (He had a manner and tone for every person or occasion, and had long since classified his star among the cacti.) "You see in this picture you are a married woman in society, and are the hostess of a houseparty at your country estate. Everyone is dignified and well-bred, and I don't think those delightful little comedy touches are quite in character." Marcia had been flouncing about her drawing-room like a school girl. She had been deprived of her mannerisms so long that sudden rebellion rose in her. But almost at once the conduct of "ladies" as exemplified in her favorite literature — the works of Bertha Clay and Mrs. E. D. E. N. Southworth — recurred to her, and she restrained herself. But literature could not always step into the breach, and the real clash came one afternoon during the climactic scenes of "Woman to Woman." In this picture all the elements and emotions of the story culminated in a scene where Marcia Trent as the proud and wealthy society woman cast aside all distinctions of birth and station, and begged her maid (June) to clear her name with the man she loved — a scene which gave the picture its title. "In this scene," explained Briscoe to Marcia, "you change absolutely. The veneer of civilization is stripped from von. Everything goes. Suddenly you have become just a woman pleading with another woman for your mate. You throw yourself in front of June here, you grab her knees, you cry. It's a tremendous scene. Now," radiating enthusiasm, "let's go through it:"' IT was an unusually hot day, and everv one had been working hard, especiallv Uri>coe. He was dripping with his exertions. His hat and coat were off, his collar and tie hung over the back of a chair, and his shirt was open at the throat. Now as he sprang back to the camera, his hands clapped like a shot. "Just a moment. Mr. Briscoe," said Marcia Trent, unexpectedly, following him. "I don't think Mrs. Mandeville would act like that to her maid — to anv servant. It don't seem natural or in character, after the way you've made me do the rest of the picture." The words were so clear that evervone on the stage heard them, and a sudden startled silence fell. Briscoe stared at her with a dazed expression. It was not easy to come back at once from his world of concentrated imagination. Then, after a blank pause, he patiently explained the whole scene again, trying to inspire the star with the sweeping emotion of the big moment. June, standing on one side ready for the scene, experienced it. but Marcia Trent would not respond. "I don't feel it." she said. "It can't be right." For a minute Briscoe studied her. Then his jaw set a little. "Sorry, Miss Trent, but please try and take my word that it is right. Let's go through it now, please bad." The girl shook her head. "No," she said mulishly. "I can't do it that way. I don't feel it. and you have no right to ask me to spoil the picture !" Briscoe stood rock-like. Such a situation was new in his experience. After a moment's thought he turned to the rest of the company. "You can all go for tonight," he said. "Miss Magregor will please stav." And then, after the others had reluctantly drifted away. "Tim." to his camera man. "tell George to bring up the Kliegs. We may have to work tonight." Light's getting