Evening Star Newspaper, December 16, 1934, Page 92

DECEMBER 16, 1934. Mary Jo Mat- thews is one of the “students” who, in Hins. BY DAN THOMAS. NENOWN today, scintillating stars tomorrow. . . . Such is the way of the Hollywood merry-go-round. And it is a merry-go-round. Never a year passes without some stars losing their grip and being whirled from if§ platform, a platform decorated with glittering lights spelling out first one name, then another., And never a year passes but what some newcomer manages to climb aboard the rapidly turning platform to take the place of the unfortunate who slipped off. It’s more or less easy to understand the fall- ing of old-timers. They have only a certain smount to give. And when they have given that, the public quickly passes them by in its frantic clamor for new stars. And whence do these new stars spring? They aren’t just born to drop from the heavens into e starring spot at the crucial moment, Far from that. They are trained and molded over a8 long period of time just as carefully as a sculptor molds a statue. For this purpose most of the major studios today employ the best dramatic instructors available. These men work steadily and quietly behind the scenes, seasoning new timber that will be used in the construction of pictures a year or two hence. Right now they are con- centrating on the development of players they believe will be ready for important if not actual starring roles in 1936. FINTELLIGENCE, vitality, poise, good taste and right thinking are the qualifications hecessary for those who would attain stardom in 1936—or any other year,” says Oliver Hins- dell, dramatic coach who develops players at the Metro-Goldwyn-Mayer studio. “Pictures may change from year to year but star qualifications remain the same,” he con- tinues “Individuality is the thing which really puts a star across, and any actor or actress who has an abundance of that, backed of course by a certain ability, can attain stardom no matter what the year. The type of pictures will make no difference, as a real star will stand out in any picture. “% regard the preserving of individuality as % Unknowns now, but and they'll be big names in a couple of years most important in my work of coaching young players. To me it seems all wrong to put potential actors through the cookie mold most of them go through in the average dramatic school. “Each actor or actress must be trained in a manner that will bring out his or her strong points. To do that, I weed out only that which hinders, leaving all other qualities intact.” As Hinsdell scans new material which daily parades through his office, he looks first for good taste, both in manners and dress. Much is indicated by this, he believes. If a young girl walks into his office he instantly notices how she is dressed. “I look for simplicity of dress and of speech,” he remarks. “Flowery language and unneces= sary frills and ruffles indicate a state of thought. “When you get right down to it, poor taste in dress, carelessness and elaborate speech all are manifestations of thinking. That is why a person’s outward appearance can to a large degree tell what kind of thinker he is.” Previous experience means nothing to this coach. He is looking for talent. He will start on a moment’s notice to train the rawest recruit as long as that person shows signs of possess- ing some talent. But as soon as he finds there is no talent, he stops. His theory is that you can cmly teach a person to use what he has; you can't give him anything. T THE moment Hinsdell has several young players in his rather large class who he believes will be ready for stardom by 1926. Most of these youngsters are known to some degree by the movie public, all having appeared in numerous films. However, they still are students, as far as he is concerned, each hav- ing much to learn before stepping into really important roles. His enthusiasm is highest when he mentions Martha Sleeper. - “My, that girl has talent,” he declares. years. Hollywood is putting them through a course of sprouts dell's opinion, handed any key roles on dom in three thing” comer in pictures by any means. In fact, she was elected a Wampas baby star way back in 1927. But until she came under Hinsdell's wing, about a year ago, nobody ever attempted to teach her any- thing. She just drifted along, doing the best she could. The surprising thing about her career is that she managed to remain _in the spotlight at all. That she did is in itself an indication of the genuine talent she possesses, “Robert Taylor is another who I be- « lieve is slated for big things in pic- tures,” remarks the instructor, “The first time I saw him was in a college production. I was immediately im- pressed with his ability and arranged for him to come to the studio. He has a good cultural background and has responded rapidly to training.” Hinsdell also names Mary Carlisle, Betty Furness and Irene Hervey as 1936 starring prospects. All three have developed tremendously in the last six months, all having recently