Judge — November 2, 1918 — page 22: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

> fa — a eZ HERE is always an appealing glamor about an artist as a play hero—provided the character is convincingly drawn. Leo Dit- richstein, our indefatigable artist portrayer, discovered this a number of years ago when he appeared as the fascinating pianist in “The Con- cert.” Later, after a spell of mild phantom-rivalry, he had another sizeable success as Jean Paurel, opera singer, officially known as“ The Great Lov rer”; and now, after last year’s dip into royalty, he is “The Matinee Hero” who yearns to edwinbooth “To be or not to be.” These types of artist have been entertainingly romantic, but it remained for Willie Collier to give us the artist at lyin Mr. Collier’s development as a prevarica- tion virtuoso has been gradual. When last he was among us we witnessed with approbation his veracity achievement in “ Noth- ing But the Truth.” At the end of that play, you remember, when he had won his bet by rigorously refraining from even polite fibs for a period of twenty- four hours in the face of the most grucling circumstances that farce can conjure up—after the strain of this awful ordeal he relaxes into lying more liberally than ever. Well, his new play, “Nothing But Li starts where the other left off. The reaction from truthfulness is most thorough. There is nothing hesitant or halting about his fictions, nothing of the “Well, you see, dear . . . of the pusband in-wrong which is the basis of most farce. No; he prevaricates with charm and éclat. It is interesting to ask oneself why one is amused by and even drawn toward so wanton a liar. Probably it is because, like Charlie Chaplin, Willie Collier has the courage of his carelessness. When you or I pass on the street a solemn gazook whose bellying white waistcoat invites a sportive kick, do we kick? No. Browbeaten by mere civilization, we . ee Photo Variations on Veracity: oa tye, Jeanne Eagels, 4 promising young orphan in Daddies in Ideal Husband.” By Lawton Mackall look, think, then snub that inner prompting. But Charlie kicks—beautifully. He represents our timid impulses given a chance. In him the most cringing of us is master of his feet. And, similarly, it gratifies and avenges us to see Willie Collier play pranks on that strait-laced old shrew Truth, who has long been disagreeable to us. Another eminent artist of the Ananias Academy is old Bill Jones in“ Lightnin’.” This shiftless yet lovable loafer is ready on all occasions to claim remarkable achievements and go everybody present one better. wi hen surveying is mentioned, he remarks, “I was a civil engineer once.” When a point of law is at issue, he observes, “I was a judge once.” When the lovers engaged, his comment is, “I fixed When mining is alluded to, it’s, “I came out here in '49"; and as for the Civil War, was the first man tenlist.”” You know he is lying; but it is inspiring to see an old character like that make such fabulous assertions without batting an eye. Lightnin’ Bill’s prevaricatory sins and those of Willie Collier are forgiven gladly because they are in- offensive. Neither of these worthies lies from greed or Machiavellian cunning Bill, a good-for-little, plays at being im- portant; Willie, anxious to have everybody: happy, carries politeness to the extreme of telling people only what they would most like to hear. If this be heinous, we hate to think what will be the reward of editors! For itis a lament- able fact that persons in charge of magazines which go into homes throughout the nation are not over-punctilious about the veracity of what they publish. Surely this should be changed. Each item in print ought to be accompanied by an affidavit of authenticity. But, alas, even some of the anecdotes and brief histories set before trusting readers in this very copy of JUDGE are tinged with untruth! Ks v comicbooks.com