Photoplay Magazine Cover — page 41: what you’re looking at

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

For New Faces play-Goldwyn Screen Opportunity — for filmable girls E. McINTYRE The screen authority walked on Fifth Avenue for hours watching the crowds. In this story he tells you the results of this practi- eal search for the motion pic- ture actresses of the future about film requirements as any man in the Goldwyn Pictures Corporation, he has them, and put them in pictures where they exercise their abilities» He tutes a screen face; whether a girl will Melntyre was commissioned by Samuel wyn film forces, to visit Manhattan and It was to be a real, almost house-to-house In this story, Mr. McIntyre tells you the actual insight into the essentials of film of the men chiefly concerned in the Photo- help to pass upon all entrants because his importance in this search for new types nows, as Goldwyn photoplay; and incidentally to keep an eye open for other screen possibilities. My conclusion is that the winner in the Screen Opportunity is going to be a girl from a small town. A girl who was born and brought up in a small town; a girl who has never been away from a small town. That’s the girl who will have the necessary sincerity, the earnestness, the wholesomeness, the de- termination. Her sister, who got restless at home, and went to the city, to seek her fortune there, is by this time a little tired, a little disillusioned. She may even be cynical. She has seen perhaps too much of the seamy side of life, and it has given a droop to her mouth and a lack-lustre look to her eyes. Whether she is successful or not, she has become imbued with New York- itis: she would probably not be content with any other exist- ence, but she is not enthusiastic about her own. casting director's office, at any film studio, all waiting to give them parts to play in pictures. The Photoplay- portunity eliminates the necessity for standing in line She would screen just like that. The little girl at home, the seventeen-to-twenty-two-year-old girl, with her fresh out- look, her enthusiasm, her undulled emotions, her bright, wholesome, I-am-willing-to-work-and-to-learn quality, has ten times more promise. She will work, she will fight, for success. She will not expect or demand sudden fame and fortune. She will take direction. One of the most famous beauties in Manhattan came to see me while I was east in my quest. I had seriously considered offering her a contract. but first 1 asked her her terms. “Well,” she said, “I might consider a contract for a year, to make four pictures, once as a lead, to be starred in the rest. I shall also expect ‘—and she named an exorbitant sum. a personal maid, and otheritems. That girl didn’t pet the job Another thing: this small town girl, and by small town you understand I do not mean, necessarily, the village or hamlet, but the smaller cities—has a very valuable sex unconscious- ness. She would be able to wear an abbreviated ballet skirt with a complete and delightful unconsciousness. Her home surroundings, the influence of her mother and her brothers and sisters, of her Sunday-school and dancing-school existence, all helped to make her the kind of a girl we want, The Goldwyn studio is the safest and sanest place in the world. Healthy morally, mentally, and physically. A place every mother would be content to have her daughter be. In fact, the mother of a little girl whom I cast for several r6les— Patsy Ruth Miller is her name—a girl of unusual mind— had always accompanied her daughter around the studios. For about a week she came with her to our studio. She, or her husband, Patsy’s dad. Then one day she didn’t show up. I didn’t see her for a month. ‘Then I asked her, “Don’t you ever come here any more, Mrs, Miller? I thought you always chaperoned Patsy everywhere.” Mrs. Miller smiled. “T don’t have to come with her to Goldwyn’s, Mr. McIntyre, I know she’s safe here—as safe as she'd be at home.” There is to be a morality clause in every new Goldwyn contract. We don’t want immorality in our studio, As soon as we discover it, we take immediate steps to re- move its cause. There is no reason why a motion picture studio should not be the The most accurate repre- sentations of American girlhood are to be found in the small towns. You are not likely to find the Sereen Opportunity win- ner in New York. She may come from one of cleanest place under the sun. It’s got to be if good pic- tures are to be made there. That’s why I say: a good, wholesome home influence counts for much in a girl's character. The girl, I am willing to wager, will be a girl from home—the kind of girl you'd like to know. the other large cities in the country, but | doubt it. The small town girl has a sincerity, a direct- ness, an unforced appeal which her city sisters often lack. There may be more real star-dust in a gingham apron than a rench gown CO)