CAROL DEMPSTER

Sun (Auckland), Volume 1, Issue 72, 16 June 1927, Page 17

CAROL DEMPSTER

Carol Dempster, heroine of many D. W. Griffith productions, occupies a unique position in the ranks of screendom’s foremost players. From the beginning of her career, when as an unknown girl she was given an important part in “The Girl Who Stayed At Homo,” Miss Dempster has appeared exclusively in Griffith films. Her introduction to pictures was not made through the usual channels. Instead, it came about during the Los Angeles showing of one of Mr. Griffith’s productions. Miss Dempster was one of a group of dancers who had been employed to appear \u the prologue.

When the curtain rose, the director’s anxiety over his new picture gave way before an almost instantaneous enthusiasm over a ne\y screen discovery. After the performance he was presented to a slender, elfin girl with redbrown hair and luminous brown eyes that looked too large for such a small child-like face. She was Carol Dempster, daughter of Captain and Mrs. J. W. Dempster, of Los Angeles, born and educated in that city, and for a year and a-half a pupil in Ruth St. Denis’s dancing school. She agreed to forego her career as a dancer for an opportunity to work in pictures. The wisdom of Carol’s choice has been confirmed by her present prominence. Since “The Girl Who Stayed At Home,” Miss Dempster has enacted principal role in “Scarlet Days,” “The Love Flower.” “Dream Street,” “One Exciting Night,” “The White Rose,” “America,” “Isn’t Life Wonderful,” ‘Sally of the Sawdust. ’ “That Royle Girl,” and her latest, “Sorrows of Satan.”

The last-named is Griffith’s second Paramount production. Adolphe Menjou as Satan, Ricardo Cortez, Lya de Putti and Miss Dempster are featured. Forrest Halsey wrote the scenario. John Russell and George Hull adapted it from Mi* ie Corellis novel*