Screenland (May-Oct 1936)

70 SCREENLAND English language well enough yet. Someday I hope to own one of the finest libraries in the world. I love good books with a passion. The outside world does not exist for me, when I am able to lose myself in reading. As we sat there talking, I wondered why others had complained about Boyer being a dull conversationalist. In the last five minutes he had discussed his books; his great admiration for Guitry, the famous French actor ; his sincere interest in creating new things for the screen; his aversion to talking about personal things that have no bearing on his acting career ; his admitting that the American fan magazines were influencing the European magazines, by making them interested in the private lives of the stars ; the importance he gives sincere friendships and how he thinks they should be cherished; the untrue rumor that his wife Pat Paterson is "expecting," and then we got on the subject of Clark Gable. Before our conversation switched over to Clark, I came right out and asked Boyer why some people think him dull. I cited the case of a certain blonde star, who sat next to him all evening at a dinner party. Afterwards she remarked that he didn't have a word to say to her. (Being a gentleman I omitted the blonde's name, because she'll probably turn out to be his next leading lady). "Perhaps," said Boyer, "the lady didn't have a zvord to say to me !" "I think Clark Gable is to be greatly admired," said Boyer next. "There are not many actors who could remain as unspoiled in the face of such great popularity. I remember the first time I saw Clark on the M-G-M lot. I did not know his name then, but he was playing a milkman in a picture with Constance Bennett. I had enjoyed a nice success on the Parisian stage for fifteen years. When M-G-M decided to make foreign versions, they signed me and brought me over. I did the French versions of 'The Big House' and 'The Trial of Mary Dugan.' I was perfectly happy as I was doing the work I had been hired for. "I took a trip back to France. In the meantime they decided against making foreign versions. None of Clark Gable's pictures had been released in Europe yet, but everyone was talking about the unknown actor, who had scored such a great success. I came back to Hollywood to finish out my contract. To my surprise, I discovered who Clark Gable was. It is almost unbelievable that a career can go so fast. Clark Gable is an example of how an actor can climb and yet remain true to himself. "It really was not the studio's fault that they had no pictures for me, as I had been hired to speak in French. They promised me the leads in 'Letty Lynton,' 'Grand Hotel,' and 'As You Desire Me.' My hopes were renewed until they decided against my accent. It was an awful feeling after my success in Europe, suddenly to find myself unwanted. "When they made 'Red Headed Woman,' I was given the small role of the chauffeur. I didn't mind that so much; I knew my lack of familiarity with the English language stood in my way. But it would be very embarrassing for me in Paris, where I was known as a star. I went to Mr. Thalberg and told him my story. He kindly promised that this picture would never be shown in my own country. "Something happened during the making of that picture that I shall always remember. Naturally, at the time I never expected to be a Hollywood star. I don't think I am one to lose my head, but it is hard to say The Truth About Boyer Continued from page 26 what one would do until he is put to the test. Besides as I said before, I had my fifteen years of experience behind me. "Mr. Conway, the director, gave me a scene to do, in which I was supposed to open a door and say a few lines. Because I was around strange people and realized my English was poor, I looked down at the floor, as I fumbled with the door-knob. " 'Mr. Boyer,' said Mr. Conway, not very quietly and not too kindly, 'don't you know how to open a door? And when you talk to people, can't you look them in the eye?' "It isn't very important now, but it was then. I couldn't tell him I had been opening doors for fifteen years. I couldn't insist that I was an experienced actor, because there was no way I could prove it. That little incident taught me a very good lesson. I don't say my head would have been turned now, if it hadn't happened. But since my luck has changed here, people who never even spoke to me, go out of their way to be nice. It's such definite proof of how shallow fame can be. Fatal charm's cause and effect, are illustrated by Mary Ellis and Walter Pidgeon for us here. "When I finished my M-G-M contract I went back to France for three years. Mr. Sheehan signed me for Fox and I was brought out again. This time I was brought out as a star. They knew who I was and what I could do. I am not a dancer and not the type to have my hair curled. They insisted that I play such a role and I rebelled. After seeing myself in that picture, I went to the front office. I had worked nine weeks. My contract guaranteed that they pay me for twenty-two weeks' work. I gave them back the money that was rightfully mine, in order to be free. "My present arrangement with Walter Wanger is a pleasant one. I have six months out of every year to go back to Europe, or wherever I please. I feel it is absolutely necessary for an actor _ to get away, if he hopes to create new things. In Hollywood one hears nothing but pictures. If you go out socially, you see picture people and talk picture screen we have to por erchants, thieves. How ca people if we never coi them? Acting is taking out of life and applying what you have already put into it. A person must reach out for life and accept every experience. "With the exception of Leslie Howard, Paul Muni, and Charles Laughton, most actors sound alike. They do not read lines the way the character would read them. They read them their way, because it is the only way they know. Unless the actor happens to be a friend, you can go to a show, close your eyes and the same lines can be read again and again by different persons. You'll never know the difference. Even the man in a service station will look at you and in the same tone of voice, say something like, 'You sure were swell in your last picture !' That same sentence in real life or on the screen could be said to make a dozen different meanings. Naturally, the service station man has no ulterior motive. But an actor must be prepared to say or do anything and make it believable. That's why I feel that I must get away from Hollywood part of the year, if I ever expect to keep a fresh perspective !" Charles Boyer confided that he feels his best work is yet to come, when he is more familiar with the English language. Because he is not capable of using words and giving them different meanings by intonation or inflection, he must rely on the director and sort of repeat them in poll-parrot fashion. He feels that when he learns to use the English language spontaneously, then he can depend upon his own emotion to give it true value. Don't be confused that Boyer speaks bad English. His use is perfect, but his pronunciation is not what he would have it. Incidentally, during a conversation, when he stumbles across a word, he has a flattering little way of asking you to help him out. At all times when he talks to you, his eyes never leave your face. They have a decided twinkle that is not necessarily caused by merriment or a sense of humor. Boyer reflects a certain zest for life that comes out in his conversation. He is one of the few foreign actors who lacks an obvious aggressive quality. Yet, you are conscious of a certain smouldering feeling of importance. He has a gentlemanly way of keeping it to himself and not forcing it on others. Just before we entered the drawing room, I asked Charles Boyer about Maurice Chevalier. I knew he had been very unhappy when he left Hollywood and greatly misunderstood by those who came in contact with him. Francis Lederer had often spoken of his great admiration for Chevalier and what a loss his talent was to the American screen. "Maurice Chevalier is very happy and very successful in Paris," said Boyer. "He really is an artist, a sincere person, and makes no pretense of every being anything but what he is. He is an extremely shy person and therefore made enemies when he wanted to make friends. He had a great capacity for friendship and was terribly hurt when those who professed great friendship for him, were too busy leading the Hollywood life to spare him a few moments." As a rule, when a person writes about a handsome star, who has a mellowed voice that makes the ladies swoon, who makes love as only a European can make it — the word "charming" comes in at least once during the story. I hope <">>^"-1pq Rover doesn't mind. I do think he's I'd much rather say I knot ie's grand guy.