In a 1985 interview, Mae Clarke said, "Colin Clive was the dearest, kindest--in the real meaning of the word "kind"--man, who gave you importance. He was so wonderful, so clever. When he started acting in a scene, I wanted to stop and just watch . . . I'd think, 'Here I am, playing scenes with this marvelous actor!' Mr. Whale [director James Whale] would say, 'Colin's voice is like a pipe organ . . . I just pull out the stops, and he produces the music.' Colin was electric. I was mesmerized by him--so much so that I hoped it didn't show! When he looked at me, I'd flush. He had a wife back in England, and I had my young man (of the La donna che non si deve amare (1931) premiere.) In fact, I was glad my fiancé was at the premiere that night--to be my good anchor against my stormy waves of fancy for Colin. He was the handsomest man I ever saw--and also the saddest. Colin's sadness was elusive; the sadness you see if you contemplate many of the master painters' and sculptors' conceptions of the face of Christ--the ultimate source in my view of all sadness."

Film

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