Evening star. [volume] (Washington, D.C.) 1854-1972, 1916-03-12

Washington wholly distinct
from the humorous utterances
so characteristic of his stage
personality. During the course OF a
luncheon. given. in his honor at the
Commercial Club, Mr. Mann reverted 10
that topic which lies so close to the M
terest of every one associated with the
treater, the moving picture. Mr.. Mann
attitude toward the screen theater is
frankly disappearing. In the course OF
his remarks Mr.. Mann said:
Lest ] appear immodest. I refrain
from stating the vast sums that nave
been offered me to pose in moving PIC
lures have burned all my bridges
behind me. and state unequiNocaiIy that
shall never appear upon the screen IN
motion picture play.
such is my sense of the ideals of the
theater that if you want to see me you
must come to a regularly consecrated
temple dedicated to TheSpiS. for l shall
naNer never appear in play upon the
screen"
A player of Mr.. Mann's attainments
can make his own conditions to large
degree His theatrical public awaits
him, and while his ethical ideas are ex-
acting. he does not. while seeking ele-
does not persist in forcing himself into
lines of impersonation which would
surprise the public that has been &C
customed to enjoy particular phases of
hrs taIents-talents which his more or
lees informal appearances as racon-
teur show to he even more versatile
tKan he is usually given credit for. Mr..
Mann has not only the artistic temper
ament which invites Indifference to
sordid gain, but the security of position
THAT permits him to assume an indie
pendent attitude. In addition TO these
things Mr.. Mann has nerve.
The introduction to Mr.. Mann's speech
brought to attention the fact that Wash
ilgton public life and the theater have a
close bond of association. Representa-
tEe Kahn of California as he delivered
the customary preliminary remarks re-
fdrred to his own early association with
TIE drama and brought out the fact
that he and Mr.. Mann had played to-
gether in association with some of the
MOST distinguished players the Ameri-
can stage can boast. Not only We're
Mr.. Kahn and Mr.. Mann associates be-
hind the footlights. but they had been
bbyhood friends in San Francisco. Mr..
1ahn's early experience in classic
defamation has been of evident value
I'd him in the employment of the spoken
word for the discussion of public af
fairs. Had he not become politician.
he might today be great actor. But
id is doubtful whether Mr.. Mann, with
Ia of
al circumstances, would ever have made
q, politician.
The attitude of the player toward the
picture screen is interesting. 1t is sell
dbm affectionate. 1t is often cynical A
player of legitimate reputation often
approaches a picture engagement in a
spirit of condescension and finds him
self at a disadvantage, face to face
With new technique. thoroughly exact
Ing and quite apart from the expert
ehce which has led him to depend on the
charm of voice and that mysterious.
thing called personal magnetism. On the
other hand one whose success on the
speaking stage has been but moderate
or even wholly negligible may flash
the films. The pictures derive peculiar
benefit from the complete neglect into
which the art of pantomime had pre-
viously fallen. The movie is pantomime
plus. and the process of specialization
will no doubt give the opponents of
tie screen drama an artistic considera-
ton which in the present chaos of
regulations and newly developed talents
Is not commonly accorded the movie
star by those who regard public amuse-
naercial proposition.
~
Gommercialism has it's idealistic and
romantic side. Current fiction has been
largely based on the career of the
honest and courageous youth who grew
up to be good business man. Heart
ipterest there must be. but it is just as
easy to make love among the aromas of
a delicatessen shop or amid the sound
of factory activities, as in the perfumes
Of an old ia shioned conservatory with
an orchestra behind the palms Miss
Barrymore Mrs. McChesney" and
Louis Mann's The Bubble are both
plays of the modern commercial type
brisk, modern and healthful, in relief
from the exaggerated emotionalism
which has threatened TO subordinate
sane, straightforward acting to neu-
rotic demonstration.
PHILANDER JOHNSON