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OTteir Dual
The much-discussed question of the stars' real some notable examples of the disparity which
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Tired of this screen emphasis and provoked by the attraction of change, the player may drop her Thespian mannerisms in her private life, or set out to make herself into the type she thinks she would like to be.
This results in confusion in the public mind. You see her as a flapper in her merrily mad movies, and photographs of her off-screen activities present her in equally frivolous guise ; then you read in interviews that she is perhaps a studious bookworm ! You cry either that all publicity is hokum, or all interviews blah. Naturally, advertising should establish her screen impression ; equally reasonable is the writer's effort to report her as she is in real life. This apparent contradiction is unavoidable with these dual-personality people. I do not refer to those contrasts contrived by the character-actor's art. Of course, Louise Fazenda, Louise Dresser, Jean Hersholt, Chaplin, George Fawcett, Lon Chaney, and others who deliberately submerge themselves in characterizations are revelations when you know, or even see them personally. But with all due respect to plot provisions and the actors' talents, most of
Photo by Bullock
Lupe Velez is her madcap self
in pictures, or at a Hollywood
party.
WHY, she isn't even pretty! And she photographs most beautifully !"
This expression is often heard at premieres and other public appearances of the stars, when fans gather to approve, criticize, or merely consider. Again astonishment is A-oiced that certain players are far more lovely or interesting off the screen. Disappointment and pleased surprise mingle at the first appraisal of the actors in person.
The camera's peculiar faculty of finding and bringing out some quality indiscernible to the eye, and, vice versa, of refusing to be lured by a trait which makes a girl extremely attractive personally, results in some odd situations. Where a relatively plain actress may be invested with photographic charm, a vibrant creature is snuffed into insipid flatness.
Some of these dual personalities are intentionally contrived, others are accidental, as much a surprise to their owners as to observers.
The publicity campaign which builds up a player is designed to focus attention upon her shadow self. Certain qualities are developed and stressed, usually the natural traits being exaggerated, though in some instances a distinctly different person is evolved to meet a popular mode.
The camera lends an ethereal air and svelte grace to Vilma Banky.
Sam Hardy is more interesting himself than his hard-boiled roles.