Picture Play Magazine (Mar-Jul 1929)

96 Continued from page 87 Ronald Colman's reserve, Dolores del Rio's social life in Mexico City, Wally Beery 's bombastic, rough geniality, Doug's athletics, Lon Chaney's reticence, which is misinterpreted, intentionally, as mysteriousness — they are pegs upon which publicity is hung. Bill Boyd's change of screen type from the romantic hero to a rough and humorous, everyday fellow was prefaced by a publicity campaign. Likewise, Wally Beery's change from comedies to character roles. In Ruth Taylor's case, the campaign was built up before the girl was chosen. Lorelei had but to step into the headlines prepared for her. "Follow-ups" were fashion pictures, numerous articles on why blondes are preferred, and gold-digging rules. Mistakes happen, of course. Joan Crawford was a jazz baby. Cafes, impeccable escorts, daring frocks, trick)', new steps, a dizzy whirl. The jazz jamboree brought her into focus with a bang. Flippant pictures of her flooded the magazines. Joan's fads and fancies and romances became gossip. Joan was the high light of the night life's incandescence. That boom ricocheted. The rising murmur rolled her name on its waves. After a tearful scene in an executive's office, Joan's photographs became more subdued, and Joan was seen out less frequently. Coincidentally, her work has taken on a greater dignity. Her footing is more solid. Betty Bronson's elfishness charmed, but they made the error of continuing Peter Pan's publicity after Peter Pan grew up. Publicity about June Collyer has too many references to a society butterfly's life. True, she has talent, works hard and deserves success, but the psychology is that the average fan may feel that June, with money and position, has too much, with fame added, and in time may resent it. It isn't fair to June to saddle her with this possible prejudice. On the contrary, little was purposely made of Sue Carol's wealth. Her charm and lovableness are stressed instead. The boatloads of European Duses and Bernhardts are publicized romantically. Camilla Horn's publicity has combined dignity with a delightful naivete. It has an air of watchful waiting. There was detected at first in Lupe Velez's publicity a harumscarum note, but it is growing dignified now, as Lupe becomes less the clown. Those engineering Olive Borden erred in having her posed in too many pictures scantily draped. The public that liked her protested against it. And at interviews she was steered Ho\tf a Star is Made into an unnatural, high-hat manner. Olive is now undergoing readjustment. Contrary corrective measures seem necessary in Lina Basquette's public attitude. Being exuberant and friendly, she has a hail-fellow greeting which her friends like, but which may be misconstrued. A little less camaraderie is more effective in a star. Cannot a star be her real self? No, children, she cannot. 'Tis the price she pays for fame. Just such small things, as much as ability, make or break her. If she flutters too vivaciously, she is called common; if she snubs, she is a snob. It requires delicacy to decide upon a manner for her, and tact on her part in following it. Your publicity started, the studio casts you, Susie, in varied types of roles, to discover that for which you are best suited, and to develop your versatility. Anita Page, a newcomer, played leads in three pictures for M.G.-M. in as many months, each totally different. Gary Cooper and Lane Chandler followed Westerns with a variety of society leads, comedy and drama. If you grow egotistical, you are disciplined by being put in support of the lot's Western star, or "sold down the river," which means being farmed out. Previews at neighborhood theaters, in and near Los Angeles, give the producer an advance indication of your public reception. At the preview of "Soft Cushions," Sue Carol was so acclaimed that scenes which had been cut out were restored, and her role augmented before release. Frequently an independent producer will sign a newcomer as a personal investment. As he has not enough work, or suitable roles, to keep her busy, he follows the loan system. But in farming her out, he insists that her part be a strong and constructive one, along the line he plans for her ; that her contract stipulates proper advertising and publicity ; that a good wardrobe be supplied ; that she have a comfortable dressing room and the best facilities the studio can offer, to keep her happy and interested ; in short, that she be not neglected, as sometimes happens when an outsider is brought in among contract people. Now, is he not altruistic? Yes, he is not. A very large part of his zeal is found in his desire to boost her salary. If he is a good sport, he will split with her the profits on her services above the small salary he pays her. Douglas MacLean is in charge of Sue Carol's career for several more years. B. P. Schulberg had Clara Bow under personal contract before Paramount took over the paper. Edwin Carewe, who had signed Dolores del Rio, lent her out along the above lines until he thought she merited stardom. With elevation to featured roles, there comes one more responsible than any other one individual for your future success, or failure — the director. William K. Howard, who has fostered much youthful talent, agreed. "Susie," he mused, "probably thinks she is established. A car, five thousand a week. Yes — not.. She hasn't really started. "I like to work with crude talent. Give me a youth still camera shy. He is humble and anxious to learn ; he has no affectations to lose. He is like clay. It is a joy to mold instinctive talent. Put him in a picture with older, experienced people. They will pick him up and carry him along with them ; if he has responsiveness, he will react as we wish, after we have set the scene. "I cast a boy of promise, Milton Holmes, with Rudolph Schildkraut and Louise Dresser in 'A Ship Comes In.' From their interpretation he got his. His natural reaction was what I wanted. Nick Stuart, who had played kidding youngsters, changed his type in 'The River Pirate' for me. He took his dramatic tempo from Victor McLaglen. "Experience robs a young player of that malleability. The most dangerous period is right after the first success. Your Susie gets the notion that she made the hit, when it was circumstances. She develops mannerisms and artificiality, mistakes her idea of technique, exaggerated gestures,, for acting. She has lost her main assets, naive charm and emotional response. She studies herself too much. "A Janet Gaynor, after a 'Seventh Heaven,' faces a crisis of which she may be ignorant. The transition between raw emotionalism and trained skill — the period of stumbling, crude A B Cs of technique — is the most difficult Careful, sympathetic direction will get her through, if she remains humble." Curiously, Howard believes brains can be at times aJiability. "Too great brilliance in a young girl is a detriment. Too definite opinions, due to inexperience, often wrong, and lack of warmth. When a girl knows too much there is a chill. One young actress speaks several languages and has a nimble wit. That brittle quality shows on the screen ; she does not touch hearts. An eleContinued on page 106