The Expressions of Arthur Walcott (1920) 🇬🇧

A pioneer among British screen artistes.

In private life one of the most peaceful and lovable of men, Arthur Walcott is invariably chosen for villain parts upon the screen. He has the face of the dramatic villain. His pose will send a cold shiver through a pacifist on a hot summer’s day, whilst the way he can look out of the whites of his eyes would be a golden asset to him should he ever be tempted to forsake the paths of honesty, and try his hand at being a villain in earnest.

Those eyes of Arthur Walcott’s do indeed a tale of horror and villainy unfold. Yet Watty (for no one has ever been known to call him by any other name) is one of Nature’s own gentlemen. The best guarantee of his popularity is this fact: Arthur Walcott is the children’s own special and much-beloved friend.

In a delightful old-world flat in Kensington, surrounded by many an artistic curio, souvenirs of his long and “intimate association with the stage and the studio, lives Arthur Walcott, in the heart of all that is artistically best in London.

It is indeed a privilege to sit awhile in Arthur Walcott’s flat, in High Street, Kensington, and to handle some fanciful jewelled piece of work, some real piece of stage property, that in its time has played a prominent part in the roles that Arthur Walcott has made famous.

The Children’s Friend.

It is as he takes his walks abroad in the early morning that Arthur Walcott is to be found in his most characteristic moods. Children run to greet him. For them, he ever has a cheery word and perhaps a few sweets for the very little tots. And soon he is the centre of a joyous crowd, the biggest child among them all. This is the way Britain’s great screen villain in real life thoroughly enjoys himself.

Yet on the screen he is a villain amongst villains. In Granger’s [A. G. Granger] A Turf Conspiracy he played the part of Rook, and it is recorded of him that when, in the studio, he handled the banknotes — property ones, by the way — upon which had been daubed an appropriate mass of red paint to signify blood, so horrible and villainous was his attitude, that through the whole studio swept a sense of cold horror.

Arthur Walcott is a pioneer amongst British screen artistes. Many years ago, long before screen acting was regarded seriously in this country, he saw the possibilities of the cinema and determined that, come what may, the legitimate stage should no longer claim his attention.

A Great Character Actor.

It was more years ago than he cares to figure up, that he was private secretary to Sir Charles Wyndham. Then through comic opera — and to-day many a studio has been made to ring with the rich melody of Arthur Walcott’s voice — comedy, drama, Shakespearean plays at home, and all round the British Empire, he has performed in all kinds of work, and acted under all kinds of conditions.

“Perhaps it was” says Arthur Walcott “to the experience I gained playing character parts in Alhambra ballets that I obtained my best experience for the silent, moving play. In those days, when the Alhambra ballet was easily one of the artistic triumphs of London, the work of those who took the lead was exceedingly trying, not to say exhausting. Their performances had a close analogy to screen work, for their actions had to interpret their emotions, with this one added great disadvantage — a ballet has no subtitles to help along the action of the theme.

Now, for six long, happy years, Arthur Walcott has worked entirely for the British screen. In that time he has worked for every company of note, and many are the plays now judged to be British successes, in which he has figured.

A Great Sportsman.

In his day he has been a great sportsman upon the green turf and the green cloth. With billiards, unless you are very clever with the cue. don’t, play him level. He’s the very demon with the while and red, .and a hundred break is mere child’s play. There is one other sport ho dearly loves. Sometimes a swift boat can be seen shooting along the Serpentine down Kensington way. In it is Arthur Walcott, keeping his hand in at the oars.

“What is the future of British cinematography?” we asked Walcott.

“The future lies in the courageous work so many British enthusiasts are now doing. Every man and woman who sets his or her hand wholeheartedly to the work of raising the status of our noble art, is doing a real national and patriotic work. Very soon, cinematography will be as big an industry with us as it now is in America. But we must all help and do our level best. That is my message to readers of the Picture Show.”

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Photo captions:

• Fear.
• Interest.
• On the scent.
• His scheme succeeds.
• Anxiety.

Special to “The Picture Show.”

Collection: Picture Show Magazine, April 1920