Picture-Play Magazine (Jan - Jun 1930)

LOVe'S Greatest MomentBe Mine Forever" You, too, can soon hear these wonderful words. You were meant for love. It is not hard to become ^5V*V fascinating and charming fry — to make the man you love want you forever, if you know certain secrets about the way a man's mind works. "Fascinating Womanhood" is an amazing book that tells the things to avoid and the beautiful things that make girls attractive to men. We have prepared a 28-page booklet outlining the contents of this wonderful book and in it telling much interesting information you would like to know. If you want it, write name and address on margin and mail with ten cents to: THE PSYCHOLOGY PBESS 1814 Franklin Ave., St. Louis, Mo. Dept. 16-C SONG WRITERS/ #***$i5S53| Substantial Advance Royalties are paid on work found acceptable for publication. Anyone wishing to write either the words or -music for songs may submit work for free examination and advice. Pastexperie-nce unnecessary. 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Often in 3 Days Time If you are troubled with: PIMPLES, BLACKHEADS, FBECKLE8, TAN. LARGE PORES, DRY SKIN. SCALES. OILY SKIN, BLOTCHES. BLEMISHES. WRINKLES. WRITE FOR FREE "BOOK" TODAY. Explains in full detail how you can definitely get rid of your "Terrihle Skin Conditions" and how you can obtain a "Beautiful Ne* Skin in Three <3i Days." L°arn about the new amazing German discovery that has revolutionized the Beauty Culture Pr,feison. Do 't delay— Write lor Free Book lodayAddress MARVO, 1700 Broadway, New York City, Dept. Sl-Z ~ (112) Old Age Preferred Continued from page 29 ical to German and English classical plays. It was first of all an actor's theater, and the actor was called on to play in a constantly changing repertory. "I believe that the actor is the most important factor in the realistic theater. It is he who must convince the audience and persuade. The director is more important in the movies, where the scenic angles, photography and engineering are so necessary. When I think of acting, I don't mean being myself. That is so much easier. Not for me, though. I wish that I could be a leading-man type, but I'm not, and it doesn't interest me. Acting, to be creative, must be something apart from oneself, something in which one is submerged, and from which one is quite separate. After you are through playing a part, it has nothing to do with you. You were it, and it stands away from you as something distinct and created." He continued slowly, with the quiet, unaffected manner that is his. "There is something hypnotic about creative acting. You hypnotize yourself into believing that you are the person you want to play. You think as he does, you are that man, and then you begin to walk as he should, to look as he does. And you really become that man. Only that way can you dissociate yourself from the person you are acting. When I say that I build my characterizations by the expression of the eyes, it is really because the soul of a man is in the expression of his eyes. You convince people by your eyes. It isn't a matter of putting on make-up so that your face looks old. You have to think old, and then your eyes look old. Take Tannings. He has a very immobile face, the only thing that changes is the look in his eyes. He does all his acting with his eyes. "In the movies everything is episodic, rather than continuous and working toward a climax. You have to sustain the mood sometimes over a period of months, as I did with 'The Valiant.' There were six months between the first and last scenes of the film, or rather between the last and first. It is a succession of separate moods, but the acting is the same, the eyes first, and then the voice." Other actors may talk about technique, a different technique for screen and stage, but that is because Muni first learned to think of acting in terms of pantomime, the most important thing for the screen. That is why his silent sequences are as eloquent as his speech, despite the fact that he is one of the few movie actors whose voice has come over richly, rather than as a radio voice, metallic and harsh. In each of the brief caricatures that he did in "Seven Faces" there is the same sureness of pantomime, the swiftness of outline and bravura that one finds in the caricatures of Chaplin. If you ask him what there is left for him to play now, with his gallery of laughing butchers, Russian revolutionaries, ancient philosophers, gangsters, sentimental old caretakers, German tourists, and Japanese students, behind him, this is what he answers. "Something that is different. I don't want to become a type, nor do I want to be a freak. And by 'different,' I don't mean something bizarre, but something that is not me, and that won't be a repetition of what I have done." In those words you have the difference between Muni and Lon Chaney. Nothing could be too bizarre for Chaney. That is why a comparison between them is utterly pointless. Muni is very young, but he is already old in acting. He is very serious and intense, yet he will never grow pompous and self -addicted, because of his sense of humor that will not let him take himself, or even acting, too seriously. ON HEARING OF THE ENGAGEMENT OF ONE'S FAVORITE STAR TO LUPE VELEZ. I never knew a diamond Could make me feel so blue, A scintillating diamond Of icy, crystal hue. The trouble is, dear reader, If you don't understand — That scintillating diamond Is on some one else's hand ! Anon.