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REMARKS ON THE ACTOR 101
Italians are blessed with mimetic gifts and have a knack of expressive gestures. Incidentally, while producing The Men, a film about paraplegic veterans, director Fred Zinnemann found that people who have undergone a powerful emotional experience are particularly fit to re-enact themselves.23
As a rule, however, sustained characterization calls for professional actors. Indeed many stars are. Paradoxically enough, the over-strained non-actor tends to behave like a bad actor, whereas an actor who capitalizes on his given being may manage to appear as a candid non-actor, thus achieving a second state of innocence. He is both the player and the instrument; and the quality of this instrument— his natural self as it has grown in real life— counts as much as his talent in playing it. Think of Raimu. Aware that the screen actor depends upon the non-actor in him, a discerning film critic once said of fames Cagney that he "can coax or shove a director until a scene from a dreamy script becomes a scene from life as Cagney remembered it."24
Only few actors are able to metamorphose their own nature, including those incidental fluctuations which are the essence of cinematic life. Here Paul Muni comes to mind— not to forget Lon Chaney and Walter Huston. When watching Charles La ugh ton or Werner Krauss in different roles, one gets the feeling that they even change their height along with their parts. Instead of appearing as they are on the screen, such protean actors actually disappear in screen characters who seem to have no common denominator.