Casper Daily Tribune Newspaper, August 11, 1923, Page 3

sam lM” oes ly ? “se Pa THEODOKZE 'N this world a man can do one thing well is deemed successful. The “Jack of all trades and master of none,” is looked upon with good-natured contempt—so seldom is it that a mind {fs found which can satisfactorily divide its attentions. ‘* Occasionally—very occasionally, however,—there arises an exception to this rule of mono-success. Such an exception is Theodore Kosloff, a Russian dancer whose performances have delighted all the crowned heads of Europe; a painter with a record of $10,000 for a single ‘eanvas and a motion picture actor \Whose performances have won him a place among the really great of film- éom. To followers of the photoplay \Mr. Kosloff has become particularly famous in the past six years for the excellence of his pantomime appear- ances in such Paramount pictures as .“The Woman God Forgot,” “Forbid- éen Fruit,” “Fool's Paradise,” “The Green Temptation,” “The Lane That Had No Turninj and “Something To Think About.” He was born in Moscow, Russia. His father was Michael Kosloff, a solo violinist of the Imperial Russian Ballet Orchestra, the source, un- doubtedly, of his flair for the artistic, while from his mother, the daughter of a merchant, he reaped a heritage of commercial acumen which has brought to him a financial success beyond that of other artists less for- tunately endowed. | As in Spain bull-fighting is a sure road to fame and fortune, so in Rus- sia the ambition of Russian youth ‘was and is a place in the schools of the Imperial Russian Ballet. Childhood’s Ambition, “From the time I could walk and talk,” says Mr. Kosloff, “my one idea was to so fit myself mentally and physically that I might successfully withstand the stringent requirements of the Ballet School at Moscow. “Only seven boys and seven girls are admitted each year. They must be physically perfect, intelligent and possessed of a noticeable flair for things interpretive, “We had a farm called Borrvicha KOSLLOFT= Tight outside of Moscow and I spent most of my time there, riding horse- back, hunting and in general laying the foundation for the physique necessary for my later work. “Like children the world over, we used to have our kiddie shows with a piece of Russian caramel as the admission fee. I used to be the lead- ing man and the shows we put on were imitations of plays produced at the various Moscow theaters—for my father used to take me to the theater when I was scarcely more than a baby. “Then at 8 years of age I went before those who picked entrants to the ballet school. There were hun- dreds who applied—and it was a correspondingly happy little boy who heard his name read off as one of the lucky 14. “It was a period especially produc- tive of successful dancers, that in which I began my studies, Madame Paylowa had studied in Petrograd two years, while I, with the dignity of a year’s instruction behind me, atched Mordkin and Nijinsky take their first lessons, 12 months after me.” Early Training. For three years Kosloff and the members of his class were on pro- bation. They were watched careful- ly and the unfitted were quietly dropped. ‘This done, their three years of pre- paratory exercises out of the way, the ambitious children started on the work of their ballet studies, They lived right in the schools, were taught the elements of culture and given instruction in painting and other arts. Young Kosloff proved adept as a painter, but to continue with his dancing experiences— “Thoroughness, willingness to give all the time necessary to achieve an artistic result—these are the main reasons why the Russfan, ballet has succeeded—why it is the one form of the dance acclaimed as truly an art. “For instance, there is the whirl- ing jump high in the air, for which I AS "LORD. ARNAL” (INA NEW PRODUCTION gained a certain amount of personal fame. For five years I spent long hours in exerciso just to develop certain muscles for this one stunt. It's difficult; efew people in the world have the proper physique to do it, but when it’s before you Jt seems easy and effortless, bearing no evidence of the hard work involv- ed in its creation. Kind critics, however, acclaim this and other un- usual steps as among the reasons why the Russian ballet {s unique, dis- tinctive and artistic. The thorough- ness of our training is the answer. I am positive that no college or uni- versity in the world can present a record which can even equal that of the Russian ballet school in develop- ing individuals who have become world-famous.” Before Royalty. For the final years of his instruc- tlon, Mr. Kosloff was transferred to Petrograd where, three weeks after his arrival, he was presented to the late Czar Nicholas. “A quiet, soft-spoken man,” calls Mr. Kosloff, “A man who seemed to fee] the weight of his of- fice; a man whom royalty had not made completely ‘happy. Thinking Russians do not regret the passing of a system whereby two thousand wealthy absentee landlords kept 128,- 000,000 people in ignorance and pov- erty, yet, as one who has met tho re- Jack Holt Visits Church Where Father Was Rector EMORY cues clicked fast for M Jack Holt, Paramount star, when he visited his old home in New York, the rectory of the St, James Episcopal church at 190th street and Jerome avenue. Holt, who is generally thought of among motion picture patrons as a westerner because of his ability to ride horseback, spent 16 years of his life in New, York. He was brought to New York when he was a year old by his parents, his father at the time becoming rector of St. James Episco- pal church, which post he held for 19 years. It had been a long time since Holt visited his old home, but scenes and events of his childhood came back to him vividly as he walked through the church yard. “See