Photoplay (Jan-Jun 1920)

40 Photoplay Magazine M^ "Rockclif f e Fellowes\vas the rugged western e r in 'The Easiest Way." m ^f "Nigel Barrie, in 'The Better Wife was the juvenile and impetuous type, the lover who pursues the cave man tactics. These men are all good lovers in their respective classes, and it would be well worth while for any man who is contemplating making love — and is there a man who is not — to consider their various characteristics, and see which is best adapted to his own personality, and to the susceptibilities of her to whom he intends to make love. And what a lot of unhappiness it would save the women if men would engage in such a study. Just by way of helping a good cause along, I will call attention to some of the more obvious characteristics of some of these lovers — oh, merely as they have been exemplified in their work with me on the screen. Let it be distinctly understood that this discussion is absolutely impersonal. One of the interesting types of screen lovers is David Powell, my sarcastic suitor in "The Price She Paid." His technique in this story is one I would not recommend for general use, as he made love with "reverse English." He ploughed his way into my frivolous affections by telling me I didn't amount to much, and concealing his interest beneath a highly superior attitude. Of course, this sort of thing rather piques a certain type of woman, who is conscious of her charm, and regards treatment like that as a challenge. Going to the other extreme, there was Nigel Barrie, who besieged me in "The Marionettes" and "The Better Wife." Here is the juvenile and impetuous type, the lover who pursues the cave man tactics. "Catch them young and treat them rough" is the motto of the lovers of this class. It is said that women love brutes, — though far be it from me to insinuate that there is anything brutal about Mr. Barrie in his love scenes — and I suppose this has its foundation in our instinctive admiration for strength. For countless centuries, the sole bulwark between woman and a savage and predatory world, was man's physical strength. Now that we are more civilized, at least in the social relations of men and women, there lurks in the subconscious mind of women, perhaps, the feeling that her man must be a fighter. And when a lover displays something of the "cave man" she is thrilled. At least, I believe some women are. I have been so advised. The idea can be carried too far. Personally I think such a technique should be judiciously tempered with a little of the delicacy of feeling that was always characteristic of the amatory art of Maurice Costello. back in the Vitagraph days. It was a delight to play love scenes with him for that very reason. For contrasted techniques in lovemakinc. there is perhaps no better single array of talent than in "Eyes of Youth" in •which I had four lovers — Edmund Lowe. Ralph Lewis. William Courtleigh and Milton Sills, representing respectively youthful sincerity, middle aged selfi.shness. greedy sensuousness, and casual nonchalance. Here in the latter three instances are excellent examples of what not to be. The middle aged man who makes love by offering bribes should remember that love is one commodity that cannot be listed in the market quotations. All he can buy is a spurious imitation. "For the reason that sincerity must form the solid foundation of factory screen suitors. That is ^vhy he is always in demand ^vhen a