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for February 1931
127
personally believe Colleen will go far. She has depth, humor, humanity.
Sally Phipps has no cause for anxiety since she's made a hit in the stage play, "Once in a Lifetime." She works at odd times, too, in the Paramount Long Island Studio. As to Banky and La Rocque, it is too early now to give arTestimate. That holds for Baclanova and Soussanin. Soussanin was always fine, in my estimation, on the screen, and so was Baclanova when she was rightly cast. Olive Borden has been in the picture background _ so long, it's not possible to express a just opinion about her. That holds true of Agnes Ayres, and, of course, of Ruth Roland, who recently made her first talking picture — "Reno" — after a silence of years.
Irene Delroy and Ona Munson were real musical comedy personalities before they essayed Hollywood. And the same is true of Dennis King and Bernice Claire. Ginger Rogers and Alary Lawlor were well liked, too! Irene Rich always has a sure home in screen land. Little Armida, after her big success in "Nina Rosa," can write her own ticket. Lina Basquette, after all her recent bad luck, seems happy at the Club Richman. Just
what her future screen chances are it is impossible to forecast fairly now. Stanley Smith is popular on the screen, as are Seena Owen and Helen Ferguson. But what will happen to Aileen Pringle and Leatrice Joy remains to be seen, as they have been out of pictures for a pretty long period.
The same is true of Alma Rubens and a few others. We rise or fall on our ability to adjust ourselves to existing conditions. When conditions change as they did when talkies hit Hollywood, personalities have to become flexible. Those who are case-hardened, unable to develop their voices, make over their personalities, will fall. On the other hand, those who are tenacious, who have the intelligence and the temperament to keep on — even when the going's tough, like Ralston, Taylor and Cortez — will rise.
Sigrid Unset, the famous Scandinavian novelist, says: "Happy days fall to the wise ; but the best days of all befall those who dare to be unwise." And it is among such characters as these, who are unwise enough to keep on trouping even after they feel they are licked, that the real star dust of the future will be found, sifted, and brought to the top.
Is Fredric March Barrymore's Talkie Twin?
Continued from page 51
the stage, which had already begun to crop up in the incipient Hamlet like a bump on the head, he received his sheepskin to the tune of the class valedictorian who babbled on in the manner of all that ilk.
Now, in this tale of young Freddie, appears a character in the role of benefactor, one who probably never even dreamed that anvone by the name of March was in his employ. It was Frank Yanderlip, president of the National City Bank of New York, who thought it an excellent plan to grant working scholarships in his institution to college graduates with a view toward sending the young men into banking service later on. Freddie took a chance.
But a change of bank presidents presaged for Freddie a change in the scholarship plan so he flew the camp for his first love, the stage. One thing leading to another, and things being what they are, he landed finally on the sod of auld Hollywood where his cinematic career blossomed from a part in "The Dummy" to his more recent roles in "Laughter" and "The Royal Family."
Freddie will tell his interviewer that he is the dullest copy imaginable and then proceed to discourage that person from interviewing him. With a little persistence of the kind 'that wins,' a slogan or two thrown in for a bargain, the reporter eventually will unearth a series of strange facts about Freddie that are only partially listed below. The following, it might be mentioned in passing, are not quite up to an official biography of March but if you care anything at all about the four Marx Brothers, you'll probaby take these to your bosom and cherish them as you would your own.
Freddie likes fried sardines of the type you get in Provence, France. Once he walked four and one half miles to get to a French restaurant to ask for this type of fish. He left the place in a hurry after they put the sardines on the fire. It seems they forgot to remove the can.
He once won a prize at a dairy show
for having the largest ear of corn. He collected it the night before when he and a college chum substituted for an act in a vaudeville show.
He is an expert on eggs and knows every way of serving them from the hundred-year-old Chinese variety to the various forms of poached, fried, boiled, etc. of the domestic kind. He has a special mask he puts on when opening the Chinese ones.
With, the proper length hair and eyebrows, he looks enough like Jack Barrymore to be his double. He modestly adds he can do nothing, however, about the acting.
He changes his residence from Hollywood to New York so often he tips the porters on the transcontinental trains by a subscription method.
His first reaction always upon coming to New York is to rush to a restaurant in Forty-fifth Street where he orders onion soup and then to an art exhibit where he stays until his eyes get tired.
He claims he is the first actor married to a successful professional woman who is not called Mr. Florence Eldridge and that his wife is not called Mrs. Fredric March. Each manages to retain his separate professional identity.
He is known intimately by every member of the Paramount studios and liked by all of them except a very young prop man who once went after the key to the elephant's trunk which Freddie tried on him to see if the new generation had heard the joke.
When he rises in the morning he jumps out of bed and into a shower which is adjusted to exactly 75 degrees. If it is a degree higher he complains always in the same tone, that "it is hot enough to boil eggs in." Once he said "it is hot enough to fry eggs in" but immediately realized his mistake and hasn't said it again.
He sleeps with both eyes closed.
He doesn't snore but prays that if he ever does it will he to the time of Body and Soid. That's his favorite popular song.
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