Photoplay (Jul-Dec 1930)

Andre, Doris, Dave and France, England and California chipped in and gave this keen quartet to the talking screen THEY brought him from Europe to play in French versions. He was to be a member of that hidden city, that vast foreign colony that lives and works in Hollywood and about whom the fans know almost nothing. This is the colony within the colony, and consists of those fine German, French and Spanish actors who make talkies in their native languages. But they found that Andre Luguet who, it has been said, is to the French drama what Maurice Chevalier is to French musical comedy, could speak better English than \'ou, you, you or even, I blush to admit, I. Therefore, you will see Andre on the screen in English pictures just as soon as he is caught up on all the French versions he is slated to do. His knowledge of English came about in a strange way. His parents hoped that he would be the first to break the long line of troupers who were his ancestors. For, since the days of Napoleon, big and little Luguets, mothers, fathers, sisters, brothers, have all dedicated their lives to the theater. It was hoped that Andre would be the first business man among them, but in educating him for such a career they inadvertently prepared him for American movies, for he was sent to England, to Craven College in Kent, to study commercial affairs. There he learned the English of which he is master. Andre did not like the studies. Troupers' blood flowed in his veins. He was born for the foothghts, so he left school to join a company in London. Later he starred in his own company at the Cciiicilic Fran(aisc. Director Jacques Feyder insisted that he come to Hollywood and play in the French version of "The Unholy Night.'' Pie is now under a long-term contract to M-G-M. Luguet is the matinee idol type, with black eyes, brown hair. DORIS LLOYD appeared in seven flops in the London theaters during the season of 1924. There was some consolation— only a good actress could get seven jobs in one season, whether the plays turned out or not. Then one day she overheard a conversation about herself. Two women were trying to settle on what matinee to attend. "There's that play with Doris Lloyd,"' began one of the women. " She's nice. I like her, but poor thing, all her plays have failed. "' A French Loan to the Talkies Nice English Girl Makes Good That, decided Doris, was the most disconcerting thing that could be said about an actress. She decided to get out of London for a time. She would go to America, the land of opportunity and all that sort of thing. She had a sister in Hollywood, married to George K. Arthur, whom she could visit. She arrived in Hollywood, where her bad luck gained momentum. After six years Lady Luck has deigned to smile, but as yet she hasn't laughed out loud. However, picture audiences have seen her give compelling performances. She was the weak Mrs. Lane in "Old English," and she appeared with George Arliss in " Disraeli. "' You will soon see her in a cockney role in "Way for a Sailor" and in "Charley's Aunt." Not one of those roles has given Doris the opportunity she deserves, the chance to give the shining performances she has \ contributed to the Los Angeles stage. Doris was well in the vanguard of the English invasion of Hollywood. She came in 1924, and burst on the local horizon with a magnificent performance in support of Pauline Fredcrick in "Spring Cleaning." Joseph Schenck saw it, and gave her the first opportunity with Norma Talmadge in "The Lady. " The camera loses much of Doris' charm. She has auburn hair and gray eyes, and wears clothes beautifully. 80