Photoplay (Jan - Jun 1922)

The Camera Photographs The Soul By SAMUEL GOLDWYN President Goldwyn Pictures Corporation THERE has never been a great actor or actress who has been deficient in imagination or soul. A face is not merely a mask to conceal the inner emotions, it is the external expression of these emotions. An actor must be sensitive, a "stringed lute on which all winds can play." In a sense, then, the accomplished actor does not merely interpret and mimic another character. He tries more intensively to be himself, and to act as he would act in the situation that the picture demands. In our search for new faces, we will not consider as a possibility any woman, regardless of the symmetry of her features, whose facial expression does not possess qualities of understanding, imagination and feeling. We are not unmindful of many criticisms which have been made on the subject of puppet-like, doll-faced ingenues who have been so mistaken for competent actresses as to be given prominent parts in important photoplays. The screen actress of today must be more than an unemotional ornament. We want women who have vivacity, sparkle, personality. If she reveals her soul to the camera, then she is the true actress. The motion picture camera has an uncanny ability to catch "the light that shines through." The hostility of the camera is merely another way of referring to the lack of expressiveness of the subject. Helmholtz once observed that the eye was an imperfect optical instrument. But the camera is not. It is an impersonal observer which catches the details that are laid before it. It is the one unpsychic soul searcher. The camera, moreover, is the friend of the apparently cold, but really intense, personality. Many a player, whose personality has seemed unresponsive and unemotional to the casting director, and whose theatrical performances may have been commonplace, has revealed an unsuspected warmth and depth under the relentless gaze of the camera. The reason for this is that the human eye is unable to catch the subtle fire of a delicately expressed emotion. The camera, alone, can. FEELING as I do that American girlhood and womanhood are rich in character and beauty, I have no doubts as to the ultimate success of this search that we have undertaken. However. I would like to make it as clear as it is humanly possible to make it, that mere prettiness of eyes, nose, mouth, and chin are not enough. Character, talent, and the ability for hard work are essentials. Experience has taught picture producers that the actresses who gain favor with the' public and maintain their position have much more than the superficial externals of beauty. One may walk along Fifth Avenue any fine afternoon and meet a number of young women who are beautiful. Possibly, through a strict accounting of the correctness of features, they would be found to excel many of our most popular stars. But that does not necessarily mean that they could step into pictures and win a following. In the early days of motion pictures, producers were much more inclined to follow what may be called "the imitative 36 In our search for new faces we will not consider as a possibility any woman, regardless of the symmetry of her features, whose facial expression does not possess qualities of understanding, imagination and feeling. The screen does not need imitators. It needs personalities capable of portraying mental as well as physical action in a distinctly individual way. policy." If an actress of a certain type created a stir, there was an immediate rush to find her physical duplicate. There must have been dozens of girls destined to become Mary Pickfords because they possessed pretty blonde hair and the same general cast of countenance; but I don't recall any of them threatening the laurels of this inimitable little actress. Now it is quite possible that some of the candidates for screen honors were no less physically attractive than Miss Pickford. Also they may have had acting ability; but the allimportant point is that they did not reflect the qualities of personality, or soul, if you prefer, that made America's favorite actress what she was and continues to be. I mention Miss Pickford as the most conspicuous example of an actress who has had many unsuccessful imitators, but the same holds true of others who have risen to prominence. Time and again it has been proven that the qualities which give a player individuality and make her great in the eyes of the public are not superficial. Ask the average motion picture enthusiast why he or she admires a certain star above others, and the reply will not be an appraisal of perfect features. The attraction will not be attributed to the beauty of a profile, the curve of a mouth, the tilt of a head, or even to the expression of the eyes. Eeyond all these physical manifestations, it will be found that the real appeal of the actress lies in an intangible something in her personality that sets her apart and defies imitation. It is the same quality of personality that draws one to a friend and gives that friend an individuality that cannot be duplicated. The camera is quick to catch insincerity, a mere pose, an attempt to be like someone else who thinks and feels differently. Any notion that mimicry of certain characteristic mannerisms carries conviction is completely mistaken. The screen does not need imitators, it needs personalities capable of portraying mental as well as physical action in a distinctly individual way. It has been said that foreign motion picture actresess are superior in dramatic art to ours. The reason given has been that the foreign actress seldom achieves stardom until about the age of thirty, and then after a long struggle up the ladder of her profession. It is not my intention to enter upon this discussion in one way or another. I have seen several foreign actresses who have impressed me with their ability. I can say as much for American actresses. But I will say that I believe that for an actress to reach the heights, it is necessary for her to have worked and suffered. Her soul is the dominating influence of her art. DO not be frightened by the word soul. There have been many imposing definitions and contrary opinions as to what constitutes the soul, but broadly speaking it may be said that the soul may be gauged by the feelings we experience. It goes without saying that in order to truly express something, it is necessary first to have the capacity to feel it. Granting that you possess the requisite inner qualities, the technical part of the actor's art may be acquired.