Screenland (Jun-Oct 1935)

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Ask for "First Steps To Beauty," 1.00 complete. MAIL SERVICE .... If there is no Helena Rubinstein dealer in your community, order by mail. Consultation by mail is also welcome. helena mUstein 8 East 57th Street, New York SALONS IN : Paris • London • Milan • Detroit Chicago • Boston • New York • Seattle Los Angeles • Montreal • Toronto CoDvriffht 193r., Helena Rubinstein, Inc. matic roles. Yet they gave me a part which didn't have one dramatic moment. Any young novice could have drawn a bow over a fiddle and looked like a love-sick vagabond. It was absurd ! It was idiotic !" Of course the studio officials thought that such a portrayal would capture the feminine interest of America. And Boyer hates cheap romanticism ! Nor did the officials think for one moment that Boyer would go so far as to actually buy back his contract. One real look at his face and they should have known. They should have known — as the reader should know by this time — that this young Frenchman is serious about his work. Acting, to Boyer, is not a way just to make a living. It's much more than that. From earliest boyhood he set about ordering his life to go on the stage. His dreams were of nothing else. Yes, even as a boy he was seriously practicing for his vocation. The peasants and the merchants used to gather at the school in the little village of Figeac whenever word spread that Charles Boyer was going to recite. M. Boyer, pere, chuckled good-naturedly over his son's histrionic ability but clamped his teeth firmly on his brier pipe whenever Charles whispered that he wanted to go on the stage. No ! His son would follow in the family business. He would be a merchant. M, Boyer died when Charles was twelve. The mother listened a little more sympathetically to her son's only ambition. But on one thing she was adamant. He must finish his education first. After that he could do as he chose. Boyer's university career was interrupted by the war. On this phase of his life he will not speak. Like so many artists he is inarticulate about vitally moving experiences except through the medium of his own art. In many of his tragic roles, I fancy, little gestures and slight modulations of voice are eloquent of unspeakable incidents from those bitter years. And in the war's indelible impression, perhaps, lies the reason why he prefers tragedy. His favorite type of role is that of a man at the height of his career who is hit over the head with the hammer of circumstance until he is forced down and down. But Boyer was mustered out of the infantry still young and whole, and he returned to finish his studies at the Sorbonne. He took his degree in philosophy in 1919 and immediately entered the Conservatoire of Drama. He was in no hurry to go on the stage. There was much to learn. For three years he studied the classics from Euripides to Shaw — and then opportunity flung open her door. M. Gemier, the famous actor-director, saw him in one of the Academy's plays. This genius of the Parisian stage was currently producing and acting in Claude Farrere's great drama, "La Bataille." His second lead had taken ill. Would Boyer take his place? Some idea of this young student's seriousness can be gleaned from the following remark : "For several months I went to the theatre at six o'clock every night. I felt that I must have three full hours to put on my make-up." It was this same play, made into the picture, "Thunder In the East," which now is hailed as one of the most revolutionary steps forward in the history of the screen. It was a triumph in artistry. For the_ first time it made a psychological drama intelligible in a medium where it had always failed before. Superb acting and tempo in cutting made the thoughts of the characters almost articulate. Charles Boyer not only played the lead in the picture, he also helped to direct it. "But," says Boyer modestly, "it is an exaggeration to say that I directed the picture. In France, when we make a cinema, we are all like a small family. The director lets the actor handle his own scenes. Then we all help out together." But let's return. After Boyer finished the long run of the stage play "La Bataille," he jumped to the starring role in "Le Bonheur." Paris bowed at his feet. He was the idol of feminine hearts. From then on everything he touched was a success. For eight years he appeared in only four plays. In between times, without a vacation, he made an occasional picture. But he was happy in his work. Late at night he would foregather with his friends. Queenie Smith now a screen as well as stage star close-ups in a summery outfit. Perky, eh! in his apartment or at some cafe. They had a tacit understanding to speak of the stage not more than once a week. He never associated with actors. Most of his friends were writers. Let me quote one of them, Phillipe Heriat. This is an excerpt, (translated), taken from L'Echo de Paris . . . "When Charles is studying a new part he changes completely. He does not see his friends, but prefers to take long walks by himself in deserted districts. There, in a veritable fever of creation, he assumes his new identity. He is not himself; he is the anxious one of the 'Galerie des Glaces,' the sick lover of 'Venin,' or the cruel musician of 'Voyageur.' His whole being is impregnated with the fictional entity that he incarnates. He lives in the person of his 'make-believe beings' right until the end of his first performances. He stays in his dressing-room between acts to avoid futile remarks. He would bar the door against the President of the Republic himself. Only after it is all over does he leave his dream and return to normal life, joining the friends from whom he has been separated". . . To many people the most astounding thing about this fascinating person was his torrential romance with Pat Patterson. He came to Hollywood, the most luxuriant oasis of feminine beauty, and straightaway married an English actress who had preceded him to the film capitol by only a week ! Although they had played simultaneously in London they had never met before. The suddenness of their marriage left his friends on both sides of the Atlantic mildly stunned. To my mind it is the tnost easily explained of all. It was, if you and Mr. Boyer will pardon my assumption, almost