Picturegoer (1922)

OCTOBER 1922 Picture 5 and PictureQoer 17 " A 11 the world's a screen, and all /I the men and women merely I \ players," is a twentiethlS\ century adaptation of ShakeI speare's philosophy that pos sesses more than an element I 4 of truth. The men behind m the topical film cameras have made the interesting discovery that there are many public celebrities whom Nature has endowed with the attributes that are likely to make for success in film acting. A surprising number of popular personages possess the film face, that elusive gift of the gods that is given in the form of facial contours and light and shadow on the features to those to whom the camera proves exceeding kind. Should thrones totter or Governments fall, there are many august representatives of the monarchy and political power who might have an excellent chance of retrieving their fallen fortunes through the medium of the film producer's casting-book. The Prince of Wales, who continually has to face a barrage of topical film cameras, possesses a charming screen personality. His very friendly smile and unaffected manner give him a naturalness on th,e screen that fits him for an ideal film hero. His well cut features, slim figure and perfectly tailored clothes combine to make him an attractive addition to the screen. And it should be remembered that those who pay the penalty of fame, and during every public appearance are surrounded by clicking filmcameras, are screened under the most crude conditions as compare dwith studio organisation. There are no brilliant arc-la rnps to produce flattering effects, no " make-up " to tone down imperfections or blemishes in the features, or spectacular costumes to frame the personality of their wearers. Yet, despite this fact, you will ; seldom see the Prince of Wales on the screen without admiring his good looks, and feeling the influence of his attractive personality which seems to radiate from the silver sheet. He may be filmed on board a battle-ship in gloomy grey Atlantic weather, in the half-light of railway stations, or attired in State uniform, the spectacular and ornate nature of which would be likely to dwarf lesser personalities, but he is always the Prince Charming of the screen. In some moods in which the cameras reflect him he is not dissimilar to Creighton Hale, and his poise and naturalness have something of the art of this I clever actor. There is little doubt that, although (public men do not intentionally pose | before the film cameras, they learn by kxperience how to do justice to the [Photo by Phntopress Featuring tke Fan\uvis s i>. RUSSELL MdLLINStfN Keen students of topical films realise that many public celebrities might have been potential screen stars had Fate directed their steps to the movie studios. This article on film personality discusses the screen attributes of many people famous in other spheres of life. reflective art of the lens. In the early days of topical film work, wellknown people, unused to the novelty of being screened, glanced nervously into the lens' fidgeted and looked self-conscious, thereby breaking a number of the cast-iron traditions of the film studios. After a long apprenticeship before the ubiquitous eyes of the camera, those who are consistently filmed in public seldom appear awkward on the screen. They smile past the camera in the correct manner, and, in appearing to ignore it, reveal a naturalness that tells the picture-theatre audiences much concerning the real personalities of public men who, through the intimate glimpses provided by the films, are no longer mere figure-heads. To see Lloyd George on the screen, with his attractive smile and the twinkle lurking in his eyes, is instinctively to imagine what a kindly film father he would make. There is little to suggest the politician about the screen personality of the Premier. One can picture him giving parental blessings to happy married couples, and posing as the fairy godfather who brings joyful surprises into the lives of those less fortunate in their possession of worldly goods. Theodore Roberts, the most famous of film fathers^ has a rival in Downing Street, where the genial, |L good-natured screen manner is B concerned. Like many other politicians, Lloyd George places every facility in the way of film camera-men. For the days have passed when the crude topical picture existed, and threw on to the screen indistinct and unflattering portraits of public men. To-day the cameras represent a valuable form of publicity which those in high places cannot ignore. An amusing incident occurred not long ago, when the Pathe Gazette cameramen were filming the historic meeting of the Peace representatives at The Chequers. The operators were about to pack up their cameras, when the Prime Minister, with his winning smile, interrupted, and suggested that they should accompany him and Marshal Foch on a short walk to secure some pictures of old Roman ruins. The camera-men dragged their heavy tripods and cameras across fields, over stiles, up hills aad down valleys until they were exhausted. They then decided to give up the chase. Thereupon Lloyd George, continuing, on his way, turned with a broad smile, and waved his hand. Until then the camera-men did not realise that they had been the victims of the Prime Minister's well-developed love of practical joking. Earl Grey is the politician who, on the screen, suggests the mysteries of political power and the intrigues behind affairs of State. His thin, somewhat cadaverous countenance, which gazes at the camera with an inscrutable expression, admirably fits him for the role of the strong, silent man beloved in film drama. Surrounded by appropriate lighting effects of the eerie order, and screened amidst scenery that held an atmosphere of mystery, he would dovetail into dramatic situations \?ith realistic effect. Earl Balfour presents a scholarly, learned appearance on the pictures that would influence many producers to cast him for the part of the kindhearted professor of the type that the late H. B. Irving depicted in " The Professor's Love Story." Admiral Beatty, with his typically British face, of the strong-man variety, and . the inimitable angle at which he wears his gold-braided hat, would bring