New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17
TufATRO oss HEROES. CalHvAuA


and on it, Autographed in many colors'
was the picture OF the most beautiful
woman | had ever seem Her head, with
its soft, glistening masses OF jet black
hair, was thrown back in naughty dis
dain. You were best In The Marble
Heart you with your skin like marble
and your eyes like stars. as coldly brill
liant as the diamond which sparSled on
your hand-and Carmen-words fail me
you are Carmen, You are the little
gypsy Of Sevile-you with your raven
black hair your dazzling smile and your
1.-THE. Welding body-Carmen-that most
beautiful Of all heroines portrayed by the
most beautiful woman in the world"
We looked up from the topmost Of pile
of letters that Uttered the desk of the
cosey den into the smiling eyes of "the
most beautiful woman in the world'-of
Marguerite Snow-for II was she TO whom
the unknown writer had addressed the
above lines of eternal admiration.
But you are not Carmen" we protest
ed, setting down the cup which Miss Snow
had lust handed across the little tea table
Carmen could never have made such de-
liclous tea as this And, besides
mo, not Carmen, nor the Marble
Heart either: nor Jess nor She nor
the Gagged Bird" laughed the charming
star OF the Thanhouser Company. Her
expression suddenly became somewhat
serious. "You know, while | really APP
preciate these countless letters idealizing
me as one or another OF the many char
acters | have played, | often wonder
whether these same writers would see
anything to grow eloquent over in plain
Peggy Snow"
"Plain?" we murmured into the teacup
Because, after all, would much rather
be myself than any character have ever
played" And the young actress lay back
, in her chair smiling. And let 1t be here
noted for the benefit of those unfortunates
who have never seen her that Marguerite
Shows smile is a wonderful thing.
The keynote OF Miss Shows charm as
an actress is perhaps best understood by
realizing that she is most charming when
she Is Just her natural self. In other
words. In assuming any role, whether 1t
be that OF princess or shepherdess, the
quality which makes each appealing ac-
cording to it's varying requirements IS
hers to start with. There Is no suggestion
about her of the stasiness or artinclality
almost inseparable from the average
woman whose lifework is assuming
emotions not her own Marguerite Snow
can be sweetly ingenious as THE Black
smiths Daughter" or cynically sophsti-
Gated as The Woman in the Case" de-
mure and simple hearted as Elizabeth in
.'Tannhauser," weirdly grand as "She,
or recklessy. almost insolently fascinat-
ing as Carmen-all these she can be, but
she is always most charming simply as
Peggy Snow.
"Do you believe that young girls should
aspire TO become film actresses? we
ventured, "and what are your Views on
eugenics? Are you interested in the
osophy?" We continued rapidly, land -
NO. no no." exclaimed Peggy Snow,
covering her ears. "and don't you dare
ask me about woman suffrage.
why not?" we quered, have you such
very decided views?'
That's just it," whispered Peggy. lean
ing mysteriously closer. "the awful fact
is I haven't any at all. And every one
is supposed to have views nowadays, you
know
Furthermore, one learns with surprise
and delight that Miss Snow entertains no
high flown concepts as to the mission
of motion pictures, as 10 their philosophy
or their purpose in the Modern Uplift
Movement.
She neither magnifes her work, nor
exaggerates its place in the scheme or
things These matters do not trouble her.
Has she any stage philosophy at all, 1t Is
probably expressed by Moliere's words
THE greatest OF all arts is 10 please In
doing that. one has accomplished some
thing worth while"
Miss Snow has some interesting COM
ments on the difference between the stage
and photoplay work. The latter she hnds
more interesting, though equally arduous'
"You see" she explained, there is al
WAYS something new-no doing the same
thing over and over again.
"A legitimate actor or actress, no mat
ter how talented, requires a certain
amount Of experience in playing for the
! movies before he or she can, 10 use our
vernacular. get it across the film. They
do no, realize. obvious though 1t is. that
the voice. which Is their great medium OF
expression on the stage and to which they
[ give so much attention, IS useless, nom
existent, before the moving picture ma
chine. Then, too. they miss their audi
ence-the sea OF faces which has become
part and parcel OF their performance-and
standing for the first time before the
| camera-at which, by the way they must
never look-they are invariably seized
with stage fright OF the worst kind. Well
known actors who have held vast audi
ences spellbound pose awkwsrdly for
their first moving picture and stare help
lessly at the camera: they're not even
able TO light cigarette, much less TO roll
one! or course. they generally get over H.,
and the more experience they have had
previous 10 picture work the easier II Is.