Tess of the Storm Country (United Artists) (1922)

Publicity About Leading Members of the Cast STAGE AND SCREEN STAR FOR 47 YEARS GOOD BEHAVIOR IS BEST SCREEN ASSET Forrest Robinsc/h Has Strong Part in Mary PickforcTs “Tess of the Storm Country” So Says Robert Russell Who Thinks Actor Represents an Investment by Producer AN ACTOR 45 YEARS ON SCREEN AT 76 Gus Saville Has Role in Mary Pickford’s “Tess of the Storm Country” LLOYD HUGHES NOW MARY PICKFORD AIDE Leading Man in Her New Produc¬ tion of “Tess of the Storm Country” When Forrest Robinson went on the stage in 1875, they were still using kerosene lamps for footlights and on the night of his debut, he made it notable by getting so ex¬ cited that he kicked over four of six lamps and as a result the re¬ mainder of the show had to be given in semi-darkness. Forty-seven event- full years have gone down the vista of time since that lamp-breaking advent and Mr. Robinson, a well-preserved •fcan of sixty-seven years, fully expects vo round out -a half a century of active endeavor in the histrionic realm. His latest characterization is that of Daddy Skinner in Mary Pickford’s own and new production of “Tess of the Storm Country,” a United Art¬ ists release coming next . to the .. Theatre, and in which Miss Pickford first starred so memorably eight years ago. One year after Miss Pickford had made the original screen version of this greatest of Grace Miller White's stories, Mr. Robinson supported the star in another of her successes, “The Dawn of a Tomorrow,” he having been pressed into service on one hour’s notice. An interesting coin¬ cidence in connection with Mr. Rob¬ inson’s appearance in this latest Pick¬ ford triumph is that John S. Rob¬ ertson, Miss Pickford’s present di¬ rector, was the first picture director this veteran . thespian ever had, he having made his bow as a cinema artist in a Marguerite Clark produc¬ tion which Mr. Robertson directed. One of Mr. Robinson’s more re¬ cent screen appearances worthy of mention was in “Tol’rable David” in which he played the part of Grand¬ pa Hatburn in support of Richard Barthlemess. Among his biggest hits on the stage was scored in “The Fortune Hunter” during its long New York run and in “Mrs. Wiggs of the Cabbage Patch” for a year ►and a half at Terry’s and the Adel- SJji theatres in London. *ihe memory he says he cherishes most of all, excepting his two en¬ gagements with Miss Pickford, is that of his portrayal of the role of Caiphus, the high-priest, in the only presentation of “The Passion Play” ever made in the United States. James O’Neill played the role of Christ and the production ran for three weeks in the year 1878 in San Francisco, being finally stopped by the police. This experience came to him just three years after his initial stage effort at Cleveland, Ohio, in “Wild Oats,” the star of which was Edwin Adams, then one of the most popular qctors in the country and who later died in California. Because of the fact that Robinson retains so much of the vim of his youth and seems to be less than forty years old, he is frequently asked to divulge the secret of his self- preservation. Invariably his answer is that he keeps young by associating only with the young. “You’ll never see me even start lingering back with the old folks un¬ til I’m well past a hundred and even then I’ll limit my intimate friends to the age of fifty,” he says. In this day and age when movie history is being made rapidly and when so many wild stories concern¬ ing photoplayers are being circulated, it is appropriate to cite the countless examples which serve as strong ref¬ utations of all unsavory rumors. Rob¬ ert Russell, who s© capably plays the part of Dan Jordan in support of Mary Pickford in her new version of “Tess of the Storm Country,” a United Artists release coming next . to the . Theatre, is another of the thousands of screen artists whose life activities form an open book and are above reproach. “I agree with the concensus of opinion among film folk that the ac¬ tor is an investment upon which the producer risks his money and there¬ fore the actor must be stable and dependable or else he becomes a "bad investment,” Mr. Russell says. “Clean, wholesome living and a devotion to an incessant study of the cinema art combine to make the talented artist what he is expected to be, and from my personal observation, I am able to declare , positively that those who do not believe in and follow this pre¬ cept are in the very small minority. In plain woi;ds, the number of actors and actresses who conduct themselves in a manner open to criticism is so small as to be inconsequential.” . Although Mr. Russell is young and single he maintains a real home—a California bungalow of six rooms and bath. His mother is his guest in that home most of the time, and practically every evening he can be found right there, reading and study¬ ing parts he is to play in future, pro¬ ductions or entertaining himself by sketching. The few evenings he spends away from his home are on occasions of theatre parties or high¬ ly proper social functions. Being an exceedingly handsome young man, he is quite popular and is the recipi¬ ent of many invitations to appear in the best of society, but. he re¬ jects most of these with’ regrets, al¬ ways calling attention to the fact that as he works very hard every day, he requires his full quota of hours for sleep Besides being a home-lover, Mr. Russell is a devotee to most all the outdoor sports, being especially fond of motoring, hunting and fishing. In fact,, he is noted in Southern Cali¬ fornia as an expert angler. He is a comparative newcomer in motion pictures, having made his de¬ but about three years ago. He has played leading juvenile roles