DANCING FOR THE FILMS.

Star (Christchurch), Issue 17350, 15 May 1924, Page 11

DANCING FOR THE FILMS.

MISS MONTGOMERY IN “ WOMAN TO WOMAN.”

It is rather a remarkable coincidence that at the time that the motion pici ture “Woman to Woman ’ is being ! screened in Christchurch Miss Iris ; Montgomery, who made important corn- ; tributions to the dancing features of : ' the film, should be here. Miss Mont | gomerv has recentiy returned to New Zealand after having studied dancing under Espinosa. ‘‘ Woman to Woman is the only motion picture in which she has appeared. Miss Montgomery, as she is quick to emphasise, is a dancer and not an actress, and it is because of the wonderful dancing scenes in ” Woman to Woman” that her services were called upon in its^production. All the ballets and ensembles in the film were arranged by Espinosa, who chose, for the work the most capable of his pupils. The picture was “ shot ” in Paris and London, and it was in Paris that Miss Betty Compson learned her dancing from the famous master. Miss Montgomery saw much of Miss Compson during,the filming of the picture, and described the film star as a most charming girl of twenty-five. When Miss Compson was nineteen, she says, she was penniless and her mother took in lodgers. She gained her start in motion pictures through the usual channel of light cornedv parts. The standard of dancing in the picture makes it unique. In addition to arranging the dancing, Espinosa himself chose the dresses, over the beauties of which Miss Montgomery is still able to entjiuse. Tt did not take Miss Montgomery long to find out that the making of pictures is mostly hard work. One slight episode in the dance occupied her from nine o'clock in the morning till late in the afternoon. “ I would not like to try to calculate,” she said. “ how long, they kept us lying on the floor!” Every phase of the big dancing scenes was given the most meticulous care. The “ customers ” in the restaurant scene gave the producers much trouble and so added to the cares of those responsible for the more important part of the wOrk. The make believe eating had something of irony in it too, for Miss Montgomery recals that work was 'started that morning (it was Sunday) at Islington at nine o’clock and was continued throughout the day. “I managed to get something to eat about.half past three,” she said, “ and I was lucky.” The cost of producing such a picture was indicated when Miss Montgomery when she remarked that Miss Compsou was paid a salary of £I2OO a week. Even the supers who “ate” in the restaurant were paid a guinea, a day. “ But it is not all joking.” she said. The work is very hard.’’ This was particularly the case with the dancers, who had a very exacting role to fulfil and whose work had to come up to the high standard demanded by Espinosa. But there were compensations. Miss Montgomery took a delight in the dancing, for. to her, dancing in the highest phase of its scientific expression forms a big part of life. She talks charmingly of her art of dancing and of famous people who dance, for she knows most of them and understands their art. Among her prized possessions is her certificate |rom the Association of Operatic Dancing of Great Britain, an institution founded by Genee, whose signature as president appears on the certificate above that of other fam- . ous dancing people, including Espinosa . Genee's' aim in founding the associa- , tion was to endeavour to raise the , standard of the teaching of dancing. To Miss Montgomery her appearance in the picture “Woman to Woman” was [ just an interesting episode in her career as a dancer. It's high-class bal- ! let work was suited to her great dancing talent. Also, it enabled her to meet some very interesting people and to leant much of the- inside of the motion picture business. If she had > any illusions before she started she quickly lost them. Of the dancing, however, she entertained £o illusions. She loved the work, despite the arduous character which picture making lent to it. for she has for her art all i the- enthusiasm of the artist. Dancing, ■ for her, will never grow arduous.