Evening star., 1924-02-15

goat, insists on an alteration In the
type Of heroine She becomes "Hilde-
garde. the girl with a punch" After
this everybody thinks up SO much
the road that. Of course. he never
gets to school at all. He probably
lands at Coney Island, or. better still,
in the lobby Of q fashionable hotel.
OF one thing at least you may be
certain-the terminus Will be some
her latest Paris gowns and wraps.
II / had really submitted Mary
Had a Little Lamb" to some Of my
stars ! think 1t would have been ac-
cepted more readily than many more
mature dramas For Mary was very
which the average screen performer
insists it is a youthful part. In real
life SHE herself may be the mother of
an eighteenyear- -old girl. No matter!
On the screen she must appear teen
full"
connection with Pauline Frederick.
, She had read a story in which she
was very anxious to. appear. The
heroine Of that story was q girl in
| her teens. Mr.. Lehr had a long talk
with her in which. as gently and
automatically as was possible. he
pointed out that such an extremely
youthful role would accentuate rather
than diminish the discrepancy be-
| tween her own age-not that this was
formidable-and that Of the screen
fallen at first. Then. with very
, sweet smile, she yielded.
'Ah. WELL" she sighed, II suppose
you're right"
One Of the most amusing bases of
| rivalry in my studio was that Of or
chestral accompaniment. word Of
| explanation is required at this point.
When Miss Farrar first came to make
pictures for the Lasky company we
provided a small orchestra for her
inspiration on the set. This unprece.
dented luxury, now an almost uni
versal feature behind the screen. was
| thereupon exacted by other perform
| ers. Furthermore. some Of them did
very accurate bookkeeping on the
! subject.
| One day Pauline came to me with a
very injured expression. I'm not
pleased" announced she.
/ believe / managed to act as II
| were meeting an entirely fresh situa-
ton. We'll. WELL" asked I. whats the
| trouble now?"
"Why, it's this: How can you ex-
| pect me to do my best work. ask
you-how can you expect it7 I have
| only one violin--one poor little vio-
| lin"
but. Miss Frederick" interrupted
| her. you had no music at all while
you were with Zukor. How about
| that? Yet you We're doing your best
work there"
She reflected for a moment. and l
saw then that / had not reached the
| root of the matter. This was quite
| evidently the fact that Geraldine Far
| rar had two or three violins. 1 tried
to point out that the latter'S operate
! tradition demanded this excess of
/ string stimulation, but l was not sue
cessful. The number Of pieces each
actress should have became, in fact,
one of those absurd bones Of conten-
! tion on which 1, as a producer, was
! compelled to throw away much vital
energy. Finally my studio became a
/ three-ring band. When ! entered II
In the morning l wandered from the
| jazz selections which were toning up
Mabel Normaud's comedy to the realm
| where sad waltzes deepened Paul ne
| Fredericks emotional fervor. The
circle was surrounded by the classic
| themes Unfolding Geraldine Farrar.
] 1t was hardly strange that outsiders
used to gather every day to share in
these free airs.
When not guarding her studio
rights Miss Frederick is the most de-
| lightful Of women. 1 have told in a
previous chapter Of her gift of get
ting along with only a few hours
sleep. This same vitality sparkies in
| every look of her eyes, in every SEN
| tence she utterS. 1t leads her to a
deep interest in literature-she is one