that cross on top of the church?” he said, pointing out the lit- tle wooden cross perched on the right gable of the quaint little edi- fice, “I climbed up there and carved my initials on it when I was Just a little shaver.” “This driveway in front of the church used to have more of a grade than it has now for I remember we used to do our coasting in the Win- ter down the slope.” In his boyhood days Jack used to be quite a figure in his father’s church. He sang in the choir, helped pump the air into the old-fashioned organ, which has long since been re- placed by a modern electrical instru- ment, and rang the church bell which hung from a large tree in the rear of the church. Theold bell 1s gone, too, but the tree still stands and it was one of the sights that interested Holt the most, for it was the bell that appealed to his imag- ination when he was a boy. Holt went to school at Trinity Col- lege, New York, and then to Vir- ginia Military Institute, but he never had an ambition to be a minister like his father. He became an engineer and went West to seek his fortune. Engineering didn’t prove as profit- able as he had expected, so he punched cattle in Wyoming. That's how he became such a good rider and able to do such riding as he did {n one of his recent pictures, “North of the Rio Grande.” He got his first job in motion pictures because he could ride. Then it was just a mat- ter of time until he became a star, after passing through the stages of “stunt” man, “bits,” small character roles, “heavies” and leading man. eve czar, I felt the deepest sympathy for the man when I read of his ter- rible end in Siberia.” Kosloff was 18 when he made his official debut as a solo dancer be- fore the czar and czarina at the “Hermitage.” Anna Pavlowa was his partner and one of their numbers was the famous “Peasant Dance,” which created a reputation for both of them. It wis somewhat before this time that Kosloff played the violin occa- sionally in various orchestras, He had studied for years with his father and noted instructors, but mu- sic never exerted sufficient charm to wean him from the Muse of the dance, The instruction of his later days at the Petrograd Ballet School was given by Christian Toganson, one of the world’s most famous maestros of the dance. It was only last year that Toganson died at the age of 108, after having taught the fundamentals of his art to a baker's dozen of spe- clally notable men and women who carried the message of the Russian ballet to the far corners of the earth. Stolen Jewels Returned, While dealing with his debut at the “Hermitage” it is interesting to note that Mr. Kosloff has just re- celved word that the Moskow bol- sheviks have returned $50,000 worth of jewels, stolen from his safety de- posit boxes in 1914, Among this col- lection were a gold watch with the Russian eagles and a pair of rare- moonstone cuff links, presented by the Czar at the “Hermitage” debut; a ruby stick-pin, gift of the Grand Duke Sergius; emerald cuff links from Lady Evelyn Guiness and sil- ver plate for 24 from the Grand Duke Vladimir, The year 1908 saw his first ap- Pearance at the Grand Opera, Paris, where his conception of “Schehera- zade” proved a tremendous triumph. It was here he met King Edward yIT., “a man who liked people and ed them to like him; a man whose live vital temperament dominated every assemblage he was in.” Mr. Kosloff met King Edward VII. at the Rothschild home in Paris, Only afew weeks ago he had tho pleasure of escorting about the Lasky Studio a member of the same de Rothschild family which made possible his ac- quaintance with England's monarch. It was following a performance in FAMOUS FOR HIS APILITY 7O RESISTER ADEALLY-IN FPPAANTOMINE Berlin, that Kosloff met Kaiser, Wil- helm, whom he mistook at first for an ordinary army officer, The kaiser was sincerely appreciative of theat- rical genius and there was nothing in his attitude towards the actor- dancer to indicate the “war head” which later threw Europe into chaos, But all Germany reflected a militar- istic spirit emanating directly from a ruler who was but seldom seen in any but an army uniform. The Coliseum Theater was the seat of his London successes, Perform- ances in Oxford served as an intro- duction to the present Prince of Wales. “Who possesses all the magnetic charm of his gfandfather, King Edward VII. Princes, kings, queens and Presi- dent Wilson—it has been a notable list—those of the world’s great, have enjoyed the Kosloffian genius, Roy- alty of birth has been combined in his acquaintances, however, with royalty of brains, He knew the fiery Kerensky when he was but a member of the Duma. Tschalkows- ky’s initial production of “Pique Dame” in Moscow found 10-year-old Theodore in the children’s ballet and memory still lingers with him of the faultlessly dressed, gray-bearded genius of the keyboard whose name stands high in the annals of Russian art. And there was Anton Tcheckoy, The soul would Had the_eyes a brilliant surgeon, but an even more brilliant dramatist, a man whose flashing mind played a losing battle against the ravages of tuberculosis. “An uncannily clever conversation- alist; a most inspiring friend.” And the boy Kosloff was childishly anxi- ous as his father told of the tall Count Tolstoy whose appearances in peasant garb were the talk of the country-side. Not alone was Kosloff noted for his dancing at this time. Up until only a few years ago when his work as an actor in Paramount pictures required most of his time, the dancer’s chief joy was his easel. He received as high as $10,000 for his portrait, including one of Lady Bye- lyn Guinness and the daughter of Sir Edward Grey. He has exhibited at various times in the art museum of Moscow, Paris, London and Petro- grad, Not many people know that even before