Picture Play Magazine (Mar-Jul 1929)

90 The JuVenile Elite "Big Boy's" real name is Malcolm Sabiston, and his director, Charles Lamont, "discovered" him. mum of a hundred and fifty letters daily. His films are in such demand that it is next to impossible to keep theaters supplied with new ones. He is a star in his own right, with a princely salary. And he is a little over five years old. Malcolm Sabiston is his real name. Principally responsible for Malcolm's success is Charles Lamont, a young director. Three years ago Lamont had been asked to doctor a comedy which another director had bungled. In the picture were several children, and in remaking it Lamont gave them additional footage. The most incon.spicious among them was a baby, with whom no one had been able to do anything. It was only his second picture and he was bewildered, frightened, and inert. He had been put into the background by the other director, but Lamont spotted him and gave him a close-up and a few bits of business, by way of testing his possibilities. Malcolm responded so quickly to Lamont's direction that the next picture featured him, and after that he was starred ! He is a reserved child and is happy, when not at work, playing by himself in a corner of the studio. He likes to make mud pies and prefers makeshift toys of his own creation to the expensive ones he receives as gifts. He is quiet and shy, except with people he knows well. The object of his rapt adoration is Charles Lamont. Lamont has directed all Big Boy's pictures and for him Big Boy will do anything. Instinctively he even imitates Mary Ann Jackson's personality definite as Chaplin's. the director's mannerisms and gestures in an effort to be a counterpart of his idol. His golden moments are when he has done good work and Lamont is pleased. The director never shows impatience while they are at work, because Big Boy is always doing his best. But should Big Boy be naughty, Lamont is the picture of grief. He never scolds, but to Big Boy the spectacle of Charlie's disappointment in him is more awful punishment than sharp words. Even at home the directorial influence is felt. Frequently Lamont receives a telephone call from Big Boy's mother. "Mr. Lamont, we are at dinner and Malcolm won't eat his spinach." Lamont asks to have Malcolm come to the telephone, and a word of surprise at his rebellion and his ignorance of the sterling qualities of spinach is enough to make Malcolm apologize and eat the spinach with relish. He always, tries to be exemplary, particularly for Lamont's benefit. One day he was fretful, because he was refused candy. He sat silently in a corner, exasperated tears running down his cheeks. Lamont wandered over and asked casually if it could be possible that a man like Malcolm was crying. Big Boy jumped up in a panic, scrubbing at his eyes. "But I'm not, Charlie," he denied anxiously. "Truly I'm not. My eyes was just perspiring." This director-star combination is a particularly happy one. With deep devotion on both sides, they not only make the most of their pictures, but outside of working hours are inseparable friends. And this is the source of Big Boy's greatest pride. Then there is Mary Ann Jackson, erstwhile Sennett beauty, and now a member of "Our Gang." She is a sister of "Peaches" Jackson, who will be remembered in numerous pictures. There is also a brother in the family, who was indirectly responsible for Mary Ann's entry into pictures. He was called for extra work at Sennett's. His mother accompanied him and, having no one with whom to leave Mary Ann, took her along. It had never occurred to Mrs. Jackson to seek a picture career for her, because she wasn't pretty, like Peaches. But at the studio the company took a fancy to the funny baby and put her in the picture, too. When that day's rushes were run, it was found that she had taken the scene completely away from a veteran comedian. Immediately she was signed for a series of domestic comedies. On the termination of her contract Hal Roach engaged her for "Our Gang." Mary Ann is frankly homely. Hers is a plebeian cast of countenance. She has a great many freckles, a broad, friendly grin and merry little eyes. Well toward the top of her face is a small, round arrangement which serves her as nose. Her hair is of nondescript color and quality, and hopelessly straight. Despite her mother's vigilance, Mary Ann's hands are Continued on page 108 is as