Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-01-05
MicrOphOnes Making -,
Robots of Movie Stars
BY JESSIE HENDERSON.

HOLLYWOOD, Calf, January A.
Bouncing steps and stir necks fill
Hollywood. You see them on the boule-
wards, round about the movie lots, and
whenever you see them you know you
are looking at movie actors. It's the
microphone walk, and it is also the
microphone neck.
Robot actors are the goal toward
which the Speakies unwittingly-some
unsympathetic, say half wittedly-
move. A robot Is q mechanical con-
trivance which, when set in motion
initiates the actions Of q human being
but deceives nobody. When the movies
were seen but not heard, an actor acted.
Now he regulates his emotions so that
the mike" will get him, for II the
mike" doesn't get him the director will.
Suffering from mechanical oVerefh-
cheney, the movies at this juncture are
cast as the parents Of q child phe-
nom, named Mike. They know that
Mikes aunties are lucrative; they feel
that he will be q great comfort to his
folks in their old age, but they perceive
with trepidation that Mike Is hastily
Self-assertive and hard to control. There
are even times when they can't tell
whether Mike is genius or cuckoo. Art
for the love mike" Is the rule, and the
condition is serious, because If IL isn't
remedied it will react upon-art. Yes,
and the box ONCE.
= Il +
It Is perfectly true, of course, that the
speakies have knocked the theaters Of
New York, and everywhere else, for a
row of ash cans, as the peasantry puts
it. Every one In Hollywood, in the
movies or out, tells you that. But not
every one in Hollywood is astute or can
did enough to express the belief that
the eclipse of the legitimate theater is
only temporary. as Jeanette MacDon-
aid, star of musical comedy and Of
musical Speakies, expressed it today.
And few, indeed. there are who admit,
as Richard Arlen admitted only to-
day, that in some ways the talkies de-
feat their own purpose, which Is, sup
posedly. to give dramatic productions
upon the screen.
In the opinion Of these two, who
know the situation thoroughly from all
angles, there will always be movies;
but, contrary to what some experts
have been telling us lately. there will
also always be the legitimate theater.
And unless something or other can be
done about Mike, the legitimate the
would surprise you. Neither Of these
stars was in a mood of disgruntlement,
either, in stating these views.
"a microphone has to be extremely
sensitive" said Richard Arlen, who Is
both a movie star and q college gradu-
ate. And. personally, I don't see what
can be done about that point. In fact
think that the difficulties will get
worse as the mike gets better. The
more sensitive the mike becomes the
more careful the actor will have to be
to curb his dramatic action, so that it
won't wreck the mike or take place out
side the mikes range.
For example, today the picture ac-
tor is obliged to think of so many
things besides his acting that some
times when 1t comes to an emotional
scene he's forgotten everything but the
fact that II he walks on his heels 1t will
sound like the German army coming
down the street. Such a recollection
doesn't make for emotional acting. AS
a matter of fact. 1t may make for a
walk so cautious that it's funny"
Mr.. Arlen illustrated by lettering
across the floor Of his dressing room
bungalow.
well, so then the scene has to be
shot all over again." he continued. "and
by the time 1t has been shot on 10 oc-
casions. because somebody has walked
hard or funny. the dramatic pep on the
part of the cast is likely to be all shot,
too. I've seen pictures which ought to
have been full of sparkle. but weren't,
and I've heard the audience say that
so-and-so was slipping. But I know
that so-and-so was merely tired out
from having gone through the same
scene dozen Atmes. Art ought to be