The Photo-Play Journal (Jul 1919-Feb 1921)

N o v c m b e r, IQ20 .57 Presenting Corinne {Continued from page 42) generally known as "The Lady from Three States." If you should ask her, however, the name of her natal state she would proudly exclaim, with a toss of her lovely head, "I come from Texas." She is convent bred, for when quite a kiddie she was sent to the Sacred Heart in New Orleans. Her ambition was to become a dancer, but it was willed otherwise. Fate played her cards in the following fashion: Corinne's beauty was a matter of comment in social circles, so the elite decreed that "the crown of beauty" should be put on her fair head at the New Orleans Madri Gras. Mr. Sturgeon, a Vitagraph director, was attending the festivities, garbed in a black domino. He requested an introduction. "Did you ever think of going into motion pictures ?" he asked. Miss Griffith could not answer. She was dazed. The quiet life of the convent had not prepared her for the splendor of her debut into society as "Queen of the Mardi Gras." She was surrounded by a maze of color — knights in armor, gay and resplendent cavaliers, fair ladies, jesters ; in fact, she was living in a world only known to her heretofore through Scott and other great writers of Medieval history. And to cap the climax a great director asked her if she wanted to go en the screen. Demurely she murmured a half assent and Mr. Sturgeon was satisfied. "Whenever you are ready just drop me a line," he added. So out of her dream world she came into the shadow world. A few months later she went into pictures at the Vitagraph West Coast studio, and before the year was up she found herself playing leads opposite Earle Williams in Flatbush. Then came recognition through Vitagraph adaptations of the famous O. Henry stories. She was featured in several of the master writer's productions. This was, however, but a stepping stone to stardom. She came into stellar honors as a comedienne, but soon after gave such evidence of dramatic ability that her producer decided to star her in the serious as well as the gay. Versatility is the keynote of her acting. In "The Climbers" she achieved an emotional success; in "Bab's Candidate," her current production, you will find a comedienne who carries you chuckling and laughing to a delicious denouement. But, the real Corinne is even more interesting than the star. The little anecdote at the beginning of this story is an insight into her character. The Lady Corinne is most of all a friendly girl. That means a lot. And because she is friendly her beauty has never taken away from her ingenuousness. Vanity is verboten (if you will forgive the Prussianism). She is in touch with people and loves to listen. That is an attribute that will keep her on the heights. For the listener absorbs and then gives of her knowledge. Whether with quip or jest, in serious vein or in the mere passing of the day, Corinne is equally fascinating. She has a sympathetic personality both magnetic and refreshing. After you have admired her beauty, you begin to respect her brains. Her screen admirers get the same reaction. They like her because she is honest and sincere. Her personality radiates these qualities and she works hard to please. There you have an infallible means to success. Off the screen Lady Corinne is very much of a home body. She applies herself so strenuously to her work that her play hours are given to relaxation. She only appears in public when at the theatre, motoring or shopping. Hailed as the best dressed woman on the screen, she devotes many hours to designing new dresses and visiting shops to get ideas or make purchases. Her gowns, beauty and talent are the workaday trinity that have brought the Lady Corinne to fame and fortune. Ramona of Broadway {Continued from page 27) Hollywood — never gives anybody the impression that she would ever want to wreck any one's life. She goes home from the studio and dons a Japanese kimona and lets her hair down, and settles herself on a comfy couch to read. Sometimes, on Sundays when her maid has a day off, she takes a fancy to make biscuits, whereupon her sense of humor later causes her to offer them to her friends as weapons of defense against stray cats or prowling marauders, seldom as food. Or, again, she will telephone Kate Price, the bighearted, portly comedienne who "mothered" her in the early days of films when Rosemary was getting her "start" at Vitagraph, and invite her for tea which means that Miss Price is to bring along her various ideas on how to crochet sweaters. Miss Theby always keeps open house at the bungalow, which is in a court wherein reside numerous of the film-famous. Anna Q. Nilsson lives two doors away. Ethel Grey Terry has the bungalow