Screenland (May-Oct 1934)

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For Garbo is timeless— while, whatever the years may bring to Hepburn, it s dimcult 'to conceive of her as anything but an Anglo-Saxon child of the twentieth cen tU\Vhen I first saw Dorothea Wieck in "Maedchen in Uniform," noted the strong, sweet face and the gracious dignity of manner felt a kind of spiritual force beating out at me from her shadow on the screen, found myself enthralled by the heartbreaking beauty of her performance, I thought: "Here's someone who might— just might— give Garbo a run for her money. Not beat her" I hastened to assure myself jealously, "—'just give her an interesting time. • Well, and so she might have. We 11 probably never know now Unfortunately there was no one who could afford for Miss Wieck the advantages provided for Anna Sten English was obviously still a tonguetwister to her when she was put to work, the result being that her characterizations lacked the ease and authority of her memorable Fraulein von Bembnrg. In addition to which, her pictures seemed to have been chosen with the sole object ot giving her a chance to weep and look mournful. Certainly she did little , e se throughout "Cradle Song" and Miss Fane's Baby." She did it very effectively, to be sure, but there was a monotony about lt-And now rumor has it that she's "through." Which, if true, seems to me a o-reat pity. Whether or not she could stand up to Garbo doesn't matter. I rn less inclined now to think that she could than 1 once was. But I can't help feeling that the girl who gave us Fraulein von Bernburg might have added many a notable portrait to ou? gallery, and that we're losing out by letting her go. , There's another German menace who, with her pictures, has been banished from Germany and is appearing at this writing in a London stage production. If you were to tell Elizabeth Bergner, star of Catherine the Great," that her name had been in cluded in an article dealing With possible Garbo rivals, she'd probably open incredulous eyes and try like a well-behaved child not to show that she was laughing at you— if, that is, she's anything like the person she projects on the screen. For Bergner is neither beautiful nor mysterious, neither glamorous nor seductive nor exotic. She's merely an actress, to whom the word "great" may be applied without fear of misgivings. You may feel a little flat when she makes her first appearance as the Princess Catherine—the princess with the nice but thoroughly unexciting face. But as scene follows scene, you begin to realize that you re watching the creation of a work ot art, a perfect piece of acting. Every word and vesture, every pause and inflection is unerringly, exquisitely right Your mind ceases to be critical and becomes purely appreciative, and by the time the final sequence has rolled around, you re enslaved hand and foot— applauding the artist who has made Catherine so believable a figure, loving the woman who has made her such a darling. And still— she's not Garbo. And the thing which Garbo has, Bergner hasnt. Nor any of the others. In "Queen Christina" the final close-up shows her at the prow of the ship which is bearing her dead lover back to Spain. As the wind billowed the sails and the ship moved slowly out to sea and the face at the prow loomed closer and closer, larger and larger, I felt my heart tighten and then swell. For that face with its look ot pain transcended seemed to me the face that poets sing about, the face of Helen and Iseult and the Blessed Damozel, the face of all fabled beauty and all lost dreams. Then it faded out, leaving me staring through a mist of shame-faced tears at the cold white screen. Wherefore I give you an amendment to an ancient salute : "The Queen still lives ! Long live the Queen!" Novarro Is News Again Continued from page 21 FREE: MAILTHIS COUPON TODAY NORTHWESTERN YEAST CO. SC6 1750 North Ashland Ave., Chicago, 111. Please send free sample and descriptive circular. Name Address_ City State, write his own exciting success story! "The growth and development ot the actor himself are captured by the camera just as indelibly as the characterization he is creating. Both are transmitted to the screen "In that fact lies the secret of the rise or fall of each and every one of us. hor proof, just look around at the various players who have been or are now in pictures. Almost without exception, the progress or degeneration of that person s character can be gauged by following his work upon the screen. ' "Take the case of one of our best-known, (and at one time best-loved), foreign importations—a man. The first picture he made in his country offered him a role strangelv similar to that which he portrayed in his latest film. The contrast between the two characterizations was heartbreaking ! "The difference in the man— the personal problems he has had— the unhappiness he has experienced during the past five years— the emotional upheaval he has known— lay starkly and indecently bared upon a million screens! "He still acts as heartily— still wears his hat at the same jaunty angle of yore. But the mechanical perfection of his performance cannot deceive the camera. Today he is a man made perhaps a little cynical bv success. Therefore, when his shadow flashes on the screen today, it is a shadow lacking much of those lovable, heart-compelling qualities which first endeared him to his audiences." With original perception Mr. Novarro also believes that it is this all-seeing eye of the camera which is responsible for the difference in attitude toward screen players and all other performers before the public. "It has remained an unanswered question as to why screen actors and actresses, among all other artists, are allowed no personal lives. We know that the actor on the stage is seldom asked what he eats for breakfast, or with whom he goes dancin0-. "That is because the public accepts him as he is given to them— no more, no less. "But we of the screen come to the public not onlv as the characters we are portraying, but, because of the camera, as the shadows of our real selves. Regardless of our performances, no matter how correct our work, the camera catches somethino of the man or woman behind the make-up— and it is this actual glimpse of real personality which quite naturally intrigues the public." Mr Novarro's logic sounds most reasonable—especially in his own case. His