Picture Play Magazine (Sep 1921 - Feb 1922)

Advertising Section an exhibition of the Chicago Toddle I would merely have thought that they were sure showing up Shakespeare. "If that was funny," I said, "I'll learn to laugh in church." I had been told that Mabel Ballin was probably the only living actress who could be starred who wouldn't. I asked her about it. Or rather I asked her why she didn't want to be a star. "Oh, but I do," she said, opening her eyes so wide that I feared for them. "The truth is merely this. I would rather play parts for my husband than be starred by some one else." "And hubby won't star you?" "He doesn't believe in stars. Or rather it isn't that he believes in stars less, but that he beHeves in uniform casts more. He doesn't think that the public is ready to accept me as. a star yet — that stars should be made by popular approval and not by doting husbands. ■ "As a matter of fact I have had offers from other companies which have wished to star me, but I have such faith in my husband's future that for the present I wish to remain with him. This is only his second picture as an independent producer. The first was 'Pagan Love.' " I liked her enthusiasm and her point of view. It was not all sentiment which kept her with her husband. It was half admiration and keen insight. Hugo Ballin, for some time art director for the Goldwyn company has long been identifiedwith artistry in motion pictures. He has been one of a few to make decorative art an established fact in the motion-picture world, and he undoubtedly has a big future. The picture of the Romeo and Juliet tableau has a history. It is called "Ava Maria," and it was written by a nun, the late Sister Eileen of the Sisters of St. Dominic. Mr. Ballin told me that he was consulting a priest on some ecclesiastical detail and was told about a story found among the effects of Sister Eileen. The priest believed the story would make a good motion picture and added that if Mr. Ballin were interested in it the purchase price could be donated to Sister Eileen's favorite charities, that being her wish. Mr. Ballin found the story suitable for the screen. In fact he thinks it the best story for picture purposes he has read in some time. It has a thoroughly modern setting and is not religious in theme, although it points a moral as all good movies should. Another thing I liked about Mabel Ballin was her enthusiasm concerning various members of the company doing bits. She was sweet in her praise of them and helpful in the few suggestions she offered. There was genuine admiration when a very lovely girl posed as Liberty and attracted approving eyes. "Isn't she beautiful?" she said, as pleased apparently as if the approval had been centered tipon her. Still, when one has eyes like Mabel's one can afford to keep the cat out of one's nature. I don't mind telling Hugo Ballin that nice as I think his art is I really prefer Mabel's. And, though I never had a wife I'm sure if I had one, and I were her director, and she had eyes like Mabel's, I'd force her to play opposite Roscoe Arbuckle or Larry Semon. Thar She Blows Continued from page 51 blossoms. "He throws me through a door, I know, and I think there are some more scenes like that, but I don't remember all of them." Five o'clock arrives, and a launch comes chugging out from San Francisco to ferry the company to land. Johnson and his crew are out in the whaleboat again. Johnson poised in the bow with the whale gun. Jack Curtis springs to the rail and gestures violently. Obediently Johnson points the whale gun this way and that until the boat comes close enough for him to see that there isn't a camera in sight. Curtis is having a bit of fun, that's all. Waiting for Johnson and his crew, Bosworth and Curtis fall to comparing notes on their costumes. Curtis remarks that the ancient trousers he is wearing date back to the first picture he made with Bosworth. Nobody disputes him ; they look it. Bosworth exhibits the worn leather belt he wears. There is a bit of tradition attached thereto. "The Sea Wolf" was Bosworth's great success in the spoken drama, and now he always manages to wear some bit of the costume he wore in that playOften, as now, it is only the belt, but he is taking no chances on breaking his luck. Johnson and his crew clamber overside and shed their oilskins. Cameras, film boxes, and company are packed into the launch, and she chugs away from the Oregon, leaving her watchman waving good-by over the rail. Nothing to do until to-morrow. 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