he entered pictures Mr. Kos- loff had achieved success as an ac- tor, Naturally most of his time was occupied with dancing, but he fre- quently accepted straight stage en- gagements to increase interpretative power of his terpsichorian endeay- ors. He played John role in “Resurrection” in Moscow and later “Awakening” with Wilton Lackaye and Henry Walthall in New Barrymore's have no rainbow no tears. ~ John Vance York. In 1910 he first came to America, dancing at the Winter Garden, New York. It was not until the revolu- tiontion in 1914 that Mr. Kosloff! left Russia entirely, however. At the hands of the bolsheviks he has suffered the loss of a 24-flat apartment house in Moscow and a country estate valued at $200,000. However, the dancer-actor ex- presses himself as pleased with the turn of affairs. He does not believe in bolshevism, but considers the present chaotic phase as merely a step in the development of a future Russia in which the now uneducated 128,000,000 may obtain some of the privileges and pleasures previously denied them. “Europe can not live without Russia,” ho says. “She is the great granary and reservoir of raw material upon which all are dependent. Under democracy with an awakened people she is destined for great things.” Some day Mr. Kosloff expects to go back to Russia where he hopes to do his bit in the country’s rehabilitation through the tremendous educative power of motion picture. Films, he feels, will teach the ignorant through the eye long b@fore they complete the laborious task of learning how to read and write, Mr. Kosloff is now a permanent resident of Hollywood, where he and his wife, formerly Marie Baldina, a dancer, have a beautiful home and divide the responsibilities of a huge dancing school which is an {mpor- tant side-line of the Kosloffian efforts before the camera. A feature of Mr. Kosloff as a cine- ma actor is the same thoroughness which characterizes his training as a dancer, In his latest Paramount picture, “To Have and to Hold,” produced by George Fitzmaurice, fie carefully checked the historical ac- curacy of his costumes as an English nobleman of the seventeenth century, studied the lighting methods of an unfamiliar camera-man—in other words, gaye to the various phases of his film work a serious consideration which many other players might well emulate. Tri-successful, Theodore Kosloft has been painter, dancer, cinema actor—and yet an analysis of his life indicates the presence of two simple things anyone can develop; study of the particular job presented and a capacity for hard work and the tak- ing of infinite pains.—Barrett ©. Kiesling. FRED N/BLO- DIRECTOR — AND THE FAMOUS MONI WHO HAS ACAPIAELD IN MTANY PRODESCTIONS “America, Land of Artistic Promise,” Says Pola Negri . in First Interview.” Ss’ big—so complete—so alto~ gether wonderful! The prom" ised land of artistic endeavor! 't - That's Pola Negri’s summary of:+ America, American motion pictura, studios and American production methods. The famous Polish stax _ summed up her impressions. To her America {s the land of long= cherished dreams; it {!s the land” where motion picture production ha#’* reached its highest point of develop#> ment; it is the land that offers her an opportunity to reach new heighta of success. All this and more she voiced in her limited English at the end of that memorable first day in an Amer~= fean studio. She had beengphoto* graphed wearing an American make~ up and {illuminated by American lighting methods. Phystcally tired but spiritually exalted she talked, from the heart of her {mpressions.. her plans and her ambitions. “It 1s all magnificent—this country and this studio,” she declared. “I have seen much in the few brief days Thaye been here—New York, Chicaga and now California. And this studio 1s the place I have dreamed of for years. It has all the things that wa in Europe have heard of but never, seen or used. “I doubt if American theater-goerd realize the difference between con- tinental and American motion pic ture production methods. With ong or two exceptions, all of the pictures I appeared in abroad were made un-( der conditions that were discarded in this country five years ago. Tech- nique, lighting, make-up, sets—in ev= ery department of production Amer ica leads the world by at least five years, Imagine what it means to mp. to be granted an opportunity to turn. my clock of progress ahead five years by the simple process of traveling few thousand miles and workin hard! Every artist dreams of the per- fect picture. The opportunity 19 make that dream come true for mv is here “f am amazed at the size of this studio, Yet it is the most complet» atelier that could be devised; of that I am convinced after my inspection trip. I can think of nothing that could be added, It makes our an- tiquated studios of Europe look likd Swiss tbys. “Continental producers have bull? stupendous stage settings, but tho best of these fall short of the Amer+ ican standard. Your architects have developed the fine art of set design- ing to a point that approaches per- fection. They understand the neces- sity of building a set for what you call ‘camera angels,’ and they never lose sight of the possibilities of il-+ lumination—points which the Eu+ ropean designers frequently overlook. And your wardrobe department!” here the eyes of Pola Negri lighted as the eyes of all women alight when clothes are mentioned. “It is a para- dise in itself.” Barely a week elapsed between the date of Miss Negri’s arrival at the and the start of production “Bella Donna.” A notable cast headed by Conway Tearle and Conrad Nagel is supporting the Polish beauty in her initial venture here. studio work on “What lovely furniture Little Willie—Yes, I think the man bought it from is sorry now he sold it—he’s always calling. we