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Among Those Present
59
A Swedish Enchantress.
Hollywood is expecting great things of Greta Garbo. There may be differences of opinion as to just how far she may go on the road to popularity, but there is nothing but unanimity about her remarkable personality.
Greta is the Swedish Lorelei brought over to this country less than a year ago by Metro-Goldwyn-Mayer, when they seemed intent on turning their studio into a Scandinavian colony. She has already been seen in the production of Ibanez's "Torrent," and aroused a wide variance of comments. There are those who have acclaimed her as a great actress, and others who prefer to reserve their votes until they have seen what else she will do.
To those who know her, Greta is a joy. She has a rare, native sense of humor, which charms doubly because of her limited knowledge of English.
Taller than most of the screen sisterhood — even than those from the northern climes of Europe — she possesses a strangely seductive magnetism. Men are perhaps more susceptible to this quality in her personality than are women.
She has nerve, too. She had never ridden horseback before coming to Hollywood — never taken any lessons. "The Temptress," her newest picture, required that she appear in some riding scenes, and she serenely undertook to mount a very unruly steed. She came back to the studio looking a trifle fatigued, and limping a little.
"How do you feel?" somebody asked her.
"Oh, all right !" she replied, with a drawling Swedish accent.
"How's the horse?"
"Oh — I don't know," said Greta. "I theenk he ees deesappointed in me."
Photo hy Ruth Harriet Louise.
Greta Garbo.
H. B. Warner.
Stage's Loss — Screen's Gain.
Whenever there is a grand exodus of stage actors from New York to Hollywood, it may be depended on that one of the leading figures in this brilliant procession will be H. B. Warner. In the past, he has never been able to make up his mind permanently to dedicate his future to pictures, but he has always lent the class and dignity of his fine acting talents to the screen whenever the occasion has been auspicious.
Warner is truly the actor. He comes from a family of player folk — three generations of Thespians preceding him. He knows his art, not by the book, but by birthright, environment, and experience. He is one of those now comparatively rare figures — of the theater, by the theater, and everlastingly and unequivocally for the theater.
Though he was born in England, Warner takes pride in the fact that he has become an idol of the stage in America. Ever since his youth — since his very first work, in fact — he has been associated with plays in this country. And they have been the sort of plays that as a rule have had a clear-cut interest for the American public — drama that has been tense and forceful, like "Silence," the play in which he recently completed an engagement, or comedy with a fine degree of animation, like "The Ghost Breaker." This latter play immediately preceded his first film contract with Sam Goldwyn some years ago.
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