We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Not "The Grand Old Man"
Frank Klccnan is a tiglitcr in the acting business — and he's not old by any means.
By Horace Cope
live, obliging, possess*!! of a ihoiic vocabulary of cus* words which he lioesnt use vi-n. often, and with a heart full of ssmpaihy lor children, Keenan is typical of the Anuricaii of fifty or so years. There is that spirit of indipoiulciue. and a rt u«h-and-ready quick wit, that ilraniatic power within him that can make you smile one moment and feel the invisible hand clutching at your thnuit the next. In short, pt-rsonal iragnetism.
ITie aclor can well be called the "grand old man of tho svreen." except that he has a hearty wallop in each fist for any i.ne who thinks he's "old." He didnt go onto the .shadow >tage until he was grey, and then, he is nally the only iharacler man who has ever lieen starred as such in films.
There is a soul within that gruif exterior of
plosive as his remarks about the bout. When he talks his conversation is firm. >inewy and conci.se. His language is alive, as it were, and t•nthu^ia^m grips him. He has ideals, and the brains to map out his working program; he is a student of human nature — a practical jjsychologist. He maintains that a screen performance must give intellectual satisfaction, else it is hokum.
"Thi> hdkum plays a bit i>art in acting today," he remarked. ".\nd when _\(iu see some of iht younger actors growing up only
til think aliout their jazz shirts and
ihtir wild parties — hm! The
great artists of the stage
ha\e been persons of
character and
forceful in-rson
ality. The
stage is an
M r. Keenan in his d) ing room, preparatory to "making up.
hii. — the e.xterior ihai is inclined at times to be stem and rugged, and to make i.itra> tremble in iheir shoes. The tirst lime I ever heard hmi speak informally was at a benetii given early in the war tor the Red Cross. Keenan's son was overseas. He told about the dismal gloom of New Yorks Broadway, of the suffering abroad and then of the trials to which the .\mericans were to be put. When he had bnished, there was not a dr>' f\c in the house, and after he'd taken hi seat, tears couM \>e found in his eyes.
"Hey, there. Shorty, clip him, c-l-i-p him. Awl" This from Keenan as he sat at the ringside with me. tense, alert to the Ijattle before him. "Oh, why the deuce don't you do something, boy? Do you want him to kill you — pass you out right before us all? Where d you Jeam to fight, anyhow?''
The Keenan expletives anent pictures are quite as ex
Mr. Keenan ai
The Sheriff and
Blanche Batm it Tha
Girl, in "The Girl
of the Golden Wc>t. ° Lond
before he went into picturci.
47