FILM STARS

Evening Star, Issue 19388, 23 October 1926, Page 15

FILM STARS

POSSIBLE SUCCESSORS TO VALENTINO FAME ON THE SCREEN LUCK AND MERIT. Rudolph Valentino’s death leaves a blank in the ranks of popular film stars which, however one may speculate on the name of his successor, is actually unfillablo (says a writer in the London ‘Observer’). A screen idol is generally made by one picture, and since the picture-going public requires au attractive personality much more than brilliant acting, his or her merit is by no means commensurate with the publicity accorded to it. At least four names come tp immediately. Ricardo _ Cortez, _ Victor Varconi (a new arrival in America from Hungary), Ramon Navarro (whoso latest picture, ‘The Midshipman, proved highly popular, and whoso name was made by his initial appearance_ in ‘The Prisoner of Zencla’), and, finally, the English actor, Ivor Noyello, whoso apache role in an adaptation of ‘The Rat’ made him still more an idol of the women. Any or all of these might he said to bo capable of becoming “the Sheik lover,” but, in fact, they would all bo entirely different in method: Navarro would always be Navarro, and not a new Valentino, and the same with tho others.

LUCKY HITS

Names on tho screen can be made from a single appearance in a picture (Adolphe Menjou’s success in ‘ A Woman of Paris’ is an excellent example of this), and a name that has not been before the public for a few months can bo as easily forgotten. It may happen that a part is eminently suitable to an artist who is being given a first chance, and a new phenomenon is promptly hailed iu tho screen heavens- Valentino was made' by his part in ‘The Four Horsemen of the Apocalypse,’ just as Betty Bronson was made by the screen version of ‘ Peter Pan,’ which part suited her admirably; in other parts she has not been successful, but her name is accorded a publicity value fop as long as she keeps before tho public. BARRYMORE AND JANNINGS.

In John Barrymore we have a popular figure and a great artist combined; Barrymore is not always only Barrymore, but tho character he is setting out to interpret. There arc very few artists of equal merit who have attained equal popularity, since popularity is never measured by merit. His performance in ‘Dr Jekyli and Mr Hyde’ still remains one of tho most notable in the short annals of film history. As a contrast wo have a consummate actor like Emil Jannings, who, while tho pictures ho appears in may obtain popular applause, will never bo a personal attraction, or what ono is forced to term “ a box office attraction,” in himself. His latest picture, ‘Vaudeville,’ i.s a fine piece of_ work, and, while catering to film habitues’ tastes, is also a remarkable example of brilliant acting and screen technique, which is full of promise for tho future of pictorial entertainment.

The mention of Jannings immediately suggests tho work of Lya de Putti, tho young German actress, who gives such a brilliant interpretation of a heartless cocotto in tho same picture. Lya do Putti is certainly one of tho most outstanding screen personalities of the day, and is likely to bo as popular as she is clever—which is unusual. WOMEN STARS.

Tho curious thing is that nowadays the women stars arc never as prominent household words as tho men Mary Pickford, for example, has to a great extent lost her universal hold, while that great actress, Pauline Frederick, has had to give place to lesser luminaries, none of whom can fairly bo compared with her, owing to ago and not to any waning of popularity. A woman who could without doubt fake her place, given the chances, is Fay Compton, whose name should in tho near future bo more prominently connected with British productions.

To dwell for a moment on the big personalities of women screen artistes to-day there is Pola Negri, whoso performance iu ‘Forbidden Paradise’ was a triumph of pictorial expression, and who dominates every production she appears in, whether it be good or had; hers is the voluptuous type as opposed, to the graceful and gracious acting of Irene Rich, who expresses the lady of quality rather than tho lady of pleasure. Of the same type as Pola Negri is Gloria Swanson. Both Ore consummate actresses, but limited to ono typo —the full-blooded passionate ■women. Colleen Moore, on the other hand, is winsome and appealing in a more naive manner, and with hor can bo classed the tomboyishness of Bobe Daniels, newly return’d to popularity after a long lapse, and May M‘Avoy, a Pickford typo. CHARLIE CHAPLIN. Charles Chaplin, of course, still remains the most amazing figure in tho history of the screen. Ho was ono of the first to realise that ho was dealing with au entirely new medium, and has always worked along the lines of pictorial rather than sub-title expression. Ho is supreme still in his comedy, and. if he were allowed, would probably excel equally as a producer and actor of melodrama. Coming new comedians in Harry Langdon, who can quite fairly be termed a Crock of tho screen, and Glen Tryon, whoso first big picture, ‘ White Sheep,’ was one of the few genuine film burlesques, may conceivably be classed near, but will never rival him.

Apart from the people who havo appealed to the few by their brilliant acting abilities, such as Bernhard Goetzke, Werner Kranss, Paul Wegener, Koline, and, it must be confessed, a greater number of Continental artists than American or British, big personalities fall in recognised types. We have the gentlemanly and pleasing artistry of 'Ronald Column, and the undeniable attractions of the daring George O’Brien, who scores to a great extent in this country became he is more an English typo and a confirmed romanticist in his parts. Reginald Denny, too, is the ideal screen gentleman, and although at first restricted by the roles allotted to him, will one day he as household a name as Valentino. John Gilbert, tho hero of ‘ Tho Big Parade,’ is another extremely popular jnronfle. Tom Mix still reigns supremo in tho western drama, though closely run by Hoot Gibson, while the dare-devil feats of Richard Talmndgo in Extraordinary had plots vote him tho acknowledged favorite of “ stunt ” artists. Douglas Fairbanks is in a class bv himself, and is either liked or disliked according to taste; as an actor he is execrable, as an expression of virihty and pose excellent'. Of the coming stars, Victor M'Laglen, a South African, who has recently gone to America, ; s likely to go far. while Norma Shearer and Dorothy Gish, who has drooped the annoying gestures inculcated by Grifftbs in ber first British picture. ‘Nell Gwynn.’ which was historicallv horrible, but showed both her possibilities and the producers’, will come to the fore, regaining for her the enormous popular following which had somewhat diminished. Big names on the screen, generally speaking, are nuhllcity-mnde, and the real merit, both in entertainment and artistic endeavor, lies with those whose work and names aro kept in the bekground.