in sev¬ eral of the more successful serials. Prior to making his advent in the silent drama, he was a professional dancer, but he had to give up this work , on account of developing an athletic heart. Now he is bent on making, his mark as an exponent of romantic drama and if talent, such as he shows in “Tess of the Storm •Country,” and clean living mean any¬ thing to the advancement of such an ambition, he will surely arrive some¬ where near the top. The unprecedented growth of Los Angeles is all the more impressed by the recollections of Gus Saville, said to be Filmland’s liveliest sev¬ enty-six-year-old actor, who declares that when he made his first stage appearance in Los Angeles, Decem¬ ber 31, 1886, the corner of First and Main Streets was considered “out of town.” Nowadays one would have to travel a great many miles any direction from that point to get out¬ side these city limits. Mr. Saville, who is playing an im¬ portant character part in support of Mary Pickford in her new version of “Tess of the Storm Country,” a United Artists release coming to the .Theatre next .. was in the cast which presented “Un- neighborly Neighbors,” a comedy, at the Club Theatre, located on Main Street near the Plaza thirty-six years ago. The local theatregoers of that day were much surprised over the courage of the management in un¬ dertaking to conduct a theatre so far from the center of the town, but the records show a marked success was achieved and “turn-away busi¬ ness” was the rule. Mr. Saville has in his possessibn a well-preserved copy of the program of the attraction in which he made his Los Angeles debut and he says all but three of the whole company of fifteen artists are dead. He was billed as a member of the team of Cunningham and Saville, “Jumbo Coons,” and although he weighs only 160 pounds now, he tipped the scales at 210 in those good old days, and, his partner was even more blessed with poundage in the form of avoir¬ dupois. The career of this veteran thespian has been long and eventful, he hav¬ ing been actively an exponent of the dramatic. art for forty-five con¬ secutive years. His picture career began with the starting of the mo¬ tion picture industry back in 1896, when he played, a part in “The Drey¬ fus Court Martial,” which was a sen¬ sation then. He says he was ostra¬ cized by many fellow-members of the profession for condescending to “act before a camera instead of an au¬ dience in the legit,” but now he has no doubt of being envied - for gaining the opportunity to play Old Man Longman in Mary Pickford’s notable rev.val of her one of early screen triumphs eight years ago. Despite his advanced age, he is a formidable boxer and will put on the gloves with most any sturdy young man. He also is adept at swimming and takes his dips regu¬ larly when the surf is especially rough. “And, just tell ’em that I consider my performance in this revival of ‘Tess of the Storm Country’ as one of my sprightliest efforts and most golden opportunities,” he says. Once upon a time, not so long ago, when Lloyd Hughes 1 was a very young man, he decided he had lived in Bisbee, Arizona, his birthplace, just about long enough. He was in doubt both as to what line of endeavor he should embrace as a life work and where to go to embrace it. Hence it amounted to the first important turn in his road when he received an invitation to visit rela¬ tives in Hollywood, Calif. From the day he arrived in that mecca for film folk, the road he traveled was one unbroken series of turns until now has come the most fortunate one of all up to date—the one which took him to the exalted cinema po¬ sition of leading man to the famous Mary Pickford herself in her notable 1922 production of “Tess of the Storm Country,” a United Artists re¬ lease booked for next . at tfje....Theatre. Truly, Mr. Hughes has filled exceedingly large shoes in succeeding the late Harold Lockwood in the role of Frederick Graves, and critics agree his perfor¬ mance is of the one hundred per cent variety. Curiously enough, this sterling young actor’s first fame-building turn in the road came in “The Turn in the Road,” in which he played the leading juvenile part 1 so well that he jumped into, national popularity over¬ night. This all happened nearly four years ago and ever since Mr. Hughes has been forging ahead, dis¬ tinguishing himself in such .well- known productions as “Below the Surface,” “Hail the Woman” and “Homespun Folks,” in which he was the featured player. Perhaps his most unique performance was given in “Brotherhood of Hate,” in which he wore long hair, which required six months for the growing. He also won many laurels as a member of Enid Bennett’s company when she was starring. “Love Never Dies” is one of the later releases in which he is featured. Mr. Hughes is a “product” of the screen. He has never been on the stage nor has he ever been farther east than Bisbee, Arizona. He has won all of his histrionic spurs right m Los Angeles and environs ex¬ clusively in front of motion picture cameras. He says that among his numerous ambitions is a strong growing desire to see New York and one of these days after he has reached the high pinnacle of stardom he now approaches with so much rapidity, he is going to gratify his wish. part of Daddy Skinner in Mary Pick¬ ford s new “Tess of the Storm Coun¬ try, a United Artists release com¬ ing to the . Theatre next ;••• .> ha s been an actor for forty-seven years. In 1878 he played the role of Caiphus, the high priest, in the only production of “The Pas¬ sion Play” ever made in America ihis notable event took place ir San Francisco and the citv council stopped the play after it' had rur three weeks. JameS. O’Neill nlavet the role of Christus.