Photoplay (Jan-Jun 1947)

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Y, PROTECT this Here's the quick, easy woy to protect bottle nipples and feedings from terms and dirf — originated by Sterieol. Specially shaped gloss cop — seals vacuum-tight. On or off instantly. Widely recommended by doctors and nurses. Sold everywhere. STERI-SEAL, Columbus, Ohio STERI-SEAL To Dance or Not to Dance [C ontimied from page 33] dramatic, this argument is one for dancing. I think dancers are creators, not the imitators that actors must be. An original dancer creates his own routines out of his thoughts and experiences, and he gets a big wallop out of building something that is entirely new. The sense of personal gratification is very warming, because you know you’ve designed and executed something no one else has done in your own manner before. Naturally, actors must depend upon others to write their lines for them, so that phase of their work must be unoriginal. They’re reflecting the thoughts and actions of the writer, and it’s the skill they show' in depicting these prearranged situations that makes them artists. On the other hand, being one who’s not too keen on hard labor, I can think of a superb argument for being a dramatic actor. Dancers must work hard to keep in good physical shape. They get up early and go through workouts at the gym, then they continue at rehearsals. It takes a lot more time to prepare a dance sequence for filming than for a dramatic scene of the same length. No matter how you look at it, it’s the dancer who puts in the longer hours. When I weigh this point against the pleasure I’ve had in doing a good dance number, as in Anchors Aw'eigh, I get the feeling that it’s been w’orth all the effort. There’s an exhilaration to dancing tlfiit’s lacking in a dramatic scene, but there’s also a deep satisfaction in doing a moving dramatic portrayal. A very Important argument in favor of straight acting is the fact that non-dancing actors don’t have to face the per ceptible physical deterioration that must come to all dancers. Unfortunately, you can’t stay young forever, much as you may try to fight the ravages of time! Dancing, to be done well, must be done every day. But I don’t dance every dav. I’m getting older, and as the years creep along, I find my mental comprehension and desire for dancing betterment is losing pace with my physical deterioration. This is a brash statement coming from a picture player, but it’s the obvious truth, so let’s face it. I’ll put it this w'ay. If I decide to concentrate on dramatic roles, I w'on’t have to worry about the dancer’s constant battle against time. A period of ten years is comparatively insignificant to an actor after he has passed his thirtieth birthday, but it’s mighty important to a dancer! Then, too. I’ve noticed that actors generally last longer than dancers. There are plenty of fine performers who are touching the 60 mark, but who ever heard of a dancer in top form at that age? From a straight business point of view, musical films make the most money for the box office, so the demand for dancing is constant. How'ever, the turnover of talent in the field is terrific, and you can’t blame a dancer w'ith a choice if he looks forward a bit into the future. Fred Astaire quit while he was still great, and for this I admire him tremendously. I knoiv I w'on’t dance after I can’t dance well, because I think there’s nothing sadder than to see an artist who keeps capitalizing on his former reputation. If I come to the conclusion that I’ve gone over my peak. I’ll stop dancing for the public and do it only for my own pleasure. Have you sent in YOUR vote? The deadline for ballots in MOTION PICTURE’S BIG POSTCARD POLL is February 10! VOTE TODAY FOR: Your favorite Your favorite Your favorite Your favorite Your favorite actor actress picture of 1946 up-and-coming young actor up-and-coming young actress