The Birmingham age-herald., 1912-03-24

There are, of course. skeptical people in every audience who believe that everything on the screen Is faked.' AS I a matter of fact, acting for the motion picture Is many times painfully realistic, and Is done in the out Of doors, amid rugged and sometimes, dangerous sur Iroundings. They are full of realism
 sometimes involving serious injury to | the actors It requires considerable | courage 10 pose in some of the Wild | west, Indian pictures, battle scenes or ICivil war days, rescue from drowning or burning building dravnas And It re auires acting," finished Miss Crozier 1 lconclusively
 1 Don't you think it requires, rath- CT, attractiveness of r.erson or, we'll 1 say type instead of scting?'
 1 Tt requires a great many things Miss Crozier said, that are not neces- sary for the actor in the 'legitimates drama. He relies chiefly on personal magnetism and a pleasing voice. When an applicant appears before moving picture director he is asked among other things, Can you swim, dance, skate on Ice and rollers, row boat, run an automobile? Have you license as a chauffeur? Can you ride well, both English and wild west fashion, Soon | he will be asked if he is an accomp- llished aviator, since this will be neces- sary in case he is called upon to fly with the heroine. Indeed. 1t does re- ouire more than the ability to make faces before a moving picture camera,
 Miss Crozier added with force. Intel | ligence and a deal of cleVerness are needed Some of the actors are partic- Iularly fitted to certain roles Take Florence Turney, for instance. She l Is essentially a woman of the world. Her presentation of any phase of a mon daine'e life she gives with the finish and elegance of woman who is ac- customed to societys usages l recall lher interpretation of the passions In the picture. The Discarded Favorite,' which we produced here several weeks Iago. DO you remember it2 The story ran the gamut of all the emotions nat ural to a woman who has been cast aside. The sketch was soIus. World Hess and singly her changing express
 sion told the whole tragic story. MT. Coleman, the manager of the Princess. whom l regard as an expert on the film drama says that the very highest point in the power of the motion picture is lreached fin that marvellous descriptive
 sketch. DO you think 1t does not re- ouire skill extraordinary talent, in- deed, to present thing like that? Sarah Bernhardt you know, IS posing for the lmotfon picture. Ii iss in this way, she says that4she expects 70 gain her im-
 mortality: that she believes in the mo- ton picture because one IS not apt 10 ,haye her best efforts spoiled by the fault of other poor actors. Her point is that II one who can really act has no need of the spoken word.
 "There are, Of course, few celebrities
 in this country remarked Miss Crozier,
 "who have as yet, allied themselves
 with the camera man, though there are Ialreadv such stars as Nat C. Goodwin. Mabel Taliaferro, Mckee Rankin. Mary Fuller, Mildred Hollanc Charles Kent, Sydney Booth and several others.
 But take the story of 'Arrah ma
 Popue.' that lovely Irish drama. It re- Iouired skill and cleverness, too. for Jane Gauntier to portray the heroine's deeds lin that. DO you recall that thrilling lride, when she and the gallant officer each started on the ride for the life of
 a prisoner-her decision to take short land perilous turn straight across m
 stead of around the road, her wild
 scramble up precipices which seemed to promise certain death. the valiant
 feats which led her on to hnal sue lcess? Do you remember how the audi
 ence, an indifferent. mo-ing picture au- dience, was lifted out Of itself and in-
 voluntarily applauded when that brave girl scrambled up the cliff? Sine IS
 a clever actori l tell you, the maker of 1.-the picture drama must have nine lives. like a cat and always alight on his feet
 when he falls. But he must be versatile
 above everything else"
 From Miss Crozier one gets the real Tart" side of the picture show. She
 helps one. not only to see its education