FAMILIAR FACES

Wanganui Chronicle, Volume 77, Issue 82, 7 April 1934, Page 14

FAMILIAR FACES

SMALL-PART PLAYERS. RISE OF ALINE MacMAHOX. Aline MacMahon has been made S star. She will be remembered as War--1 ren William’s tall, laconic secretary in I “The Mouthpiece,” the elocution (teacher in “Once in a Lifetime,” the loyal, inarticulate wife in “The Silver (Dollar,” and comedienne in “ Goid- | diggers of 1933.” Now she is to appear as a garage proprietress In “Heat Lightning,” based ou the play that had a successful run on Broadway. The news will not excite many people. Miss MacMahon is no glamour 'girl; few hearts beat faster wnen her cynionl countenance is Cashed upon the screen. But her promotion is not without its importance for all that. Miss MacMahon’s best friend could not tell her she is beautiful, which is what counts most with people in their teens; her restraint, subtlety and unsurpassed ability to put over a line are also qualities relished mainly by niaturer palates. In other words, her elevation to stardom is another sign that the screen

public is growing up. But undoubtedly more and motw people are coming to appreciate good acting, and one day we shall see mure money and more credit given to the supporting people who make poor stories good and good stories brilhauv by acting better than the stars. Miss MacMahon is a notable case. Frank McHugh, who was with her in “One Way Passage,” is another. Like her, ho is what the profession calls a “pic-ture-stealer.” A story is written or adapted to fit this star or that, the camera is focussed on him, the director lavishes on him all his resources and tricks; and Mr. McHugh, with a few casual words and a drunken laugh, walks off with the scene and possibly the picture. Jack Oakic is anothei. Paramount once tried to star Mr. Oakie, without success. Apparently they found that while people likec watching him in supporting roles, hit name in electric lights meant little al the box-office.

Did you see “State Fair”! Then you will have no difficulty in remem boring the side show “barker” whose

business was interrupted so disastrously by the young farmer. His name was Victor Jory. He had just a minute, but it made him a star. Edward Everett Horton—there is a gifted picturc-stealer, with his knack of making trivial parts stand out by sheer timing and nervous vitality. Kenneth Kove, though of a very different type has some of the same ability to make flat lines sound funny. And, of course, Nod Sparks, he of the poker face and discouraged voice, is a master. Did you see “City Street”! If you did you must remember the smiling gangster who was sadly worried about his canary as he went out to shoot a rival dead. That was Guy Habben, and a beautifully sinister performance he gave. Nowadays he is condemned to play rather fatuous old philanderers, but he seized a chance, as tho pool room professor, in Capra’s “Lady for a Day.” That is the remarkable thing about American films—their limitless supply of gifted character players, and it accounts as much as anything else for their success. C. Henry Gordon, Johu Halliday, Wallace Ford, Stuart Erwin, Dudley Digges, Warren Hymer, Skeets Gallagher, Henry Annetta, J. Carrol Naish (who once played with Gauy Dcslys and is now generally •' gangster), Eugene Pallctte, Allen Jenkins, Nat Pendleton, Zasu Pitts, Warner (Hand. Mary Boland, Gregory Ratoff, May Robson, Charles Ruggles, and, of course, the prince of them, Lewis Stone—these are just a few of the players who, in a less spectacular way, have done as much for Hollywood as