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a Realart star About the clever " exteriors " that are not exteriors at all, but paintings on glass, photographed at a certain distance from the camera, and their positions adjusted, of course, to the w-th degree. Of Penrhyn Stanlaws. too, who directed her in The House That Jazz Built, a n d w h o also super
Wanda in
" Held bv
the Enemy."
^ i
t
Ahhongii she looks and acts the part of a shy, clinging, mid-Victorian damsel with side curls, poke bonnet, and mittens all complete so well, Wanda likes modern roles best
" Baby-vamps, yes," she said, decisively. " Ik'cause though she's a tease anil a flirt, and likes to be thought the least little bit wicked, it's all on the surface. Sweet and genuinely womanly, beneath, is the baby-vamp."
A pretty good description of herself, I think. I-'or Wanda, is decidedly " P'-'PPy 1'''^'" more so an ■naturel than in most of her screen roles.
She told me many interesting studio details whilst chatting of her work as
Telling Tullv
vised her
surprising make-up in that tilm. " 1 didn't fatten up for the part," she laughed. " Though, I believe I could do it very easily. In fact, I'm sure I gained pounds and pounds coming across, because I took a holiday from dieting, for once in a way. No. There were red and white ' high lights ■ under my eyes, making them look quite' puffy, and all around my chin and neck. Kven on my hands. But it was great fun." Most things are ' great fun " to Wanda, who is a dimpled bundle of
Marshall to beware o] brunettes.
cheerfulness and laughter, and everybody's darling wherever she goes.
She s a many-sided little person too. drives her own car at home in America : rows, swims, and delights in demonstrating the fact that her mother taught her to cook really well. She also quotes Latin with disconcerting ease and effect, and owns to a never-ending thirst for knowledge.
She was " Beauty " in Everyivoman ; also one of the " affairs " in The Affairs of Anatol, which we hope yet to see this side. Besides several Realart-Gaumont star pictures, Wanda will be seen this year in Thirty Days (Wally Reid's last film). Nobody's Money, with Jack Holt ; Masters of Men, with Earle Williams ; The Snob, a college picture ; and, of course, the Gaumont Fires of Fate, for which she came all the way from Hollywood, and was going all the way to Eg\-pt.
" It's adapted from a terribly tragic Conan Doyle story," she told me. "But the play is much nicer, 1 think. And my part, that of an American heiress, is a very sympathetic one. And it's quite easy to be sympathetic over Nigel Barrie. He has
hitiide hft lent dm siMfriyom duriuf the lihntni: of " I'iurniHi; StinJs" promised not to
do as Jack Holt did. J.ick Holt is the worst man in the world to play opposite. He has a cast iron countenance, you know, and instead of keeping »o his part, he likes to whisper all sorts of funny things when you're supposed to he dreadfully upset. If he can make you laugh, he's quite happy ; but the director isn't. Of course. Jack nexer moves a muscle himself, and it's nn possible to l)e angry with Jiim '