Shy though his character might be, Charles Ray's portrayals were far from a simplistic figure or one of unbridled optimism, under producer Thomas Ince, as I outline in my Ince biography. Ray is established in ALARM CLOCK ANDY (1920) as a clerk, broken by the eternal grind, henpecked in his rooming house and timid at his job. Stuttering, he eventually learns that a new personality is needed to prevail in the office and in love, but this is the comedy of the story, the unreality.
The meek figure, buffeted and taken advantage of, is the one that audiences instantly recognize and feel a sympathy for, born of shared experience. Yet it was not only the trajectory of Ray characters, but the circumstances from which he emerged, that was key to his character.
Despite the consistent elements, producer Thomas Ince realized the importance of variation in his Charles Ray series for Paramount, as noted in my Ince biography. He commented of his star,
"It is my duty, then, to provide the coming star with stories which will exemplify their talents and afford every opportunity for the exploitation of their distinct personality....
"I do not infer that the player is confined to one style of role indefinitely. To the contrary, I advocate and practice transition. Only by contrast and versatility can interest and popularity be permanently maintained, but never must one's personality and natural talents be sacrificed for the sake of a spasmodic jump into fields foreign to the knowledge or histrionic art of the star."
Hence, while the Ray series struck a typically wholesome note, there were consistent variations, and omnipresent undercurrents of tension.
The meek figure, buffeted and taken advantage of, is the one that audiences instantly recognize and feel a sympathy for, born of shared experience. Yet it was not only the trajectory of Ray characters, but the circumstances from which he emerged, that was key to his character.
Despite the consistent elements, producer Thomas Ince realized the importance of variation in his Charles Ray series for Paramount, as noted in my Ince biography. He commented of his star,
"It is my duty, then, to provide the coming star with stories which will exemplify their talents and afford every opportunity for the exploitation of their distinct personality....
"I do not infer that the player is confined to one style of role indefinitely. To the contrary, I advocate and practice transition. Only by contrast and versatility can interest and popularity be permanently maintained, but never must one's personality and natural talents be sacrificed for the sake of a spasmodic jump into fields foreign to the knowledge or histrionic art of the star."
Hence, while the Ray series struck a typically wholesome note, there were consistent variations, and omnipresent undercurrents of tension.
