Screenland (Apr-Sep 1924)

SCREENLANB (\Memories — from page 61. New York, under the auspices of the New York Drama League — and that press notices were beyond his wildest dreams of glory. So far so good — but there doesn't seem to be any remuneration attached to the glory and Robert sees himself a ''successful" dramatist at last — without the financial wherewithal that should accompany it. Still, he writes vaudeville skits and Edythe Chapman and James McNeill are even now now starting on the road with his The Water Hole. In that rize lay. The Clock, Robert has proved that action is not necessary to intense drama — his central figure is deaf-dumb, blind and deathly still throughout the performance. Yoila — what an innovation for Hollywood! Can't you see what Robert feels he could do for film drama? So that is one reason why the Bonnie Brier shelters him today. But he has a marvellous screen story, The Life of Christ, in which Christ is never named, never mentioned, never hinted at — and yet enthralls and impresses you as just that. He treasures it — but fears to even offer it to filmdom — fears denial, and fears its desecration if accepted. This play of his is a holy thing to him. In the meantime he subsists on vaudeville skits! Anything from Bums to Bankers Then there is Frank Norcross — seventy-two years young — the pet young leading man of America, the matinee idol of Broadway, forty years ago. Our grandsires remember him — and loved him well. But he, too, drited to Hollywood and the Bonnie Brier. And he carries a little professional card which bears the gallant offer, "'character parts — anything from bums to bankers." Just once in a way, at increasingly wide intervals, Frank Norcross "gets a call" — and gallantly, dashingly, jubilantly accepts three to five days' work. 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