New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-22
Nv HARRIETTE UNDERHILL.

w | am? Do you know, | am act
ually working so hard don't have time
to do any shopping and | haven't a
thing in the world to wear,"
Clara Kimball Young's tone was pa
thetic, and she might have elected the
sympathy which she felt she deserved
had she not spoken from the depths OF
a gorgeous terra Gotta motor coat with
moIeskin collar and cuffs.
However, being called upon to say
something, her caller murmured plat
itude about painting the lily and beauty
unadorned.
II know what you are thinking OF
when you say beauty unadorned'; you
are thinking Of me as | appeared in
The Common Law Well, as a matter
of fact, was not nearly so unadorned
, as | appeared to be. Albert Capellanl
is a stickler for the realistic on the
screen. Real paintings, real antiques
real laces are necessary to perfect
L
to say real nudes If you have seen
the picture you will remember that
only my shoulders are shown, and yet
the illusion is perfect.
al started out to tell you how hard |
was working. am, really, all day in
! the studio, and in the evenings ! have
to motor around to the nearby towns,
( ike Newark, Hoboken and Brooklyn,
} and speak to the audiences after my
/ picture is shown. 1t sounds easy when
YOU read or the bill Miss Young will
appear in person az $3.50 tonight; but
no one realizes that have to appear at
I two or three theatres in an evening. !
never know what | am going to say to
them, either. i rush on the stage
breathless, usually, from having been
shot from Brooklyn to Newark in
twenty minutes or so, and say anything
that comes into my head. They don't
care what you say. 1t is what you
look like-what color your hair is
how tall you are-how you are dressed
and how old you are that interests an
audience. 1t is great pleasure to APP
pear in person at the different theatres,
because they always are so delighted
to see me. 1t is the old story Of What
made the lamb love Mary so? Cause
Mary loved the lamb, you know.
Every one asks me which | prefer
the stage or the moving pictures, and
i. is difficult to answer. They differ
so radically. at least the work does
that there is no comparison. An act
rcss in the spoken drama has the pleas
ure of meeting the other members OF
the company, the excitement of hearing
the overture and the incentive to work
which comes from the audience which
sits in judgment.
ain the moving pictures it is quite
different. II is simply hard work and
no excitement. Many Of a stars scenes
ale played alone or with just one other
person, there is the cold. bare studio
facing you. the prosaic light OF day
and the only applause is the click OF
the camera, which reminds you all the
time that what you are doing is being
recorded is irrevocable. One false
move and it is there for good and all
There can be no improvement on tho
morrow. You never know whether you
have done we'll or i'll until you SEQ
the picture, and think few moving
picture actresses are satisfied with
their own work. They always ar,
hoping that the new picture will bs
better than all the others. In thc
studio is erected a great sign, which
reads, BE natural That is, indeed, the
secret Of success.
II never liked any part better thar
liked my first picture. 1t was THE
Little Minister was with the Vita.
graph then.
at is quite jump from The Com
mon Law TO The Foolish Virgin,
which ! am making now. Mr.. Capel'
Iani made the play from the book, and
he has followed the story very closely
II am country schoolms'am, and
have nearly one hundred Riddles "a
instruct The scene is laid on the
East Side and we get our embryonic
actors and actresses from the high
ways and by-ways. No need 70