Pictures and the Picturegoer (Jan-Dec 1924)

30 Pictures and Pict\jreOver MAY 1924 an of Roro^rxce ^/Vincent De Sola Lewis Stone is more romantic than Valentino! Lewis Stone is one more example of the popular actor who is not also a fashion-plate. In this growing popularity for actors who have somethings besides good looks to recommend them, there is a vindication of the star system, which once controlled the stage, and now certainly controls the films. That he should have come into popularity as a leading man and not merely as a character actor, is one more indication of the fact that the public recognises and admires intelligence — for his is an intelligent face. Fate, perhaps, does not always distribute the right natures to the right persons. In an article in this series I have pointed out that Valentino, who has been born with the traditional romantic appearance, is nevertheless not a romantic nature. Lewis Stone, on the other hand, whose most frequent role is that of the tired but prosperous business man, shows every sign of the romantic temperament. It is a mature as well as an intelligent mind, and its owner has himself safely in hand, aware of his limitations just as much as of his abilities. But the rounding brow is that of the incurable romanticist, and the eyes, for all their humour, carry this out with supplementing force. His eyebrows are witness to the striking quality of his concentration. Good memory is also indicated in the slight bulges above them to left and right. He is nervously quick to seize upon an idea and penetrate its significance, and is equally quick to probe for the realities of character. The brows as well as some — but not all — of the lines of the face, declare his tendency towards irritability. He is one whom numerous things would upset or annoy — stupidity, physical clumsiness, pretence, vulgarity. All or " This face," says De Sola, " shows, above all, intelligence, reserve, and any of these would be likely to " get on his nerves." He is worldly, too, and I do not, of course, mean that romance to an intelligence of this type has anything to do with the moon or roses. It is more likely to be concerned with a great, swaggering humour and an appreciation of villainy, and a happy recklessness. But though these things are presumably in his mind, they are not necessarily traits of his character — another thing entirely. For he carries the further contradiction of reserve, and he is highly conservative, with little of the pioneer about him. There is little vanity in the face and plenty of courage. It is very possible that it is difficult for him to make cordial friendships very easily, but to affectionate ties that he has created he would be likely to be constant. There is much strength of will in the face, and the lips as well as the brow are finely formed, indicating the refinement of the nature. Although the face is completely masculine, it is the face qtf a man of the world, free from the lumbering ignorance and the brutality of so many of the merely good-looking players. He has keenness of judgment, though he is somewhat intellectually intolerant. There is sadness in the lips and eyes, the vague sadness that always accompanies the romantic temperament. He is chivalrous and sympathetic, but it may be stated that he does not give too much weight to matters not deserving any thought. His eyes are an index to the worry he has sustained from this trait, abetted very materially, of course, by his swift irritation. I hope I have not, by the reiterated use of the word irritation drawn a picture for any reader of Lewis Stone as an impossible person to know, or even meet. The chances are that he does not betray that irritation. He is too intelligent for that. But it is there, in his mind, shaping his character and stamping his face. He has warm affections and is constant and loyal. Disloyalty in others he cannot brook. He has a good deal of conventionality and only in stray whims does he depart from things that are traditional to the class in which he belongs.