played roles which no director would have dared offer them a year ago. And they have played them well. Three other girls also are rated as good prospects for the future, probably three or four years hence, Oh, yes, studios are perfectly willing to train potential stars for that length of time—longer, if necessary. This trio is com- prised of Agnes Henderson, Mary Jo Matthews and Margaret Ehr- lich. INSDELL has his own method of training, which may be at variance with the ideas of other coaches, but it has proved rather successful so far. Myrna Loy, Jean Parker and Robert Young all are graduates of his school. When Myrna Loy went to him about a year and a half ago she was prace tically through in pictures, For years she had been cast in exotic siren roles, He detected a flair for light comedy, developed that quality and launched her on a new career which already has carried her far beyond any goal she had been able to attain before. First of all, this instructor refuses to put his students through a routine training which stamps them all alike. For the most part he trains them individually. However, he fre- quently brings them together in groups to give them the fundamentals of timing, shading and the ability to fit their voices to those of their co-workers. He also insists that all of his students take singing lessons, the theory here being that the singing and speaking voice really is the same and the development of one helps the other. Then there are long periods of reading aloud to develop round tones. “It sounds strange, but I am quite insistent that my students go to art galleries and study the works of the old masters,” declares Hinse dell. “I also advise them to acquire a knowl- edge of the history that is behind most of these great works. “Such a procedure seems remote to most of the students, just as it does to outsiders, but such a study can have a very definite effect upon acting. To be a good writer, artist, sculp- tor or actor one must have both a knowledge and understanding of beauty. And there is no place this can be found better than in an art gallery. “I do not think a person can express that which he has not €elt, or at least understood. All art is expression. Thus one helps another.” Hinsdell believes in allowing those he trains to think for themselves. He shows them the right and the wrong—then lets them work out the rest. He feels that he has failed as a coach if one of his graduates is not ready to go with any director. His students must learn more than just do the things his way. They must learn to act. To further their experience, he stages fre- Agnes Anderson will have her name in electric lights when a few more years have passed, says Hinsdell. quent shows at a local theater. This gives the youngsters an actual stage training that is of infinite value. They learn how to appear at ease before an audience, get a taste of real audience reaction, and gain a confidence which can be acquired in no other manner. Besides, it gives studio executives and direc- tors an opportunity to see the potential taient which is at their disposal. Hence these students are certain to be given a chance to display the results of their training in front of the movie cameras. As for the average movie-struck girl or lad who has visions of being a star of 1940 or some later date, Hinsdell's advice is “forget all about pictures.” “Most of these hopefuls have no talent,” he explains. “They’re just mesmerized by that state of mind called Hollywood and they're due for disappointment if they hold on to the idea. “Of course, to those among them who do have talent and something to give, my advice would be no barrier. If that alone would stop them, they wouldn’t be worth anything anyawy. “Those who are really serious about acting should become affiliated with a Little Theater group. More and more, producers of both the stage and screen are realizing that their great- est source of talent is the Little Theater. With such a training behind them, young men and women are already thinking and acting more or less like troupers when they enter professional work.” New stars will be needed in 1935, 1936 and every year thereafter., But every candidate be- fore invading Hollywood should first do some- thing to prove to himself that he is starring material. Sugar May Come In UGAR from Cuba end other foreign coune tries which is being held in bonded waree houses of the United States on December 31 may be admitted to the United States as part of this year’s quota providing the quota of the country of origin has not been filled on that date. Under rulings by the A. A. A. importers of bonded sugar must file notice of intention to include such bonded sugar, however, before December 31. Pink Boll Worm Curbed HE main cotton belt of the United States has fortunately escaped infestation of the pink boll worm, which would be a serious menace to the crop if it were more widely spread. This year, thanks to a strict quarantine, the worm was found only in Florida and some parts of Georgia,