next door, and in still another of the tiny, white dove's nests resides a quite famous scenarist who gleans a number of ideas from hearing Rosemary tell of comedy situations she has observed or heard about. The Spartan habiliments fit nicely around the personality of this remembrance-lady because she is of medium height, well proportioned and has regular features and dark hair. There is nothing of the typical screen actress about her. Her conversation runs in intermediate and high all the time and none of the cylinders in her natural, inherent good nature miss fire. She is delightfully agreeable and knows too much about men to get married and just enough about women not to be catty. Her ambition? She laughs when you ask her. Naturally, she craves money and friends. She's not anxious to star, but would rather prefer to co-star with an intelligent, inspiring man in a play abounding in rich, dramatic moments. For ihis reason she smiles, pleased when you mention "Michael and His Lost Angel" in which she co-starred with Conway Tearle, and she is quick to sing the praises of Walthall with whom she played in "A Splendid Hazard." "Rio Grande" was more nearly a star part for her, and yet she smiles when she tells you that she got injured several times making that blood-and-thunder drama of the Mexican border. She's been on the screen ever since the earliest days, when she suffered, like all the rest of the pioneers, from bad directing, weak stories and poor production conditions. Yet her faith in pictures has never been shaken, and she declares that she'll stay in the films as long as the public will pay its good money to go to see her. She's a Broadway Ramona in a twentieth century setting — a girl who has been kind to those whom she has come in contact, and to whom her co-workers refer to as a "good scout." She has never acquired the limousineand-diamonds fever, and never — never! — has she, for a moment, wished that she were either a man or a blonde. With steady consistency the works of famous authors are being given to the public via the cinema. "The Marriage of William Ashe," by Mrs. Humphrey Ward is one of the latest to find its way to the screen. It is now being directed by Ted Sloman, with May Allison in the stellar role. Mildred Davis, like other stars, receives from fans many tokens of appreciation of her screen endeavors. The oddest yet to be added to her collection are two East Indies parrakeets received from one of her Australian admirers. Mildred has named them "Screech" and "Scream." Peggy Rompers Writes {Continued from page 50) to follow the footsteps of their parents. More about restaurants, Ma ! There's a peach of a little place in Hollywood called Frank's. If you ever want to find anyone, you can get him there at the Come-On-In. They're all there : May' Allison, Director Ted Showman, Marjorie Daw with her chaperone, Chester Franklin, Mary Miles' director — and all the rest. I'm usually with Ann May — and I really couldn't be in better company. But this or any other place would not seem quite right if Eddie Sutherland didn't rush in, shake hands with everybody present, and rush out again plus one piece of French pastry. They're a busy lot — these film folk — and they're happy ! That counts most, doesn't it, Ma? Being happy and good — just being good is what I meant — if you're that you can't help being happy — Write me soon, but don't lecture me like you did in the last letter. ... I haven't learned to smoke or do any of the other things you warned me to avoid. . . . Picture players are really quite different from your old-fashioned fdea of them — and I'm quite safe. . . . Lovingly, Peggy Rompers. Wanted : ScreenFaces for the Movies Hundreds of All Types Needed. You May Have Perfect Screen Features. For the first time in the history of moving pictures it is now possible for you to get consideration from the big film directors. No matter where you live, we get your photograph before the directors, many of whom ar in urgent need of new "screen faces." Ralph Ince, famous Selznlck director, says : "There are many young girls who could make good In the movies. I will be very glad to take advantage of you» services." Marshall Nellan, known everywhere for his work in directing Mary Plckford, says: "I am convinced that the service you render screen aspirants offers many new personalities to moving picture df ' rectors." P. A. Powers, of Universal, says: "A new crop of film stars will be needed at once to supply the Insistent demand." With the assistance of famous directors and motion picture stars w» have prepared a printed guide. "The Neiw Eoad to Film Fame." whloh tells you what to do and gives full directions. 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