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The Picture Show, July 5lh, 1919.
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THE TASK OF MAKING JUNE CRY
THE difficulty of getting cinema actresses to portray naturally the great emotions is one of the trials of the director. Different men have different methods. D. W. Griffiths, for instance, works his artistes up to the crucial point by hurling at them caustic comments calculated to sting the most phlegmatic person into action. Mr. Griffiths possesses the great gift of being able to realise the spirit behind the scene, and, what is more important, the ability to impart his conception to the players.
The greatest cinema actors are those who can really live the part they are playing.
This is easy when the scene being filmed is a ride across the prairie, or a motor-car trip in the country — anybody can look the part themselves. But when the player has to impart to the audience, by looks and gestures alone, those human emotions as Fear, Gladness, Hope, Despair, Joy, and so on, the task is
very different. It is in scenes like these that the director earns his money. One American director, despairing of getting tlie right look of fear in the face of the heroine in a burning house scene, got some of his assistants to start a real fire at the back of the studio, and he himself started the panic by pretending he was ten'ified. The heroine, thinking it was the real thing, quickly got the real expression.
The Question of Tears.
TAKE the question of tears, for instance. Wanda Hawley says she can cry real tears to order. June Elvidge, for instance, has such a cheerful disposition she finds it very hard to cry. In the photograph on the light you see her director manufacturing tears of glycerine, which has the merit of sticking where it is placed.
Below are some other methods June has to resort to.
Here we see Director Dell Henderson peeling an onion to make the tears.
Then dropping ice water on to her cheeks.
A violinist played " Hearts and Flowers " while Director Henderson tells her a sad, sad story.
The result is all that the most critical audience could desire. Don't you think so i
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