Photoplay (Jul-Dec 1925)

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^Hurricane's Gal" is Bac\ Dorothy Phillips Returns THE return to the screen of a player of established identity — that is, the identity which has been established prior to the departure — is usually accompanied by a deluge of promises attendant upon past performances. The blare of the publicity trumpets, the broadcasting of reams of "you will recall when — " yarns, "the screen's Dorothy Phillips left the screen Hurricane's Gal" (right) and in "Without Mercy" returns in triple characterizations, one of which — Madam Gorton — is here pictured at the left 'it: is the lad in the felt lint behind the camera platform. Note the re Ronald Colman and Vilma Banky, the new actress from Budapest most charming personality" — and similar upheavals of idle fancy attempt to and oft times do succeed in creating in the fertile brain of the reader, facts which, when actually revealed, prove disastrous, not only to the player, but to the reader. The return of "Hurricane's Gal" is as totally different as is the well-known day and night. For few screen fans there are who will not recall " Hurricane's Gal " — in real life Dorothy Phillips. The reputation achieved and sustained by Dorothy Phillips during her career in motion pictures had firmly established her as a screen star. There was no specially prepared screen story awaiting her — nothing similar to any former role was to be aligned in bringing her back to the silver sheet. Her return in the role of Enid Garth in "Without Mercy," is, by those who have witnessed the rushes, oneof the most convincing portrayals ever evidenced. The two years' absence of Dorothy Phillips from the screen was occasioned by the death of her most beloved, Allen Holubar, husband and director. It was not a whim nor fancy which prompted Dorothy Phillips to again seek greater lavirels before the studio lights — it was the combined efforts of Director George ^lelford and William Sistrom, studio executive, who succeeded in engaging her for the dominant role of their new picture. The role is most unusual in that it presents Miss PhiUips in three distinct characterizations: as the j'outhfiil bride, honeymooning in the Argentine; later, as the executive of the largest banking concern in London; and lastly, as the tight-fisted money lender of the London slums. The three characterizations are most unusual and they are a daring venture for Miss Phillips, as no obvious artifices must be resorted to. Since the death of her husband, Allen Holubar, on November 20, 1923, iliss Phillips has kept away from the screen. His loss was a severe shock to her. But Miss Phillips has been an actress since her girlhood. Work is a part of her life. As for the other part of her life — that which is gone — she is bravely hiding it away and going on with her career, as Allen Holubar himself would have wished her to do. S3