Picture Play Magazine (Sep 1928 - Feb 1929)

8 Wkat tke Fans Think Is Talent Ignored for Youth? THE Strange Case of Conway Tearle" moves me to take my typewriter in hand and give expression to a conviction that has been growing in my mind for some time — that genuine acting ability in moving pictures is being consistently sacrificed to youth, beauty, and publicity. So many of the real actors and actresses of yesterday are missing from present casts, that our pictures are taking on the air of amateur performances. Lately I have seen at least three pictures reduced to mediocrity by the acting of "baby stars" who should still be doing bits. In each case the real star — an actor of well-established prominence — suffered by being cast with a beginner, whose only claim to attention was the ability to pose in studied fashion, indulge in self-conscious mannerisms and express emotion by a series of grimaces. In many instances, capable actors and actresses are being used simply as props to maintain youth in the spotlight. This gives an unbalanced picture that is anything but pleasing. The audience, not knowing just why the story is not more appealing, goes away with a feeling of dissatisfaction. We have a few — a very few — really clever and capable young actors and actresses, who seem to possess the natural aptitude, understanding and poise that contributes to a smooth performance. There is Janet Gaynor, for instance, whose delineation of character is equal to that of an experienced trouper. With the added charm of youth and beauty, she is irresistible. Witness the success of her pictures ! Esther Ralston, a comedienne of unsurpassed charm, is a popular favorite. Mary Brian and1 Betty Bronson are dependably good actresses, and of course Greta Garbo draws an audience like a pop-corn stand at a Sunday-school picnic. The rest of the Mollys, Sallys, and Nancys — in my opinion — are washouts. Among the newer male stars are several whose rise to stardom seems based upon merit. Others are apparently shoved into the spotlight to fill places left vacant by such actors as Conway Tearle, Jack Holt, Eugene O'Brien, and others. They are pretty good collar ads, but it requires the assistance of actors and actresses of long experience and considerable popularity to put them across. Poor stories are undoubtedly a detriment to moving pictures, but crude acting — which is increasingly prevalent— is even more certain to cool the enthusiasm of audiences. Youth and beauty have a potent appeal, but why not let these youngsters grow into stardom as the result of actual experience, rather than to shove them forward, bolstered up with a publicity campaign — only to fail in the actual test of ability? Mary Randall. 3029 Humboldt Ave. S., Minneapolis, Minnesota. Talking Down the Talkies. I am not a fan, if raving over screen personalities comprises the term, but I am deeply interested in all which pertains to the cinema, and now have a keen curiosity concerning the verdict of the fan public with reference to the Vitaphone. Some years ago I was connected with a scenario department, and later was a writer under one of the most prominent directors. The new, illusive, and so richly promising technique of the cinema was drilled into every fiber of my being, and it has been with great satisfaction that I have noted the increasingly high quality in production, action, et cetera. Finally, it seemed to me, the cinema was coming into its own, was developing fine traditions and a technical and dramatic standard very nearly on a par with the best of the stage, its rival, and yet not paralleling that form of entertainment. After three years in Italy, I' looked forward to a real motion-picture .fest on my return to New York. But what did I find ? The Movietone — the Vitaphone, with the production companies and the actors in a state of feverish excitement and fear, and with a complete change contemplated concerning all which we have associated with motion pictures and grown to love. It would appear that the producers, recognizing the rivalry of the theater, think to conquer by imitating the stage. The weakness of the cinema has always been centered in this absolute lack of creative initiative, and its greatest weakness has been that it has failed to develop creative writers on a par with the creative actors who have learned all they know1 of acting through the technique of tlie cinema. For example, Charlie Chaplin, Jack Gilbert, Janet Gaynor, to select different types. Now their imitative act is so gross as to be comic, if the final accounting did not promise to be so devastating. These stupid, fearful producers do not seem to realize how far they have progressed nor the whys and wherefores of their achieve Continued on page 12