Greta Nissen’s Secret Dream (1935) 🇬🇧
I have often been asked: "Is Hollywood as gay as it is painted?" As I have worked in America as well as in this country, and as I am neither of American nor British descent, I feel that I am in a very favourable position to judge.
I should say very emphatically. Yes! Hollywood is scintillating with life, fun and laughter. The famous city of films is full of talented artists who go to no end of trouble to entertain themselves as well as their public. Their parties are as lavish and gay as those they depict on the screen.
This does not mean that they spend a lot of their time on parties. On the contrary, they take their work much more seriously than anything else.
I remember well a wonderful reception given by Victor McLaglen in honour of Diana Wynyard's arrival in Hollywood.
Vincent Barnett, who is known as a "ribber," is Hollywood's professional fun maker. And as is usual with all big receptions given by stars, "Vince" was there as head waiter.
All, with the exception of Diana, were aware of his presence. Miss Wynyard was about to commence on her first course when "Vince" took up her plate and walked away.
The famous film star turned in some astonishment and said: "But I haven't started yet." "Neither have I," came the humorist's reply.
This procedure, with variations, went on all through the meal, much to the amusement of the assembly, but to the perplexity of Miss Wynyard. When the joke was finally explained, she enjoyed it as genuinely as the others had.
And now I am enjoying English hospitality for a time. I am not quite certain how long I shall stay but I do know that I must definitely return in the summer. I have already made three films for British International Pictures and shall probably make another film in England before I leave.
I find working in your English studios very pleasant indeed. Your directors and their staffs have been charming.
And I say, with the utmost confidence that the percentage of really good British films compares very favourably with that of the American output.
As regards the stars, although the method used in making stars in America differs from that in England, rather to the American stars' advantage, I am convinced that the talent is comparable.
I have a tremendous admiration for Ernst Lubitsch. Like most successful directors, he has a style of his own, and it must be an inspiration to be under the direction of a producer with so keen an imagination.
The chances of making good in America are, however, much greater than over here. Whereas in English film circles, the star has to build his own position purely on ability before the big producers will interest themselves in him, in Hollywood an unknown may be chosen by a Company, developed and "groomed” and watched carefully so that full advantage may be taken of every vestige of talent shown, and, finally, turned into a fully fledged and capable star.
I think Charles Laughton and Anna Neagle wonderful artistes, and that Gertrude Lawrence, although she has done very little as yet, has a great future on the screen.
If a star is popular with the staff working in the studio he or she will get much more help and backing up than otherwise.
Personality counts a lot on or off the set. Among the most popular British stars in Hollywood are Leslie Howard, Charles Laughton, Herbert Marshall, Ronald Colman and Clive Brook. These famous people are adored by their American confreres, let alone their "fans."
Whilst on the subject of stars I should like here to pay my tribute to that great artiste, Helen Hayes — a wonderful actress, beloved by stage and Screen audiences alike. I am sure if she appeared on the legitimate stage in England, she would cause a "riot."
It has been interesting to watch the transition period in films generally called the "purity campaign." Hollywood producers found at first that a spectacular presentation of "sex" was sufficient to draw the public, but these films caused a natural reaction, and now audiences demand a good story. Sex may play a part necessary to the development of a theme, but it is the story that counts most.
A good instance of what I mean is Somerset Maugham's Human Bondage. Here is a fine story with a sex problem, but that feature does not overshadow everything else.
The audiences here are, I think, much more appreciative than those in the U.S.A. They seem to be more receptive and, above all, go to a show with the intention of enjoying themselves.
One of the reasons for this is that whereas the American will rush off at a moment's notice to a cinema or theatre, the Englishman prepares two or three, or even more, days ahead.
He paves the way to enjoyment, so to speak. A nice little dinner, a glass of wine and a good show. The show is nicely rounded off with supper in one of your many delightful restaurants, and so to bed.
Whilst here in London I have been treated with the utmost courtesy, politeness and charm by all with whom I have come in contact. I admire the British people immensely for the very earnest and sincere way they live their lives.
In fact, you have all been so nice that I am seriously contemplating producing a film of my own in this country. It would be so much easier here than in America.
If I had an entirely free hand in the choice of a play, I would choose Ibsen's Doll's House. It appeals to me very much — not because Ibsen is a compatriot, but because I admire his work immensely, and this particular play is the only one of his with a suitable part for me.
It was my mother's ambition that I should become a wonderful dancer and I feel I have the natural talent for it. During my training at the Royal Opera House, Copenhagen, acting played a prominent part, and I thought it would help me to combine the two arts.
So far, more opportunities for acting than for dancing have presented themselves, but it is still one of my greatest wishes to do more dancing — perhaps in a story in which it plays an important part.
More than three months ago, I was nearly ready to start a film on these lines, but the story wasn't quite right. It has been re-written three times — and still isn't quite in the form I have in mind.
Sooner or later, I shall succeed in getting what I want — probably in a costume picture — and then you will see the new Greta.
If I do finally decide to make my own film you will see a different Greta Nissen. I should choose a character entirely different from any I have had before and should also endeavour to make more use of my training as a dancer. So far this is all just a secret dream, but one never knows when this dream may come true.
The star with Lawrence Grossmith and Hugh Wakefield in a scene from "Luck of a Sailor."
A charming study of the beautiful and exotic Swedish star.
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NEXT WEEK
Stars treasure little mementoes of their early days on the screen or stage which bring back past memories, and are also sometimes used as mascots. Next week John Douglas tells you something of these secret treasures of the stars, and what they mean to their owners.
This is one of many unusual features in a special number of The Picturegoer.
Collection: Picturegoer Magazine, February 1935