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J armings
Wallace Beery and Emil Jannings were almost immediately attracted to each other, and have become close friends. Neither understands the language of the other, but they have a secret means of communicating with each other.
ONE approaches the defining of an artist cautiously. Webster proffers platitudes. Life yields exuberances. History affords examples. The movies? Well — the movies have their own answer, but it is dictated by that green-eyed monster sometimes called the box office.
Away from this, there is, among others — Emil Jannings.
Emil — ; pronounced Ay-meel, with the accent on the last syllable— came to America over six months ago, and fully four months elapsed before he started work on his first picture.
Pola Negri, it may be mentioned, embarked on her career in this country in approximately the same number of days. This circumstance is incidental, perhaps, but interesting. It marks a difference in temperaments as well as in conditions. Pola tossed herself feverishly into the new life of a new land. Emil remained aloof and virtually concessionless for some time.
In the parlance of the studio, Jannings would be known as a battler, were it not that he is also rated as a rare good fellow by those who know him. If Wallace Beery, for instance, were to be asked for an opinion, he would reply, "Emil is great!" and it would be a sincere tribute fo Jannings from his chief natural rival.
I met Jannings just a few days after his arrival had known him only on the screen before then. I
Emil Jannings found it very hard at first to get of battle issued from the Paramount studio German actor has settled down quite content
■By Edwin
"Passion," of course, and in "The Last Laugh." Those two films stand out as his best, with his Henry VIII., in "Deception," probably his greatest interpretation.
To give an impression of Jannings, I would say that he greets you with open arms, and with a gentleness that is all encompassing. Great gemiitlichkeit. In his eyes is a world of weltschvrierz and schnsucht, and he has a heart that, in its bigness, is heroic. With this is combined an intensity of feeling, a dynamic force, that separates the spiritual Jannings entirely from the corporeal. His mental powers are electric, and their range is radiolike, reaching out in all directions. With all this, he is profoundly human.
I have heard him scan in conversation the full horizon of the European art world. I have watched him give fervid demonstrations of what acting should and should not be. I have heard him preach a veritable sermon on the all-ness of being true to oneself, as against the nothingness of not being so. I have also beheld him in his gayer moments, when he was dining or dancing ■ — dancing somewhat after the fashion of a huge trained bear — or when he was kidding, his jovial, robust way.
The Old World's loss, in this case, is most assuredly the New World's gain. In 'the matter of individu a 1 i t y , there is hardly the equal of Jannings in Hollywood. Even if he should decide to carry
His role in "The Way of All Flesh" offers Jannings his usual opportunities for pathos in his portrayal.
in Hollywood. I had seen him in