Picture-Play Magazine (Jan - Jun 1930)

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Amazing and lasting results in shortest time. FREE BOOKLET tells all. Write today. DR. JOSEPHS, Inc.. Dept. C-17 Irvington, N. J. (110) occasions when he does go, he sits solitary, shy, and ill at ease. He has no small talk and is disconcerted by people who talk when they have nothing to say. When interviewed he is acutely distressed. Trying earnestly to answer ridiculous questions in more than his natural monosyllables, he paces up and down, a hunted look in his candid eyes. When he is conscious of speaking for publication, panic overcomes him. He seldom smiles. When he does, its rarity adds to the charm of it. In repose his face is introspective and sober beyond his years. Smiling, he is very young, delightful. He loathes dressing up, and is generally to be seen in sweaters, his hair rumpled. On an occasion when he was slated for pictures in evening clothes, the sitting ran over a period of three days, Gary arriving at the studio in good faith, but having forgotten first his waistcoat, then his studs, then his dress tie. The situation was finally saved by his mother, who assembled his attire herself. He lives with his parents in a plain, sprawling house set in old-fashioned gardens on a conservative street. Architecturally not important, its homelike comfort is something of an achievement in Hollywood. Judge Cooper is retired and aids in the management of his son's business affairs. Mrs. Cooper jealously supervises Gary's health and welfare. An energetic, intelligent woman, she also finds time for civic and charity work and is president of the local Montana Society. To both his parents, however, Gary is the primary interest in life. With his father, Gary is opening a dude ranch in Montana. Preparations have been going on for a year and this spring will see it ready for occupation. Already the waiting list of Hollywood people is long. Gary is absorbed in the venture, finding, obviously, an outlet for his nostalgia. The walls of his dressing room are decorated with stuffed eagles — the taxidermy having been performed by Gary himself — antlers and pelts. On his dressing table is a curling iron, forgotten by a hairdresser during the making of "The Wolf Song," in which Gary submitted to the ignominy of having his hair curled. He refuses to part with the iron, finding it convenient as a cigarette lighter. A phonograph in one corner is stocked with cowboy and mountaineer records, every one of which he knows by heart and plays constantly. In the matter of romance he has achieved attention anomalous to his personality. It is the consensus of opinion that Gary is more pursued than pursuer. Clara Bow and Lupe Velez, with both of whom his name has been linked, are famously sirenical in type. Gary's interest in them seems incongruous, indicating, perhaps, the flair for the sensational which balances his otherwise conservative nature. The volcanic Lupe may have embarrassed him by her demonstrativeness, regardless of time or place, but the chivalry which is a definite part of Gary would keep his embarrassment concealed. The demands made upon his personal life are a source of discomfort to him. He is terrified at the prospect of an enforced public appearance, such as his introduction to the audience at a premiere. On these occasions his face is hotly scarlet, his brow dewed with perspiration. After agonized, incoherent attempts at a speech, he retreats in haste, his collar wilted and his eyes glazed. His own idea of pleasure is riding, swimming, or driving his car, for which he scorns to hire a chauffeur. His riding is an aesthetic delight to observe, Gary and the horse beneath him functioning in perfect rhythm. He is a capable actor. Witness, in particular, "The Virginian." While the charm of his personality is still the preeminent reason for his popularity, his work in itself is intelligent and admirably restrained. He seldom offers suggestions for a scene, presuming, sensibly, that the director knows his business. He is taking singing lessons, showing promise of a pleasant voice. Sitting for still pictures and portraits is one of his prime aversions. When finally corralled and posed, he grimaces selfconsciously, and with distaste, up to the moment of the camera's click. His closest friend is Richard Arlen, and between them exists a deep affection. Gary is essentially, one concludes, a man's man — most at ease in the understanding freedom of masculine society. When, however, romance does seek him out, he is absorbed by it with no hint of frivolity. For frivolity of any kind he has little talent. In the midst of Hollywood babel he is an area of refreshing silence. The charge that he says little because he has nothing to say, rebounds, under his quizzical indifference, back to the bringers of it, who say a great deal that means nothing.