Photoplay (Jul-Dec 1925)

Charles Fan-ell puis his earnings into his wardrobe, while Marjorie Whitus puts her beauty into pictures. Just two of the aristocracy looking to the future ARISTOCRATIC footstools! You see them often on the screen, wondering who they are. Beautiful film ornaments, haughtil.v graceful, welldressed and handsome — but as superfluous to the conflict of forces in the drama as the oil paintings on the walls. They are Hollywood's "400." They are a set unto themselves, a set of social nonentities. They are the select coterie of minor players who form a background of splendor for the grander personages who strut in the foreground. Not that nondescript horde of "extras" who make up the mob scenes; no, they have a rating in Hollywood: they are "atmosphere." A few of them earn as much as, or more than those who get their names in the cast of characters. It is not extraordinary for their services to command as high as S50 a day. At the threshold of stardom they take their stand. Some of them cross this threshold. For, it is out of this comparatively small group, w^hose faces are seen often on the screen, but not their names, that the celestials of the film firmament from time to time emerge. Of this genre are Mary Philbin, Laura La Plante, John Patrick, Vera Reynolds, Buddy Post, and Betty Bronson. The startling example of Betty Bronson and her recent ascension to the role of Peter Pan and The Madonna in "Ben Hur." has had too much mention to necessitate comment here, and forms a chapter meriting more consideration than the purposes of this article will permit. It is significant that it is out of the ranks of atmosphere that Betty was projected. Another recent arrival is Marjorie Whitus, one of the most beautiful girls in Hollywood, who was given a role supporting Anna Q. Nilsson in First National's "Inez From Hollywood." And there are Cristina Montt and the "Duchess" Stella de Lanti, whose patrician charms add distinction to Corinne Griffith's "Love's Wilderness." Miss Montt created the role of the Spanish Infanta in "The Sea Hawk," following it with HoUyw^ood's "Four Hundred" By Nathan S. Dyches an accredited role in WiUiam De Mille's "The Fast Set." SteUa de Lanti achieved rank as the only other woman with Norma Talmadge in "The Fight." This trio, whose names are as meaningless as the Hottentot tongue, are as familiar to the sight of inveterate film fans as the girl whose "skin you love to touch." The day of contempt for the lowly estate of extra has passed. Too many of its votaries have won their way upward. Those we have enumerated have done much to dispel the odium it previously implied. As the situation in Hollywood is now constituted, membership in the "400" is essential to preferment by directors. It is something to belong to the "400." It means recognition by directors, and their assistants — an-all-important matter. Occasions arise when the director needs someone to fill in for a piece of minor business. It is necessary for that someone to be competent, but not important enough to bother with a regularly established actor, what w'ith his demands for salary and screen credit and the delay in signing up. The director, therefore, takes his pick from the atmosphere players. Of course he selects those with whom he is familiar. In this way some of the stars of tomorrow get their start. At first just "bits," awarded capriciously — crumbs thrown by directors as by a master to a faithful pet. These usually are At the top left is Fronzi Gunn and beside her is Clara Morris, while below them is Geni Cameron. Do you recognize them? You mil if you look close