Picture-Play Magazine (Mar-Aug 1926)

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Before the Goulding picture had been previewed, I said to her, one day, "I've just heard that you've done some awfully nice work in 'Sally, Irene, and Mary.' " "Aw, don't let them hand you any of that bunk," she said scornfully. "The only thing you can say about it is, I wasn't scared to death like I was in 'Mike.' " "Were vou reallv scared during 'Mike?'" I asked. "No, I wasn't really ! Only petrified, that's all! I'd get in front of the camera and see all those people standing round looking as though they thought I was rotten, and I'd go perfectly stiff with fright. If any one but Mr. Neilan had been directing, they would have kicked me out the first day, I'd have been so terrible. But he just seems to know, sort of, how you're feeling, and so he does everything he can to help you. "Nobody much wanted me to play in 'Sally, Irene, and Mary,' and I guess that got my Irish up. I made up my mind I wasn't going to be scared by heaven itself, and I wasn't! Gee, I'd give anything if I could work for Mr. Neilan again, now that I know a little more." She also worked in "The Auction Block" for Hobart Henley. "One of those little freshies again," she described her role in that. "Would you like to have a dignified part some day, Sally?" "I dunno," she grinned. "I guess perhaps not. Anyhow, I'm not a lady — I'm just a mick." She is something different, undeniably. In that lies her charm. Her future, as is the way of all futures, is problematic. If they tell her she is "cute," if they try to pigeonhole her buoyant high spirits into irritating tricks and mannerisms, they will lose a rare gem. She is still feeling her way — a little uncertain, but equally unworried. There may not be the spark of supremacy there, and it cannot be said whether the artistry of her acting will ever overshadow her personality, but as long as she is permitted to remain herself, just Sally, there will be cause to hope that it won't. Among Those Present Continued from page 69 "You might have lived many yesterdays ago, or in the to-morrows yet to come. You do not belong to any specific time." Almost any other young man would have smiled sheepishly and, before friends at least, regardless of his secret beliefs, derided the fortune teller's words. Not Arthur Lubin. He agreed, gravely, that he was not of common mold, that he had within the mysteries of his soul something which would lead him on and on, not boldly adventuring nor seeking a thrill, but quietly contemplative until he found that which he would think worthy of being put into his particular art form. There is something about him — it is hard to say just what — that suggests mellow ripeness, something that has had color for so long that it has become a little faded, but remains none the less rich. A hint of deep, soft velvety rugs, of dim tapestries, of slow-pulsating melodies gradually swelling into tonal beauty — something old, very old. "I style myself a character juvenile," he explains. "I wish to do the type of things in which George Hackathorne excels. The leading man of the screen has no glowing future. At best, he is secondary to a feminine star, with the privilege of sharing a few beautiful close-ups. The character actor, however, has no limit. Why can there not be a greater number of youthful Chaneys, Beerys, and Torrences ? I am young, only twentyfour. I have time in which to develop, but every hour of it must add something to my art." In the majority of Hollywood's actors he has little interest. "They make no effort to improve themselves. They trade upon good looks and personality, attributes subject to change, qualities that pass away. They waste precious time." An odd boy, Arthur Lubm. Ambitious for one so young, and yet not for the plaudits nor the riches of a quick success — rather with a deep realization that he has a gift which he must gradually develop. Perhaps, after all, Hollywood will be but one stopping place on his pil