Picture Play Magazine (Sep 1928 - Feb 1929)

51 H er Strange Interlude Though popular in the movies, Greta Nissen has been forced to make a detour in her march toward stardom. By William H. McKegg IN Hollywood you may rise to the top and flourish, or sink to the -bottom and disappear. The most delusive trail in filmland is where you start out with wonderful prospects, only to find yourself between both places, and with no apparent means of getting to either. Stars, happily, get their opportunities. The bit players feel elated' when they are offered small roles, but a featured player, who happens to get caught in a rut on her way forward, is the one to feel the incongruity of her position. Producers know she is good, but don't know just what to do with her. Consequently she remains in the rut. That's where Greta Nissen is right now. On February 12th, 1924, as «Grete RuztNissen, she flashed into notice for her exquisite dancing in a pantomime called "A Kiss in Xanadu"— an episode in the play "Beggar On Horseback." She was eagerly snatched up by Paramount, and renamed Greta Nissen. For more than a year the blond Nissen went from film to film. Her name was always before the public, and she was always to be seen. She reaped enthusiastic approval from the fans at large — especially the male contingent. Then, a couple of years ago, as suddenly as she had appeared* so did she seem to disappear. Rumors, via the underground telephone of Hollywood, stated that Paramount let the Nissen go, rather than put up with her temperament. Also that Madame Nissen meddled too much with daughter -Greta's career. That such a glittering personality should no longer be flashing before their gaze gave many youths much troubled wonderment. When the news spread about that Greta was to play with Charlie Farrell in "Fazil" every one took heart again. So strong an effect had these expectations, they caused me to find myself sitting in the vast, luxurious lobby of one of Hollywood's most fashionable apartment houses. An expensive radio was transmitting music to charm my ears, so I did not at all mind the absence of her who was to be, by previous appointment, my companion for the next thirty or forty minutes. I had come determined to fulfill my grim duty, and to find out from this fair charmer what truth there was in the rumors about temperamental breaks with her employers. Also to discover, if possible, what was keeping her in the rut she is now in. To the harmonies of Verdi's "A'ida" Greta appeared. She walked toward me, holding out her hand. "I am so sorry to have kept you waiting," was her first phrase. This is the opening speech of most players. It rather bores one to hear it; but from Greta it sounded beautiful. Her fair hair showed, beneath a soft red-velvet hat, like sunlight. Her eyes, a cerulean blue, seemed ex Photo by Ball Greta Nissen is Norwegian, not Swedish, as has been commonly supposed. cessively large and disturbing. Her very red lips were parted, as she smiled her welcome, revealing strong, white, Scandinavian teeth. I have no idea what the expensive radio played from then on. "Never have I known a person so rushed as I have been to-day," Greta remarked, still smiling, but with a sigh to arouse compassion. "I leave for New York tomorrow. I should get some one to do everything for me. Will you ?" I wa's on the point of offering my humble services, but realized her two last words only invited me to take a cigarette. "I like New York," she went on. "When I first landed there, four years ago, I was the most foreign of foreigners. I knew not a word of the language. I can tell now that I was terribly homesick. Never did I believe I could stay in America. Though my mother was with me, I wanted my brother, too. He is now at Columbia University. I shall see him when I get to New York. I have missed him much. We are great pals." Greta's accent is impossible to reproduce. As she talks, she has a way of tilting her head slightly on one side, and smiling. She suggests, rather than states, her comments. The picture business, viewing it from her present vacillating position, is strange. "When Paramount signed me I made nine pictures in one year. Then we disagreed. I did not like the roles Continued on page 108