Screenland (Oct 1923-Mar 1924)

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Gold plated on silver, S2.75. C.O.D. orders, 15c, extra. Send ring size (tie string around finger) . Return it If not delighted] Not sold in stores, but direct from ORIENT EXCHANGE Import Dept. X-2 21 Park Row, New York (Continued from page go) the playwright in De Mille. He has more intimate understanding of the actor's feelings than most directors because he has emotional comprehension." These are the reasons why — Griffith's Babylon stands out as probably the most stupendous set ever erected. Ingram's Scaramouche contained scenes of masterly composition and types of startling precision. Cecil B. De Mille produces such pictures as We Can't Have Everything, Don't Change Your Husband and Male and Female. And now of Gloria Swanson. Swanson Gift of Visual Imagery There is one quality about Miss Swanson that is more commonly found in directors than in actors and actresses," declares David Seabury. "This is the gift of visual imagery which is stronger in her than are the blinder forces of emotion. This does not mean that she lacks a high measure of feeling but that her feeling is more immediately translated into thought by the way her memory paints the actions of emotion and intention. Her mind is like the sensitive film on which her pictures are taken. It is a subtle series of impressions clearer and fuller than is often found in so ephemeral a world as dramatic art. Yet for all his visual sensibility there is an elusive quality even in the most realistic of Miss Swanson's efforts. It seems as if she belonged to the world of romance rather than of life. Edgar Allan Poe would have wanted to know Miss Swanson. For like him she never comes out into the cold light of every day. EL Interprets Rather Than Creates uman moods, longings, the undertone of feelings — these are what impress her, what she is seeking to portray to her audiences. Her gift is to interpret rather than to create. There is more of reproductive imagination in her than any other dramatic quality. Even her hands show this. Her fingers have a way of talking when she acts, but they touch more the notes of sensation than of thought or emotional reality. The same evidence of imagery appears in the mouth and eyes. "Her nature is like a pair of balances — really even until she throws herself on one side to express some human quality. She is not, however, like Ada Rehan, driven by her own emotion in the part. "Whatever light plays upon Miss Swanson's face there is a shadow below her mouth, a quivering light on her chin. There are shadows below her brows. They soften the eyes. In the gestures of her hands the little finger is forever pulling away from the others and the hand seems to reach out. This shows not only love SCMEENLAND of the romantic but a poetic rebellion against every day realities. The emphasis in Miss Swanson's nature lies in the response to those who have known this rebellion, this suffering from a too blatant reality. And this note is strong in her dramatic gift. Pola and Life's Contradictions ith Pola Negri, Dr. Seabury said, acting is not art. It is life. Drama is as necessary to her heart and mind as porridge is to a Scotchman. She can appreciate and love the simple monotony of the every day world if she does not have to live in it. "She could never be at her best when acting a quiet, provincial role, unless it was a part built on revolt," he said. '"But in a complex and subtle plot where imagination and suggestion weave a subjective filament of human feeling she needs only to do as she would do in just such a living situation. "If you will study Miss Negri's face in the swifter moments of a scene you will see how seldom hers is a full smile. Nearly always it veils a mocking at the thing or person smiled at. Even in tragedy it hides a humorous levity. It is her subjective subtlety, her sense of the contradictions of life that gives Pola Negri her power. She sees motives more clearly than actions, grasps intentions more fully than conditions. She feels the simple as if it were complex and realizes that the simple never is simple save when it is primitive. "When she throws back her head the sensitive lines of the neck show that hers is an expression of contradictions, of primitive emotions veiled in complex and subtle sophistication. "Her powers are the very opposite of those possessed by the little milkmaid of sentimental fame. Hers is a secret diplomacy openly arrived at." .ichard Barthelmess is the type of actor who belongs to one play as Jefferson did to Rip Van Winkle in the opinion of the psychologist. The Graphic Barthelmess Arms Barthelmess will learn to be a student of men as was Jefferson he will go twenty times further than if he obeys the custom of the very different types about him and tries to act from his cardiac cavity," he said. "This does not mean that he is not versatile or cannot act more than one part. His ability lies in grasping the kinks and quirks, the mental attitude of a character. He will be more successful if he develops this side of his talent. "No matter what he is doing or what part he is playing you never quite get away from the Barthelmess arms. Even if only a shoulder is showing in a scene, he