Picture Show (May-Oct 1920)

u ENTEK LESLIE HENS© AND TALKS OF LUCK ON THE SCREEN. THERE are not many theatrical dressing-rooms, however luxurious, which promote a desire for rest and meditation ; or, rather, though the desire may already be there, the necessary atmosphere and "far-from-the-madding-crowd " feeling are absent ; for, not unnaturally, such apartments are usually pervaded by the adorable but mercurial Spirit of the Theatre. Not so Leslie Henson's dressing-room at the Winter Garden, in which, with a little pardonable imagination, jou might think you had dropped into a room in some old-world cottage, or perhaps I should say, one of these modern dwellings which so artfully counterfeit the genuine thing. (The genuine thing so often is dingy, musty, and generally unhygienic on close investigation.) From which you will receive (I hope) a mental picture composed of such elements as chintzes and Windsor chairs ; a cosy settee and, beside it, a quaint little table suggestive of strawberries and real Devonshire cream ; gleaming brass utensils, and, oh, the most fascinating old brick fireplace you could possibly imagine. Almost the only concessions to theatrical tradition are the powerful electric lights, the row of grease paints on the simple dressing-table, and the many celebrated countenances which adorn the walls. But here, again, is something in keeping with the old-world picture — a portrait over the looking-glass and in the place of honour, simply inscribed, " Mother." Misses The Audience. THE door is flung open, letting in the alluring strains of " Kissing Time," and a young man attired in a (musical comedy) French officer's uniform enters, greets me cheerily, lights a cigarette, lolls back comfortably in the Windsor chair before the dressing-table and, at my request, commences to talk : " Yes, ' All's Button ' is my initial star film," Mr. Henson says, "though I have done tiny little bits before with the British Actors. This picture is a Hepworth, and, as you doubtless know, is adapted from W. A. Darlington's popular novel. I have always been keen on films, and this experience has served to make me even more keen. Some people complain of the boredom of film acting, but personally I have never felt it, perhaps because I was so thoroughly interested that I never felt the tedium of the waits between scenes, and also because I am so keen on the mechanical side of film production. " It is, however, more difficult to play a humorous role before the camera than behind the footlights ; there is a certain lack of spontaneity in the work, and then again one misses an audience acutely. On the stage one feels the audience, as it were, and senses just what it wants accordingly. But I must confess that I have learnt a great deal from film work. The Rich Reward. ON the other hand, stage experience is helpful to film acting, even though the arts are quite different, because one has a valuable dramatic instinct already well developed. In fact, I think that stage folk should turn their attention to the screen more than they are doing at present. I don't see why the two arts should not be welded together. " The advantages attached to film work are manifest. Apart from the endless artistic possibilities of it, there are the material advantages of becoming international, and earning far more money than a career confined solely to the stage ■affords. The prospects of film acting are tremendous, provided a man is a good actor, a distinctive type, and has th>3 luck to fall into tho hands of the right producer. Luck, indeed, plays an important role in the moving picture business, but if you happen to be tho right person, then the rewards are rich. " These are general considerations, and while they were, of course, in my mind when I made my film debut, one of the strongest inducements the picture offered was its good story, without, however, undue demands that I should be ' intensely funny ' — that bane of the comedian's life. Chaplin, I consider, is the one great genius of the film world — he made the comic film possible, and what Dan Leno was to the stage he is to the screen ■ — and his pathos is every bit as wonderful as is his humour. Wrongly Accused. SPEAKING of Chaplin, reminds me of one little thing I should like to say in connection with my role in ' Alf's Button.' Some of the film critics accused me of emulating Chaplin's moustache. As a matter of fact, I wore a similar hirsute adornment when I played in the sketch called ' In the Trenches,' and in ' Alf's Button ' I wore it only because the book demanded it. I hate wearing a moustache as a rule. This particular one is really quite large, but unfortunately in some scenes it appeared to be much smaller, hence the accusation. But though LESLIE HENSON. {Photo : Claude Harris.) I admire Chaplin immensely, I certainly shouldn't try to imitate him, or any other artist, for that matter. " Aa regards my future film work, 1 hope, one of these days, to take a yearorf which I shall devote to picture making, but that will not be for some time, as I am so tied at present. My part here at the theatre is too stremtous to allow of my doing the two things, and I don't think it would be fair to my public to attempt it. Moreover, the film needs much more careful study than I am at liberty to give it just now. But when I do take up tho work again — and I like it very much — I shall want good laughable stories and droll parts, such as I found in ' Alf's Button.' " May HerscheX Clahke.