Screenland (May-Oct 1929)

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We used to get faces into the camera at all costs in those days, and now it's a source of pride when an actor can enact a scene and tell a story with his back turned to the camera. "The younger generation isn't as strenuous, but I think we have better actors among them than the general run in the old days. Or, rather, I think they're per' mitted to act. In the old days broad gestures and expressions were called for and deemed necessary, just as was the case on the stage of some years ago. Repression is a fairly new thing, and with it relative motion showed up." Wilbur deserted the screen to become a playwright, along in 1915, and traveled to New York with his trunk of plays, to win success as one of the greatest stage dramatists of the decade. "The Woman Disputed," "The Monster," which Lon Chaney appeared in on the screen, "The Stolen Lady," "The Song Writer" — these are among the stage hits from his prolific pen. Finally he went to London to produce one of his plays, and while there the talking pictures appeared, and his friends Lionel Barrymore and Willard Mack started to direct them. He decided to come home and get into the game, and a few weeks later found him back in California, where in the early days of silent pictures he reigned as the screen's most popular hero. Like Barrymore, he has no desire to act; he only wants to create. But it's possible that he will act again, just the same — and it will be interesting to see the idol of yesterday's screen among the young idols of today. "I have always liked to think," says Wilbur, "that the old horses of western movies were pensioned off — just like the old fire-horses. And I was pleased beyond measure to find that William S. Hart's old horses are treated in just that way, living their old age in memories of the glories of their past on his ranch near Newhall. with plenty of oats and nothing to do. The old western doesn't seem to be as popular as it was, at least, they're not making so many of them. Tom Mix's 'Tony' seems to be the only equine hero to come down into the present. I think he's the Lon Chaney of horses — because age doth not wither nor custom stale his box office appeal." The heroines, too, are different. "They used to be fluffy, curly-haired blondes — very soft and appealing," says Wilbur. "And now they have boyish bobs and boyish figures. I remember the ceremony attendant on placing one on a horse in the old western days, what with the long skirts and feminine fripperies that had to be so carefully handled. Today a modern girl could make a mount in a running jump and never think anything about it." Beauty was at a premium then, but Wilbur thinks that the talkies have lowered its market value. "Speech requires definite character and personality rather than beauty, and it's possible that the feminine film favorites of tomorrow won't be as beautiful as those of yore. But they'll be far more positive personalities. "But," he adds, "I'm old fashioned enough myself to still like 'em pretty as possible." Hollywood Freedom — Continued from page 43 your best friends, might think, if they didn't say, 'Isn't she conceited?' or 'I don't see much in that!" or 'Yes, but what did they say about me?' but your mother is proud and glad about it. "Mothers are people who can tell you unpleasant things about yourself without antagonizing you. You wouldn't believe you were too cocky if someone else told you so — but your mother will help you get over it. "My mother is eager to have me selfreliant and brave. Courage is her watchword and I'm trying to make it mine. This sort of courage: I don't smoke or drink, not because my family object to it but because I have decided it is a poor thing to do. In Hollywood, it takes courage to keep on refusing cocktails and cigarettes when people call you 'sap' and 'gaga.' "I'm afraid I don't know enough about the wrong kind of family to understand the arguments about leaving home. There are four of us and we're devoted to each other. Freedom, if it meant doing without my father, mother and little brother, would look like a pretty drab thing. You see, I'm really free. I solve my own problems, make my own decisions, and yet if I need or want it I can have all the help I ask. "We are an all-for-one and one-for-all family. Whatever happens to one of us is good or bad news to the other three. "My baby brother — well, how do families get along without babies? When he was coming, my mother told me about it — I was thirteen and I'd spent most of my life begging for a baby brother. Mother and I prepared for him together, bought the little clothes and read the books about how to look after him. When he arrived I was simply overcome with joy. It was funny, he seemed to know I loved him and he wouldn't go to sleep for anyone else. Mother used to say: 'Here, take your baby. He won't take his nap for me.' Wasn't I proud? "Do I want to go off and live in a bachelor girl apartment and miss all the cute things he says and does? "The other day some one asked him if he was going into pictures when he grew up. At first he said no. but later he changed his mind. I asked him what made him think anybody would want him. " 'But I'm good," he assured me, 'see how I look sad, how I can laugh, how I can cry and be mad and be funny!' "I almost died but I didn't let him see me laugh. I looked across at mother and said I'd seen John Gilbert do a little better. And then he cried out-. 'Yes, but wait till you see my sexy look!" " Independence, whether at home or in a bachelor apartment, is always threatened by the male of the species. "I haven't really been in love yet," admits Anita, "and I hope I shan't fall in