The Washington times., 1925-09-21

Cecil de Mile explains this in
an interesting way.
Where a story requires but
one hero and one heroine" he
states, scores of people are
needed to provide an adequate
background Of convincing human
realities. Without words, the
movies must tell their story either
in action or human appearance.
When we have a banking or
business scene we Qeed no ex-
tended subtitle We simply use
several gentlemen who make
comfortable living going from
studio to studio merchandising
their appearance of wealth and
responsibilities Take a scene
where costly auto runs down
child of the tenements. What
would we do without the type of
the bag who rushes into the
center of things, shaking her fist
and denouncing the driver, who
can be either the\hero or the
villain? Yes, indeed, If I were
starting in pictures l would pre-
fer good case of st. Vitus' dance
to perfect Grec1an profile. The
affliction is much more salable!"
For ten years she has been
in pictures. She has never been
featured" never starred, never
the possessor of four.figure sal
airy, and yet ugly Mary" En-
mons has a comfortable home
and a pleasing bank account, all
due to misshapen cheeks, straggly
hair and deep-set eyes. ugly
Mary could break her set of
mirrors-but no one finds her
rushing to have her face lifted"
No sir-that remarkable map"
of hers is just exactly like cash
in the bank.
On the set of THE Road to Yes
terdayH the other day ] saw
Dick Sutherland, a Gargantuan
30O-pounder, inexpressibly vicious
OF appearance, whose fingers, for
instance, are so huge that he can
not pick up a dime. Dick, for
mer travelling salesman with ten
happy married years to his credit,
scared the natives with his fero-
cious tramp in Grandma Boy"
and since then has found regular
and lucrative work. lending to the
screen the horror-provoking quail
ties of his immense head and
body. !, And yet Dicks hobby is
raising Angoras.
The BARRIERS have permanently
lost one customer In Professor
Tollaire, formerly of the faculty
of the University of Vienna,
Austria. Tollaire possesses a con-
tinental spade beard, and he now
pays his gas bill with prompt
regularity as a result of the de-
mand for his services to add a
touch of authentic color to scenes
at Biarritz, Monte Carlo, &c.
Then there is Joe Murphy, who
has made an exceedingly nice
thing out of his six feet four
inches and almost total lack of
the usual chin!
''Broken-Nose' Murphy used to
be a prizefighter, but pshaw!
With flattened out proboscis like
his why be b3hered with the
prize ring when the clicking
cameras offer a much easier pros
pect2
WhetherA. Lane was a steve
dore or a truck driver no one
seems to know; because he is re-
ported to have the biggest should
ers in America, Griffith, De
Mile, Won Stroheim, Julian, Hale
and other directors keep his phone
constantly in a tinkling uproar.
Andy Smith was an elder in his
Presbyterian Church back in Ohio,
and his morals are exemplary; but
in appearance he is so typicallv
shaken by nervous tremors that
he hasn't had u vacation In over
three years.
And we mustn't forget mann
my" Peters, colored-she of tho
immense. feet. How nanny has
since blessed the Lord who gave
her pedal extremities twice the
usual size.
In talking to directors, actors.
casting directors, one can find
echoed everywhere the senti-
ment OF Cecil De Mile: Good
looks are a 40-to-1 gamble in mo-
ton pictures, but a cauliflower
ear spells a steady job"
So, folks with cinema ambitions,
take a tip from James Cruze,
Cecil De Mile ct al, and mako
that red nose or those big ears
pay dividends.
Out of the beauties may come
an occasional Swanson or Leatrice
JOY, but where one pretty girl or
handsome man succeeds thousands
fail. For the real plutocratS of