Picture Play Magazine (Sep 1926 - Feb 1927)

24 A Man Who Kept His Head The role that finally "got him over," in America, was that of Prince Dimitri in "The Volga Boatman. " theatrical troupe. Well, he didn't. His mental reserve alwa)'s served him well. Leaving school, he did enter the insurance company, as his parents wished — but kept his own desires still in mind. Several months later, some officials of his company gave a banquet. Varconi appeared in a one-act play and proved to be the hit of the evening. He was inundated with that old, tempting, deluding question — "Why don't you go onto the stage ?" Which was the greatest desire of his young life. And if Varconi had not reasoned things out in his mind according to his custom, he mi position and started on a vague search f ght have thrown up his or a vasruer chance on the stage. Instead, he realized he knew very little about the theater or about acting. He would learn ! His mind won again. So a few nights every week found him studying dramatic art at the Sfinmuveszeti Academi — a place similar to the Sargent School of Dramatic Art in New York. A student had to go through a three-year course at the academy before he was allowed to play even a small part. Varconi, however, did so well that, after his second year, he was given a contract to play at the First Province Theater at Kolozsvar — a city then in Hungary, now rechristened Klausenburg and belonging to Roumania. Instead of soliciting big commissions for the insurance company, Victor now began to win the notice of the public by his splendid acting. Finally, he realized his boyhood dream. He was admitted into the First National Theater in Budapest— the desired goal of every Hungarian actor. During the two years following his debut, he ran the gamut of Shaw, Molnar, Ibsen, and others. Then the war swept over Europe. Varconi spent the next three years in the army. Following the armistice, he returned to the stage ; but he met some one who slightly distracted his mind from his work. This disturbance was personified in the person of beautiful Nusi Avanyossy, a brilliant young singer of musical-comedy fame in the Hungarian capital. \ Handsome, dashing young nobles courted. \\ her in vain. They would place, so they said, the world at her feet. Varconi, look\ ing on, remained aloof ; yet he seemed to be the favored one — whom young Nusi could rely on as a real friend. The first revolution broke out, dethroning the late Emperor of Austria-Hungary. It was a dangerous time for all. While most of the nobility were seeking escape to save their own skins, our Victor thought only of protecting the girl he loved. In spite of Bela Khan and other revolutionists, he offered Nusi his heart and name. They were happily married and remain so to this day. The stage was, for a time, disorganized. Picture studios were opening up once more. Varconi had already made a couple of films in his own country. The famous Ufa company in Berlin was preparing to make a version of "Camille" for Pola Negri. Varconi, offered the role of Armand, accepted it. The picture, brought to America because of the tremendous reclame Pola achieved in "Passion," was retitled "The Red Peacock." In spite of its demerits, ' Varconi . gained notice, winning praise from the American critics. He later appeared in the spectacular production, "Sodom and Gomorrah," which was brought here from Vienna. Against its many handicaps, Continued on page 107