Picture Show (Oct 1920 - Apr 1921)

so Picture Show, J unitary 1st, 1921 A FILM CHAT WITH MARY RORKE. A MARY RORKE. FEW days liefore I wrote this article I road some press opinions of the George Clark production, "Testimony," a film version of the novel by the late Claude and Alice Askew. Apart from the very favourable reception accordedthe film, what impressed me most about these criticisms was the manner in which one performance in particular came in for universal commendation — (hat of Miss Mary Rorke. One paper characterised Miss Rorke's portrayal as a performance unequalled on the British screen." Another remarked: ''Mary Rork? is simply great as the mother — to my mind, the best performance in the play:'' Others referred to her " tremendous power of facial expression,'' and her " very finished and natural portrayal.'' And so on. The upshot of all this was that I went in search of Miss Rorko. A Gracious Figure. I FOUND her in her dressing-room at the Royalty Theatre, a gracious and dignified figure in black silk and old lace, a mantilla crowning her silver hair and forming a fitting background to a face both beautiful and wise, whose only lines were those of kindliness, and from whose eyes both love and gentle humour peeped out. Miss Rorke gave me a welcome which made me feel at home immediately, and then, sitting very upright in her chair, her hands folded simply before her, she began to talk about her film work, although, she explained apologetically, she really hadn't done very much. She has, however, done considerably moro than a number of legitimate players, and here, just to jog your memories, are a few of the pictures in which she has appeared : '' Caste," with Sir John Hare ; " The Second Mrs. Tanqueray," with the late Sir George Alexander. Two or three Hepworth films, prominent among which were " Comin' Thro' the Rye," the picture Queen Alexandra loved, and " Merely Mrs. Stubbs," in which Miss Rorke gave her famous portrayal of the blind mother. Several Samuelson films, including " Tinker, Tailor," " The Bridal Chair," and " The Right Element." And now the Clark production, " Testimony." , The Genius of the Producer. I VENTURED to congratulate Miss Roike upon her latest, and perhaps, greatest success. She smiled. Then with a little wave of her hand, as if dismissing her contribution to the film, she said : " So much depends on the producer — the right producer — and I was greatly helped in this case by Mr. Guy Newall. Certainly the manner in which he has produced the whole film is extremely clover. He is indefatigable in his efforts to get just the right effects, and on more than one occasion 1 have seen the perspiration pouring oft his face as he put the whole forco of his energy and personality into the rehearsal of some difficult bit of ' business.' " A Terrific Strain. MISS RORKE went on to say what a terrific strain her performance had imposed upon her. " There is something really terrible about film acting in this respect," she remarked. " For the screen, mental process must bo registered in the face far more acutely than on the stage, and the strain of conjurinc up in one's mind some very moving — even terrible — vision, and then expressing the emotion it evokes in ono's face, i3 so severe that I cannot adequately describe it. " Perhaps," went on Miss Rorke in lighter tones, " that is why 1 have a preference for A Criticism of the Close-Up So Beloved by Some Producers. comedy roles, such as I have had in several films — the strain is not nearly so great as in dramatic work. And then comedy always seems to me so admirably suited to the screen, for even the slightest, most delicate touch, registers perfectly." Criticism of the Close-Up. THR close-up, so beloved of some producers, lias a critic to be reckoned with in Miss Rorke, whose chief grudge against it, is that it so often imparts an air of unreality to an otherwise convincing performance. " Whenever a close-up exaggerates people or things out of all proportion to life, nature at once ceases to be, and one is immediately taken into a world of unreality. The whole thing becomes a mere trick. Iihink it is a great pity." The actress also regrets that so many producers neglect to run off, for the benefit of their artistes, portions of the film still in course of production, a practice that would enable the players to rectify any little errors while re-takes were still possible. " I worked with one producer — Mr. Paul, who directed ' The Second Mrs. Tanqueray ' — who had this admirable habit, and found it a tremendous help." said Miss Rorke. " I remember one thing it taught me — to use yellow powder instead of Hie grease-paint I had employed earlier in the picture." The Atmosphere of the Studio. MISS RORKE has high praise for the atmosphere of tho film studio, which she characterises as both " kindly and nice.'' and altogether more Bohemian than tliat of the theatre. At least, the theatre of to-day. " It reminds me of what the thoatre was like in my young days," she remarked with a smile. She does consider, however, that the hour« of the film artiste, and the conditions under which ho works, might with advantage be improved. In conclusion, she made a significant remark : " The cinema is a serious rival to the theatre.'' May Herschet. Clarkk. "THE HORROR LADY." RHEA MITCHELL says 'it \i more Difficult to Lcolc Horrible Tl an Pretty. WITH few exceptions the aim of every woman who goes in for a motion picture career is to look as beautiful as possiblo on the screen. One exception is Rhea Mitchell, one of film'loin's host -known character actresses, who will bo scon shortly ill an Allan Dwan product ion, "The Scoffer," presented by the Mayflower Photoplay Corporal ion. It takes a lot of courage, Miss Mitchell says, to cast aside whatever charm you may have, and deliberately set out to see how horriblo you can look on the screen. And she further states that it is a lot moro difficult to look horrible than to look pretty. " When Mr. Dwan first explained to me Hint I was to play the part of a neurotic in this picture," she said, " 1 must confess 1 was all at sea. And as he sketched in quick sentences his i lea of tho character, the thing loomed up ns almost impossible. With his instructions I set about to coneeivo a study in horror that would meet with his approval." Miss \ ii. I . II spent R good drill of time in studying her part, and above you can see sfiiin of the expressions which she had to practice for this photo play.