Bert Lytell — Blue Book of the Screen (1923) 🇺🇸

Whether or not it was the dizzy pace set him by theatrical managers throughout the years, that caused this young man to leap for safety to the picture studio for surcease from feverish toil is not known, but if that was the reason, Bert Lytell has no laugh coming.

Few if any have traveled faster, or at such speed as Lytell, since the long arm of the cinema reached out and grabbed him. And he is still going the pace.

He was born in the actor’s haven — New York, February 24, 1885, but later, secured his higher education somewhat to the northward in the city of Toronto, Canada, where the students of the Upper Canada College still mention his name with pride.

When the time came for choosing a profession, he had no difficulty whatever, for Lytell had already decided to do what little he could to elevate the stage. He started in stock at Newark, playing juvenile in such plays as Men and Women, Secret Service and The Prisoner of Zenda. The latter was to make a return date with him, years later.

Next he played in stock from Portland, Me., to San Francisco, making a name in many large cities. His New York experience included engagements with Marie Dressler in The Mix Up, and with an all-star cast in If.

Herbert Brenon snared him for a picture, The Lone Wolf. Lytell lived through it, and then returned to the stage in Mary’s Ankle, playing the New York engagement.

Following this, Metro offered him a contract with gilt edges and he became a permanent film fixture, save for the period passed in wartime.

Completing his contract, Mr. Lytell appeared for Lasky in “To Have and To Hold” and “Kick In,” co-starring with Betty Compson. Next came “Rupert of Hentzau,” the Selznick all-star production, his role being that of Rudolph Rassendyl. His current picture is “The Meanest Man in the World,” a Lesser production.

The star is five feet, ten and a half inches tall, and weighs 155 pounds. He has dark-brown hair and hazel eyes.

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Bert Lytell is as much at home on his yacht as he is in his den in Hollywood.

Portrait by Ira L. Hills Studio • New York

Collection: The Blue Book of the Screen (1923)